{"id":37726,"title":"Catalogue of the G 58 group  exhibition De eerste abstrakten  in België","dimensions":"","date_begin":"1959-01-01","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":7,"permalink":"catalogue-of-the-g-58-group-exhibition-de-eerste-abstrakten-in-belgie","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/096/530/medium_500/F026.jpg?1789034383","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/000/096/530/large/F026.jpg?1789034383","poster_credits":"© photo: M HKA, 2026","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003e\"The fact that Jozef Peeters readily embraced the revisionism initiated by Michel Seuphor and Maurits Bilcke cannot be explained solely from a historical perspective. After nearly thirty years of inactivity, Peeters experienced a second youth in the early 1950s. He had finally found an environment in which he could work again. It was therefore of utmost importance to him to serve that environment as well as possible. Peeters proved himself more than willing to back the narrative of abstraction in Belgium. From 1954 onwards, he became an important liaison officer with the old avant-garde network for Bilcke and Delahaut. In preparation for the exhibition Les premiers abstraits belges, for example, Peeters wrote to Jo Delahaut: ‘Our [Prosper] De Troyer apparently wanted us to get something from Malinois [sic] Wolfs. Do you want me to take care of those two Malinois [sic], or are you going to get to work on them?’\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\u003eDat Jozef Peeters gemakkelijk meeging in het revisionisme dat was ingezet door Michel Seuphor en Maurits Bilcke is niet alleen te verklaren vanuit historisch perspectief. Na bijna dertig jaar inactiviteit beleefde Peeters begin jaren vijftig zijn tweede jeugd. Eindelijk had hij weer een omgeving gevonden waarin hij kon werken. Er was hem dus alles aan gelegen om die omgeving zo goed mogelijk te dienen. Peeters toonde zich meer dan bereid om het verhaal van de abstractie in België te ruggesteunen. Voor Bilcke en Delahaut werd hij vanaf 1954 een belangrijke verbindingsofficier met het oude avant garde-netwerk. In de voorbereiding van de tentoonstelling Les Premiers Abstraits Belges schrijft Peeters bijvoorbeeld aan Jo Delahaut: ‘Onze [Prosper] De Troyer wilde blijkbaar dat we iets van de Malinois Wolfs zouden krijgen. Wil je dat ik voor die twee Malinois zorg, of ga jij ermee aan de slag?’\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\u003eLe fait que Jozef Peeters ait facilement rejoint le révisionnisme lancé par Michel Seuphor et Maurits Bilcke ne s’explique pas uniquement d’un point de vue historique. Après bientôt trente ans d’inactivité, Peeters connaît une seconde jeunesse au début des années 1950. Il a enfin retrouvé un environnement dans lequel il peut travailler et tient donc absolument à le servir du mieux qu’il peut. Peeters se montre plus que disposé à soutenir le récit de l’abstraction en Belgique. Dès 1954, il devient pour Bilcke et Delahaut un intermédiaire essentiel avec l’ancien réseau d’avant-garde. Lors de la préparation de l’exposition Les premiers abstraits belges, Peeters écrit, par exemple, à Jo Delahaut : « Apparemment, [Prosper] De Troyer souhaite que nous obtenions quelque chose du Malinois Wolfs. Veux-tu que je m’occupe de ces deux Malinois, ou vas-tu t’en charger ? »\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":[]}