https://astumble.com www.astumble.com Sun, 03 May 2020 13:06:06 +0000 https://astumble.com en https://astumble.com/A-Stumble Sun, 03 May 2020 13:06:06 +0000 www.astumble.com https://astumble.com/A-Stumble A Stumble&nbsp;/&nbsp; Een struikeling Photographs and texts by Marc Steculorum ︎ https://wherewhenandwhybooks.com/ Whereabouts-Marc-Steculorum “A collection of images, selected like a carefully edited playlist of favourite songs. It’s about the pleasure of seeing, of paying attention to in-between moments and forgotten places.”<img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/d58c24177d92370cdad4d0e8b1a0a27bbe9e7c0102f55faf4784995fdc5ee2ee/_DSF0912.jpg" data-mid="244365716" border="0" src="https://freight.cargo.site/w/1000/i/d58c24177d92370cdad4d0e8b1a0a27bbe9e7c0102f55faf4784995fdc5ee2ee/_DSF0912.jpg" /> Pescaglia, 2025 <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/e48501a69e3e455231322c0603fe10da0d24ef95b2a39818a0d7e9f4c9c5adea/2.jpg" data-mid="238347414" border="0" src="https://freight.cargo.site/w/1000/i/e48501a69e3e455231322c0603fe10da0d24ef95b2a39818a0d7e9f4c9c5adea/2.jpg" /> Spiaggia dei Ragazzi, Rapallo,&nbsp; 2025 <img width="2989" height="3941" width_o="2989" height_o="3941" data-src="https://freight.cargo.site/t/original/i/a222daa8192da995a227effb52cb5ad36e3428af0b3b5db9418c2f5529da931b/_DSC6744.jpg" data-mid="227710469" border="0" src="https://freight.cargo.site/w/1000/i/a222daa8192da995a227effb52cb5ad36e3428af0b3b5db9418c2f5529da931b/_DSC6744.jpg" /> Henze Boekhout (2.2.1946 - 30.11.2024) <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/cbb95e57dfda01f3d8959ed04fbcacdc46f4da43fd2112fe89eb5815ae55b5b8/Matanna-4--Foto-s-17.jpg" data-mid="227710360" border="0" src="https://freight.cargo.site/w/1000/i/cbb95e57dfda01f3d8959ed04fbcacdc46f4da43fd2112fe89eb5815ae55b5b8/Matanna-4--Foto-s-17.jpg" /> Ronta di Cesena, 2021. <img width="1602" height="2400" width_o="1602" height_o="2400" data-src="https://freight.cargo.site/t/original/i/b22fa981052ebb608adf14e69165fc412261b6e6ec6d04e7afc528c77c9da62e/_DSC1399.jpg" data-mid="214830928" border="0" src="https://freight.cargo.site/w/1000/i/b22fa981052ebb608adf14e69165fc412261b6e6ec6d04e7afc528c77c9da62e/_DSC1399.jpg" /> Pisa, 2009 <img width="2400" height="1592" width_o="2400" height_o="1592" data-src="https://freight.cargo.site/t/original/i/0af3dc684042c5615aea2eadcdd76722629bab27a69761df785c6c1f63d2b901/SpoorNoord-071.jpg" data-mid="213520651" border="0" src="https://freight.cargo.site/w/1000/i/0af3dc684042c5615aea2eadcdd76722629bab27a69761df785c6c1f63d2b901/SpoorNoord-071.jpg" /> Antwerp, Edel, 2010. <img width="9411" height="14169" width_o="9411" height_o="14169" data-src="https://freight.cargo.site/t/original/i/6d965c1aa76865995d748cf77db906cce889f55ffb338eb805d91f7c646a3060/Ier006R.jpg" data-mid="207865013" border="0" src="https://freight.cargo.site/w/1000/i/6d965c1aa76865995d748cf77db906cce889f55ffb338eb805d91f7c646a3060/Ier006R.jpg" /> Aran, A quiet Irish Girl on a Ferry, 2005.<img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/c58dd2cbe8c54d4a78c54feacf1d006c661073b533b3e8945948b12d1634a287/_DSF4658.jpg" data-mid="213520292" border="0" src="https://freight.cargo.site/w/1000/i/c58dd2cbe8c54d4a78c54feacf1d006c661073b533b3e8945948b12d1634a287/_DSF4658.jpg" /> Maphouz, 2019. <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/d2ecf0e69365143bffa41340f54efa80151dca2e6e5b1367ca44dbd3bfc1eced/_DSF1814.jpg" data-mid="207865324" border="0" src="https://freight.cargo.site/w/1000/i/d2ecf0e69365143bffa41340f54efa80151dca2e6e5b1367ca44dbd3bfc1eced/_DSF1814.jpg" /> Al Colle, Dagmar, 2014.<img width="9255" height="14174" width_o="9255" height_o="14174" data-src="https://freight.cargo.site/t/original/i/f1948004cad5c00ac64c80e9786dce0d60c1c07182014af51e69467cadbb3056/Griekenland-086.jpg" data-mid="207865554" border="0" src="https://freight.cargo.site/w/1000/i/f1948004cad5c00ac64c80e9786dce0d60c1c07182014af51e69467cadbb3056/Griekenland-086.jpg" /> Greece, Disco and Cemetery, 2007 <img width="2400" height="1874" width_o="2400" height_o="1874" data-src="https://freight.cargo.site/t/original/i/bd30002c75c1935758a2425e1309ed43f8d3aa972a8a03714086c1bf2fbb25aa/Binnenland-074.jpg" data-mid="207864177" border="0" src="https://freight.cargo.site/w/1000/i/bd30002c75c1935758a2425e1309ed43f8d3aa972a8a03714086c1bf2fbb25aa/Binnenland-074.jpg" /> Antwerp, Pelikaanstraat, 1993. <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/059ef81591a4bacedd07b7122d3f4e9d1a29a78d96c78d918a7d865a5f07bd79/_DSF6693.jpg" data-mid="197608402" border="0" src="https://freight.cargo.site/w/1000/i/059ef81591a4bacedd07b7122d3f4e9d1a29a78d96c78d918a7d865a5f07bd79/_DSF6693.jpg" /> Colmar, 2022. <img width="14218" height="11159" width_o="14218" height_o="11159" data-src="https://freight.cargo.site/t/original/i/ef5ac0f761c876beab97a9beb8fff65b1f2fb56fcb965fdb7a2628668809eb1e/Etna-006.jpg" data-mid="166113537" border="0" src="https://freight.cargo.site/w/1000/i/ef5ac0f761c876beab97a9beb8fff65b1f2fb56fcb965fdb7a2628668809eb1e/Etna-006.jpg" /> Etna, Grafitti, 1989. <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/9d5a4ad96b18c104385c1c7f54a62e0896266606f6eee1c1ffa7bbda8627a227/_DSF9117.jpg" data-mid="187683383" border="0" src="https://freight.cargo.site/w/1000/i/9d5a4ad96b18c104385c1c7f54a62e0896266606f6eee1c1ffa7bbda8627a227/_DSF9117.jpg" /> Al Colle, Open Air Cinema, 2023. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/116a3d3e8e0fadf3ed18037db70c9ae98456370c324bfc2026c9754c9a6d8e0d/_DSC1661.jpg" data-mid="73065940" border="0" src="https://freight.cargo.site/w/1000/i/116a3d3e8e0fadf3ed18037db70c9ae98456370c324bfc2026c9754c9a6d8e0d/_DSC1661.jpg" /> Al Colle, Isabelle Huppert, 2013. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/4388b2567adca6ce2122cd434e1a52d6e0c9b9fe52a66b925e59b839b68054a2/_DSC1668-2.jpg" data-mid="75925385" border="0" src="https://freight.cargo.site/w/1000/i/4388b2567adca6ce2122cd434e1a52d6e0c9b9fe52a66b925e59b839b68054a2/_DSC1668-2.jpg" /> Al Colle, 2013. <img width="1297" height="1729" width_o="1297" height_o="1729" data-src="https://freight.cargo.site/t/original/i/9f6890181063a47c6d8ba388ce649061f76cd0bd054c39c076234abc1de108ad/_DSF8873-Enhanced-NR-2.jpg" data-mid="182807479" border="0" src="https://freight.cargo.site/w/1000/i/9f6890181063a47c6d8ba388ce649061f76cd0bd054c39c076234abc1de108ad/_DSF8873-Enhanced-NR-2.jpg" /> Lucca, Fiori Tutti, 2023. “Often, art is an escape – or at least a way of sublimating the mess of life... This exhibition wonders what it would be like if art was as true, as unvarnished, as a piece of chewing gum on asphalt. Refreshing, is the answer.”&nbsp; (Review in The Guardian of the exhibition Life Is More Important Than Art, in Whitechapel Gallery, London. Text by Jonathan Jones.) <img width="6171" height="8228" width_o="6171" height_o="8228" data-src="https://freight.cargo.site/t/original/i/2311583b0ddaf6d509c79e5fd85d4b3fb6c67b78ca43850522143f5500f4e019/_DSF6177.jpg" data-mid="182805845" border="0" src="https://freight.cargo.site/w/1000/i/2311583b0ddaf6d509c79e5fd85d4b3fb6c67b78ca43850522143f5500f4e019/_DSF6177.jpg" /> Haarlem, Henze’s Apartment with One Lift Off, 2022. <img width="2400" height="1874" width_o="2400" height_o="1874" data-src="https://freight.cargo.site/t/original/i/f207cb28cb38ed6e32c37fa41de698af08fead58c4d0ae4bd352bea3c3f858b7/Binnenland-119.jpg" data-mid="177378836" border="0" src="https://freight.cargo.site/w/1000/i/f207cb28cb38ed6e32c37fa41de698af08fead58c4d0ae4bd352bea3c3f858b7/Binnenland-119.jpg" /> Antwerp, 1917, 1993. <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/2d27cce88512c69652fcb1450fff1d222405458282e1d53a5700d6d0c46e4016/_DSF3993.jpg" data-mid="177292829" border="0" src="https://freight.cargo.site/w/1000/i/2d27cce88512c69652fcb1450fff1d222405458282e1d53a5700d6d0c46e4016/_DSF3993.jpg" /> Ronta di Cesena, Two Bicycles, 2021. <img width="9314" height="14173" width_o="9314" height_o="14173" data-src="https://freight.cargo.site/t/original/i/39e7544009a7ff7563fb9b372cf98d0aca9039d7648b69f5e044faebb69a1da6/Ita069R.jpg" data-mid="177292830" border="0" src="https://freight.cargo.site/w/1000/i/39e7544009a7ff7563fb9b372cf98d0aca9039d7648b69f5e044faebb69a1da6/Ita069R.jpg" /> Verona, Daniele and Davide, 1989. <img width="5481" height="7308" width_o="5481" height_o="7308" data-src="https://freight.cargo.site/t/original/i/a66b05313a4b4da562f8b333f8ff7716f0f32aa2dbc1e54068d3f85751209afb/_DSF2410.jpg" data-mid="173915675" border="0" src="https://freight.cargo.site/w/1000/i/a66b05313a4b4da562f8b333f8ff7716f0f32aa2dbc1e54068d3f85751209afb/_DSF2410.jpg" /> Firenze, Woman at the Piazza della Signoria, 2022. <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/ed44d0081e024ec0b38a6933781cc3c6ca50f661c6ba91c2bb7b92a1e596b16f/_DSF7620.jpg" data-mid="172424312" border="0" src="https://freight.cargo.site/w/1000/i/ed44d0081e024ec0b38a6933781cc3c6ca50f661c6ba91c2bb7b92a1e596b16f/_DSF7620.jpg" /> Casoli, To All Yesterday’s Parties, 2022. <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/0da6e4feae84a2307efb8135ed8c8eb4b1fb714ebe7de0754a48b0db18f80941/_DSF8387.jpg" data-mid="171579428" border="0" src="https://freight.cargo.site/w/1000/i/0da6e4feae84a2307efb8135ed8c8eb4b1fb714ebe7de0754a48b0db18f80941/_DSF8387.jpg" /> Amsterdam, Vermeer, 2023. <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/327b5ca6afb168097c803acba3d407713da0cbe356821284ef91e1cd6d358145/_DSC5418.jpg" data-mid="160118219" border="0" src="https://freight.cargo.site/w/1000/i/327b5ca6afb168097c803acba3d407713da0cbe356821284ef91e1cd6d358145/_DSC5418.jpg" /> Rupel, 2016 <img width="1108" height="786" width_o="1108" height_o="786" data-src="https://freight.cargo.site/t/original/i/5591e38a42ad6599abfec203803470cb982eac547a58cfddafe104d779cd0be9/Schermopname-288.png" data-mid="159712306" border="0" src="https://freight.cargo.site/w/1000/i/5591e38a42ad6599abfec203803470cb982eac547a58cfddafe104d779cd0be9/Schermopname-288.png" /> Rupel, 1984 - 2016. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/95ba94dc0d27243950b32ad64a9c0903944b8a7cc1cb3ae932ae6227e0991fb7/_MST1146.jpg" data-mid="156900607" border="0" src="https://freight.cargo.site/w/1000/i/95ba94dc0d27243950b32ad64a9c0903944b8a7cc1cb3ae932ae6227e0991fb7/_MST1146.jpg" /> Le Crotoy, 2019. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5b0d0d47e5eee46dde9d12178bd88d7aa8a4e8e16c6b620cb9a34ab830cec073/_DSF1195.jpg" data-mid="148040634" border="0" src="https://freight.cargo.site/w/1000/i/5b0d0d47e5eee46dde9d12178bd88d7aa8a4e8e16c6b620cb9a34ab830cec073/_DSF1195.jpg" /> Antwerp, Nieuw Zuid (Cover),2021.