Portfolio Geert Wachtelaer
Transcription
Portfolio Geert Wachtelaer
Portfolio Geert Wachtelaer http://www.geertwachtelaer.com “The medium at best can only be a window, but it's up to the artist to break the glass” Contact labo : Pontstraat 39 9300 Aalst Belgium cellphone : 0032 478 91 30 17 [email protected] BTW n°: BE0879.810.487 FORTIS 001-2383909-16 IBAN n° BE72 0012 3839 0916 BIC-CODE : GEBABEBB Fortis Bank, Nieuwstraat 20 9300 Aalst Belgium Experimental films by Geert Wachtelaer are mostly focused on forming and researching of layered inner states, forces that may build up different tensions between the subjects. Visual identity given to the strong and deep interpretations of the performers creates a cohesion with the sound that is a very important part of it. Observing transition of states and forms, exploring the relationships of matter and the inner content, in his films, Geert Wachtelaer often refers to the human conciousness and its paths, showing a "life" outside of contexts familiar to us, also visually portraying the alienation and the dark, even disturbing, from a psychologically more difficult points of view. There is always a reaction represented by persons, making it realistic in relation for the viewer, which is only a part of the appearance, but the substance rather stays covert behind the streaming of movements and ambiences that offer, through an unusual way, the key of the hidden. (Daniela Ratkajec, visual artist Zagreb and member of Croatian Association of Artists (HDLU) Croatia). 1 Education 1986-1990 Study of film director at the RITCS, Brussels (Rijksinstituut voor Toneel en Cultuurspreidingstechnieken) Occupation Freelance Audiovisual artist Before 2000 worked as an underground creator collaborations within installation art| media art| performances| video art | internetart 2 Solo-exhibiton (selection) 2006 'Art in Antwerp (ANINA)', Internationaal Pershuis, Antwerpen (België) groeptentoonstellingen (selectie) 2012 Galerija Nano Gajeva 26 Zagreb, Croatia Curator Martina Mezak With the support of The Croatian Association for promotion of Art and Culture Exhibitons 2011 Souvenirs from the earth, by curator Alec Crichton 2008 Salon 08, Aalst (België) Nieuw Amsterdam, New York (USA) Kunstevenement De drempel, Wevelgem (België) 2007 CITYPULSE Lowell, 119 Gallery, Lowell (USA) Patagonia Electrónica Festival, Punta Arenas (Chili) 'Beyond', Moka Gallery, Chicago (USA) Danscamdanse festival, Film-plateau, Gent (België) 'Facing the river', East Art Center, Chicago (USA) Loop Festival, Barcelona (Spanje) ART Santa Fe, El Museo de Cultural, New Mexico (USA) Videominuto PopTV 2007, Centro per l'Arte Contemporanea Luigi Pecci, Prato (Italië) Art Now Fair Miami, Miami (USA) 'Diva', video art fair, Paris (Frankrijk) 'If I Can't Dance', MuKHA, Antwerpen (België) 3 2006 'Semantikon, ARCANA', New York (USA) City hall, Sint-Niklaas (België) Augustinus Muziekcentrum, Antwerpen (België) Museum Dhondt-Dhaenens, Deurle (België) OLV-ter-Potterie, Brugge (België) Flagey, Brussel (België) Metu Video Festival, Ankara (Turkije) Synch Festival, Athene (Griekenland) Videominuto, Luigi Pecci Center for Contemporary Arts of Prato (Italy) Europian film festival 'For the first five', Neubrandenburg (Duitsland) 'PI performance & intermedia' festival, National Museum, Szczecin (Polen) Les instants video, l'Ecole Supérieure d'Art d'Aix-en-Provence, Text and Texture (Frankrijk) CITYPULSE 4, santiago media art festival, Santiago (Chili) Biennale 3000, Sao paulo (Brazilië) 2005 Les inattendus, contempory art evenement, Parijs (Frankrijk) Detroit International Film and Video Festival, Museum of Modern Art, Detroit (USA) Art in your Face, Malmö (Zweden) Cortodrome, short filmfestival, Bari (Italië) Optica2005, Video-art and Contemporary Photography, Gijón (Spanje) bac!05 - international festival of contemporary art, Barcelona (Spanje) 'Nuit Blanche', M°Bibliothèque, Parijs (Frankrijk) Videohm, OHM Lounge Syracuse, New York (USA) 2004 Norapolis 2004, International festival of multimedia, Metz (Frankrijk) Festival International cinema nouvelles générations, Lyon (Frankrijk) 'The Drake Hotel: notes from the underground with Steve Reinke', s.l., Toronto (Canada) Heaven Gallery, Chicago (USA) PLAY III - International Video Art Festival -Museo de Arte "Ángel M. De Rosa", Junìn, Buenos Aires (Argentinië) Biennale Internazionale di Ferrara, Castello Estense, Ferrara (Italië) Festival 'Musiques Volantes', Metz (Frankrijk) 2000 'Information days', Argos Arts, Brussel (België) Impakt festival, Central Museum, Utrecht (Nederland) 'PI performance & intermedia' festival, National Museum, Szczecin (Poland) Les instants video, l'Ecole Supérieure