{"id":37719,"title":"Paul van Ostaijen as a sculptor  in the catalogue of the Tweede Kongres van Moderne Kunst","dimensions":"","date_begin":"1922-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":27,"platform_id":1,"deleted":false,"asset_count":1,"stream_count":0,"collection":"","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":10,"permalink":"paul-van-ostaijen-as-a-sculptor-in-the-catalogue-of-the-tweede-kongres-van-moderne-kunst","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/469/medium_500/F033.jpg?1788356707","cached_actor_names":"","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":"","short_description_tr":"","mhka_works":false,"category":{"en":"Other","nl":"Andere","fr":"Autre"},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/469/large/F033.jpg?1788356707","poster_credits":null,"translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\"Jozef Peeters was startled in 1954 when, in radio programme \u003ci\u003eKunstkaleidoscoop\u003c/i\u003e [Kaleidoscope of the arts], he heard an allusion to a number of mysterious sculptures that in 1922 van Ostaijen had supposedly submitted to the \u003ci\u003eTweede Kongres van Moderne Kunst\u003c/i\u003e [Second Congress of Modern Art]. He immediately put pen to paper and wrote to Maurits Bilcke — artist, critic, and historian of the abstract art in Belgium — that the latter could abandon his search for those sculptures. At the time, Peeters had unmasked the submissions as a typical joke by ‘crazy wee Paul’ and the Jespers brothers, who had intended to mock the constructivist seriousness. In his view, there was no need to revisit this, thirty years later. Incidentally, Peeters himself had not entirely\u0026nbsp;\u003cbr\u003esucceeded in completely erasing the traces of the artistic joke at the time. When he plucked van Ostaijen’s sculptures from their pedestals, the catalogue for the Tweede Kongres van Moderne Kunst had already been printed. And so van Ostaijen's name stood proudly among those of sculptors such as Georges Vantongerloo and Alexander Archipenko.\"\u003c/p\u003e\u003cp\u003eRead further \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/462/original/AP_Avant-Garde_brochure_EN.pdf?1788350825\"\u003ehere\u003c/a\u003e!\u003c/p\u003e"},{"locale":"nl","short_description":"","description":"\u003cp\u003e“Jozef Peeters schrok zich in 1954 een hoedje toen hij in het radioprogramma \u003ci\u003eKunstkaleidoscoop\u003c/i\u003e een allusie voorbij hoorde komen op een aantal mysterieuze sculpturen die Van Ostaijen in 1922 zou hebben ingezonden voor het Tweede Kongres van Moderne Kunst. Hij klom meteen in de pen en schreef aan Maurits Bilcke — kunstenaar, criticus en geschiedschrijver van de abstracte kunst in België — dat hij zijn zoektocht naar die beelden verder kon staken. Peeters had de inzendingen destijds ontmaskerd als een typische grap van ‘zot polleken’ en de gebroeders Jespers, die de spot hadden willen drijven met de constructivistische ernst. Daar hoefde men dertig jaar nadien in zijn ogen niet meer op terug te komen. Peeters was er destijds zelf overigens niet helemaal in geslaagd om de sporen van deze artistieke grap volledig uit te wissen. Toen hij de sculpturen van Van Ostaijen van hun sokkels plukte, was de catalogus van het Tweede Kongres van Moderne Kunst al gedrukt. En dus pronkte Van Ostaijens naam tussen die van beeldhouwers als Georges Vantongerloo en Alexander Archipenko.”\u003c/p\u003e\u003cp\u003eLees verder \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/463/original/AP_Avant-Garde_brochure_NL.pdf?1788351283\"\u003ehier\u003c/a\u003e!\u003c/p\u003e"},{"locale":"fr","short_description":"","description":"\u003cp\u003e“En 1954, Jozef Peeters tombe presque de sa chaise en écoutant l’émission de radio \u003ci\u003eKunstkaleidoscoop\u003c/i\u003e, dans laquelle il est fait allusion à plusieurs mystérieuses sculptures que Van Ostaijen aurait envoyées en 1922 au Deuxième Congrès de l’Art moderne. Il prend immédiatement la plume et adresse un courrier à Maurits Bilcke — artiste, critique et historien de l’art abstrait en Belgique — pour lui indiquer qu’il pouvait cesser sur-le-champ ses recherches concernant ces sculptures : à l’époque, Peeters avait d’emblée démasqué ces envois comme une farce typique de cet hurluberlu et des frères Jespers, pour se moquer du sérieux constructiviste. Aux yeux de Peeters, il est inutile de revenir trente ans après coup sur cette affaire facétieuse, dont il n’avait d’ailleurs pas tout à fait réussi à effacer les traces en son temps. Car, lorsqu’il a retiré les sculptures de Van Ostaijen de leurs socles, le catalogue du Deuxième Congrès d’Art moderne était déjà imprimé et le nom de Van Ostaijen figurait donc aux côtés de sculpteurs tels que Georges Vantongerloo et Alexander Archipenko.”\u0026nbsp;\u003c/p\u003e\u003cp\u003eLire la suite \u003ca href=\"https://s3.amazonaws.com/mhka_ensembles_production/assets/the_vault_original/000/096/464/original/AP_Avant-Garde_brochure_FR.pdf?1788351401\"\u003eici\u003c/a\u003e!\u003c/p\u003e"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}