“I love metaphor. I like complexity, ambiguity, especially when it can be displayed in an apparently simple, beautiful image. There’s the subject of the image, and then there’s the subject behind the subject, which is the real subject. I think if an image is any good, there’s always layers of meaning, and perhaps it’s never possible to get to the bottom of it, to fully understand the meaning of a particular work. If the image is a great one, there always remains doubt, ambiguity, space for further thought and feeling. No matter how many times you look at an image, a painting or a photograph, or indeed it’s the same with a great novel or a piece of music, no matter how familiar you may be with the work, you’re left wanting more.” From “Still Life - Art and the photographic image.”https://youtu.be/NLRAHc0pMok <img width="2400" height="1884" width_o="2400" height_o="1884" data-src="https://freight.cargo.site/t/original/i/2df80cf53ce0af5245126f962bd9ca4a2577d0c806668dc5a63817429e69d95f/Etna-001.jpg" data-mid="150994223" border="0" src="https://freight.cargo.site/w/1000/i/2df80cf53ce0af5245126f962bd9ca4a2577d0c806668dc5a63817429e69d95f/Etna-001.jpg" /> Etna, Funicular, 1989. <img width="1976" height="1535" width_o="1976" height_o="1535" data-src="https://freight.cargo.site/t/original/i/d5f3e9d2a6af9c1379dc328ec8ee51930efabf56835f721239a31bc9f8692ffd/IMG_9474.jpg" data-mid="150993451" border="0" src="https://freight.cargo.site/w/1000/i/d5f3e9d2a6af9c1379dc328ec8ee51930efabf56835f721239a31bc9f8692ffd/IMG_9474.jpg" /> Roger Fenton, Valley of the Shadow of Death, 1855. <img width="1819" height="1535" width_o="1819" height_o="1535" data-src="https://freight.cargo.site/t/original/i/7392b8b9617beb8a9d48372441b890ed9fa784ad56e1190aaa377239cdb3373f/IMG_9473.jpg" data-mid="150993450" border="0" src="https://freight.cargo.site/w/1000/i/7392b8b9617beb8a9d48372441b890ed9fa784ad56e1190aaa377239cdb3373f/IMG_9473.jpg" /> Roger Fenton and his photographic Van during the Crimean War (1853 - 1856). <img width="2400" height="1884" width_o="2400" height_o="1884" data-src="https://freight.cargo.site/t/original/i/722f1708ac258ae739c6f5beaf0b930043529de687d86986c20c6124992d6baa/A12-004.jpg" data-mid="151024141" border="0" src="https://freight.cargo.site/w/1000/i/722f1708ac258ae739c6f5beaf0b930043529de687d86986c20c6124992d6baa/A12-004.jpg" /> A12, My Subaru, 1986. <img width="1115" height="787" width_o="1115" height_o="787" data-src="https://freight.cargo.site/t/original/i/b2b5ae72721aa89ad1ecdb482e6ce943847476117d28bde0da4377958d935239/Schermopname-187.png" data-mid="156475129" border="0" src="https://freight.cargo.site/w/1000/i/b2b5ae72721aa89ad1ecdb482e6ce943847476117d28bde0da4377958d935239/Schermopname-187.png" />Tervuren, Africa Museum, 2021. <img width="8143" height="6107" width_o="8143" height_o="6107" data-src="https://freight.cargo.site/t/original/i/ee8f3c9ac1f2f4ddf3fa414e4cc26d97ec55bbf6067da4bed5011ff05706dfd9/_DSF1417.jpg" data-mid="150912996" border="0" src="https://freight.cargo.site/w/1000/i/ee8f3c9ac1f2f4ddf3fa414e4cc26d97ec55bbf6067da4bed5011ff05706dfd9/_DSF1417.jpg" /> Tervuren, Africa Museum, 2021. <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/9edf3baacbac0d2a33f9754d4af9b483a01e510850838452b4e0c458bfb13208/_DSF7080.jpg" data-mid="150912251" border="0" src="https://freight.cargo.site/w/1000/i/9edf3baacbac0d2a33f9754d4af9b483a01e510850838452b4e0c458bfb13208/_DSF7080.jpg" /> Pisa, 2022. <img width="8502" height="8570" width_o="8502" height_o="8570" data-src="https://freight.cargo.site/t/original/i/dcd5db2a40a563738c0d0809f5f4ce71961a1cd39221fabc9dabb1dd05312432/Binnenland-203.jpg" data-mid="150236435" border="0" src="https://freight.cargo.site/w/1000/i/dcd5db2a40a563738c0d0809f5f4ce71961a1cd39221fabc9dabb1dd05312432/Binnenland-203.jpg" /> Bornem, Dodentocht, circa 1998. <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/c7636205a7615e6c8bd735a747508f6db2a45c5a02081081b2f06055ff34e15d/_DSF7186.jpg" data-mid="152039073" border="0" src="https://freight.cargo.site/w/1000/i/c7636205a7615e6c8bd735a747508f6db2a45c5a02081081b2f06055ff34e15d/_DSF7186.jpg" /> Elba, Visitors at Villa del Mulini (Napoleon’s Residence), 2022. <img width="2250" height="3000" width_o="2250" height_o="3000" data-src="https://freight.cargo.site/t/original/i/dbf30f52880f9334ee5f976c49bf9f952a2de08a049cb85b34ea7e122b877cc9/_DSF5072.jpg" data-mid="150144353" border="0" src="https://freight.cargo.site/w/1000/i/dbf30f52880f9334ee5f976c49bf9f952a2de08a049cb85b34ea7e122b877cc9/_DSF5072.jpg" /> Rome, Giardini Borghese, 2021. <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/c8801f2cc239b057f5f1f1c2a7f71478991c79f745726b6efed92116d4612d23/_DSF6237.jpg" data-mid="151023331" border="0" src="https://freight.cargo.site/w/1000/i/c8801f2cc239b057f5f1f1c2a7f71478991c79f745726b6efed92116d4612d23/_DSF6237.jpg" /> <img width="6125" height="8166" width_o="6125" height_o="8166" data-src="https://freight.cargo.site/t/original/i/6a843f8c15fa9cc57c233076f8747dcd7f024d3ef21df3bbfcfedc5c06e7794b/_DSF6238.jpg" data-mid="151023332" border="0" src="https://freight.cargo.site/w/1000/i/6a843f8c15fa9cc57c233076f8747dcd7f024d3ef21df3bbfcfedc5c06e7794b/_DSF6238.jpg" /> Dinant, Shopwindow, 2022.<img width="1109" height="785" width_o="1109" height_o="785" data-src="https://freight.cargo.site/t/original/i/673487aaacb034ea20db0021708149d7587094b6cd4e17ab3a377a6887132033/Schermopname-113.png" data-mid="156474688" border="0" src="https://freight.cargo.site/w/1000/i/673487aaacb034ea20db0021708149d7587094b6cd4e17ab3a377a6887132033/Schermopname-113.png" />Antwerp, Trophies (after a fire), 2000. <img width="4912" height="7360" width_o="4912" height_o="7360" data-src="https://freight.cargo.site/t/original/i/6819d8c9a0112d7290c1d2d4911df44744cc93d501958ea27d44662b13f5ee0f/_DSC0954.jpg" data-mid="148298890" border="0" src="https://freight.cargo.site/w/1000/i/6819d8c9a0112d7290c1d2d4911df44744cc93d501958ea27d44662b13f5ee0f/_DSC0954.jpg" /> Antwerp, Trophy (after a fire), 2000. <img width="1115" height="772" width_o="1115" height_o="772" data-src="https://freight.cargo.site/t/original/i/87d7f311453da7ed88cc7aa4e68b2b6989ce2bcd646843e30ee9b7603b4cb18c/Schermopname-29.png" data-mid="154128295" border="0" src="https://freight.cargo.site/w/1000/i/87d7f311453da7ed88cc7aa4e68b2b6989ce2bcd646843e30ee9b7603b4cb18c/Schermopname-29.png" />Antwerp, Vlaamse Kaai, 2021. <img width="8161" height="6121" width_o="8161" height_o="6121" data-src="https://freight.cargo.site/t/original/i/81ab47815efaeed5d025b59f1d9de8bfd1f9b97001cb795bc8e1ac0862eb6214/_DSF1685.jpg" data-mid="160616395" border="0" src="https://freight.cargo.site/w/1000/i/81ab47815efaeed5d025b59f1d9de8bfd1f9b97001cb795bc8e1ac0862eb6214/_DSF1685.jpg" /> Antwerp, Vlaamse Kaai, 2020. <img width="5816" height="7769" width_o="5816" height_o="7769" data-src="https://freight.cargo.site/t/original/i/ec42e21f66e928c1016826c2bb956302e4b1b10721ca9d53beed6a2cf59b52e5/_DSF2930-bewerkt.jpg" data-mid="148039946" border="0" src="https://freight.cargo.site/w/1000/i/ec42e21f66e928c1016826c2bb956302e4b1b10721ca9d53beed6a2cf59b52e5/_DSF2930-bewerkt.jpg" /> Al Colle, Spike, 2021. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/8168e6fd245422d9c7107075a8cc929dff1c75aff9abe44e5389ea01cd3b8189/_DSC0846.jpg" data-mid="69463540" border="0" src="https://freight.cargo.site/w/1000/i/8168e6fd245422d9c7107075a8cc929dff1c75aff9abe44e5389ea01cd3b8189/_DSC0846.jpg" />Petra, Stool, 2013. 11.04.2021. Fernando Pessoa has been described by Octavio Paz as a ‘solemn investigator of futile things’. That’s also how I see my work as a photographer: investigating futile things. <img width="2250" height="3000" width_o="2250" height_o="3000" data-src="https://freight.cargo.site/t/original/i/c959fb7c2d3eb4fcc6f853ddd28042a0d6c2b1a6fd74dc238a0dbddc65466e39/_DSF4888.jpg" data-mid="146448674" border="0" src="https://freight.cargo.site/w/1000/i/c959fb7c2d3eb4fcc6f853ddd28042a0d6c2b1a6fd74dc238a0dbddc65466e39/_DSF4888.jpg" /> Rome, Mausoleo di Augusto, 2021. <img width="2400" height="1866" width_o="2400" height_o="1866" data-src="https://freight.cargo.site/t/original/i/ac1c391b6ab84f37d6fa2ce1287af94a66ae183bbf96990e128802d53d0d218c/Wielervolk-032.jpg" data-mid="143162297" border="0" src="https://freight.cargo.site/w/1000/i/ac1c391b6ab84f37d6fa2ce1287af94a66ae183bbf96990e128802d53d0d218c/Wielervolk-032.jpg" /> Geraardsbergen,&nbsp; De Muur, 1995. <img width="2400" height="1848" width_o="2400" height_o="1848" data-src="https://freight.cargo.site/t/original/i/5c79b237944ce272ae710e940a8e4581303ab2fb58f769352215486eaffcf154/Wie267R.jpg" data-mid="142040380" border="0" src="https://freight.cargo.site/w/1000/i/5c79b237944ce272ae710e940a8e4581303ab2fb58f769352215486eaffcf154/Wie267R.jpg" /> Geraardsbergen, Cafe Het Hemelrijk, 1995. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/cd86f2ad55b468558f7a1cb39da2ef0c392b41b82e3f13d8f90dad76cd3d1211/_DSF5334.jpg" data-mid="142040235" border="0" src="https://freight.cargo.site/w/1000/i/cd86f2ad55b468558f7a1cb39da2ef0c392b41b82e3f13d8f90dad76cd3d1211/_DSF5334.jpg" /> Rome, CineCittà, 2021. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/5079b24972917f0df2c66740c6a81b07c782251c195bfd789b7fabfa9c874524/_DSF2662.jpg" data-mid="118196911" border="0" src="https://freight.cargo.site/w/1000/i/5079b24972917f0df2c66740c6a81b07c782251c195bfd789b7fabfa9c874524/_DSF2662.jpg" /> Rapallo, Fellini, 2021. <img width="1601" height="2400" width_o="1601" height_o="2400" data-src="https://freight.cargo.site/t/original/i/42b98c132637f1118cc3c9592f0d1b6f15791443600ab6c89dae24aedcb7a154/_MST1656.jpg" data-mid="114598243" border="0" src="https://freight.cargo.site/w/1000/i/42b98c132637f1118cc3c9592f0d1b6f15791443600ab6c89dae24aedcb7a154/_MST1656.jpg" /> Al Colle, Pasolini, 2018. <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a3e2faf29dcd28b9f1e79d55ae61df13b081208e3f874304e03b7c830e7b8616/_DSF1239.jpg" data-mid="113093745" border="0" src="https://freight.cargo.site/w/1000/i/a3e2faf29dcd28b9f1e79d55ae61df13b081208e3f874304e03b7c830e7b8616/_DSF1239.jpg" /> Antwerp, Bellocq, 2021. <img width="2667" height="4000" width_o="2667" height_o="4000" data-src="https://freight.cargo.site/t/original/i/2d9b41744b5cc1a7a240dd68540c955e09db9ad4ecbbb267ddc966338f9879e2/Al-Colle_42-2.jpg" data-mid="112015353" border="0" src="https://freight.cargo.site/w/1000/i/2d9b41744b5cc1a7a240dd68540c955e09db9ad4ecbbb267ddc966338f9879e2/Al-Colle_42-2.jpg" /> Al Colle, Mahfouz, 2010. 