d'Art d'Aix-en-Provence, Text and Texture (France) CITYPULSE 4, santiago media art festival, Santiago (Chile) Biennale 3000, Sao paulo (Brazil) 4 2005 Les inattendus, contempory art evenement, Paris (France) Detroit International Film and Video Festival, Museum of Modern Art, Detroit (USA) Art in your Face, Malmö (Sweden) Cortodrome, short filmfestival, Bari (Italy) Optica2005, Video-art and Contemporary Photography, Gijón (Spain) bac!05 - international festival of contemporary art, Barcelona (Spain) 'Nuit Blanche', M°Bibliothèque, Paris (France) Videohm, OHM Lounge Syracuse, New York (USA) 2004 Norapolis 2004, International festival of multimedia, Metz (France) Festival International cinema nouvelles générations, Lyon (France) 'The Drake Hotel: notes from the underground with Steve Reinke', s.l., Toronto (Canada) Heaven Gallery, Chicago (USA) PLAY III - International Video Art Festival -Museo de Arte "Ángel M. De Rosa", Junìn, Buenos Aires (Argentina) Biennale Internazionale di Ferrara, Castello Estense, Ferrara (Italy) Festival 'Musiques Volantes', Metz (France) 5 Selected works The observation, video, Betacam, sound, non spoken, 11 min, 1999, production Geert Wachtelaer Sweet intoxication video, Beta cam, sound, non spoken, 8 min, 2000, prod Geert Wachtelaer (Cinémathèque Royale de Belgique) Flowering wound video, Beta cam, dolby sound, non spoken, 32 min 15 sec, 2000, prod Geert Wachtelaer. (Cinémathèque Royale de Belgique) Psychosexual video DV, sound, non spoken, 7 min, 2001, prod Geert Wachtelaer Purification a projection, DV, sound, non spoken, 32 min, 2001, prod Geert Wachtelaer Fish on Friday , video, DV, stereo sound, non spoken, 05 min, 2002, prod Geert Wachtelaer I am afraid of a blue sky , video, DV, stereosound, spoken, 2003 prod Geert Wachtelaer Cycli , video, svcd, stereo sound, 2003, prod Geert Wachtelaer The experiment, Projection, stereosound, non spoken, 2003 prod Geert Wachtelaer Repetition video, stereosound, non spoken, 2003 prod Geert Wachtelaer The Cracking video, stereosound, non spoken, 2004, prod Geert Wachtelaer Ungehörige Handlung, stereosound, non spoken, 2004, prod Geert Wachtelaer Alpha Phaze video stereosound, non spoken,2004, prod Geert Wachtelaer The Quiet Man , stereosound, non spoken, 2004, prod Geert Wachtelaer Selfhelp , stereosound, non spoken, 2004, prod Geert Wachtelaer A last impression , stereosound, non spoken, 2004, prod Geert Wachtelaer Fragile , stereosound, German spoken, 2004, prod Geert Wachtelaer Remains of a Disturbed Illusion , non spoken, 2005,prod Geert Wachtelaer Marrige of Heaven and Hell, Johan Duijck conduct Geert Wachtelaer video artist , 2006, prod Vlaams Radio Koor Met steun van de Vlaamse Overheid. This concert was recorded by VRT-klara Forgotten Film 1 , 2006, prod.Geert Wachtelaer Private City (Cityscapes and soundscapes) exclusive for MOKA Gallery, chicago, 2006 Cast : Emilie de Vlam,dance and choreography Voice : Lisa Gilbert 6 The space between 2007, Production : MA vzw. with thanks to Croxhapox Gallery. Ghent, Belgium. Met steun van de Vlaamse overheid. The Chesnut Tree 2007,. Met steun van de Vlaamse overheid en stad Aalst. Finding Beauty 2007 prod. Geert Wachtelaer. Summoning Stones 2008 and Wing Yan Man videoinstallation with French performer Cia Barbett Black Noise/White noise 2008 videoinstallation in collaboration with Stefaan Loncke and Ine Pieter , 2008 Met Steun van de Vlaamse overheid. Faces 2008 videoprojection in collaboration with Frédérique Galliot and Stefaan Loncke More then common sense dictates 2008 Short movie in collaboration with Hildegarde Follon (still going on in post-production) Ce(n)suur 2008 a production of Stefaan Loncke, Nicoletta Branchini, Geert Wachtelaer Forgotten film # 2, 2010, Geert wachtelaer Ladinsky project, 2010-2011, Geert wachtelaer in collaboration with Alison Mackie Por Chile, 2010, collaboration. In February 2010 a devastating earthquake followed by tsunami destroyed part of the territory of Chile, dragging villages, livelihoods and -most painful- lives. POR CHILE is an effort by the artists linked with CITYPULSE to help rebuild part of the loss. The images, texts, music and video that make up this work represent a message to Chile from each of the 70 artists around the world who has collaborated with this initiative. The available formats includes a book, CD, DVD, web, mobile app. and a limited 5 print series of each photograph. All the profits will go to help the victims. O ART TELEVISION CHANNEL O Art is a new form of artwork, an innovative concept in visual arts, a new approach to the communication media. O Art Association is a society of artists, the public, institutions and others in