Images produced without manipulation (DSLR Camera, Canon). These are some of the pictures I took at the Stedelijk Museum in 2014. Walking in spaces like this is for me a kind of pilgrimage (in the sense explained by Proust/Ruskin). But I didn't have a script. I photographed only what truly affected my senses, without looking for titles and authors, which in the case of more obscure works I (re-)discovered later on, when coming back to the pictures, and some remain till now unknown or unconscious. Colour and contrast are important (I want an effect which reveals the forces behind/throughout the image), as well as playing with the framework, which sometimes is shown & sometimes obliterated (as a parergon, in Derridean sense). Sometimes my focus is on the setting. As is much well-known, what we generally call vision has much to do with "memories of touch and movement" (Gombrich). But also disintegration (which for me is not a problem).
This isn't any academic, instructive exercise, quite on the contrary. The images should "speak" by themselves. The truth is in their auras, even if the aura is lost, when it is lost—don't you have an answering service?
This is also an attempt to release the images from all the discursive networks that supposedly support them as officially sanctioned cultural artefacts (and if these networks were not official, my intention would be the same). The images should haunt us to the extent that we fail to name them, as dream impressions or memory failures.
The works photographed here include:
***Rooster (Constant/1948), Oil paint on linen/79x70cm);
***Black Retangle, Blue Triangle (Malevich/1915, Oil on canvas/66x57cm);
***Le Voyageur de Munich (Ager Jorn/1959, Paint & sand on canvas);
***Man and Animals (Karel Appel/1949), Paint on linen/351x358-6cm);
***Man with Flower (Heinrich Campendonk/1918);
***Cathedra (Barnett Newman/1951, Oil Paint & acrylic paint on canvas/243x543cm);
***Bellevue II (Andy Warhol/1963, Silkscreen ink and acrylic on canvas/208x208cm);
***works by Anselm Kiefer;
***works by Cindy Sherman;