Paul De Vree (1909-1982) enters the domain of avant-garde art at the moment that he has already completed a full career as a poet and critic. Contacts with artists from the environment of G58 and with concrete poets ensure that in the early sixties he emerged as a protagonist of the new avant-garde in Flanders.
From then on De Vree is in constant contact with almost all important representatives of international concrete, visual and sonorous poetry. In addition, he focuses on promoting innovative visual art that connects with the international Zero movement. In this study, De Vree's personal archive functions as a 'keyhole' to the 1960-1980 era. This creates a fascinating image of an international neo-avant-garde network that also leaves traces in the Belgian art landscape.