various fields of contemporary art. 2010 Interludium : Projections for play 'Dance of Memories' by Lies Serdons 2010 and 'de sublieme wals' by sopra a musica 2011 Apparitions, 2011, prod Geert Wachtelaer The collector, 2011, prod.Geert Wachtelaer. The sound of pigeons, 2011, prod.Geert Wachtelaer. Drifting away for 4'33", 2011 prod. Geert Wachtelaer Analogy, 2011 prod. Geert Wachtelaer The experiments of things, 2011, prod. Geert Wachtelaer Waiting for Freud 2012. Prod Geert Wachtelaer 7 8 MOKA GALLERY Contemporary Fine Arts Contact: Jhonmar Castillo Gallery Director – Owner 2112 W. Belmont Ave. Chicago, IL 60618. [773] 975-2280. May 20, 2007. [email protected] www.mokagallery.com Dear Mr. Geert Wachtelaer I’m glad to inform you that we are now showing your video-art “Private City” not only at our gallery space Moka Gallery, but your video was also selected and curate to be on a 3 months exhibit at the premier Chicago’s River East Art Center on a public display and with access to thousands of people everyday due to its prime location near the Navy Pier and other touristy attractions. The reaction from the audience has being excellent and the thematic of “Private City” as an urban investigation just fit Chicago. We are very exited about this opportunity and happy that your work created such a positive and welcoming reception. I also want you to know that we will be promoting and representing your work at the following art fairs; Art Santa Fe – July 2007, Art Miami – Art Basel – Dec 2007 and we are submitting your work to be presented at the “DIVA” video art fair in Paris – Nov 2007. We are very exciting about your upcoming projects and we are looking forward to see your new works and off course I will like to extend my offer of continue representing your video-art here in the USA. Please feel free to contact me with your questions and concerns and thank you in advance for all your hard work. Best Regards Jhonmar Castillo Moka Gallery Owner-Director. 9 ‘Private City’ is a dream-like ‘impression’ video. Geert Wachtelaer interweaves powerful levels of meaning, without resorting to cinematographic tricks or special effects. At first glance, he is acting as just a temporary prophet, but records his surroundings in an impressive way. The metropolis in the form of a number of desolate cityscapes is bleakly explored and displays just minuscule mechanical movements, void of any human warmth. Enhanced by startling sounds—dark, somber and desolate— the senseless emptiness of this cold city becomes a harsh reality. Is it ‘too late’, as the graffiti on the wall reads? No, because luckily there is an antithesis to this alienation. Fortunately, there is a reaction in the shape of a person, real flesh and blood. A woman who internally objects to the vulnerability of her existence and her surroundings. An initially dislocated being yearning to escape from her cocoon. A solitary archetype—guardian of all life—wandering in search of identity, in search of her own ‘Private City’… Geert Wachtelaer could not have chosen a better performer for this role than Emilie de Vlam. She fulfills her role simply brilliantly. Every fiber, every muscle of her body is placed under enormous, intolerable strain. For many minutes she is embroiled in a struggle for life. A sparkling performance. Doesn't she literally embody the horror of her fate? In a sensual, passionate piece of self expression, she examines and eats— virginally and innocently—leaves and earth. Or is she really so innocent? Could this woman be the modern-day ‘Diana’, the governess of the wild animals who acts as the protector of purity, challenging the decline and immorality of the city? Her ‘Private City’ is continuously taking shape. You can smell the woodland and taste her lips. Abandoned in a yearning glow, exhausted but satisfied, she mixes with the natural elements to eventually melt together with the inner fibers of a tree … there are plenty 10 of Freudian theories to consider here: sufficient scope for interpretation. But aside from that, these scenes are put together in a beautiful way and are filmed with intensity. With ‘Private City’, Geert Wachtelaer highlights the eternal balancing act between the forces that surround us. The forces between man and wife, earth and air, fidelity and infidelity, modernity and tradition, loyalty and betrayal… but above all, between passion and emptiness. Nobody can withstand the emptiness. Acknowledgement of this appears extremely productive in itself. Olivier Bras Artist, February 25, 2007. 