18.6.2021.&nbsp; In onze meest vreugdevolle momenten en in momenten van verdriet, was jij bij ons, gevoelig voor elke onuitgesproken gedachte en emotie. En zelfs toen in je laatste dagen je kracht afnam; we moesten&nbsp;maar in de kamer komen of je rechtte je meteen om ons tegemoet te komen. Als jij bij ons was, was alles direct beter. Lieve, bijzondere en geweldige Mahfouz, we zien jou zo graag en zullen jou voor altijd missen. In our most joyful moments and in our moments of grief, you&nbsp; were there with us, sensitive to our every unspoken feeling and emotion. Even as your strength waned in your last days, when we came into the room, you would immediately pull yourself up and come to meet us. Everything was instantly better when you were next to us. Sweet, amazing Mahfouz &nbsp;we love you forever and will miss you always. Mahfouz (2005 - 2021). <img width="1601" height="2400" width_o="1601" height_o="2400" data-src="https://freight.cargo.site/t/original/i/d13035c3eda519abe9c2797623c6550c505173856664e3dd3caab88a3baadb4f/_MST0817.jpg" data-mid="111287763" border="0" src="https://freight.cargo.site/w/1000/i/d13035c3eda519abe9c2797623c6550c505173856664e3dd3caab88a3baadb4f/_MST0817.jpg" /> Al Colle, Mantis Religiosa, 2018. <img width="2400" height="1739" width_o="2400" height_o="1739" data-src="https://freight.cargo.site/t/original/i/1d2a39eb30a9adb2364d1e45dd6fca1541b574d60659740b346f4c8660982b76/Rup001Rp.jpg" data-mid="110245761" border="0" src="https://freight.cargo.site/w/1000/i/1d2a39eb30a9adb2364d1e45dd6fca1541b574d60659740b346f4c8660982b76/Rup001Rp.jpg" /> Rupel, Noeveren, 1984. &nbsp;<img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/786ac575f1bfac344e3f96f7d6d49d20d013781b2081e0d5a1869a12c6bc7f2e/_DSF0595.jpg" data-mid="110245324" border="0" src="https://freight.cargo.site/w/1000/i/786ac575f1bfac344e3f96f7d6d49d20d013781b2081e0d5a1869a12c6bc7f2e/_DSF0595.jpg" /> Antwerp, Vlaamse Kaai, 2021. <img width="4000" height="2667" width_o="4000" height_o="2667" data-src="https://freight.cargo.site/t/original/i/c25293ea0afd9b347e8ede021f98c9149768929907fdab8dfbaa05e38e750d72/DSCF9892.jpg" data-mid="109775246" border="0" src="https://freight.cargo.site/w/1000/i/c25293ea0afd9b347e8ede021f98c9149768929907fdab8dfbaa05e38e750d72/DSCF9892.jpg" /> Firenze, Palazzo Strozzi (Bill Viola Exhibition), 2017. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/e8ee8f1fcc4de930b101731294752860b0cea9b217c0a7fc2c128a13d88967eb/_MST1016.jpg" data-mid="109652049" border="0" src="https://freight.cargo.site/w/1000/i/e8ee8f1fcc4de930b101731294752860b0cea9b217c0a7fc2c128a13d88967eb/_MST1016.jpg" /> Vienna, 2018. <img width="2400" height="1919" width_o="2400" height_o="1919" data-src="https://freight.cargo.site/t/original/i/9e33c50231fd5b2cd7ecc6aed48916c2675ab66a8f7417b9922245b4abd7da00/_DSC3110.jpg" data-mid="71165281" border="0" src="https://freight.cargo.site/w/1000/i/9e33c50231fd5b2cd7ecc6aed48916c2675ab66a8f7417b9922245b4abd7da00/_DSC3110.jpg" /> Antwerp, Gillisplaats, 2015.21.5.2021. On April 7 2020, John Prine, one of the great American songwriters, died of complications from COVID-19. I got to know his music as a student, loved his wisdom and depth, his humor and lightness.&nbsp; He wrote about ordinary people in an unpretentious, direct way.&nbsp; Each of his songs is a little gem of insight and empathy.&nbsp; I've been listening to the song ‘Lake Marie’ a lot in recent weeks.&nbsp; It’s a half talking, half singing narrative, clear as water and at the same time full of mystery. A mix of disjointed images (a shocking murder scene, a couple trying to save their mariage, two babies in the woods, and four Italian sausages cooking on the outdoor grill). Yet Prine somehow makes them seem natural together. Great art. (The photo has little to do with John Prine, but I think the cry of despair ‘Lost earring, great emotional value’ could have inspired him to a nice song.) Op 7 april 2020 stierf John Prine, songwriter buitenklasse, aan de gevolgen van COVID-19. Ik leerde zijn muziek kennen als student, hield van zijn wijsheid en diepte, zijn humor en lichtzinnigheid. Hij schreef over gewone mensen op een pretentieloze, directe manier. Elk van zijn liedjes is een juweeltje van inzicht en empathie. Ik heb de jongste weken veel naar de song ‘Lake Marie’ geluisterd. Een complexe song, half gesproken, half gezongen, helder als water en tegelijk ook vol mysterie. &nbsp;Een mix van beelden en verhalen (twee babies die door Indianen in het bos worden gevonden, een man en vrouw die hun huwelijk trachten te redden, een barbecue met Italiaanse worstjes op de grill, een gruwelijke dubbele moord). Prine brengt al die elementen samen, bindend element is de plek, het meer, Lake Marie. (De foto heeft weinig met John Prine te maken, maar ik denk wel dat hij met de wanhoopskreet: ‘Verloren oorbel, grote emotionele waarde’ wel aan de slag had kunnen gaan.) https://youtu.be/Exr-DOWJ3A0&nbsp; &nbsp;(John Prine, Lake Marie) <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/4f664b9c47cc2cd0e0a53d6c78f4f33f397f54d24d4bd68c8d9c86508946f392/_DSF1508.jpg" data-mid="108955883" border="0" src="https://freight.cargo.site/w/1000/i/4f664b9c47cc2cd0e0a53d6c78f4f33f397f54d24d4bd68c8d9c86508946f392/_DSF1508.jpg" /> Antwerp, Kasteelstraat, 2021 <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/8945e90b3afe1b9328b395430dcd56ec1cbba452f272a98accb659aa0dfa1441/_DSF0028.jpg" data-mid="77853450" border="0" src="https://freight.cargo.site/w/1000/i/8945e90b3afe1b9328b395430dcd56ec1cbba452f272a98accb659aa0dfa1441/_DSF0028.jpg" /> Antwerp, Munthof, 2020. 5.05.2021.&nbsp; Interesting lecture about one specific painting by Eduard Manet in the collection of the Getty Museum: The Getty Manet: Is Beauty Transitory? By Richard Brettell. Brettell focuses on the fleeting, ephemeral quality of Manet’s work in his effort to capture moments of beauty. Isn’t that what photography can do so well? Uit de schatkamer van YouTube: een interessante lezing van Richard Brettell: The Getty Manet: Is Beauty Transitory? Over één specifiek schilderij van Eduard Manet in de collectie van het Getty Museum.&nbsp; Over het vluchtige karakter van Manet’s werk en hoe hij erin slaagt om momenten van schoonheid vast te leggen. Precies wat fotografie ook zo goed kan doen.&nbsp;https://youtu.be/j7rSZIlHi_4 <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/92d4b5bc047d136af35521ee928cece170e5f44c013e6d28009f1f749666b6ed/_DSF1391.jpg" data-mid="107204085" border="0" src="https://freight.cargo.site/w/1000/i/92d4b5bc047d136af35521ee928cece170e5f44c013e6d28009f1f749666b6ed/_DSF1391.jpg" /> Tervuren, Africa Museum, 2021. <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/64a01c2966edd4c12db61d50776f16b81f91da8422d13a4043821aeb3753b30a/_DSF0978.jpg" data-mid="104619358" border="0" src="https://freight.cargo.site/w/1000/i/64a01c2966edd4c12db61d50776f16b81f91da8422d13a4043821aeb3753b30a/_DSF0978.jpg" /> Ghent, Lam Gods, 2021. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/a566ba8f256a7032c1ddd625daa66a09509c413b673a6966a6d54fc1a099317f/_DSF0314.jpg" data-mid="104619357" border="0" src="https://freight.cargo.site/w/1000/i/a566ba8f256a7032c1ddd625daa66a09509c413b673a6966a6d54fc1a099317f/_DSF0314.jpg" /> Antwerp, The View, 2021 <img width="3000" height="4000" width_o="3000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/dfd786733c4643437bef6c28d93d29bf40bd1de8ebc7cc86df00b441debf51c2/_DSF0641.jpg" data-mid="100889945" border="0" src="https://freight.cargo.site/w/1000/i/dfd786733c4643437bef6c28d93d29bf40bd1de8ebc7cc86df00b441debf51c2/_DSF0641.jpg" /> Antwerp, Barbie, 2021. <img width="4000" height="3000" width_o="4000" height_o="3000" data-src="https://freight.cargo.site/t/original/i/dcc3f2266f0bc8fa9e516d2c19d666c18295171a073057fea22eeadbcea98d67/_DSF0038.jpg" data-mid="96041626" border="0" src="https://freight.cargo.site/w/1000/i/dcc3f2266f0bc8fa9e516d2c19d666c18295171a073057fea22eeadbcea98d67/_DSF0038.jpg" /> Ostend, Gloria, 2021. <img width="2400" height="1593" width_o="2400" height_o="1593" data-src="https://freight.cargo.site/t/original/i/60f84c68743fbec29994958d0e195462a9027fc2ae6c788e34332f2cdcdeb2e2/Binnenland-167.jpg" data-mid="90042632" border="0" src="https://freight.cargo.site/w/1000/i/60f84c68743fbec29994958d0e195462a9027fc2ae6c788e34332f2cdcdeb2e2/Binnenland-167.jpg" /> Antwerp, Accident, 1996. 25.11.2020. &nbsp; It is said of French filmmaker Jacques Tati that he used the camera ‘innocently’. I like that word: an innocent camera, an innocent eye, not obtrusive, nor imposing - letting a person, a situation, or a place, reveal itself in a natural way. <img width="1601" height="2400" width_o="1601" height_o="2400" data-src="https://freight.cargo.site/t/original/i/c5e9fa4eb9a8f61579dd74375ba8b4e9240b8679aa018b4605352638897e666a/_MST2632.jpg" data-mid="88857342" border="0" src="https://freight.cargo.site/w/1000/i/c5e9fa4eb9a8f61579dd74375ba8b4e9240b8679aa018b4605352638897e666a/_MST2632.jpg" /> Deurne, 2020. <img width="1599" height="2360" width_o="1599" height_o="2360" data-src="https://freight.cargo.site/t/original/i/1d5fce193d2b215b2ceaace85eaa298335a51b82bbd3352f1905e442e145b465/_DSC4564.jpg" data-mid="86007348" border="0" src="https://freight.cargo.site/w/1000/i/1d5fce193d2b215b2ceaace85eaa298335a51b82bbd3352f1905e442e145b465/_DSC4564.jpg" /> Wilrijk, Troc, 2014. <img width="2400" height="1576" width_o="2400" height_o="1576" data-src="https://freight.cargo.site/t/original/i/3fac7ce7afae1e042a7d00cff232c8d51f209895524fb901c0a8c5512a888b08/Wielervolk-001.jpg" data-mid="84164488" border="0" src="https://freight.cargo.site/w/1000/i/3fac7ce7afae1e042a7d00cff232c8d51f209895524fb901c0a8c5512a888b08/Wielervolk-001.jpg" /> Verona, 1999. <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/8593810e9cc71390dd643e3e299be22869a499c346cc5633ab2aa1df5f61e2dd/_DSF4195.jpg" data-mid="84623459" border="0" src="https://freight.cargo.site/w/1000/i/8593810e9cc71390dd643e3e299be22869a499c346cc5633ab2aa1df5f61e2dd/_DSF4195.jpg" />Antwerp, 2015.&nbsp; 30.9.2020. Licht als een vogeltje, niet als een pluim. (Paul Valéry) I go for lightness. But it's not the lightness of a feather that whirls through the air, transported by the breeze, unknowing where it will finally fall. Instead, I envy the little bird that with lightning speed flies in the evening sky and knows exactly where it will land. Paul Valéry: “Il faut être léger comme l'oiseau, et non comme la plume.” <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/908bc16814a6e0ac2e5a77ef2bc26cc714c61094bdf9bf5a17c8441320ca11dd/_DSF0257.jpg" data-mid="83999187" border="0" src="https://freight.cargo.site/w/1000/i/908bc16814a6e0ac2e5a77ef2bc26cc714c61094bdf9bf5a17c8441320ca11dd/_DSF0257.jpg" /> Calci, Certosa di Pisa, 2020. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/7ac299f05c9f5e9ca904c291c9bbed3db3b0a163dcc09a95f06bb5c44568ff31/_DSC4425.jpg" data-mid="82620441" border="0" src="https://freight.cargo.site/w/1000/i/7ac299f05c9f5e9ca904c291c9bbed3db3b0a163dcc09a95f06bb5c44568ff31/_DSC4425.jpg" /> Al Colle, Romy Schneider, 2014. <img width="2400" height="1941" width_o="2400" height_o="1941" data-src="https://freight.cargo.site/t/original/i/e496b8799b380665781f92bab1db33664ea0380fc2eca28ba9d1c0484a7e3732/Rupel-019.jpg" data-mid="81629631" border="0" src="https://freight.cargo.site/w/1000/i/e496b8799b380665781f92bab1db33664ea0380fc2eca28ba9d1c0484a7e3732/Rupel-019.jpg" /> Boom, Leopoldstraat, circa 1995. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/4073f31435dd238b36240008dea8c24abb85d4affb90621d6e1049b33c599816/_DSC0818-2.jpg" data-mid="81391228" border="0" src="https://freight.cargo.site/w/1000/i/4073f31435dd238b36240008dea8c24abb85d4affb90621d6e1049b33c599816/_DSC0818-2.jpg" /> Petra, 2013. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/4a30a0f70e970a22efb3ed63afbcd32f3610e483e8cf22ebd7f3f2f528eed8cb/_DSF2546.jpg" data-mid="81630110" border="0" src="https://freight.cargo.site/w/1000/i/4a30a0f70e970a22efb3ed63afbcd32f3610e483e8cf22ebd7f3f2f528eed8cb/_DSF2546.jpg" /> Pescaglia, Concert, 2014. 20.8.2020. In Lady Bird, a film by director Greta Gerwig, there is a beautiful little scene between Lady Bird and her mentor, Sister Sarah-Joan: SISTER SARAH-JOAN (she considers Lady Bird) I read your college essay. You clearly love Sacramento. LADY BIRD I do? SISTER SARAH-JOAN Well, you write about Sacramento so affectionately, and with such care. LADY BIRD I was just describing it. SISTER SARAH-JOAN It comes across as love. LADY BIRD Sure, I guess I pay attention. SISTER SARAH-JOAN Don’t you think maybe they are the same thing? Love and attention? <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/2bda2aa207392308fcc4b829ffa7b151aa2a750c8d3db25d11d5d5c85e75a53f/_DSC1510-2.jpg" data-mid="80368252" border="0" src="https://freight.cargo.site/w/1000/i/2bda2aa207392308fcc4b829ffa7b151aa2a750c8d3db25d11d5d5c85e75a53f/_DSC1510-2.jpg" /> Al Colle, Harvesting, 2012. &nbsp; <img width="2400" height="1566" width_o="2400" height_o="1566" data-src="https://freight.cargo.site/t/original/i/2549e1896bdc54f00ce089bb283eda413a23c0d71312662a37799fe0fa9dcd1c/Etn120033R.jpg" data-mid="80274832" border="0" src="https://freight.cargo.site/w/1000/i/2549e1896bdc54f00ce089bb283eda413a23c0d71312662a37799fe0fa9dcd1c/Etn120033R.jpg" /> Etna, 2007. <img width="2400" height="1832" width_o="2400" height_o="1832" data-src="https://freight.cargo.site/t/original/i/6b5ed75a3f5be24d14b7fa123e94b7f3787d1e0d66c7bfb3e0f1ed9eacfe7ab2/Binnenland-008.jpg" data-mid="79513925" border="0" src="https://freight.cargo.site/w/1000/i/6b5ed75a3f5be24d14b7fa123e94b7f3787d1e0d66c7bfb3e0f1ed9eacfe7ab2/Binnenland-008.jpg" /> Brussels, The King is dead, 1993. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/3a338a29bf59922c7019046692537839c9d05589a77e606d12c501e14a3815cc/_MST0412.jpg" data-mid="79162255" border="0" src="https://freight.cargo.site/w/1000/i/3a338a29bf59922c7019046692537839c9d05589a77e606d12c501e14a3815cc/_MST0412.jpg" /> Seravezza, A Kiss, 2018. 5.8.2020. A mail from a friend, photographer Henze Boekhout in Haarlem: “I remember a visit to Centre Pompidou, perhaps 20 years ago. There was a grand exhibition, including huge works by Braque, Picasso, and some smaller pieces by Juan Gris etc, etc. Truly impressive. By accident I walked into a side room and there were display cases. In those cabinets, were black and white photos by Eduard Boubat and several other photographers. To me it felt like a breath of fresh air: these photos were presented seemingly without hierarchy, without a passe-partout and mostly borderless, some better than others. But those pictures showed something in their directness, in their humility, something that all that muscular work in the big halls (absolutely great art, that's not the point) couldn't even match.&nbsp; Just a view on the world, people and their gestures, the beauty of ordinary things. There were maybe 15 - 20 photos, not larger than 24 x 30, 30 x 40 cm.&nbsp; That's how I like to see the place of photography in that big crazy artworld.” Een mail van een vriend, fotograaf Henze Boehout in Haarlem: “Ik moest recent even denken aan een bezoek ooit aan Centre Pompidou, misschien wel 20 jaar geleden. Er was een grote tentoonstelling, met ondermeer enorme werken van Braque, Picasso en wat kleinere schilderijen van Juan Gris etc, etc. Werkelijk imposant. Ik liep een zijkamer binnen en daar stonden vitrinekasten. Daarin lagen, zonder passe-partout en veelal randloos, een aantal zwart-wit foto’s van onder meer Eduard Boubat . Een verademing om te zien: schijnbaar geen kwestie van hiërarchie, de ene foto al beter dan de andere, maar die foto’s toonden iets in hun vanzelfsprekendheid waar al dat spierballen werk in de grote zalen (absoluut de moeite waard, daar gaat het niet om) even niet aan kon tippen. Even een zicht op licht, op de wereld, de mensen en hun bewegingen, de schoonheid van het onbelangrijke. Het waren misschien een 15 - 20 tal foto’s, niet groter dan 24 bij 30, 30 bij 40 centimeter. Zo zie ik graag de plaats van de fotografie in die grote mallemolen der kunsten.” www.henzeboekhout.nl <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/e217d4883df69dbb6d59eee99856197229a04c4fdfe497b228f6f47477ebec0c/_DSC6768.jpg" data-mid="79118876" border="0" src="https://freight.cargo.site/w/1000/i/e217d4883df69dbb6d59eee99856197229a04c4fdfe497b228f6f47477ebec0c/_DSC6768.jpg" /> Athens, Demolition Work, 2016. <img width="2400" height="1727" width_o="2400" height_o="1727" data-src="https://freight.cargo.site/t/original/i/750cfc34820ef8ab4fc51d4711863ba0d332f8d23a76f434245b19e2955785d2/_MST2593.jpg" data-mid="70379748" border="0" src="https://freight.cargo.site/w/1000/i/750cfc34820ef8ab4fc51d4711863ba0d332f8d23a76f434245b19e2955785d2/_MST2593.jpg" /> 30.7.2020&nbsp; In January 1989 we received this package from Italian photographer Guido Guidi, who sent us about twenty 8 x 10 inch contact prints of his latest work.&nbsp; The plan was to show the photos in our gallery.&nbsp; It would be his first exhibition outside Italy. Not so long ago Gerry Badger wrote about Guidi's work: "The photographs by Guido Guidi are among the most determinedly unlovely that I have ever seen - and I mean that as a compliment."In januari 1989 ontvingen we dit pakje uit Italië. Afzender was fotograaf Guido Guidi die ons een twintigtal 8 x 10 inch contactafdrukken stuurde. Bedoeling was om&nbsp; de foto’s tentoon te stellen in onze galerie. Het zou zijn eerste expositie buiten Italië worden. Over Guidi’s foto’s schreef Gerry Badger nog niet zo lang geleden: “The photographs by Guido Guidi are among the most determinedly unlovely that I have ever seen - and I mean that as a compliment.” <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/13d36056998c07d191ab5feacb759b14dbea31924c74b2093ca503982137d89d/_MST1469.jpg" data-mid="70649524" border="0" src="https://freight.cargo.site/w/1000/i/13d36056998c07d191ab5feacb759b14dbea31924c74b2093ca503982137d89d/_MST1469.jpg" /> Guido Guidi Exhibition at Galerie DB-S, Antwerp. (Pages 54 - 55 of “Whereabouts”) <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/525b0a66442adf915958d6d0fef6e531119ff6de71abe3afb0bd1b98e56a54c9/_MST1720-2.jpg" data-mid="78611964" border="0" src="https://freight.cargo.site/w/1000/i/525b0a66442adf915958d6d0fef6e531119ff6de71abe3afb0bd1b98e56a54c9/_MST1720-2.jpg" /> Monte Matanna, Wild Horse, 2019 <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/3592251dce08380bdd19395a173055ee7f43b53f91d24766dbf98e509fbdb15e/_DSC7448.jpg" data-mid="77537418" border="0" src="https://freight.cargo.site/w/1000/i/3592251dce08380bdd19395a173055ee7f43b53f91d24766dbf98e509fbdb15e/_DSC7448.jpg" /> Al Colle, Moth in a Bowl, 2018. <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/ca21b129e3068b6ad41eed955aaffd3eb630378154735ffdb779f40ca64a4a30/_DSC0283.jpg" data-mid="77103290" border="0" src="https://freight.cargo.site/w/1000/i/ca21b129e3068b6ad41eed955aaffd3eb630378154735ffdb779f40ca64a4a30/_DSC0283.jpg" /> Ostend, Black Moon, 2020. 8.7.2020. The function of art/1Diego did not know the sea. &nbsp;His father, Santiago Kovadloff, took him to discover it. &nbsp;They walked south until they reached the sand dunes behind which lay the sea. They scaled the dunes, and when they finally reached the top, the sea stretched out before their eyes. So immense was the sea and its sparkle that the child was struck dumb by the beauty of it. And when he finally managed to speak, trembling, stuttering, he asked his father: “Help me to see!” From “The Book of Embraces” by Eduardo Galeano De functie van de kunst/1Diego kende de zee niet. Zijn vader, Santiago Kovadloff, nam hem mee om die te ontdekken. Ze reisden naar het zuiden. Achter de hoge duinen lag zij, de zee, te wachten. Toen de jongen en zijn vader tenslotte, na vele uren lopen, op de zandheuvels stonden, strekte de zee zich voor hun ogen uit. En zo groots was de onmetelijkheid van de zee en zo fel zijn schittering dat het kind geen woord kon uitbrengen van zoveel schoonheid. En toen hij eindelijk weer wat kon zeggen, vroeg hij zijn vader, stamelend en met bevende stem: ‘Help mij kijken!’ Uit “Het boek der omhelzingen” &nbsp;van Eduardo Galeano <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/6248b15811e0652570abc5ff184a871e47c65153aac7f8f7a32e5ea000a4851b/_DSF2043.jpg" data-mid="76946659" border="0" src="https://freight.cargo.site/w/1000/i/6248b15811e0652570abc5ff184a871e47c65153aac7f8f7a32e5ea000a4851b/_DSF2043.jpg" /> Lucca, Parco Commerciale, 2018. <img width="2400" height="1574" width_o="2400" height_o="1574" data-src="https://freight.cargo.site/t/original/i/599ebe7d6a8371d869a56ccc34e0b1ab9783301ed7c823a21c66763d1df7cfe5/Sch023.jpg" data-mid="76899359" border="0" src="https://freight.cargo.site/w/1000/i/599ebe7d6a8371d869a56ccc34e0b1ab9783301ed7c823a21c66763d1df7cfe5/Sch023.jpg" /> Antwerp, Fashion Department, 1999. