Following an invitation from Werner Haftmann, Emilio Vedova worked in Berlin from late 1963 to early 1965 as a fellow of the Ford Foundation, which later became the “Artists-in-Berlin Program” of the DAAD. Vedova’s studio was the former work¬place of Arno Breker, who ranked as the most important sculptor of the National Socialist period. It was here that he produced the “Absurdes Berliner Tagebuch ’64”, for the Kassel “documenta III” in 1964. Iron hinges connect the variously sawn picture panels - painted on both sides - into different constructions, making these “Plurimi” potentially mobile. The Venetian was thus the first artist to release non-representational, expressive painting from the conventional form of the panel picture. The “Absurdes Berliner Tagebuch ’64” emerged as a reaction to the awareness of life in the divided city of Berlin of the early 1960s.