11 12 The space between 2008 13 The space between. Audiovisual environments the sense of unfolding waking dream With Emilie de Vlam Music and video Geert Wachtelaer 14 Black noise white noise 2008 stefaan loncke – ine pieters – geert wachtelaer with support of the Flemmish Community a collaboration between Stefaan Loncke Geert Wachtelaer Ine Pieters©2008 an installation about transgression, identity, norms and perceptionblack noise . white noise is about the tension between presence and absence, and about what lies beyond norms and cultural constructions which set the boundaries to a supposedly liveable, social life; about what escapes normative systems. Even when these norms are meant to protect and to create liveable circumstances, they have something suffocating about them. A subject who feels this, often tries to answer some kind of inner call to reach beyond and transgress these boundaries, even at the cost of a safe or ‘normal’ life. infra red lights, 10 projections, soundscapevisiting the installation The visitor to the installation is welcomed by the warmth of infra red lamps. These lights are used in breeding cages to simulate the warmth of the mother. It’s the protective warmth which becomes suffocating and uneasy when you remain too long and too close to the lamps. It’s the warmth we loose when growing up, and which we seek in others. The red light might as well stand for passion. 15 Once this bed of warmth is passed, the visitor enters a dark space. No lamps emit light here: no action is undertaken to define the surroundings, no borders are visible: in the dark, one object doesn’t visually differ from another. In this dark space, absence rules. The left wall shows 9 projections, positioned in a Pythagorean triangle. 4 images on the vertical axis show a male subject. 4 on the horizontal axis a female subject. They are holding symbolic objects of transgression, in a way that reminds of the old devotional images of saints and martyrs. The classic printmakers, used the same cliché for the images of the different martyrs, and printed their attribute of their death as a separate layer in order to define the identity of the martyr. Thus, the objects by which they were killed (because they didn’t comply to the ruling norms) have become objects of their identity. In the installation, the male and female series hold attributes of personal transgression of norms. The transgressional drive is a reference to identity. On the diagonal axis (sublimation of the 2 other axis which are each others opposite, being a corner of 90°), the female and male subject return as each others object of transgression. Both try to remove the cultural conditionings (constructs, ties), represented as ropes around the head. They want to reach beyond, and when they succeed, they encounter the black noise… absence. They can only develop new terminology, new constructions and with that, the process begins anew. As was said, this dark space is about absence. The idea of presence and absence is also represented in the imaging of the male and female subject. From birth, the sex is determined by presence of absence of the penis. Presence is linked to masculinity, absence to femininity, as if to say that femininity has to be build up, constructed. By portraying the male and female subject from the waist, the visual play of presence has changed towards the woman. When grown up, the presence of breasts become a symbol of femininity. On the opposite wall, another projection shows a male and female sex in a continuous flow of approach and withdrawal. Where coitus supposed to be the answer, something staggers. Unity and fulfilment is the goal here, absence to become presence, and at the point where everything should comply, where presence would dominate absence, white noise appears. Theories, norms, settings, constructions, are not allowed to fit when it would mean final fulfilment or a perfect state in which the subject is dissolved in unity. 16 The installation is supported by a soundscape, which contains tensions as a result of the Pythagorean issues concerning the division of the musical scale. The issue of the Pythagorean comma, is an example on how our western culture is faced with an immeasurable reality. In our western world, the musical Pythagorean scale is one of the earliest argumentations by number, in stead of by use of words… and it fails to capture nature: what escapes, is referred to as the Pythagorean comma. 