Interviews
- Interview for The Streaming festival, The Hague, Netherlands 2011
- Interview for CologneOff videoart festival, Germany 2011
- Presentation of 3 video's at Pakhuis de Zwijger, with Beamlab and VPRO Tv, Netherlands 2012
- Interview for CologneOff videoart festival, Germany 2011
- Presentation of 3 video's at Pakhuis de Zwijger, with Beamlab and VPRO Tv, Netherlands 2012
Interview for The Streaming festival, The Hague, Netherlands 2011
Who is Broekman & Preisner?
Roelof Broekman creates Video art under the name of Broekman & Preisner. I compose music and write novels.
(Additonal info: Roelof Broekman published a poetrybook 'Azotum' and in 2014 his novel 'In de Waitman' was published by De Brouwerij in The Netherlands. In 2016 he finished a new novel, 'De Nachtwandelaar'.)
What is Aeternitatis about?
Sub specie aeternitatis: ’under the aspect of eternity’, what is eternally true, without any reference to or dependence upon the merely temporal portions of reality. Wittgenstein said: ’The work of art is the object seen sub specie aeternitatis’. This video shows the opposite of the aeternitatis: the religious image is brutally disturbed by a fact of life. All heartbeats eventually stop and the live giving bloods will disappear.
How did you start with film? And do you have an educational background in art or film?
I am a composer and a writer. That is basically the background from where I started to make video art. When I bought a camera, I immediately knew what I wanted for my music, and how that should look like. I worked at it with full discipline: learning pro edit software for video, reading every page of the camera manual, talking with pro cameramen, learning, accepting camera jobs, reading lots of pages about video artists and videoart-history, filming as much as I could, working, trying, failing...
Could you explain how you work, what themes or concepts you use and what is important to you?
The way in which I produce my video work differs from the traditional way of putting a soundtrack to an image, or putting an image to a soundtrack. Likewise the words. There is no copy and paste one after the other.
In the creative process, as well as in preparing the technical periphery, interference is not allowed. I work alone: to be able to concentrate in a way similar to that of a writer. During the writing process, for instance with a novel, new ideas and complications evolve on the way. Confronted, the writer has to deal with them, there and then. Find solutions. The unfolding story demands new insights.
This video-art is a manifestation of the way I see a single human: as a world on it's own, complex, enigmatic, with all it's tensions, diverse motivations and colors spread out over the hemispheres, Broekman & Preisner.
Consequently it distinguishes itself from traditional cinema, which is always the product of external collaborations, despite the existence of a single director. And thus my way of working underlines the intention of wanting to be video-art, solely, clearly, with all it's fragmented parts inter-weaved which can be absorbed as a whole, as a coherent object that can be considered done, because only within that medium I can fully provide an experience of the one cell of space.
There are ‘black spots’ in my work to underline the still existing and relative independence of each form: absence of an image or absence of sound. The elements appear to be lost, for a moment, but they still remain part of the actual game, the same story, even in their non-existent momentum. This tension between loosing objects and interweaving objects is essential in making the viewer aware of the idea of one cell of space.
How long do you usually work on one project?
It differs because I spread it out over a period in time. That is important to rightly reflect on your work. I can be very anxious to work fast, but then I have to go back later to better ’oversee’ the whole picture and concept. But in 2011 I made 7 videos.
Do you carefully plan the production process or do you work more intuitive?
I only plan the shooting process. Most of the time I know what I want. But as soon as I start ’composing’ behind my computer it all becomes intuitive. I constantly shift between the compositional part and the image part. Words pop up in the process, new images, new ideas. I need to work strictly alone, in full concentration, undisturbed, like a writer. That’s how I work.
How does the title relate to the work, and how do you find a fitting title?
That’s a cerebral process that comes along in the making. I don’t have control over it as much as I would want to have.
Where do you get your ideas or inspiration from?
The genesis of a project: written words, a musical sequence or shot footage. Then I start to build the video.
How important is sound in film, and if you use sounds, do you create your own or use existing?
All sounds and music are composed by me.
How does content relate to the form of your work?
Totally.
Did the web changed your view on art, or your career?
Computers and software did in the first place. Then the web. My videos are now played in Italy, Germany, Denmark and India. Thanks to the web. My translated poems are now published in the UK. Thanks to the web. Wonderful! I think for sure that the level of created video art has exploded right now. I never liked the video art from the past. But these days, with the equipment we have, and the possibilities for exposure around the globe, video art becomes a serious part of the art world.
