Portfolio Geert Wachtelaer

Portfolio Geert Wachtelaer
http://www.geertwachtelaer.com
“The medium at best can only be a window, but it's up to the artist to
break the glass”
Contact
labo : Pontstraat 39 9300 Aalst Belgium
cellphone : 0032 478 91 30 17
sweetintoxication@geertwachtelaer.com
BTW n°: BE0879.810.487 FORTIS 001-2383909-16
IBAN n° BE72 0012 3839 0916 BIC-CODE : GEBABEBB
Fortis Bank, Nieuwstraat 20 9300 Aalst Belgium
Experimental films by Geert Wachtelaer are mostly focused on forming and
researching of layered inner states, forces that may build up different
tensions between the subjects.
Visual identity given to the strong and deep interpretations of the
performers creates a cohesion with the sound that is a very important part
of it.
Observing transition of states and forms, exploring the relationships of
matter and the inner content, in his films, Geert Wachtelaer often refers
to the human conciousness and its paths, showing a "life" outside of
contexts familiar to us, also visually portraying the alienation and the
dark, even disturbing, from a psychologically more difficult points of
view.
There is always a reaction represented by persons, making it realistic in
relation for the viewer, which is only a part of the appearance, but the
substance rather stays covert behind the streaming of movements and
ambiences that offer, through an unusual way, the key of the hidden.
(Daniela Ratkajec, visual artist Zagreb and member of Croatian Association
of Artists (HDLU) Croatia).
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Education
1986-1990 Study of film director at the RITCS, Brussels
(Rijksinstituut voor Toneel en Cultuurspreidingstechnieken)
Occupation
Freelance Audiovisual artist
Before 2000 worked as an underground creator collaborations within
installation art| media art| performances| video art | internetart
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Solo-exhibiton (selection)
2006
'Art in Antwerp (ANINA)', Internationaal Pershuis, Antwerpen (België)
groeptentoonstellingen (selectie)
2012
Galerija Nano
Gajeva 26 Zagreb, Croatia
Curator Martina Mezak
With the support of The Croatian Association for promotion of Art and
Culture
Exhibitons
2011
Souvenirs from the earth, by curator Alec Crichton
2008
Salon 08, Aalst (België)
Nieuw Amsterdam, New York (USA)
Kunstevenement De drempel, Wevelgem (België)
2007
CITYPULSE Lowell, 119 Gallery, Lowell (USA)
Patagonia Electrónica Festival, Punta Arenas (Chili)
'Beyond', Moka Gallery, Chicago (USA)
Danscamdanse festival, Film-plateau, Gent (België)
'Facing the river', East Art Center, Chicago (USA)
Loop Festival, Barcelona (Spanje)
ART Santa Fe, El Museo de Cultural, New Mexico (USA)
Videominuto PopTV 2007, Centro per l'Arte Contemporanea Luigi Pecci, Prato
(Italië)
Art Now Fair Miami, Miami (USA)
'Diva', video art fair, Paris (Frankrijk)
'If I Can't Dance', MuKHA, Antwerpen (België)
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2006
'Semantikon, ARCANA', New York (USA)
City hall, Sint-Niklaas (België)
Augustinus Muziekcentrum, Antwerpen (België)
Museum Dhondt-Dhaenens, Deurle (België)
OLV-ter-Potterie, Brugge (België)
Flagey, Brussel (België)
Metu Video Festival, Ankara (Turkije)
Synch Festival, Athene (Griekenland)
Videominuto, Luigi Pecci Center for Contemporary Arts of Prato (Italy)
Europian film festival 'For the first five', Neubrandenburg (Duitsland)
'PI performance & intermedia' festival, National Museum, Szczecin (Polen)
Les instants video, l'Ecole Supérieure d'Art d'Aix-en-Provence, Text and
Texture (Frankrijk)
CITYPULSE 4, santiago media art festival, Santiago (Chili)
Biennale 3000, Sao paulo (Brazilië)
2005
Les inattendus, contempory art evenement, Parijs (Frankrijk)
Detroit International Film and Video Festival, Museum of Modern Art,
Detroit (USA)
Art in your Face, Malmö (Zweden)
Cortodrome, short filmfestival, Bari (Italië)
Optica2005, Video-art and Contemporary Photography, Gijón (Spanje)
bac!05 - international festival of contemporary art, Barcelona (Spanje)