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/cc77f904334dfedfbf1c92de9e6563277ac65fde4b920afc7e5f322778671014/_MST2492.jpg" data-mid="76318527" border="0" src="https://freight.cargo.site/w/1000/i/cc77f904334dfedfbf1c92de9e6563277ac65fde4b920afc7e5f322778671014/_MST2492.jpg" /> Treviso, Melodi, 2019. 2.7.2020.&nbsp; Another quote by Luigi Ghirri: "I have always been attracted to the photograph and the song precisely because they are not considered 'Art'. Unlike titanic museum pieces, which seem doomed to sink, photographs and songs are great and altogether healthy forms of fragility and tenderness. They have always seemed to me like moments of illumination - visionary flares that appear before us, and go on to become part of life.” <img width="2400" height="1589" width_o="2400" height_o="1589" data-src="https://freight.cargo.site/t/original/i/f73bcb0106f01a508b05c8e5803b86c6064e01f97b924b3d91e75a9b2c72a71c/Keepertjes-028.jpg" data-mid="76323408" border="0" src="https://freight.cargo.site/w/1000/i/f73bcb0106f01a508b05c8e5803b86c6064e01f97b924b3d91e75a9b2c72a71c/Keepertjes-028.jpg" /> Boom, Little Goalkeeper, 2000. <img width="2400" height="1877" width_o="2400" height_o="1877" data-src="https://freight.cargo.site/t/original/i/47eae04fce151ed8f294914a1c1002babadad71a33ad1cabe2bfa36201d1e0a5/Rupel-084.jpg" data-mid="75613191" border="0" src="https://freight.cargo.site/w/1000/i/47eae04fce151ed8f294914a1c1002babadad71a33ad1cabe2bfa36201d1e0a5/Rupel-084.jpg" /> Rumst, Beams, circa 1985. 25.06.2020. I received an email from someone who had apparently taken a good look at my book. &nbsp;He was intrigued by the photo on pages 76-77 and the strange ‘beam of light’ that seemed to come out of nowhere and for which he had no explanation. &nbsp;I had a closer look at the photo myself, a photo from about 1985, in the years that I started working with the 8 x 10 inch view camera. &nbsp;The only explanation I could give for the phenomenon was that a small light leak in the bellows of the camera had formed a ghost image. &nbsp;Those things happened more often with analog photography; accidents could happen during the shooting or later in the darkroom. Sometimes they messed up an image completely, other times the picture only got better. Ik ontving een mail van iemand &nbsp;die blijkbaar heel goed naar mijn boek had gekeken. Hij was geintrigeerd door de foto op pagina's 76-77 en de vreemde lichtstraal die uit het niets leek te komen en waarvoor hij geen verklaring had. Ik ben zelf opnieuw naar de foto gaan kijken, een foto uit 1985 of daaromtrent, in de jaren dat ik werkte met de 8 x 10 inch platencamera. &nbsp;De enige verklaring die ik voor het verschijnsel in het beeld kon geven was dat een gaatje in de camera-balg een spookbeeld had gevormd. Die dingen gebeurden wel meer in de tijd van de analoge fotografie: ongelukjes konden gebeuren bij de opname of later in de doka. Soms verknoeide ze een beeld totaal, een andere keer werd de foto er alleen maar beter van. <img width="2400" height="1877" width_o="2400" height_o="1877" data-src="https://freight.cargo.site/t/original/i/a87c69ad77ee4243a150ce3ab48befe26362a3bf7509a8823ef91c16629e67fd/Entrepot-05.jpg" data-mid="75604306" border="0" src="https://freight.cargo.site/w/1000/i/a87c69ad77ee4243a150ce3ab48befe26362a3bf7509a8823ef91c16629e67fd/Entrepot-05.jpg" /> Antwerp, Entrepot, 1993. <img width="2400" height="1832" width_o="2400" height_o="1832" data-src="https://freight.cargo.site/t/original/i/bca05ac5a5050f1cb65e12c74eada33648484c8326982d8a9476d0b36e093e18/_DSC3067.jpg" data-mid="75154433" border="0" src="https://freight.cargo.site/w/1000/i/bca05ac5a5050f1cb65e12c74eada33648484c8326982d8a9476d0b36e093e18/_DSC3067.jpg" /> Antwerp, Zuiderdokken, 2015. <img width="2400" height="1884" width_o="2400" height_o="1884" data-src="https://freight.cargo.site/t/original/i/13099b2f1f33b78ce15eafe8faa097a7b5f372155ac33aa785a2e7137aad14bc/A12-004.jpg" data-mid="74508852" border="0" src="https://freight.cargo.site/w/1000/i/13099b2f1f33b78ce15eafe8faa097a7b5f372155ac33aa785a2e7137aad14bc/A12-004.jpg" /> <img width="2400" height="1869" width_o="2400" height_o="1869" data-src="https://freight.cargo.site/t/original/i/ad905bfb94a04cfa246b40b60e58839099812cdf06bee4f337a84ef9cd5067d0/A12-007.jpg" data-mid="74788825" border="0" src="https://freight.cargo.site/w/1000/i/ad905bfb94a04cfa246b40b60e58839099812cdf06bee4f337a84ef9cd5067d0/A12-007.jpg" /> <img width="2400" height="1868" width_o="2400" height_o="1868" data-src="https://freight.cargo.site/t/original/i/7988211bd44ff3139259d72edc4b11bad43e29a46ab331b6194d5365ac1e433f/A12-009.jpg" data-mid="74788096" border="0" src="https://freight.cargo.site/w/1000/i/7988211bd44ff3139259d72edc4b11bad43e29a46ab331b6194d5365ac1e433f/A12-009.jpg" /> A12, circa 1989. 16.06.2020. I prefer photos that look effortless, free of formal acrobatics. They show bits of reality in a direct and clear way, while simultaniously retaining some kind of elusiveness. They are ‘open’ images - open for discovery and interpretation. De foto’s waarvan ik het meeste hou (en die ik ook probeer te maken), hebben een schijnbare vanzelfsprekendheid en discretie. De camera registreert zonder trukjes of formele akrobatieën. Het doel is beelden te maken die ‘open’ zijn, die de mogelijkheid bieden voor ontdekking en interpretatie.&nbsp; <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/352a2e08e6abaa99db4fa8dfe40cc5ba1d0631ac168f61f702f568a5469d441d/DSCF1301.jpg" data-mid="74437130" border="0" src="https://freight.cargo.site/w/1000/i/352a2e08e6abaa99db4fa8dfe40cc5ba1d0631ac168f61f702f568a5469d441d/DSCF1301.jpg" /> London, Redcross Way, 2017. <img width="2400" height="774" width_o="2400" height_o="774" data-src="https://freight.cargo.site/t/original/i/7c6f7b15c06f4d1d9962d46cfa095771a15321f9f0116db783282d8bc9da3eb1/Ita087R.jpg" data-mid="74205085" border="0" src="https://freight.cargo.site/w/1000/i/7c6f7b15c06f4d1d9962d46cfa095771a15321f9f0116db783282d8bc9da3eb1/Ita087R.jpg" /> Stromboli, Sightseeing Boat, 2007. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/4ef2df7ec563a997f1cc6e548d5dbf1a3410b6f15fab97aeffed212f12e747e9/_DSC0329.jpg" data-mid="73969049" border="0" src="https://freight.cargo.site/w/1000/i/4ef2df7ec563a997f1cc6e548d5dbf1a3410b6f15fab97aeffed212f12e747e9/_DSC0329.jpg" /> Ostend, Don’t lose your MMMemories, 2020. <img width="2400" height="1889" width_o="2400" height_o="1889" data-src="https://freight.cargo.site/t/original/i/a6c83d10875f69ad8727e2a0d1cdeb6e171c35b57f61d952f30ced4ca75bcb6b/Varia-029.jpg" data-mid="73708860" border="0" src="https://freight.cargo.site/w/1000/i/a6c83d10875f69ad8727e2a0d1cdeb6e171c35b57f61d952f30ced4ca75bcb6b/Varia-029.jpg" /> Sint-Job-in-’t-Goor, Haircut, circa 1996.&nbsp; <img width="1157" height="771" width_o="1157" height_o="771" data-src="https://freight.cargo.site/t/original/i/8bd9cfee9d8127f35a1ff8bf299e0329ba353cc48828dd8a738b05dfbb76e25b/IMG_5711.jpg" data-mid="73396746" border="0" src="https://freight.cargo.site/w/1000/i/8bd9cfee9d8127f35a1ff8bf299e0329ba353cc48828dd8a738b05dfbb76e25b/IMG_5711.jpg" /> <img width="1143" height="775" width_o="1143" height_o="775" data-src="https://freight.cargo.site/t/original/i/7a928ba23cf41e90a51b0446f0198745b8b7fb57fc36c58733e8335412eeefcc/IMG_5710.jpg" data-mid="73396747" border="0" src="https://freight.cargo.site/w/1000/i/7a928ba23cf41e90a51b0446f0198745b8b7fb57fc36c58733e8335412eeefcc/IMG_5710.jpg" /> <img width="1150" height="765" width_o="1150" height_o="765" data-src="https://freight.cargo.site/t/original/i/873e5a94f6c1cb4804653213771d3f91f513323b2a9ba5abb92e59e965acd12a/IMG_5708.jpg" data-mid="73396749" border="0" src="https://freight.cargo.site/w/1000/i/873e5a94f6c1cb4804653213771d3f91f513323b2a9ba5abb92e59e965acd12a/IMG_5708.jpg" /> <img width="1202" height="825" width_o="1202" height_o="825" data-src="https://freight.cargo.site/t/original/i/829d1780a6f01617968f3e4799b088e983a07f3c0f6167ef41e500af66fc238a/IMG_5718.jpg" data-mid="73523048" border="0" src="https://freight.cargo.site/w/1000/i/829d1780a6f01617968f3e4799b088e983a07f3c0f6167ef41e500af66fc238a/IMG_5718.jpg" /> <img width="1521" height="1022" width_o="1521" height_o="1022" data-src="https://freight.cargo.site/t/original/i/fd0fef2d58005471d8f41178fb9f3da29fddbb9c594b8b313e4f2a2f2b2e3114/IMG_5723.jpg" data-mid="73674634" border="0" src="https://freight.cargo.site/w/1000/i/fd0fef2d58005471d8f41178fb9f3da29fddbb9c594b8b313e4f2a2f2b2e3114/IMG_5723.jpg" /> <img width="1152" height="771" width_o="1152" height_o="771" data-src="https://freight.cargo.site/t/original/i/ade1444a51ce796235f036e26af099db93a7f8584de530026aa14a22013afa45/IMG_5712.jpg" data-mid="73397200" border="0" src="https://freight.cargo.site/w/1000/i/ade1444a51ce796235f036e26af099db93a7f8584de530026aa14a22013afa45/IMG_5712.jpg" /> <img width="1717" height="1026" width_o="1717" height_o="1026" data-src="https://freight.cargo.site/t/original/i/88e21eae1fb28cfcd9b85db97168774d74b30b720fca2ee818800440f275c961/IMG_5719.jpg" data-mid="73523047" border="0" src="https://freight.cargo.site/w/1000/i/88e21eae1fb28cfcd9b85db97168774d74b30b720fca2ee818800440f275c961/IMG_5719.jpg" /> <img width="1490" height="1008" width_o="1490" height_o="1008" data-src="https://freight.cargo.site/t/original/i/55d21d33c7d860601dc6fbd29b93c7c63d862a5207bf3e19b17c8dd52f50e0f0/IMG_5713.jpg" data-mid="73523050" border="0" src="https://freight.cargo.site/w/1000/i/55d21d33c7d860601dc6fbd29b93c7c63d862a5207bf3e19b17c8dd52f50e0f0/IMG_5713.jpg" /> RFK’s Funeral Train, 1968. (photos by Paul Fusco) 4.6.2020. It was a Saturday, June 8, 1968, a warm, early summer day.&nbsp; Paul Fusco, photographer for Look magazine, boarded a train together with several colleagues. That funeral train would take the body of murdered Robert Kennedy from New York City to Washington DC. Fusco's assignment was to photograph the ceremony at Arlington National Cemetery. &nbsp;However, the images that he made during the train journey itself became truly unforgettable.&nbsp; Pictures taken from a window of the moving train showing the people who came along the railway to pay a last salute to the dead politician.&nbsp; During the 8 hour trip, Fusco made about 2000 shots (more than 60 35mm rolls!).