Where would you place your work; cinema or art? And what is the difference between those according to you?
I make video art. Video-art undermines conventional cinema-tactics for it’s primary goal: the manifestation of an idea (the artists work) through moving pictures. Conventional cinema tells a story. It’s the equivalent of a novel: like a road with signs. It’s linear in it’s logical presentation. Video-art shows ideas. It’s the equivalent of poetry: like signs without a road. It’s spatial. The linear presentation is a trick: it forces a concentration, but needs no specific clues about points in time.
How influential is the reaction to your film by the audience?
Not. But it is made for them. I hope they do enjoy what they see. I think an audience that seriously watches your stuff deserves to see the art that is the best that you can make. But I will never let me guide by the taste of others: I think that is essential if you want to make art, otherwise you should be doing funny commercials.
What is your next project about?
Metropolis: a young girl doing ballet on a big stage in a big hall. The music will be a combination of electrical guitar noise and a modern composition which I already finished. It will be black and white. (but all this can change in the process)
Roelof Broekman creates Video art under the name of Broekman & Preisner. I compose music and write novels.
(Additonal info: Roelof Broekman published a poetrybook 'Azotum' and in 2014 his novel 'In de Waitman' was published by De Brouwerij in The Netherlands. In 2016 he finished a new novel, 'De Nachtwandelaar'.)
What is Aeternitatis about?
Sub specie aeternitatis: ’under the aspect of eternity’, what is eternally true, without any reference to or dependence upon the merely temporal portions of reality. Wittgenstein said: ’The work of art is the object seen sub specie aeternitatis’. This video shows the opposite of the aeternitatis: the religious image is brutally disturbed by a fact of life. All heartbeats eventually stop and the live giving bloods will disappear.
How did you start with film? And do you have an educational background in art or film?
I am a composer and a writer. That is basically the background from where I started to make video art. When I bought a camera, I immediately knew what I wanted for my music, and how that should look like. I worked at it with full discipline: learning pro edit software for video, reading every page of the camera manual, talking with pro cameramen, learning, accepting camera jobs, reading lots of pages about video artists and videoart-history, filming as much as I could, working, trying, failing...
Could you explain how you work, what themes or concepts you use and what is important to you?
The way in which I produce my video work differs from the traditional way of putting a soundtrack to an image, or putting an image to a soundtrack. Likewise the words. There is no copy and paste one after the other.
In the creative process, as well as in preparing the technical periphery, interference is not allowed. I work alone: to be able to concentrate in a way similar to that of a writer. During the writing process, for instance with a novel, new ideas and complications evolve on the way. Confronted, the writer has to deal with them, there and then. Find solutions. The unfolding story demands new insights.
This video-art is a manifestation of the way I see a single human: as a world on it's own, complex, enigmatic, with all it's tensions, diverse motivations and colors spread out over the hemispheres, Broekman & Preisner.
Consequently it distinguishes itself from traditional cinema, which is always the product of external collaborations, despite the existence of a single director. And thus my way of working underlines the intention of wanting to be video-art, solely, clearly, with all it's fragmented parts inter-weaved which can be absorbed as a whole, as a coherent object that can be considered done, because only within that medium I can fully provide an experience of the one cell of space.
There are ‘black spots’ in my work to underline the still existing and relative independence of each form: absence of an image or absence of sound. The elements appear to be lost, for a moment, but they still remain part of the actual game, the same story, even in their non-existent momentum. This tension between loosing objects and interweaving objects is essential in making the viewer aware of the idea of one cell of space.
How long do you usually work on one project?
It differs because I spread it out over a period in time. That is important to rightly reflect on your work. I can be very anxious to work fast, but then I have to go back later to better ’oversee’ the whole picture and concept. But in 2011 I made 7 videos.
Do you carefully plan the production process or do you work more intuitive?
I only plan the shooting process. Most of the time I know what I want. But as soon as I start ’composing’ behind my computer it all becomes intuitive. I constantly shift between the compositional part and the image part. Words pop up in the process, new images, new ideas. I need to work strictly alone, in full concentration, undisturbed, like a writer. That’s how I work.
How does the title relate to the work, and how do you find a fitting title?
That’s a cerebral process that comes along in the making. I don’t have control over it as much as I would want to have.
Where do you get your ideas or inspiration from?
The genesis of a project: written words, a musical sequence or shot footage. Then I start to build the video.
How important is sound in film, and if you use sounds, do you create your own or use existing?
