Vermeiren, double exposure.

At the end of the 1970s, taking up what Michel Gauthier calls "the Brancusian revolution," and also adopting certain questions brought to light by conceptual art and minimal art, which flourished at the beginning, Vermeiren placed the question of the base at the center of his thinking, working on the complex relationship that sculpture maintains with its traditional element of presentation. This was the beginning of a "search for the base and the present," during which the base constructed for Vermeiren an autonomous sculptural destiny. For him, this was where the relationship to the ground, to space and place, but also to the entire history of sculpture, came into play. From the beginning, photography was also a major instrument of his plastic dynamism. From this dual artistic practice, his work, to this day, results in sculptures that create photographs and photographs that create sculptures.

Conceived by the artist, the book contains numerous images from his photographic collection, an introduction by Dirk Snauwaert and Zoë Gray ; an in-depth analysis of the most recent sculptures by Michel Gauthier , curator at the Centre Pompidou in Paris, who has followed Vermeiren's work for many years; and an essay by Susana Gállego Cuesta , director of the Musée des Beaux-Arts de Nancy, on the central role of photography in his work.