&nbsp; He worked with Kodachrome-film and had to take into account its low light sensitivity. At the end of the journey, at dusk, he worked with a shutter speed of 1 second. The resulting blur is one of the many charms these photos have. Plus the saturated Kodachrome colors and the beautiful backlight, the figures in the landscape, expressing their respect and grief. Fusco - consciously or unconsciously - made many good decisions that day. He saw something that others did not see, or at least did not bother to photograph. Het was een zaterdag, 8 juni 1968, een warme, vroege zomerdag. Paul Fusco, fotograaf van het tijdschrift Look, stapte met een aantal collega's aan boord van de trein die het lichaam van de vermoorde Robert Kennedy van New York City naar Washington DC zou brengen. Zijn opdracht was om de ceremonie op de nationale begraafplaats Arlington te fotograferen. Het zijn echter de beelden die Fusco maakte tijdens de treinreis zelf, die onvergetelijk zijn geworden. Opnamen gemaakt vanuit een raam van de rijdende trein van de mensen die langs de spoorweg een laatste groet kwamen brengen aan de betreurde politicus. Fusco maakte gedurende de 8 uur durende trip zo'n 2000 opnamen (meer dan 60 kleinbeeldrolletjes!). Kodachrome was een weinig gevoelige film en Fusco moest van bij de start rekening houden met relatief lange belichtingstijden; in de schemering werkte hij met een sluitertijd van 1 seconde. De resulterende bewegingingsonscherpte is één van de vele charmes van deze foto's. Plus de gesatureerde Kodachrome-kleuren en het prachtige tegenlicht, de mensen in het landschap die hun respect kwamen tonen en hun verdriet. Fusco maakte die dag -bewust of onbewust- veel goeie beslissingen. De belangrijkste was waarschijnlijk dat hij als enige inzag dat dit moest gefotografeerd worden. Hij zag iets wat anderen niet zagen, of niet de moeite vonden om te fotograferen. <img width="1800" height="2400" width_o="1800" height_o="2400" data-src="https://freight.cargo.site/t/original/i/8b57ee5cae5894814cfa34efb2a5b649cead160e242168f20544af7cb807be9d/Robert-Kennedy.jpg" data-mid="73420248" border="0" src="https://freight.cargo.site/w/1000/i/8b57ee5cae5894814cfa34efb2a5b649cead160e242168f20544af7cb807be9d/Robert-Kennedy.jpg" /> Pietrasanta, Robert F. Kennedy, 2008. &nbsp; <img width="2400" height="1891" width_o="2400" height_o="1891" data-src="https://freight.cargo.site/t/original/i/301309890ccac7c8c527558d697e07acc8fdf462bbbe657d23bdef027b0f82cd/Varia-012.jpg" data-mid="73233186" border="0" src="https://freight.cargo.site/w/1000/i/301309890ccac7c8c527558d697e07acc8fdf462bbbe657d23bdef027b0f82cd/Varia-012.jpg" /> Sint-Job-in-’t-Goor, Adam, circa 1996. 2.6.2020. Learned a new word today. &nbsp; According to Denis Diderot the Encyclopédie's aim was &nbsp;to change the way people think. He used the word ‘dé-tromper’, literally ‘to un-mistake’. A word game is obvious: dé-tromper, &nbsp;dé-trumper, to un-trump. What will it take to achieve that? Vandaag een nieuw woord geleerd. &nbsp;Volgens Denis Diderot &nbsp;was het doel van de Encyclopédie om de manier waarop mensen denken te veranderen. &nbsp; Hij gebruikte het woord ‘dé-tromper’, letterlijk ‘ont-vergissen’. &nbsp;Een woordspelletje ligt voor de hand: &nbsp;dé-tromper, dé-trumper, ont-trumpen. Wat is daar voor nodig? &nbsp; <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/202266996482cc83f669792ae683bb98f1849bf047bc8153e6abcf0726f3f779/Toni-en-Bo_16.jpg" data-mid="73082168" border="0" src="https://freight.cargo.site/w/1000/i/202266996482cc83f669792ae683bb98f1849bf047bc8153e6abcf0726f3f779/Toni-en-Bo_16.jpg" /> Antwerp, A Man and his Dog, 2012. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/bcf3cefb891f6559ee41920b9c756c4491070dabc7675855ac9c5a22405b9fbe/_DSF5387.jpg" data-mid="73026908" border="0" src="https://freight.cargo.site/w/1000/i/bcf3cefb891f6559ee41920b9c756c4491070dabc7675855ac9c5a22405b9fbe/_DSF5387.jpg" /> Antwerp, Movers, 2015. 31.5.2020.&nbsp; Documentary filmmaker Peter Hutton once said in an interview, ‘Photographs are very short films’. There is only one frame - a still image with no before or after. One can only guess what will happen next. Peter Hutton, filmmaker, vooral bekend om zijn experimentele films over steden en landschappen, zei ooit in een interview: ‘Foto’s zijn heel korte films’. Er is maar één beeld, een still zonder voor of na. De kijker kan enkel gissen wat gaat gebeuren.&nbsp; &nbsp; (Page 188 of ‘Whereabouts’) https://wherewhenandwhybooks.com/Whereabouts-Marc-Steculorum <img width="2400" height="1888" width_o="2400" height_o="1888" data-src="https://freight.cargo.site/t/original/i/5c3affad30e435eb52a3de2bd6ae9f726db73fd4388bdf9b3c6fbb81f4a5d326/Binnenland-109.jpg" data-mid="73024581" border="0" src="https://freight.cargo.site/w/1000/i/5c3affad30e435eb52a3de2bd6ae9f726db73fd4388bdf9b3c6fbb81f4a5d326/Binnenland-109.jpg" /> Antwerp, Old Port, 1994. <img width="2400" height="1878" width_o="2400" height_o="1878" data-src="https://freight.cargo.site/t/original/i/f7b571f7f11124b32c1193817c94aa4bd6064c6c568dfa6d52bc809b2ffc65d3/Binnenland-122.jpg" data-mid="72725223" border="0" src="https://freight.cargo.site/w/1000/i/f7b571f7f11124b32c1193817c94aa4bd6064c6c568dfa6d52bc809b2ffc65d3/Binnenland-122.jpg" /> Antwerp, Fortune Teller, circa 1993. <img width="1601" height="2400" width_o="1601" height_o="2400" data-src="https://freight.cargo.site/t/original/i/79a7d564b3ca6e423f839c99a38f10ca1490f467f8ac0bb647d837541421a332/_MST1761.jpg" data-mid="72725027" border="0" src="https://freight.cargo.site/w/1000/i/79a7d564b3ca6e423f839c99a38f10ca1490f467f8ac0bb647d837541421a332/_MST1761.jpg" /> Pescaglia, Unmade Bed, 2019. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/817a5f1fdcce7afb6f48604c82129fed50a555e6c2ebf9045f2e897327f4a06b/_DSF5710.jpg" data-mid="72234903" border="0" src="https://freight.cargo.site/w/1000/i/817a5f1fdcce7afb6f48604c82129fed50a555e6c2ebf9045f2e897327f4a06b/_DSF5710.jpg" /> Berlin, Jewish Cemetery, 2018. <img width="1602" height="2400" width_o="1602" height_o="2400" data-src="https://freight.cargo.site/t/original/i/324af9c084f2cdf4b61dbd6dfaafc662805570ec1983d101d12ebcdfd234f2b2/_DSC4781.jpg" data-mid="72211298" border="0" src="https://freight.cargo.site/w/1000/i/324af9c084f2cdf4b61dbd6dfaafc662805570ec1983d101d12ebcdfd234f2b2/_DSC4781.jpg" /> Terhagen, Boereweg, 2015. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/542420ed3ee8a09894aa0521029e8f8762456246ffa581d6bc773029c5b1bd3c/_MST1446.jpg" data-mid="72189385" border="0" src="https://freight.cargo.site/w/1000/i/542420ed3ee8a09894aa0521029e8f8762456246ffa581d6bc773029c5b1bd3c/_MST1446.jpg" /> Portrait of the Photographer as a Recruit (1980). (Page 13 of ‘Whereabouts’) 23.5.2020. A lucky escape this afternoon at the entrance of the supermarket. &nbsp;The woman who disinfects the shopping carts approached an older man who was queuing behind me. "You know, sir, there are special hours for people over 65, so you don't have to wait." It sounded friendly but decidedly and above all clearly audible for everyone. &nbsp;Somewhat stunned and caught, the man muttered that waiting was no problem for him. &nbsp;I was born the year the Russians invaded Hungary, so I looked away and held my breath. &nbsp;The woman pushed a cart over to me and I quickly entered the store. Even geluk gehad vanmiddag bij de ingang van de supermarkt. De vrouw die de winkelkarretjes desinfecteert, sprak een wat oudere man aan die achter &nbsp;mij in de rij stond. “U weet toch meneer dat voor 65 plussers er bijzondere uren zijn, zodat u niet hoeft te wachten.” Het klonk vriendelijk maar beslist en vooral voor iedereen duidelijk hoorbaar. Enigszins verbouwereerd en betrapt, pruttelde de man nog tegen dat wachten voor hem geen probleem was. Ik ben zelf geboren in het jaar dat de Russen Hongarije binnenvielen, dus &nbsp;ik keek weg en hield even mijn adem in. De vrouw schoof me een karretje toe en ik stapte snel de winkel binnen. https://wherewhenandwhybooks.com/Whereabouts-Marc-Steculorum <img width="2400" height="1591" width_o="2400" height_o="1591" data-src="https://freight.cargo.site/t/original/i/2eaa2423adb5a05b0a30b5095ce780a390ae4a3492ee150e4831b4e851cb19b7/Voetbal-065.jpg" data-mid="71321649" border="0" src="https://freight.cargo.site/w/1000/i/2eaa2423adb5a05b0a30b5095ce780a390ae4a3492ee150e4831b4e851cb19b7/Voetbal-065.jpg" /> Bruges, Cercle rules over Bruges, 2000. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/7ea3e74463c71dfb7c2df40ec8343c2ee144af159bce78ed492f3355307ba60f/Nachten--067.jpg" data-mid="72103474" border="0" src="https://freight.cargo.site/w/1000/i/7ea3e74463c71dfb7c2df40ec8343c2ee144af159bce78ed492f3355307ba60f/Nachten--067.jpg" /> Antwerp, Kattendijkbrug, 2004. <img width="2400" height="1877" width_o="2400" height_o="1877" data-src="https://freight.cargo.site/t/original/i/bce4dbd4326f67dd8413a588360adfbcaa3fe7f8dfa8511263fbc62863af8500/Wielervolk-037.jpg" data-mid="71904497" border="0" src="https://freight.cargo.site/w/1000/i/bce4dbd4326f67dd8413a588360adfbcaa3fe7f8dfa8511263fbc62863af8500/Wielervolk-037.jpg" /> San Remo, Corso G. Garibaldi, 1994. 21.5.2020. The day before the race I arrived in San Remo by night train from Paris.&nbsp; My plan was to take pictures on and around the Poggio, just outside the city.&nbsp; Not so much of the race itself, but of the landscape and the waiting tifosi along the way.&nbsp; On the evening before the race, I wanted to hike the last six kilometers of the course: from the finish line on Via Roma to the top of the Poggio.&nbsp; I would take pictures in the light of what Richard Thompson called ‘the dimming of the day’. I remember walking uphill, my heavy 8x10 inch camera that became heavier with every step.&nbsp; I remember the trattoria on the Poggio that luckily was still open. Of course I remember the few photos I made that evening, the ‘hits’ and the ‘misses’. Strangely enough, I don't remember how I got back in the city. The next day, Giorgio Furlan won the 85th Milan - San Remo.&nbsp; He was part of the Gewiss-Ballan team, a team that (as it turned out afterwards) was also champion in the use of EPO. De dag voor de wedstrijd kwam ik met de nachttrein uit Parijs aan in San Remo. Mijn plan was om&nbsp; foto’s te maken op en rond de Poggio, net buiten de stad. Niet zozeer van de wedstrijd zelf, maar van het landschap en van de wachtende tifosi langs de weg. Op de avond voor de race, wilde ik de laatste zes kilometer van het parcours af wandelen: van de aankomststreep op de Via Roma tot aan de top van de Poggio. Op mijn weg zou ik foto’s maken in het licht van wat Richard Thompson noemde ‘the dimming of the day’. Ik herinner me de wandeling bergop, mijn zware 8x10 inch camera die steeds zwaarder ging wegen. Ik herinner me de trattoria op de Poggio die gelukkig nog open was. Ik herinner me natuurlijk nog de enkele foto’s die ik maakte, de ‘hits’ en de ‘misses’. Vreemd genoeg weet ik niet meer hoe ik uiteindelijk terug in de stad ben beland. De volgende dag won Giorgio Furlan de 85ste&nbsp; Milaan San Remo. Hij reed voor het Gewiss-Ballan team, een ploeg die (zo bleek achteraf) ook kampioen was in het gebruik van EPO. <img width="2400" height="1871" width_o="2400" height_o="1871" data-src="https://freight.cargo.site/t/original/i/38ccdc381fc71e0dc026bb346af2071a7ea9cfd5f1977f10d08af24940e06eb8/Wielervolk-066.jpg" data-mid="71904024" border="0" src="https://freight.cargo.site/w/1000/i/38ccdc381fc71e0dc026bb346af2071a7ea9cfd5f1977f10d08af24940e06eb8/Wielervolk-066.jpg" /> Poggio di San Remo, Giorgio Furlan on top of the Poggio, 1994.