17 FACES 2008 Between nature and culture. Between man and woman. It is not an easy thing to meet your maker. The contemporary performance art scene cherishes to welter in the mire of pulsions, passions, phantasms and simulacra, or to indulge in conceptualism. Hence, this art operates through recognition of actual or fictitious human conditions, and through reducing art to cognition. This art is human, all too human. If, rarely, the spiritual or the transcendent is spoken of, it is either to restore a conservative aesthetics or to rave about hazy new age commonplaces. In our view, art should strive for a transformation potential through the touch of the Sublime. This transcendency by no means implies a cartesian split of bodily and spirituals realms. Dance can not exclude the wisdom of the body. Neither does art expel the pathogenic germ, proper to every era or culture : art is a patient, but should be also a doctor. If emotions and pain be there, it is to transform them into beauty and even more : into the sublime, created by the ‘prepared’ body-soul in full presence here and now, affirming itself in its highest flight, fuelled by vertical energies radiating and redistributed through the own aesthetic drive. No contradiction exists between the most basic impulse and the most arcane creation. The artist’s total engagement should be met by the spectator’s : in this way, the latter, assuming his responsibility towards himself and the artist, can be transformed and leave the audience in a way, unexperienced before. ‘I have a dream : to present a gloriously complex being, elusive in its style, undefinable in its emotions, always in metamorphosis, endlessly sensitive’. Performance: Frederique Gaillot & Stefaan Loncke. Performance: Frederique Gaillot & Stefaan Loncke. 18 19 The CITYPULSE magazine is now online. The first issue includes photographs by Tuna Önder, Carlos Albalá (also interviewed), Gottardo Gottardi, Nolan Webb, James T. Rowe, Alejandra Sierra, Alba Escayo, Epix and Michele Pesce. This edition also includes a visual reportage dedicated to the work of the filmmaker Geert Wachtelaer. http://citypulse.carbonmade.com/projects/79818#27 20 Ce(n)suur 2008 The experimental dance movie ce(n)sure explores the tension between the totality of Nature and the delimited domain within, known as Culture. The camera and film-medium refer to the human eye and the interpretation of visual perception. The perception works in a selective way, by means of censorship, to prevent to being overwhelmed by the whole. Through this censorship, it becomes also the rupture (cesure/caesura) with the whole. Mankind (Culture) seems to have this process as a basic mechanism in order to make the raw Reel (Nature) liveable. To question the censorship of the and the interpretation of the resulted images, the movie presents a fragmented story, and throws it open as a jigsaw. The way of presentation of these fragments forces the viewer to raise the question “What?” The story is based on 3 moments in Greek mythology. An abstract story was distilled from these 3 moments. 21 22 23 Playground 2008 My stories have been lived, not invented . Somewhere in me exists a lively archive with images, fragments that I collected during my life . These memories pushes itself regularly at me during the making of a film . The constant stimulation or selfexpression puts my work and myself in question. In which context situates the work of art itself. The 'learnprocess' and 'workprocess' gets the opportunity and time to form and ripe. In my work there are different conflicts: social, human, metaphysical. This projection (part of a videoinstallation about urbanization) contains a landscape made by human hands. A landscape with 'dead matter' Concrete walls and building constructions as architecture. An atmosphere of metal grids and concrete pilons. A non-architecture, an architecture in transformation. The architectural postmodernisme as a pluralistic style within a logical globalistic conflict theory of modernization. Modern architecture is unbearable light. (has relation with the notion 'place', and 'time'). They demonstrate silence, absence, evacuation, memory. They are nostalgic souvenirs. Text by Geert Wachtelaer performer Yan Wing Music by Noir voice and translation by Anna Proscoerina 24 25 26 27 Paris by Geert Wachtelaer 2008 28 Filmed in Paris. 'Analogy'2011 a videoprojection. A synthese of a multichannel installation. The ways in which Suzanne Langer failed to teach us. Imagine somehow who was blind all of his/her life and suddenly they can see ... can one connect images to a sound ? Or recto verso ? Do they fit ? 29 The Collector 2011 It is important to clarify, and indeed emphasize, that the attention Merleau-Ponty pays to diverse forms of art (visual, plastic, literary, poetic, etc.) should not be attributed to a concern with beauty per se. Nor is his work an attempt to elaborate normative criteria for "art." Thus, one does not find in his work a theoretical attempt to discern what constitutes a major work or a work of art, or even handicraft. Still, it is useful to note that, while he does not establish any normative criteria for art as such, there is nonetheless in his work a prevalent distinction between primary and secondary modes of expression. This distinction appears in Phenomenology of Perception (p 207, 2nd note {Fr. ed.