It is as though he has spent all his time producing misunderstandings, exploring their possibilities from pre-production to post-perception.
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Unfortunately, the general perception is that the Netherlands has not received an exceptional artistic return for this exceptionally generous investment.
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Blue Movie marks a key moment in the Netherlands’ increasing perception of itself as a sexually open and tolerant nation; an image that emerged in the 1970s.
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As such, the work is not a portrait of Traore, but more a grotesque portrayal of the postcolonial situation in Italy and that country’s perception of immigrants.
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Cézanne was one of the first to reexamine the possibilities of a static image based on an idea and not on the accidental and rational perception of natural phenomena.
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The construction of the scene; the construction of the shot; the construction of the spatial configuration; and, hence, the construction of our perception; all take place within possible reversals.
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John Berger backed up the statement quoted above with that classic example of the representation of perception, Magritte’s The Key to Dreams (‘English’ canvas from the La Clef des Songes series, 1935).
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In a whirlwind of perceptions and eliminations, Persecution of the White Car develops a singular story about an elusive place and a glance reflected like sunlight on the white lacquer work of the car in the title.
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What is most enchanting is the casual discovery that one doesn’t have to create anything new after all; one simply has to put that which already exists – mirrors, chairs, cultural identities – back into the flow of perception at a given point in time.
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The development of characters, short stories, perceptions of place, collected physical objects, as well as a diary of the process will be way as the building blocks of a soap opera; continuity over time is an important characteristic of the soap format.
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