All sounds and music are composed by me.
How does content relate to the form of your work?
Totally.
Did the web changed your view on art, or your career?
Computers and software did in the first place. Then the web. My videos are now played in Italy, Germany, Denmark and India. Thanks to the web. My translated poems are now published in the UK. Thanks to the web. Wonderful! I think for sure that the level of created video art has exploded right now. I never liked the video art from the past. But these days, with the equipment we have, and the possibilities for exposure around the globe, video art becomes a serious part of the art world.
Where would you place your work; cinema or art? And what is the difference between those according to you?
I make video art. Video-art undermines conventional cinema-tactics for it’s primary goal: the manifestation of an idea (the artists work) through moving pictures. Conventional cinema tells a story. It’s the equivalent of a novel: like a road with signs. It’s linear in it’s logical presentation. Video-art shows ideas. It’s the equivalent of poetry: like signs without a road. It’s spatial. The linear presentation is a trick: it forces a concentration, but needs no specific clues about points in time.
How influential is the reaction to your film by the audience?
Not. But it is made for them. I hope they do enjoy what they see. I think an audience that seriously watches your stuff deserves to see the art that is the best that you can make. But I will never let me guide by the taste of others: I think that is essential if you want to make art, otherwise you should be doing funny commercials.
What is your next project about?
Metropolis: a young girl doing ballet on a big stage in a big hall. The music will be a combination of electrical guitar noise and a modern composition which I already finished. It will be black and white. (but all this can change in the process)
Interview for the CologneOff Video Art festival (Germany, 2011)
1. Tell me something about your life and the educational background
Born in Amsterdam, 1967, a brief moment at University (history) was enough to consider the school days over. I had my own ideas, be it that they were not yet completely clear to me at that point, not at all in fact. But I started to write music, poetry and short stories anyway and kept myself alive with all kinds of jobs. It was an uncertain road but the personal path became a gratifying one when I started to be able to reach other people. I ended up in the finals of a music-contest on national radio with a song I wrote and for which I played all the instruments. I played live. My poetry started to get published in different literature magazines. My music was asked for in commercial productions, documentaries and national TV. I learned to compose ensemble music, published a poetry book, and started to make video art…under the name of Broekman & Preisner.
2. When, how and why did you start filming?
It came out of the composing work I did for TV, commercials and educational films. But it was all quiet formatted while my interests where lying in other kinds of movies, modern art-music and art in general. So I bought a camera and immediately knew what I wanted for my music, and how that should look like. I worked hard at it: learning pro edit software for video, reading every page of the camera manual, talking with pro camera man, learning, accepting camera jobs, reading thousands of pages about video artists and it’s history, filming as much as I could, working and working, trying, failing and…
3. What kind of subjects do your films have?
Inner circles, the un-represent-able god, movements and moments, sleep, silence, looks, lucid dreams, sounds, and reflections.
4. How do you develop your films, do you follow certain principles, styles etc?
The way in which I produce my video work differs from the traditional way of putting a soundtrack to an image, or putting an image to a soundtrack. Likewise the words. There is no copy and paste one after the other.
In the creative process, as well as in preparing the technical periphery, interference is not allowed. I work alone: to be able to concentrate in a way similar to that of a writer. During the writing process, for instance with a novel, new ideas and complications evolve on the way. Confronted, the writer has to deal with them, there and then. Find solutions. The unfolding story demands new insights.
This video-art is a manifestation of the way I see a single human: as a world on it's own, complex, enigmatic, with all it's tensions, diverse motivations and colors spread out over the hemispheres, Broekman & Preisner.
Consequently it distinguishes itself from traditional cinema, which is always the product of external collaborations, despite the existence of a single director. And thus my way of working underlines the intention of wanting to be video-art, solely, clearly, with all it's fragmented parts inter-weaved which can be absorbed as a whole, as a coherent object that can be considered done, because only within that medium I can fully provide an experience of the one cell of space.
There are ‘black spots’ in my work to underline the still existing and relative independence of each form: absence of an image or absence of sound. The elements appear to be lost, for a moment, but they still remain part of the actual game, the same story, even in their non-existent momentum. This tension between loosing objects and interweaving objects is essential in making the viewer aware of the idea of one cell of space.
5. Tell me something about the technical equipment you use.
A camera, a computer and my imagination.
