Maurice ROQUET
Etre ensemble, 1974
84 pages, 40 original texts and color photographs mounted on cardboard, 40 x 30 cm, in a portfolio, 25 numbered and signed copies.
The international conceptual art movement took root in Belgium thanks, among others, to Marcel Broodthaers (1924-1976), one of its leading figures. The “relational” perception of the Liège-based CAP group around Jacques Lennep (1941), Jacques Lizène (1946), and Maurice Roquet (1938) and the pictorial emanations of various visual, gestural, and textual orientations of Jacques Charlier (1939), Yves De Smet (1946), Daniel Dewaele (1950), Filip Francis (1944), Jef Geys (1939), Danny Matthys (1947), Guy Mees (1935), Johan Van Geluwe (1929) and Philip Van Snick (1946) testify to a spirit that is both playful and intellectual. Social events are inventoried, examined, simulated or provided with ironic commentary. The exhibition “Aspects of Contemporary Belgian Art,” presented by the ICC in 1974, along with the accompanying publication, offers an interesting overview of the late avant-garde of that period. A few years later, in 1979, the Museum of Contemporary Art in Ghent presented a similar overview with its exhibition “Inzicht/Overzicht. Overzicht/Inzicht Aktuele Kunst in België” (“Ideas/Insights. Overview of Contemporary Art in Belgium”). Among the artists featured at the time were Leo Copers (1947), Lili Dujourie (1941), Guy Rombouts (1949), and Jan Vercruysse (1948). They were the ones who would go on to found “post-modernism.”
Etre ensemble, 1974
84 pages, 40 original texts and color photographs mounted on cardboard, 40 x 30 cm, in a portfolio, 25 numbered and signed copies.
The international conceptual art movement took root in Belgium thanks, among others, to Marcel Broodthaers (1924-1976), one of its leading figures. The “relational” perception of the Liège-based CAP group around Jacques Lennep (1941), Jacques Lizène (1946), and Maurice Roquet (1938) and the pictorial emanations of various visual, gestural, and textual orientations of Jacques Charlier (1939), Yves De Smet (1946), Daniel Dewaele (1950), Filip Francis (1944), Jef Geys (1939), Danny Matthys (1947), Guy Mees (1935), Johan Van Geluwe (1929) and Philip Van Snick (1946) testify to a spirit that is both playful and intellectual. Social events are inventoried, examined, simulated or provided with ironic commentary. The exhibition “Aspects of Contemporary Belgian Art,” presented by the ICC in 1974, along with the accompanying publication, offers an interesting overview of the late avant-garde of that period. A few years later, in 1979, the Museum of Contemporary Art in Ghent presented a similar overview with its exhibition “Inzicht/Overzicht. Overzicht/Inzicht Aktuele Kunst in België” (“Ideas/Insights. Overview of Contemporary Art in Belgium”). Among the artists featured at the time were Leo Copers (1947), Lili Dujourie (1941), Guy Rombouts (1949), and Jan Vercruysse (1948). They were the ones who would go on to found “post-modernism.”