Images produced without manipulation (DSLR Camera, Canon). These are some of the pictures I took at the Catharijneconvent 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. Colour, darkness and contrast, as well as texture are important (I want an effect which reveals the forces behind/throughout the image). A framework sometimes is underlined instead of obliterated (as a parergon, in Derridean sense).
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:
***Burial (Jan Baegert/2nd quart of the 16th century, Oil paint on panel/49x33cm);
***Christ as the man of sorrows, Many part with the martyrdom of Saint Theodosia (Gelderland/1545, Oil paint on panel);
***Decapitation of Theodosia, Many part with the martyrdom of Saint Theodosia (Gelderland/1545, Back glass painting);
***Scenes from a side panel and altarpiece (Cologne, Middle Rhine or Westphalia/ca.1410, Tempera on panel);
***Holy Virgin (from the panel of an altarpiece) (Meester van Liesborn/1480, Oil paint on panel/143x105cm);
***Mystical marriage of Saint Agnes (North Neetherlands, Utrecth/1475, Oil paint on panel 32x45cm);
***Marriage of Maria and Joseph (Meester van Sint-Goedele/ca. 1485, Oil paint on panel/58x42cm);
***Joseph fleeing from the wife of Potiphar (Pieter Coecke van Aelst/2nd quart of the 16th century, Oil paint on panel/58x93cm);