&nbsp; <img width="2400" height="1577" width_o="2400" height_o="1577" data-src="https://freight.cargo.site/t/original/i/ebb123eb7297a7531a5c76ec3060b4bb4ad55794e80165db513b6e005b770cc7/Voetbal-034.jpg" data-mid="71721781" border="0" src="https://freight.cargo.site/w/1000/i/ebb123eb7297a7531a5c76ec3060b4bb4ad55794e80165db513b6e005b770cc7/Voetbal-034.jpg" /> Deurne, Girl with a Rat, 2000. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/f9acabf77809242d9a77f8eea4aa2c10a3f9411ceed30d91f31ae1d49d6fce2c/_DSC5261.jpg" data-mid="71556747" border="0" src="https://freight.cargo.site/w/1000/i/f9acabf77809242d9a77f8eea4aa2c10a3f9411ceed30d91f31ae1d49d6fce2c/_DSC5261.jpg" /> Prato, Couple in a Train, 2015. 19.5.2020.&nbsp; A couple in a train between Florence and Lucca. They were obviously in love. Secretly (in the great tradition of Walker Evans and Paul Strand), I took a few photos of them flirting. Not with the 8 X 10 of course, but with a much smaller camera, one hardly visible and making no noise. This picture is my favorite: the pointed shoes, the bare legs intertwining, they tell the story, or at least suggest it. Ze waren duidelijk heel erg verliefd, de man en de vrouw in het treincoupé op weg tussen Firenze en Lucca. Op zo’n moment wordt het een soort spel én een uitdaging (niet dat ik er erg goed in ben, of het met plezier doe): het fotograferen van mensen, zonder dat ze het zelf in de gaten hebben. Velen zijn mij voorgegaan: Walker Evans in de New Yorkse subway met een camera verstopt in zijn jas, Paul Strand die een tweede lens op zijn toestel monteerde, een lens die in de andere richting wees en die zo zijn eigenlijke onderwerp misleidde. Fotograferen wordt op die manier een soort jacht, met een jager en een prooi.&nbsp; Ik maakte een drietal opnamen. Deze is mijn favoriet: de puntige damesschoenen, de blote benen, de spannende intimiteit die wordt gesuggereerd. De man en de vrouw blijven onherkenbaar en de kans dat ze zelf ooit de foto zullen zien is miniscuul. (Page 195 of ‘Whereabouts’) https://wherewhenandwhybooks.com/Whereabouts-Marc-Steculorum <img width="1601" height="2400" width_o="1601" height_o="2400" data-src="https://freight.cargo.site/t/original/i/6e8573927a370e0a22d3fafce4f590ed625997cfe1c1c9f3bc5a4d1562db6863/_MST2002.jpg" data-mid="71330673" border="0" src="https://freight.cargo.site/w/1000/i/6e8573927a370e0a22d3fafce4f590ed625997cfe1c1c9f3bc5a4d1562db6863/_MST2002.jpg" /> Genova, CiaoAmoreMioMiManciTantoCirodeRosa (Discreet Graffiti), 2019. <img width="2400" height="1924" width_o="2400" height_o="1924" data-src="https://freight.cargo.site/t/original/i/b2d128736581b0f8ca77148c4a714b3b2e7b573d95617a69897b28141403aee6/Binnenland-017.jpg" data-mid="71321269" border="0" src="https://freight.cargo.site/w/1000/i/b2d128736581b0f8ca77148c4a714b3b2e7b573d95617a69897b28141403aee6/Binnenland-017.jpg" /> Antwerp, Astridplein, 1993. <img width="2400" height="1859" width_o="2400" height_o="1859" data-src="https://freight.cargo.site/t/original/i/f5cc0af2a1c8279bd9999c949bfadfd3c76868f2c1b3bf7e0cc1e87007be4819/Rupel-107.jpg" data-mid="71039518" border="0" src="https://freight.cargo.site/w/1000/i/f5cc0af2a1c8279bd9999c949bfadfd3c76868f2c1b3bf7e0cc1e87007be4819/Rupel-107.jpg" /> Hemiksem, Saint Bernard Abbey, 1987. <img width="1627" height="2400" width_o="1627" height_o="2400" data-src="https://freight.cargo.site/t/original/i/d516284d69e89d10c1db1d8e1cd711c2803f90dcc80080e6fce24856d748e768/Sunparks-038.jpg" data-mid="70649204" border="0" src="https://freight.cargo.site/w/1000/i/d516284d69e89d10c1db1d8e1cd711c2803f90dcc80080e6fce24856d748e768/Sunparks-038.jpg" /> Oostduinkerke, Ellen plays Petanque, 1999. 13.5.2020. It must have been the girl's graceful posture (a combination of tension and relaxation, as you sometimes see with athletes on the track, just before the jump).&nbsp; It was certainly the detail of the thin cord that glows against the dark background.&nbsp; Photography is an art of precision.&nbsp; Place the camera a little more to the right, the cord is no longer visible, and the image loses all its power.The photograph was made in 1999 during a week-long stay at Sunparks Oostduinkerke. As part of his first Sunparks Art Project, Mark Vanmoerkerke invited four photographers to record the life in the various resorts. The other photographers were Anne Daems, Jitka Hanzlova and Jean-Paul Deridder. Het moet de sierlijke houding van het meisje geweest zijn (een combinatie van spanning en ontspanning, zoals je soms ook ziet bij atleten op de piste, net voor de sprong). Het was zeker ook het detail van het dunne koordje dat oplicht tegen de donkere achtergrond. Fotografie is een kunst van precisie. Plaats de camera even meer naar rechts, het koordje is niet meer zichtbaar en het beeld&nbsp; verliest al zijn kracht. De opname werd gemaakt in 1999 tijdens een verblijf in Sunparks Oostduinkerke. Mark Vanmoerkerke nodigde in het kader van zijn eerste Sunparks Art Project vier fotografen uit om het leven in de verschillende resorts vast te leggen. De andere fotografen waren Anne Daems, Jitka Hanzlova en Jean-Paul Deridder. <img width="1585" height="2400" width_o="1585" height_o="2400" data-src="https://freight.cargo.site/t/original/i/4613e6f38732b149619298b76f1b0012019ada3aca780220a4fd36f0bed1eacc/Griekenland-109.jpg" data-mid="70649202" border="0" src="https://freight.cargo.site/w/1000/i/4613e6f38732b149619298b76f1b0012019ada3aca780220a4fd36f0bed1eacc/Griekenland-109.jpg" /> Andritsaina, Olive Tree after a Wildfire, 2007. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/13d36056998c07d191ab5feacb759b14dbea31924c74b2093ca503982137d89d/_MST1469.jpg" data-mid="70649524" border="0" src="https://freight.cargo.site/w/1000/i/13d36056998c07d191ab5feacb759b14dbea31924c74b2093ca503982137d89d/_MST1469.jpg" /> Pages 54-55 of ‘Whereabouts’. 12.5.2020. One could compare ‘photography’ to one of those gigantic, multi-deck cruiseliners that enter the Canal Grande in Venice and dwarf the Campanile at San Marco. On every level there are cabins, bars, restaurants, casinos, boutiques, and swimming pools. Each deck also has its own inhabitants, and people from the lower decks are not encouraged to visit the more luxurious floors above. The world of photography is a bit like these ships, with its different practitioners each in their own compartment, following their own set of rules: the amateurs, the students, the commercial photographers, the reporters, the artists who use photography, and the photographers who aspire to be artists. Often what one group considers ‘quality’ only applies for that specific group. What is seen as a great photo in one circuit can be considered pure kitsch in another...&nbsp; https://wherewhenandwhybooks.com/Whereabouts-Marc-Steculorum <img width="1575" height="2400" width_o="1575" height_o="2400" data-src="https://freight.cargo.site/t/original/i/47d37ca8bcee23c6060318a8fdf7ee9e064a8cfab65607791f9507403944e719/Etn120041R.jpg" data-mid="70649201" border="0" src="https://freight.cargo.site/w/1000/i/47d37ca8bcee23c6060318a8fdf7ee9e064a8cfab65607791f9507403944e719/Etn120041R.jpg" /> Etna, Phone Booth, 2007. <img width="2400" height="1600" width_o="2400" height_o="1600" data-src="https://freight.cargo.site/t/original/i/cc27bd7c12bf43556d37d40cc0587dcc717dd0ff331057c4e1f9ab411e31786b/DSCF1274.jpg" data-mid="70483837" border="0" src="https://freight.cargo.site/w/1000/i/cc27bd7c12bf43556d37d40cc0587dcc717dd0ff331057c4e1f9ab411e31786b/DSCF1274.jpg" /> London, Frieze Art, 2018. 11.5.2020. "To look is to ignore what you are supposed to see."A phrase from Wim Brands, poet and TV presenter, once e-mailed to me by my friend, photographer Henze Boekhout. We both recognize a truth in that sentence.&nbsp; Looking sideways, trying to avoid the obvious. “Kijken is negeren wat je geacht wordt te zien.” Een zin van Wim Brands, dichter en TV-presentator, mij ooit doorgemailed door mijn vriend, fotograaf Henze Boekhout.&nbsp; We herkennen beiden een waarheid in dat zinnetje. Langsheen de dingen kijken. Proberen het cliché te vermijden. &nbsp; www.henzeboekhout.nl <img width="2400" height="1862" width_o="2400" height_o="1862" data-src="https://freight.cargo.site/t/original/i/f4587fd187440d846876cbb3608845fcd3af1c8b1dd4da325c88fcf26c8e2504/Binnenland-070.jpg" data-mid="70423796" border="0" src="https://freight.cargo.site/w/1000/i/f4587fd187440d846876cbb3608845fcd3af1c8b1dd4da325c88fcf26c8e2504/Binnenland-070.jpg" /> Duffel, Atomium, 1993. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/123e1a3e0bc99fd11b91962ab442a041de5ee46e8b062aeb73ca6b021f272cbe/_MST2529.jpg" data-mid="70377713" border="0" src="https://freight.cargo.site/w/1000/i/123e1a3e0bc99fd11b91962ab442a041de5ee46e8b062aeb73ca6b021f272cbe/_MST2529.jpg" /> Antwerp, De Gerlachekaai, 2020. 9.5.2020. Today was the first real summer day of the lockdown.&nbsp; Also my first photo walk since long.&nbsp; People flocked to the river and enjoyed the late evening sun. The virus could not be photographed. Vandaag de eerste echte zomerdag van de lockdown. Mijn eerste foto-wandeling ook sinds lang. Mensen genieten van de late avondzon. Het virus laat zich niet fotograferen.&nbsp; <img width="14172" height="9403" width_o="14172" height_o="9403" data-src="https://freight.cargo.site/t/original/i/a72299780e1a560d452fc9f5c9f192337d7f1c0eba264b92761159b965cd6cc9/Voetbal-064.jpg" data-mid="69463535" border="0" src="https://freight.cargo.site/w/1000/i/a72299780e1a560d452fc9f5c9f192337d7f1c0eba264b92761159b965cd6cc9/Voetbal-064.jpg" /> Standard de Liège, Spectators outside the Stadium, 2000. <img width="2400" height="1920" width_o="2400" height_o="1920" data-src="https://freight.cargo.site/t/original/i/6f874c2b51c4f5c7c860f863727cc062a40d606c8f3fbecc490c1a66d71d0c7a/_DSC5744.jpg" data-mid="70018435" border="0" src="https://freight.cargo.site/w/1000/i/6f874c2b51c4f5c7c860f863727cc062a40d606c8f3fbecc490c1a66d71d0c7a/_DSC5744.jpg" /> Antwerp, Zuiderdokken, 2016. <img width="2400" height="1920" width_o="2400" height_o="1920" data-src="https://freight.cargo.site/t/original/i/28594d907119d6d9c048a75969b8a1f5942d0293c17bcd6403c6f5f08acb2c7f/Etna-028.jpg" data-mid="70018437" border="0" src="https://freight.cargo.site/w/1000/i/28594d907119d6d9c048a75969b8a1f5942d0293c17bcd6403c6f5f08acb2c7f/Etna-028.jpg" /> Etna, 1992. 