'Nuit Blanche', M°Bibliothèque, Parijs (Frankrijk)
Videohm, OHM Lounge Syracuse, New York (USA)
2004
Norapolis 2004, International festival of multimedia, Metz (Frankrijk)
Festival International cinema nouvelles générations, Lyon (Frankrijk)
'The Drake Hotel: notes from the underground with Steve Reinke', s.l.,
Toronto (Canada)
Heaven Gallery, Chicago (USA)
PLAY III - International Video Art Festival -Museo de Arte "Ángel M. De
Rosa", Junìn, Buenos Aires (Argentinië)
Biennale Internazionale di Ferrara, Castello Estense, Ferrara (Italië)
Festival 'Musiques Volantes', Metz (Frankrijk)
2000
'Information days', Argos Arts, Brussel (België)
Impakt festival, Central Museum, Utrecht (Nederland)
'PI performance & intermedia' festival, National Museum, Szczecin (Poland)
Les instants video, l'Ecole Supérieure d'Art d'Aix-en-Provence, Text and
Texture (France)
CITYPULSE 4, santiago media art festival, Santiago (Chile)
Biennale 3000, Sao paulo (Brazil)
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2005
Les inattendus, contempory art evenement, Paris (France)
Detroit International Film and Video Festival, Museum of Modern Art,
Detroit (USA)
Art in your Face, Malmö (Sweden)
Cortodrome, short filmfestival, Bari (Italy)
Optica2005, Video-art and Contemporary Photography, Gijón (Spain)
bac!05 - international festival of contemporary art, Barcelona (Spain)
'Nuit Blanche', M°Bibliothèque, Paris (France)
Videohm, OHM Lounge Syracuse, New York (USA)
2004
Norapolis 2004, International festival of multimedia, Metz (France)
Festival International cinema nouvelles générations, Lyon (France)
'The Drake Hotel: notes from the underground with Steve Reinke', s.l.,
Toronto (Canada)
Heaven Gallery, Chicago (USA)
PLAY III - International Video Art Festival -Museo de Arte "Ángel M. De
Rosa", Junìn, Buenos Aires (Argentina)
Biennale Internazionale di Ferrara, Castello Estense, Ferrara (Italy)
Festival 'Musiques Volantes', Metz (France)
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Selected works
The observation, video, Betacam, sound, non spoken, 11 min, 1999,
production Geert Wachtelaer
Sweet intoxication video, Beta cam, sound, non spoken, 8 min, 2000, prod
Geert Wachtelaer
(Cinémathèque Royale de Belgique)
Flowering wound video, Beta cam, dolby sound, non spoken, 32 min 15 sec,
2000, prod Geert Wachtelaer.
(Cinémathèque Royale de Belgique)
Psychosexual video DV, sound, non spoken, 7 min, 2001, prod Geert
Wachtelaer
Purification a projection, DV, sound, non spoken, 32 min, 2001, prod Geert
Wachtelaer
Fish on Friday , video, DV, stereo sound, non spoken, 05 min, 2002, prod
Geert Wachtelaer
I am afraid of a blue sky , video, DV, stereosound, spoken, 2003 prod Geert
Wachtelaer
Cycli , video, svcd, stereo sound, 2003, prod Geert Wachtelaer
The experiment, Projection, stereosound, non spoken, 2003 prod Geert
Wachtelaer
Repetition video, stereosound, non spoken, 2003 prod Geert Wachtelaer
The Cracking video, stereosound, non spoken, 2004, prod Geert Wachtelaer
Ungehörige Handlung, stereosound, non spoken, 2004, prod Geert Wachtelaer
Alpha Phaze video stereosound, non spoken,2004, prod Geert Wachtelaer
The Quiet Man , stereosound, non spoken, 2004, prod Geert Wachtelaer
Selfhelp , stereosound, non spoken, 2004, prod Geert Wachtelaer
A last impression , stereosound, non spoken, 2004, prod Geert Wachtelaer
Fragile , stereosound, German spoken, 2004, prod Geert Wachtelaer
Remains of a Disturbed Illusion , non spoken, 2005,prod Geert Wachtelaer
Marrige of Heaven and Hell, Johan Duijck conduct
Geert Wachtelaer video artist , 2006, prod Vlaams Radio Koor
Met steun van de Vlaamse Overheid.
This concert was recorded by VRT-klara
Forgotten Film 1 , 2006, prod.Geert Wachtelaer
Private City (Cityscapes and soundscapes) exclusive for MOKA Gallery,
chicago, 2006 Cast : Emilie de Vlam,dance and choreography Voice : Lisa
Gilbert
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The space between 2007, Production : MA vzw. with thanks to Croxhapox
Gallery. Ghent, Belgium. Met steun van de Vlaamse overheid.