6. The field of “art and moving images” (one may call it videoart or also differently) is manifesting itself as an important position in contemporary art. Tell me more about your personal position and how you see the future of this field ( your personal future and the future of “art and moving images”)
Every artist has it’s strong field in which he works: video art has a short history in compare to painting, writing and the theater. The great thing about video art is that in the near future every other art will be involved in moving images, and the other way around. Because video art differs so much from conventional film making and photography, there is a whole world to discover: and it’s limitless.
But with this revolution of heavy loaded computers comes a responsibility and a challenge: within the thousands of choices (a.k.a. freedom) one can make in editing these days, only the strong will survive. More and more it will depend on the imagination of the maker, on his ideas and his philosophy, how strong the end result will be, and not the challenge of overcoming technical limitation (as in the early days of video making). It is now basically the same as the white canvas of a painter 100 years ago, or the universal silence in the ear of the composer…and it is precisely because of this that you have to know what to do, or/and develop strong intuitive powers!
7. How do you finance your films?
Composing music for TV and documentary, audio (speech) and camera (weblectures) work. There is also some private funding for special projects or travels in relation to my art: I’d like to mention my dear friends Chris Kwik and Jaap Westermann.
8. Do you work individually as a video artist/film maker or do you work in a team? If you have experience in both, what is the difference, what do you prefer?
The basis of my philosophy is: I work like a writer, with that private concentration, and that’s in every aspect of my video making, in every part of the trajectory.
9. Who or what has a lasting influence on your film/video making?
Different people from different arts:
- Elliot Carter (composer) who developed the independent routings of different instruments in an ensemble: he started to see instruments as individuals with their own needs and willpower as a equivalent of the modern democratic society.
- Alexander Sokurov (director) who showed how spoken words and slow revealing images can capture ones attention in a way that you eventually get overwhelmed by the intensity of simplicity, and taking the time to let you become part of his dreamlike world, for instance in his ‘elegy of a journey’, but it’s everywhere in his work.
- Michel van der Aa (composer) who combines film images, interviews and acting with ensemble live performance. He also uses singers who interact live with pre-recorded images and voices of themselves projected on screen. Van der Aa writes the music and directs the visuals himself.
- Rob List (moving art) who makes very slow body movements in strict silence, moving away from dance in such a way that it manifests an inner world seen on the outside, demanding full concentration of the spectator who almost becomes part of the play. Very compact ideas stretched out over a long period of time. Challenging performances.
- Sonic Youth for what they are.
- and.....in non-specific order: Anders Weberg, Claude Vivier, Ingmar Bergman, Arnold Schönberg, Black Sabbath, John Frusciante, Pierre Boulez, Edgar Reitz, Zappa, Anton Webern, Woody Allen, Radiohead, Vinnie Colaiuta, Anton Corbijn, Edgar Varese, Hal Hartley, Thurston Moore, Neil Peart, Sofia Gubaidulina, Morton Feldman.
10. What are your plans or dreams as a film/video maker?
I’m living the dream right now: this day and age is beautiful for me personally. It almost seems as if I have waited all my life to be able to make the things I make right now: 10 years ago it wasn’t possible, not the way I work, at least not for an individual artist.
Born in Amsterdam, 1967, a brief moment at University (history) was enough to consider the school days over. I had my own ideas, be it that they were not yet completely clear to me at that point, not at all in fact. But I started to write music, poetry and short stories anyway and kept myself alive with all kinds of jobs. It was an uncertain road but the personal path became a gratifying one when I started to be able to reach other people. I ended up in the finals of a music-contest on national radio with a song I wrote and for which I played all the instruments. I played live. My poetry started to get published in different literature magazines. My music was asked for in commercial productions, documentaries and national TV. I learned to compose ensemble music, published a poetry book, and started to make video art…under the name of Broekman & Preisner.
2. When, how and why did you start filming?
It came out of the composing work I did for TV, commercials and educational films. But it was all quiet formatted while my interests where lying in other kinds of movies, modern art-music and art in general. So I bought a camera and immediately knew what I wanted for my music, and how that should look like. I worked hard at it: learning pro edit software for video, reading every page of the camera manual, talking with pro camera man, learning, accepting camera jobs, reading thousands of pages about video artists and it’s history, filming as much as I could, working and working, trying, failing and…
3. What kind of subjects do your films have?
Inner circles, the un-represent-able god, movements and moments, sleep, silence, looks, lucid dreams, sounds, and reflections.
4. How do you develop your films, do you follow certain principles, styles etc?
The way in which I produce my video work differs from the traditional way of putting a soundtrack to an image, or putting an image to a soundtrack. Likewise the words. There is no copy and paste one after the other.
