Invitation card produced on the occasion of the exhibition Jef Geys at Kunsthalle Bern, 29 May–25 July, 2021.
Produced on the occasion of Jef Geys’ participation in the São Paulo Biennale, 1991. With texts from Piet Coessens, Jef Geys and Jean Goossens.
This artist’s book gathers the 67 photographs that make up the contact sheet #234 of the photographs taken by Jef Geys during the 1969 Tour de France, the year of Eddy Merckx’s first victory and the same day as the man’s first step on the moon.
Published following the touring exhibition Le Tour de France 1969 d’Eddy Merckx at Cneai, Pantin; CAPC musée d’art contemporain de Bordeaux; Bains-Douches d’Alençon; Centre d’art contemporain Passages, Troyes; IAC, Villeurbanne; and galerie Air de Paris between 2016 and 2018.
Kempens Informatieblad, was a newspaper published by Belgian artist Jef Geys between 1971 and 2018.
Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.
Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.
Kempens Informatieblad, was a newspaper published by Belgian artist Jef Geys between 1971 and 2018.
Since the early 1960s, in addition to his interlocking artistic and pedagogical work, Geys was also involved in the production and distribution of a local newspaper, the Kempisch Reklaamblad, on whose pages he began to publish various textual and pictorial material among the advertisements placed therein. After it was discontinued, Geys took over the paper and continued it under his own direction as Kempens Informatieblad.
Functioning as an alternative to the conventional artist catalog, the issues, over 50 in total, were mostly published in connection with his exhibitions. As an information system directed by the artist, it successively developed into a kind of meta-medium within his practice, through which he himself organized his representation and mediation—beyond the exhibition context.