The Chesnut Tree 2007,. Met steun van de Vlaamse overheid en stad Aalst.
Finding Beauty 2007 prod. Geert Wachtelaer.
Summoning Stones 2008
and Wing Yan Man
videoinstallation with French performer Cia Barbett
Black Noise/White noise 2008 videoinstallation in collaboration with
Stefaan Loncke and Ine Pieter , 2008 Met Steun van de Vlaamse overheid.
Faces 2008 videoprojection in collaboration with Frédérique Galliot and
Stefaan Loncke
More then common sense dictates 2008 Short movie in collaboration with
Hildegarde Follon (still going on in post-production)
Ce(n)suur 2008 a production of Stefaan Loncke, Nicoletta Branchini, Geert
Wachtelaer
Forgotten film # 2, 2010, Geert wachtelaer
Ladinsky project, 2010-2011, Geert wachtelaer in collaboration with Alison
Mackie
Por Chile, 2010, collaboration. In February 2010 a devastating earthquake
followed by tsunami destroyed part of the territory of Chile, dragging
villages, livelihoods and -most painful- lives. POR CHILE is an effort by
the artists linked with CITYPULSE to help rebuild part of the loss. The
images, texts, music and video that make up this work represent a message
to Chile from each of the 70 artists around the world who has collaborated
with this initiative. The available formats includes a book, CD, DVD, web,
mobile app. and a limited 5 print series of each photograph. All the
profits will go to help the victims.
O ART TELEVISION CHANNEL O Art is a new form of artwork, an innovative
concept in visual arts, a new approach to the communication media. O Art
Association is a society of artists, the public, institutions and others in
various fields of contemporary art. 2010
Interludium : Projections for play 'Dance of Memories' by Lies Serdons 2010
and 'de sublieme wals' by sopra a musica 2011
Apparitions, 2011, prod Geert Wachtelaer
The collector, 2011, prod.Geert Wachtelaer.
The sound of pigeons, 2011, prod.Geert Wachtelaer.
Drifting away for 4'33", 2011 prod. Geert Wachtelaer
Analogy, 2011 prod. Geert Wachtelaer
The experiments of things, 2011, prod. Geert Wachtelaer
Waiting for Freud 2012. Prod Geert Wachtelaer
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MOKA GALLERY Contemporary Fine Arts
Contact:
Jhonmar Castillo
Gallery Director – Owner
2112 W. Belmont Ave.
Chicago, IL 60618.
[773] 975-2280.
May 20, 2007.
contact@mokagallery.com
www.mokagallery.com
Dear Mr. Geert Wachtelaer
I’m glad to inform you that we are now showing your video-art “Private
City” not only at our gallery space Moka Gallery, but your video was also
selected and curate to be on a 3 months exhibit at the premier Chicago’s
River East Art Center on a public display and with access to thousands of
people everyday due to its prime location near the Navy Pier and other
touristy attractions.
The reaction from the audience has being excellent and the thematic of
“Private City” as an urban investigation just fit Chicago.
We are very
exited about this opportunity and happy that your work created such a
positive and welcoming reception. I also want you to know that we will be
promoting and representing your work at the following art fairs; Art Santa
Fe – July 2007, Art Miami – Art Basel – Dec 2007 and we are submitting
your work to be presented at the “DIVA” video art fair in Paris – Nov 2007.
We are very exciting about your upcoming projects and we are looking
forward to see your new works and off course I will like to extend my offer
of continue representing your video-art here in the USA.
Please feel free
to contact me with your questions and concerns and thank you in advance for
all your hard work.
Best Regards
Jhonmar Castillo
Moka Gallery
Owner-Director.
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‘Private City’ is a dream-like ‘impression’ video. Geert Wachtelaer
interweaves powerful levels of meaning, without resorting to
cinematographic tricks or special effects. At first glance, he is acting as
just a temporary prophet, but records his surroundings in an impressive
way. The metropolis in the form of a number of desolate cityscapes is
bleakly explored and displays just minuscule mechanical movements, void of
any human warmth. Enhanced by startling sounds—dark, somber and desolate—
the senseless emptiness of this cold city becomes a harsh reality.