}) and is sometimes repeated in terms of spoken and speaking language (le langage parlé et le langage parlant) (The Prose of the World, p. 10). Spoken language (le langage parlé), or secondary expression, returns to our linguistic baggage, to the cultural heritage that we have acquired, as well as the brute mass of relationships between signs and significations. Speaking language (le langage parlant), or primary expression, such as it is, is language in the production of a sense, language at the advent of a thought, at the moment where it makes itself an advent of sense. 30 31 The experience of things 2011 The description of the structure called "normal," "normative," "central," "ideal,"this possibility of transgression must be integrated as an essential possibility. The possibility of transgression cannot be treated as though it were a simple accident-marginal or parasitic. It cannot be, and hence ought not to be, and this passage from can to ought reflects the entire difficulty. In the analysis of so-called normal cases, one neither can nor ought, in all theoretical rigor, to exclude the possibility of transgression. Not even provisionally, or out of allegedly methodological considerations. It would be a poor method, since this possibility of transgression tells us immediately and indispensably about the structure of the act said to be normal as well as about the structure of law in general. 32 Waiting for Freud 2012 videoinstallation 33 Waiting for Freud This work is about the relationship between text and image, imagining, and – more broadly – the tension between fiction and reality. The difference between reality and art, the relation between the individual and itself, creating a space at the spot. The difference between reality and art is the moment when the spectator shows interest in what’s happening. There are parallels between filmprojection and psycho-analyses. Freud called his psycho-analyses in the beginning a form of art. Mechanisms of projection is the base of Freud’s 'Jenseits des Lustprinzipes'. This work reproduce, implicit or silently, the architecture of the exhibition space. A contamination of the space. A line, a border between public and private. It is also an unalienable source of information and the visual aspect is one of illusion, like Plato's cave, a projection of the reality, so is it reality? Or only a projection of reality? What is a videoprojection? A projection, a moment where a lot of visitors looking together towards something, therefore you can call it a collective moment. But a private moment for the individual. The whole small installation is bathed in an magical ambience of the early cinema. It is small delicate videoinstallation wich doesn`t need much space. The miniscule projection of the people inside the box and the medium-small projection onto the canvas will invite people to look more in detail to the situation. The visitors of the museum will rather examine the installation then for example looking at a big videoprojection where they only undergo the projection. They will examine the relation between the two projections. Do the people inside the box (projection 1) also react at the curious eyes of the visitors of the gallery? It is double. 34 35 36 37 The landscape 2007 Alienation of nature and culture. 38 Collaboration with Daniela Ratkajec and Geert Wachtelaer, Cité des Art, Paris 39 Geertu Wachtelaeru na suradnji “transitions” In the silence of the room. Traces of your presence. Were you here? Were you ever here? An absence that transforms into an existential space that I cherish every day. Are you here? Where are you now? An invitation to the viewer in order to be subject to hidden images from our collective memory and to reveal. the interaction between the spectator and the pictures shows the individual to perceive and to think in space and time and the concept of "continuity" to investigate. The body of the viewer as well as the body is shown - in all its complexity - has much more to say than we think or believe to take. Art makes no representation, no 'message'. And yet images give insight and hope, as they are fundamental experiences and synthesize incarnate. Then they get the deep stirrings of our existence, and they shake us awake. They give us the courage without embarrassment, 'in truth' from life and from ourselves look. Geert Wachtelaer 40 41 42