TIME - CODE / 1434
In ‘time-code’, a new relationship is installed between painting and video. The images registered by a surveillance camera, that is transmitting the video signal to a surveillance monitor, are being filmed for a second time by another camera. The screen is revealing the image of a painting. A Flemish masterpiece anno 1434. The video ‘feels’ the surface of the painting. The gloss of the canvas deforms the image. The relationship between the spectator and the painting, and the intimistic situation depicted in it, are made public with the surveillance equipment. A strange kind of voyeurism sets the tone.