Is it ‘too late’, as the graffiti on the wall reads? No, because luckily
there is an antithesis to this alienation. Fortunately, there is a reaction
in the shape of a person, real flesh and blood. A woman who internally
objects to the vulnerability of her existence and her surroundings. An
initially dislocated being yearning to escape from her cocoon. A solitary
archetype—guardian of all life—wandering in search of identity, in search
of her own ‘Private City’…
Geert Wachtelaer could not have chosen a better performer for this role
than Emilie de Vlam. She fulfills her role simply brilliantly. Every fiber,
every muscle of her body is placed under enormous, intolerable strain. For
many minutes she is embroiled in a struggle for life. A sparkling
performance. Doesn't she literally embody the horror of her fate? In a
sensual, passionate piece of self expression, she examines and eats—
virginally and innocently—leaves and earth. Or is she really so innocent?
Could this woman be the modern-day ‘Diana’, the governess of the wild
animals who acts as the protector of purity, challenging the decline and
immorality of the city? Her ‘Private City’ is continuously taking shape.
You can smell the woodland and taste her lips. Abandoned in a yearning
glow, exhausted but satisfied, she mixes with the natural elements to
eventually melt together with the inner fibers of a tree … there are plenty
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of Freudian theories to consider here: sufficient scope for interpretation.
But aside from that, these scenes are put together in a beautiful way and
are filmed with intensity.
With ‘Private City’, Geert Wachtelaer highlights the eternal balancing act
between the forces that surround us. The forces between man and wife, earth
and air, fidelity and infidelity, modernity and tradition, loyalty and
betrayal… but above all, between passion and emptiness. Nobody can
withstand the emptiness. Acknowledgement of this appears extremely
productive in itself.
Olivier Bras
Artist, February 25, 2007.
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The space between 2008
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The space between. Audiovisual environments the sense of unfolding waking
dream
With
Emilie de Vlam
Music and video
Geert Wachtelaer
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Black noise white noise 2008
stefaan loncke – ine pieters – geert wachtelaer with support of the
Flemmish Community a collaboration between Stefaan Loncke Geert Wachtelaer
Ine Pieters©2008
an installation about transgression, identity, norms and perceptionblack
noise . white noise is about the tension between presence and absence, and
about what lies beyond norms and cultural constructions which set the
boundaries to a supposedly liveable, social life; about what escapes
normative systems. Even when these norms are meant to protect and to create
liveable circumstances, they have something suffocating about them. A
subject who feels this, often tries to answer some kind of inner call to
reach beyond and transgress these boundaries, even at the cost of a safe or
‘normal’ life.
infra red lights, 10 projections, soundscapevisiting the installation The
visitor to the installation is welcomed by the warmth of infra red lamps.
These lights are used in breeding cages to simulate the warmth of the
mother.
It’s the protective warmth which becomes suffocating and uneasy when you
remain too long and too close to the lamps. It’s the warmth we loose when
growing up, and which we seek in others. The red light might as well stand
for passion.
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Once this bed of warmth is passed, the visitor enters a dark space. No
lamps emit light here: no action is undertaken to define the surroundings,
no borders are visible: in the dark, one object doesn’t visually differ
from another. In this dark space, absence rules.
The left wall shows 9 projections, positioned in a Pythagorean triangle.
4 images on the vertical axis show a male subject. 4 on the horizontal axis
a female subject.
They are holding symbolic objects of transgression, in a way that reminds
of the old devotional images of saints and martyrs. The classic
printmakers, used the same cliché for the images of the different martyrs,
and printed their attribute of their death as a separate layer in order to
define the identity of the martyr. Thus, the objects by which they were
killed (because they didn’t comply to the ruling norms) have become objects
of their identity.
In the installation, the male and female series hold attributes of personal
transgression of norms. The transgressional drive is a reference to
identity.
On the diagonal axis (sublimation of the 2 other axis which are each others
opposite, being a corner of 90°), the female and male subject return as
each others object of transgression.
Both try to remove the cultural conditionings (constructs, ties),
represented as ropes around the head. They want to reach beyond, and when
they succeed, they encounter the black noise… absence.
They can only develop new terminology, new constructions and with that, the
process begins anew.
As was said, this dark space is about absence. The idea of presence and
absence is also represented in the imaging of the male and female subject.
From birth, the sex is determined by presence of absence of the penis.
Presence is linked to masculinity, absence to femininity, as if to say that
femininity has to be build up, constructed. By portraying the male and
female subject from the waist, the visual play of presence has changed
towards the woman. When grown up, the presence of breasts become a symbol
of femininity.