In the creative process, as well as in preparing the technical periphery, interference is not allowed. I work alone: to be able to concentrate in a way similar to that of a writer. During the writing process, for instance with a novel, new ideas and complications evolve on the way. Confronted, the writer has to deal with them, there and then. Find solutions. The unfolding story demands new insights.
This video-art is a manifestation of the way I see a single human: as a world on it's own, complex, enigmatic, with all it's tensions, diverse motivations and colors spread out over the hemispheres, Broekman & Preisner.
Consequently it distinguishes itself from traditional cinema, which is always the product of external collaborations, despite the existence of a single director. And thus my way of working underlines the intention of wanting to be video-art, solely, clearly, with all it's fragmented parts inter-weaved which can be absorbed as a whole, as a coherent object that can be considered done, because only within that medium I can fully provide an experience of the one cell of space.
There are ‘black spots’ in my work to underline the still existing and relative independence of each form: absence of an image or absence of sound. The elements appear to be lost, for a moment, but they still remain part of the actual game, the same story, even in their non-existent momentum. This tension between loosing objects and interweaving objects is essential in making the viewer aware of the idea of one cell of space.
5. Tell me something about the technical equipment you use.
A camera, a computer and my imagination.
6. The field of “art and moving images” (one may call it videoart or also differently) is manifesting itself as an important position in contemporary art. Tell me more about your personal position and how you see the future of this field ( your personal future and the future of “art and moving images”)
Every artist has it’s strong field in which he works: video art has a short history in compare to painting, writing and the theater. The great thing about video art is that in the near future every other art will be involved in moving images, and the other way around. Because video art differs so much from conventional film making and photography, there is a whole world to discover: and it’s limitless.
But with this revolution of heavy loaded computers comes a responsibility and a challenge: within the thousands of choices (a.k.a. freedom) one can make in editing these days, only the strong will survive. More and more it will depend on the imagination of the maker, on his ideas and his philosophy, how strong the end result will be, and not the challenge of overcoming technical limitation (as in the early days of video making). It is now basically the same as the white canvas of a painter 100 years ago, or the universal silence in the ear of the composer…and it is precisely because of this that you have to know what to do, or/and develop strong intuitive powers!
7. How do you finance your films?
Composing music for TV and documentary, audio (speech) and camera (weblectures) work. There is also some private funding for special projects or travels in relation to my art: I’d like to mention my dear friends Chris Kwik and Jaap Westermann.
8. Do you work individually as a video artist/film maker or do you work in a team? If you have experience in both, what is the difference, what do you prefer?
The basis of my philosophy is: I work like a writer, with that private concentration, and that’s in every aspect of my video making, in every part of the trajectory.
9. Who or what has a lasting influence on your film/video making?
Different people from different arts:
- Elliot Carter (composer) who developed the independent routings of different instruments in an ensemble: he started to see instruments as individuals with their own needs and willpower as a equivalent of the modern democratic society.
- Alexander Sokurov (director) who showed how spoken words and slow revealing images can capture ones attention in a way that you eventually get overwhelmed by the intensity of simplicity, and taking the time to let you become part of his dreamlike world, for instance in his ‘elegy of a journey’, but it’s everywhere in his work.
- Michel van der Aa (composer) who combines film images, interviews and acting with ensemble live performance. He also uses singers who interact live with pre-recorded images and voices of themselves projected on screen. Van der Aa writes the music and directs the visuals himself.
- Rob List (moving art) who makes very slow body movements in strict silence, moving away from dance in such a way that it manifests an inner world seen on the outside, demanding full concentration of the spectator who almost becomes part of the play. Very compact ideas stretched out over a long period of time. Challenging performances.
- Sonic Youth for what they are.
- and.....in non-specific order: Anders Weberg, Claude Vivier, Ingmar Bergman, Arnold Schönberg, Black Sabbath, John Frusciante, Pierre Boulez, Edgar Reitz, Zappa, Anton Webern, Woody Allen, Radiohead, Vinnie Colaiuta, Anton Corbijn, Edgar Varese, Hal Hartley, Thurston Moore, Neil Peart, Sofia Gubaidulina, Morton Feldman.
10. What are your plans or dreams as a film/video maker?
I’m living the dream right now: this day and age is beautiful for me personally. It almost seems as if I have waited all my life to be able to make the things I make right now: 10 years ago it wasn’t possible, not the way I work, at least not for an individual artist.
