The coming man


The coming man
2015, photo on acrylic 4x 42x60 cm
Following the visit of Falkhof Museum Nijmegen
Four years earlier, I was in the Valkhof and saw an exhibition on the Romans with a lot of glassware. I also stop beside a view of a city by Carel Willink, with beautiful clouds of course, but that is not what I am here for. Currently there is also an exhibition here of the Italian photographer Paolo Ventura (1968).
I go into a room where a cartoon is photographed on all four walls. In another room there are two to six large format photos side by side. You always see Paolo as a neatly dressed figure; Paolo was first a fashion photographer, with a beautiful jacket, a circus outfit or a soldier’s uniform. Then something happens. In ‘The Vanishing Man’, Paolo disappears or shifts just behind the decor. A well-dressed man in a suit, but now contemporary, comes to pose at the model table, with glasses carelessly in hand, looking slightly sideways. ‘Eyes open’, says the photographer. Flash. The man photographed grins broadly; he is the new director of the museum, Arend Jan Weijsters (1961). Weijsters comes from the National Glass Museum in Leerdam, where he was director for the last four years.
I penetrate further into the museum. It says ‘Pop Art’ in big colourful letters. Behind a glass front on the other side is a large dim room. There is a large object hovering on taut cables at table height. The white lacquered, probably wooden structure, by Rob Sweere (1963), is a horizontal cross of about seven metres, the ends of which are open circles. In the middle you can sit or lie down on a solid circle plateau. The installation is entitled ‘Moonbeam’. When I go outside later I have my own idea ready, inspired by the photo session at the museum and Paolo Ventura's ‘Vanishing Man’.
photo 2:Paolo Ventura; Vanishing man
photo 3: Rob Sweere; Maanstraal