On the opposite wall, another projection shows a male and female sex in a
continuous flow of approach and withdrawal. Where coitus supposed to be the
answer, something staggers. Unity and fulfilment is the goal here, absence
to become presence, and at the point where everything should comply, where
presence would dominate absence, white noise appears. Theories, norms,
settings, constructions, are not allowed to fit when it would mean final
fulfilment or a perfect state in which the subject is dissolved in unity.
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The installation is supported by a soundscape, which contains tensions as a
result of the Pythagorean issues concerning the division of the musical
scale. The issue of the Pythagorean comma, is an example on how our western
culture is faced with an immeasurable reality. In our western world, the
musical Pythagorean scale is one of the earliest argumentations by number,
in stead of by use of words… and it fails to capture nature: what escapes,
is referred to as the Pythagorean comma.
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FACES 2008
Between nature and culture. Between man and woman.
It is not an easy thing to meet your maker. The contemporary performance
art scene cherishes to welter in the mire of pulsions, passions, phantasms
and simulacra, or to indulge in conceptualism. Hence, this art operates
through recognition of actual or fictitious human conditions, and through
reducing art to cognition. This art is human, all too human.
If, rarely, the spiritual or the transcendent is spoken of, it is either to
restore a conservative aesthetics or to rave about hazy new age
commonplaces.
In our view, art should strive for a transformation potential through the
touch of the Sublime. This transcendency by no means implies a cartesian
split of bodily and spirituals realms. Dance can not exclude the wisdom of
the body.
Neither does art expel the pathogenic germ, proper to every era or culture
: art is a patient, but should be also a doctor. If emotions and pain be
there, it is to transform them into beauty and even more : into the
sublime, created by the ‘prepared’ body-soul in full presence here and now,
affirming itself in its highest flight, fuelled by vertical energies
radiating and redistributed through the own aesthetic drive. No
contradiction exists between the most basic impulse and the most arcane
creation.
The artist’s total engagement should be met by the spectator’s : in this
way, the latter, assuming his responsibility towards himself and the
artist, can be transformed and leave the audience in a way, unexperienced
before.
‘I have a dream : to present a gloriously complex being, elusive in its
style, undefinable in its emotions, always in metamorphosis, endlessly
sensitive’.
Performance: Frederique Gaillot & Stefaan Loncke. Performance: Frederique
Gaillot & Stefaan Loncke.
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The CITYPULSE magazine is now online. The first issue includes photographs
by Tuna Önder, Carlos Albalá (also interviewed), Gottardo Gottardi, Nolan
Webb, James T. Rowe, Alejandra Sierra, Alba Escayo, Epix and Michele Pesce.
This edition also includes a visual reportage dedicated to the work of the
filmmaker Geert Wachtelaer.
http://citypulse.carbonmade.com/projects/79818#27
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Ce(n)suur 2008
The experimental dance movie ce(n)sure explores the tension between the
totality of Nature and the delimited domain within, known as Culture. The
camera and film-medium refer to the human eye and the interpretation of
visual perception. The perception works in a selective way, by means of
censorship, to prevent to being overwhelmed by the whole. Through this
censorship, it becomes also the rupture (cesure/caesura) with the whole.
Mankind (Culture) seems to have this process as a basic mechanism in order
to make the raw Reel (Nature) liveable. To question the censorship of the
and the interpretation of the resulted images, the movie presents a
fragmented story, and throws it open as a jigsaw. The way of presentation
of these fragments forces the viewer to raise the question “What?” The
story is based on 3 moments in Greek mythology. An abstract story was
distilled from these 3 moments.
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Playground 2008
My stories have been lived, not invented . Somewhere in me exists a lively
archive with images, fragments that I collected during my life . These
memories pushes itself regularly at me during the making of a film . The
constant stimulation or selfexpression puts my work and myself in question.
In which context situates the work of art itself. The 'learnprocess' and
'workprocess' gets the opportunity and time to form and ripe. In my work
there are different conflicts: social, human, metaphysical.
This projection (part of a videoinstallation about urbanization) contains a
landscape made by human hands. A landscape with 'dead matter' Concrete
walls and building constructions as architecture. An atmosphere of metal
grids and concrete pilons. A non-architecture, an architecture in
transformation. The architectural postmodernisme as a pluralistic style
within a logical globalistic conflict theory of modernization. Modern
architecture is unbearable light. (has relation with the notion 'place',
and 'time'). They demonstrate silence, absence, evacuation, memory. They
are nostalgic souvenirs.
Text by Geert Wachtelaer
performer Yan Wing
Music by Noir
voice and translation by Anna Proscoerina
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Paris by Geert Wachtelaer 2008
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Filmed in Paris.
