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Currently: ANTWERP ACADEMY ART BOOK FAIR 2016  / 15.10.2016, 10am – 6pm  / Royal Academy of Fine Arts Antwerp, Mutsaardstraat 31, 2000 Antwerpen

The Visit

This film is a reflection on a studio visit, an attempt to explore the distance between visitor and host. A voice, expressing what is thought but remains unspoken, roams the space that separates them. At the same time the film calls into question the studio space as an oasis of authenticity. The publication includes a DVD and two leaflets (Dutch/English) containing the transcript of the voice-over.

The Visit (Het Bezoek) (film and publication with DVD)
Film — Duration: 11 min 52 sec / Format: HD video / Year: 2013

Publication with DVD — available on / Concept & Design: Maud Vande Veire / Film: Maud Vande Veire & Emmanuel Depoorter / Dimensions: 23 x 14 cm / Pages: 18 / Print: digital printing / Publisher: Other Publications (From Me To You) / First Edition: 100 / Year: 2013 / ISBN: 978-94-91243-02-8
(images above: The Visit, publication with dvd / 2013)

It’s not my first time to visit a fellow artist in his studio, but coming here to test a camera and microphone turns this visit into a totally different experience. I search for the right buttons and lens rings, and try to balance the heavy weight on my shoulder, while my partner talks to our host. They are totally confused as to whether I am struggling with the technical aspects of the machine on my shoulder, or whether I am recording. Afterwards it turns out it was also not clear to me, considering how many shots captured only the studio floor.

The camera (fig.1) not only marks the visit in a physical and a practical way; stretching itself in front of my body and face, drawing all my energy and attention, it seems to enlarge what happens in and around me. This heavy eye on my shoulder gives me the feeling of watching together. It is amplifying my gaze. The viewfinder acts as a blinker providing a framed (but adaptable) view, sucking me in and dragging me out of the situation at the same time. Things otherwise seemingly trivial — the studio (fig.2), my host, the talking, the interactions, the silences — all become very explicit.

The Visit, film excerpt / 2013

I notice the tables, the machines, the stove, the works, the light and of course the chicken that spontaneously entered with us. I am mainly aware of the chicken. First because of the offbeat situation, secondly because I’m fond of animals (fig.3) and lastly because I’m frightened when they come too close. I immediately see the potential of the chicken as a visual leitmotiv for my film. It has the privileged position of being simultaneously in the middle and at the margin of the event.


The Visit, film still / 2013

Other things, different places, come to the foreground. Places behind and between (fig.4). Between words, behind gestures. Between my host and me.
As evident as things first seemed, just as evident was the reality behind them. But as I film, the characters change, the roles shift, a new story (fig.5) is created and an old reality crumbles.

The Visit, film stills / 2013


a. Höher (document), 2003
This picture, taken while shooting the film Höher, shows me walking around in the Museum Dhondt-Dhaenens (Deurle, BE) with an upside-down television box on my head representing a gigantic camera.

a. Studio (document), 2003
At the time the summerhouse, standing in the middle of our studio, was serving as our home, including kitchen, bedroom and living room. We loved to spend many hours on our porch between the Corinthian columns, to which we attached great importance.