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page 1: A digital chroniquer of a globalized consumocracy
page 2: The artist looking at the canvas
page 3: We are the beheaders
page 4: Timeless, indestructable beauty
The work of Kaganof does a lot of looking back at us. It reminds us of the fact that if we still feel innocent, it is because we choose to close our eyes from time to time. In our time where information is an ever growing tidal wave circling the earth, no one can claim to be innocent. Now that distances have ceased to exist and images travel through the air, to watch means to participate. So when we see a beheading, we are the beheaders.
It is tempting to see the nearly seven hour long work TRANSFORMATIONS as a visual equivalent of Kaganof’s notebooks. And why not compare the two? The different pieces from which TRANSFORMATIONS is constructed span a period of almost 15 years. There is no other dominant theme in all these works exept the one the title gives away. Becoming. We see growth. We see changes of tone. During these seven hours we witness an epic one man freefall into the unknown. Amongst other things the radical transformation from the character Ian Kerkhof, to the character Aryan Kaganof. But also we witness the transformation from the analogue person to the digital one. Clearly visible in the visual-texture of the different parts of this work.
TRANSFORMATIONS, to me, is a monument for the free perception. A state of mind that is defined by the lack of a controlled and manipulated state of mind. A free perception that, although it is the keystone for human society, has always been looked upon with suspicion. All societies, although founded upon free perception, make, in due cause, ‘their mind up’, They have structured their mind like a garden. Choosing to see images that come mainly from within. A made up mind not only blocks out certain impressions from the outside, it does so in search of images that fit this made up mind. |
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