'Analogy'2011
a videoprojection. A synthese of a multichannel installation.
The ways in which Suzanne Langer failed to teach us. Imagine somehow who
was blind all of his/her life and suddenly they can see ... can one connect
images to a sound ? Or recto verso ? Do they fit ?
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The Collector 2011
It is important to clarify, and indeed emphasize, that the attention
Merleau-Ponty pays to diverse forms of art (visual, plastic, literary,
poetic, etc.) should not be attributed to a concern with beauty per se. Nor
is his work an attempt to elaborate normative criteria for "art." Thus, one
does not find in his work a theoretical attempt to discern what constitutes
a major work or a work of art, or even handicraft.
Still, it is useful to note that, while he does not establish any normative
criteria for art as such, there is nonetheless in his work a prevalent
distinction between primary and secondary modes of expression. This
distinction appears in Phenomenology of Perception (p 207, 2nd note {Fr.
ed.}) and is sometimes repeated in terms of spoken and speaking language
(le langage parlé et le langage parlant) (The Prose of the World, p. 10).
Spoken language (le langage parlé), or secondary expression, returns to our
linguistic baggage, to the cultural heritage that we have acquired, as well
as the brute mass of relationships between signs and significations.
Speaking language (le langage parlant), or primary expression, such as it
is, is language in the production of a sense, language at the advent of a
thought, at the moment where it makes itself an advent of sense.
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The experience of things 2011
The description of the structure called "normal," "normative," "central,"
"ideal,"this possibility of transgression must be integrated as an
essential possibility. The possibility of transgression cannot be treated
as though it were a simple accident-marginal or parasitic. It cannot be,
and hence ought not to be, and this passage from can to ought reflects the
entire difficulty. In the analysis of so-called normal cases, one neither
can nor ought, in all theoretical rigor, to exclude the possibility of
transgression. Not even provisionally, or out of allegedly methodological
considerations. It would be a poor method, since this possibility of
transgression tells us immediately and indispensably about the structure of
the act said to be normal as well as about the structure of law in general.
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Waiting for Freud 2012 videoinstallation
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Waiting for Freud
This work is about the relationship between text and image, imagining, and
– more broadly – the tension between fiction and reality. The difference
between reality and art, the relation between the individual and itself,
creating a space at the spot. The difference between reality and art is the
moment when the spectator shows interest in what’s happening.
There are parallels between filmprojection and psycho-analyses. Freud
called his psycho-analyses in the beginning a form of art. Mechanisms of
projection is the base of Freud’s 'Jenseits des Lustprinzipes'.
This work reproduce, implicit or silently, the architecture of the
exhibition space. A contamination of the space. A line, a border between
public and private.
It is also an unalienable source of information and the visual aspect is
one of illusion, like Plato's cave, a projection of the reality, so is it
reality? Or only a projection of reality?
What is a videoprojection? A projection, a moment where a lot of visitors
looking together towards something, therefore you can call it a collective
moment. But a private moment for the individual.
The whole small installation is bathed in an magical ambience of the early
cinema.
It is small delicate videoinstallation wich doesn`t need much space. The
miniscule projection of the people inside the box and the medium-small
projection onto the canvas will invite people to look more in detail to the
situation. The visitors of the museum will rather examine the installation
then for example looking at a big videoprojection where they only undergo
the projection. They will examine the relation between the two
projections. Do the people inside the box (projection 1) also react at the
curious eyes of the visitors of the gallery? It is double.
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The landscape 2007
Alienation of nature and culture.
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Collaboration with Daniela Ratkajec and Geert Wachtelaer, Cité des Art, Paris
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Geertu Wachtelaeru na suradnji
“transitions”
In the silence of the room. Traces of your presence.
Were you here? Were you ever here?
An absence that transforms into an existential space that I cherish every
day.
Are you here? Where are you now?
An invitation to the viewer in order to be subject to hidden
images from our collective memory and to reveal. the interaction
between the spectator and the pictures shows the individual to perceive and
to think in space and time and the concept of "continuity" to investigate.
The body of the viewer as well as the body is shown - in all its
complexity - has much more to say than we think or believe to
take.
Art makes no representation, no 'message'. And yet images give insight and
hope, as they are fundamental experiences and synthesize incarnate.
Then they get the deep stirrings of our existence, and they shake us awake.
They give us the courage without embarrassment, 'in truth' from life and
from ourselves
look.
Geert Wachtelaer
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