5.5.2020. Luigi Ghirri once wrote a beautiful text about the "small figure" in 19th century photos and postcards.&nbsp; Pictures of wide landscapes and famous places that showed the wonders of the world. As a child he was jealous of that little man who apparently traveled around the world.&nbsp; Usually from a corner in the foreground, he considered (it was always a man) what the viewer of the picture also saw: natural phenomena, panoramas, palaces and temples.&nbsp; The man also served as a benchmark: the insignificant against the immense, the temporary and the timeless, man and nature. Question: Does this photo get better if I reveal that the figure in the distance is my mother, with whom I traveled to Sicily a few years after my father's death? Luigi Ghirri schreef ooit een mooie tekst over de ‘kleine figuur’ in 19de eeuwse foto’s en prentkaarten. Afbeeldingen van wijdse landschappen en bekende plekken die de wonderen van de wereld toonden. Hij was als kind jaloers op dat kleine mannetje dat schijnbaar de hele wereld rondreisde. Meestal vanuit een hoekje in de voorgrond, overschouwde hij (het was altijd een man) wat de kijker van de foto ook zag: natuurfenomenen, panorama’s, paleizen en tempels. Het mannetje diende ook als maatstaf: het nietige tegenover het immense, het tijdelijke en het tijdloze, mens en natuur. Vraag: wordt deze foto beter als ik verklap dat de figuur in de verte mijn moeder is, met wie ik enkele jaren na de dood van mijn vader, een reis naar Sicilië maakte? <img width="7360" height="4912" width_o="7360" height_o="4912" data-src="https://freight.cargo.site/t/original/i/078476ef5b6521c72a4ccb2fc187e150546967ee174d32b1403418a98e297dee/_DSC6386.jpg" data-mid="69463532" border="0" src="https://freight.cargo.site/w/1000/i/078476ef5b6521c72a4ccb2fc187e150546967ee174d32b1403418a98e297dee/_DSC6386.jpg" /> Ostend, A Ball and his Dog, 2017. <img width="2400" height="1877" width_o="2400" height_o="1877" data-src="https://freight.cargo.site/t/original/i/01fd809b6b3d248cd3640d94fb32425aa7e03ec4db891d0bb85b473e299af0d1/Spanje-027.jpg" data-mid="69468897" border="0" src="https://freight.cargo.site/w/1000/i/01fd809b6b3d248cd3640d94fb32425aa7e03ec4db891d0bb85b473e299af0d1/Spanje-027.jpg" /> Almeria, Sea View at Dusk, 1993. <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/cb64d806e1e310dac1a93ebdcc6a3533d6d05aed506ae5e5ec419abbebc33f6a/_DSC2634.jpg" data-mid="69662670" border="0" src="https://freight.cargo.site/w/1000/i/cb64d806e1e310dac1a93ebdcc6a3533d6d05aed506ae5e5ec419abbebc33f6a/_DSC2634.jpg" /> Waterloo, Le Victor Hugo, 2014. <img width="2400" height="1907" width_o="2400" height_o="1907" data-src="https://freight.cargo.site/t/original/i/7388bfea47dad0869aa48d7a2ff8efcb8815051a0d83388974be180389bd7a11/Oude-kranten.jpg" data-mid="69463550" border="0" src="https://freight.cargo.site/w/1000/i/7388bfea47dad0869aa48d7a2ff8efcb8815051a0d83388974be180389bd7a11/Oude-kranten.jpg" /> Ghent, Vooruit, 1980. 1.5.2020. Labor Day, so this photo: Vooruit, Ghent.&nbsp; Old newspapers in the attic.&nbsp; We read of strikes and Jeanne Moreau.&nbsp; A Russian spaceship flies around the Earth.&nbsp; Two dogs on board. The newspaper says: Friday December 2, 1960. For me, these shots are the first test with the large format camera.&nbsp; A Linhof Master Technica.&nbsp; I still remember a red leather body, the bellows with a small hole that had to be taped up with tape.&nbsp; I sold the camera a long time ago. Dag van de Arbeid, daarom deze foto: Vooruit, Gent. Oude kranten op zolder. We lezen van stakingen en Jeanne Moreau. Een Russisch ruimteschip vliegt rond de aarde. Aan boord twee honden. De krant zegt: vrijdag 2 december 1960. Voor mij zijn deze opnamen de eerste test met de grootformaatcamera. Een Linhof Master Technica. Ik herinner me nog een rood lederen body, de balg met een klein gaatje dat moest worden dichtgeplakt met tape. De camera heb ik lang geleden verkocht. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/4ec993cbe15828fcde75476f04854b512640d56ff0c7e600e78c9dd712c52a29/_MST1445.jpg" data-mid="70382649" border="0" src="https://freight.cargo.site/w/1000/i/4ec993cbe15828fcde75476f04854b512640d56ff0c7e600e78c9dd712c52a29/_MST1445.jpg" /> Family Photo, early seventies. Pages 8 - 9 of ‘Whereabouts’. 29.4.2020. Oliver is a man from Nigeria who has lived in Belgium for 20 years.&nbsp; He is also a Zumba dancer.&nbsp; We occasionally see him on the Zurich terrace and always have pleasant conversations.&nbsp; He is quite enthusiastic about life.&nbsp; He wanted to buy a book from me. So I cycled home to get a copy.&nbsp; I ordered a drink, and he made the transfer with his mobile.&nbsp; When I got back to the table I saw that he had already started reading and had underlined a piece of text with his pen: "the power of visual art is wordless and silent".I explained to him that the first picture shows my mother and father and myself, after which he wrote in the photo: "mother, father, Marc". I was shocked for a moment, but at the same time found it fascinating that someone regarded such a book as a kind of course, as something very personal.&nbsp; Never experienced this before and yet so much better than people who buy the book and never look at it again. Oliver is een man uit Nigeria, die al 20 jaar in België woont. Hij is ook Zumba-danser. We zien hem af en toe op het terras van Zurich en hebben altijd prettige gesprekken. Hij staat nogal enthousiast in het leven. Hij wou een boek van me kopen. Ik dus even naar huis gefietst en een exemplaar gaan halen. Dan ging ik even een drankje bestellen en hij maakte met zijn mobiel de overschrijving. Toen ik terug aan het tafeltje kwam zag ik dat hij al was beginnen lezen en met zijn pen een stuk tekst had onderstreept: ‘the power of visual art is wordless and silent’.Ik legde hem uit dat op die eerste foto mijn moeder en vader te zien zijn en ikzelf, waarna hij op de foto schreef ‘mother, father, Marc’. Ik schrok even maar vond het tegelijkertijd fascinerend, dat iemand zo’n boek als een soort cursus ging beschouwen, als iets heel persoonlijks. Nooit eerder meegemaakt en toch veel beter dan mensen die het boek kopen en het dan nooit meer inkijken.&nbsp; https://wherewhenandwhybooks.com/Whereabouts-Marc-Steculorum <img width="2400" height="1602" width_o="2400" height_o="1602" data-src="https://freight.cargo.site/t/original/i/c11f0ea9cb0675bfd271c6cb2548e8e023b2a309f07f82f34c6b50c2557f095f/Verdun-085.jpg" data-mid="69463544" border="0" src="https://freight.cargo.site/w/1000/i/c11f0ea9cb0675bfd271c6cb2548e8e023b2a309f07f82f34c6b50c2557f095f/Verdun-085.jpg" /> Verdun, Apartment Building, 2012. 28.4.2020. I notice that photos, taken at different times,&nbsp; now can be viewed differently. Some images simply have attained a layer of Corona varnish. Ik merk dat foto’s, gemaakt in andere tijden, nu ook anders kunnen worden bekeken. Op sommige beelden zit gewoon een laagje Corona-vernis.&nbsp; <img width="2400" height="1664" width_o="2400" height_o="1664" data-src="https://freight.cargo.site/t/original/i/6a07640406d06559cfbb19cfcd115f4c3080d041b841ae1e41f797627f56888f/Voetbal-066.jpg" data-mid="69463542" border="0" src="https://freight.cargo.site/w/1000/i/6a07640406d06559cfbb19cfcd115f4c3080d041b841ae1e41f797627f56888f/Voetbal-066.jpg" /> Brugge, Dugout, 2000. 26.4.2020. Robert Adams starts his book "Art can help" with a quote from Keats: "Poetry should be great and unobstrusive, a thing which enters into one's soul, and does not startle it or amaze it with itself but with its subject" Robert Adams begint zijn boek ‘Art can help’ met een citaat van Keats: “Poetry should be great and unobstrusive, a thing which enters into one’s soul, and does not startle it or amaze it with itself but with its subject”. <img width="2400" height="1601" width_o="2400" height_o="1601" data-src="https://freight.cargo.site/t/original/i/f1b8998cb327726a978967872fe7c362da9dafa109c0ddcf6a0fe55a9dba162e/_MST1714.jpg" data-mid="69463541" border="0" src="https://freight.cargo.site/w/1000/i/f1b8998cb327726a978967872fe7c362da9dafa109c0ddcf6a0fe55a9dba162e/_MST1714.jpg" /> Monte Matanna, Wild Horses, 2019. <img width="5304" height="7952" width_o="5304" height_o="7952" data-src="https://freight.cargo.site/t/original/i/be32a418003e6455a0a38edfcdd17b0ce0c430661d888f64c8c36520e982b4e6/_MST1783.jpg" data-mid="69463539" border="0" src="https://freight.cargo.site/w/1000/i/be32a418003e6455a0a38edfcdd17b0ce0c430661d888f64c8c36520e982b4e6/_MST1783.jpg" /> Al Colle, Caterpillar, 2019. 25.4.2020. Today I watched "Bright Star", Jane Campion's film about the last years of the life of the poet John Keats.&nbsp; Simply on the Ipad. Curious how the quality of such a film still persists, despite the small screen.&nbsp; A bit like some photos, not much bigger than a palm, can still keep their strength. Vandaag naar ‘Bright Star’ gekeken, de film van Jane Campion over de laatste levensjaren van de dichter John Keats. Simpelweg op de Ipad, merkwaardig hoe de kwaliteit van zo’n film toch doorzindert, ondanks het kleine schermpje. Een beetje zoals sommige foto’s ook, niet veel groter dan een handpalm, toch hun kracht kunnen bewaren.&nbsp; <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/3faee1473a485fb5b21aae591949e09785dff6deb21f82df5288453b302655e3/_DSF4276.jpg" data-mid="69463533" border="0" src="https://freight.cargo.site/w/1000/i/3faee1473a485fb5b21aae591949e09785dff6deb21f82df5288453b302655e3/_DSF4276.jpg" /> Pederobba, Fairground, 2019. <img width="1600" height="2400" width_o="1600" height_o="2400" data-src="https://freight.cargo.site/t/original/i/3ba32035e240d533cf1d5af7f986c401069658e38e2e288ba136fa5c79822fde/Bekertjes-021.jpg" data-mid="69463549" border="0" src="https://freight.cargo.site/w/1000/i/3ba32035e240d533cf1d5af7f986c401069658e38e2e288ba136fa5c79822fde/Bekertjes-021.jpg" /> Glory Days, 2000. A stumble &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; ︎ &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;