Inleiding tijdens de Beamlab avond in Pakhuis de Zwijger, 30 mei 2012
Ik maak een vorm van beeldpoëzie die voortkomt uit door mij gecreëerd beeld, door mijzelf gecomponeerde en gespeelde muziek, en door mijzelf geschreven of gesproken tekst. Tijdens het maakproces switch ik voortdurend tussen deze drie componenten om ze zo dicht mogelijk bij elkaar te krijgen. Ik probeer ze als het ware in elkaar te weven, te vlechten. Van belang daarbij is de gelijktijdigheid in het proces. Om een bepaalde vorm van concentratie te behouden werk ik alleen, net als een schrijver. Zo kunnen zich bijvoorbeeld tijdens de video-opnamen al compositorische fragmenten vormen, of tekstideeën aandienen. Er toont zich uiteindelijk een resultaat van 1 visie, 1 denkraam, waarbij elke mogelijke vorm van collectiviteit, samenwerking, is uitgeschakeld.
Maar vandaag laat ik dus iets anders zien: ik heb gebruik moeten maken van beelden die niet door mijzelf zijn geschoten. En dat levert meteen een iets ander resultaat op. Met een andere spanning. Hoewel het proces van werken in wezen hetzelfde is lijkt het er op dat we hier meer te maken hebben met slechts een reactie op beeldmateriaal: de beelden behoren immers al tot een bestaand concept, een bestaand programma, zijn al ‘gebruikt’, en voor mijn doel dus in feite corrupt. De uitkomst is dan ook op alle niveaus die van een verstoord proces. Wellicht gaan de video's daar ook over.
Ik toon vanavond een drieluik dat ik dus heb gemaakt met de aangeboden beelden van ‘Nederland van Boven’.
Ik wil de 3 video’s kort even inleiden.
1. out of the blue
Uit het niets komen de zuchten
Uit het niets komt het zicht
Komen de dingen die we niet willen
Komt het antwoord op de verdrongen vraag
Uit het niets tekenen zich lijnen
Strepen van condens, afgegeven door vleugels,
Die van vreemde vogels zijn
Van de dragers van het gecontroleerde vuur…
2. cobra attack
Wat als de moskee een kerk is geworden
De kleine zandstraatjes, verharde weg
Wat als de zorgvuldig geplante bomen,
Plotseling wolken van stof zijn
Wat als de stem een order is, kort en zakelijk
En je lot een beslissing van hogerhand…
3. a cell of space
Een cel van ruimte, een stem uit het verleden, een roep om god, een collage in de leegte, eenkennige werelden, op zichzelf staand, in zichzelf gekeerd, als verloren woorden die komen en verdwijnen, zoals alles dat eens benoemd is, uiteindelijk verdwijnt…
Maar vandaag laat ik dus iets anders zien: ik heb gebruik moeten maken van beelden die niet door mijzelf zijn geschoten. En dat levert meteen een iets ander resultaat op. Met een andere spanning. Hoewel het proces van werken in wezen hetzelfde is lijkt het er op dat we hier meer te maken hebben met slechts een reactie op beeldmateriaal: de beelden behoren immers al tot een bestaand concept, een bestaand programma, zijn al ‘gebruikt’, en voor mijn doel dus in feite corrupt. De uitkomst is dan ook op alle niveaus die van een verstoord proces. Wellicht gaan de video's daar ook over.
Ik toon vanavond een drieluik dat ik dus heb gemaakt met de aangeboden beelden van ‘Nederland van Boven’.
Ik wil de 3 video’s kort even inleiden.
1. out of the blue
Uit het niets komen de zuchten
Uit het niets komt het zicht
Komen de dingen die we niet willen
Komt het antwoord op de verdrongen vraag
Uit het niets tekenen zich lijnen
Strepen van condens, afgegeven door vleugels,
Die van vreemde vogels zijn
Van de dragers van het gecontroleerde vuur…
2. cobra attack
Wat als de moskee een kerk is geworden
De kleine zandstraatjes, verharde weg
Wat als de zorgvuldig geplante bomen,
Plotseling wolken van stof zijn
Wat als de stem een order is, kort en zakelijk
En je lot een beslissing van hogerhand…
3. a cell of space
Een cel van ruimte, een stem uit het verleden, een roep om god, een collage in de leegte, eenkennige werelden, op zichzelf staand, in zichzelf gekeerd, als verloren woorden die komen en verdwijnen, zoals alles dat eens benoemd is, uiteindelijk verdwijnt…