Boezem’s face appears on the screen, stares at the viewer, and begins to breathe on the picture tube. After some time passes, the image begins to blurr through the moisture deposited and the artist disappears from sight for several moments. While the vapour clears Boezem keeps his gaze directed to the camera, motionless, until his face is again clearly visible. With his own breath the artist makes himself invisible as an object, with the intention of creating a space that is not de ned by a concrete image. The concept for the lm follows naturally from Signing the Sky above the Port of Amsterdam (1969) in which the xedness of the artwork in an image which remains perceptible is already being dissolved during the process by which it comes into existence.
The time between the disappearance and appearance and the continued sound of breathing play an important attendant role. The lm was produced after the example of Gerry Schum’s Fernseh Gallery, in a series of three programmes under the title ‘Beeldende Kunstenaars maken televisie’ (Visual artists make television’) and broadcast on February 21, 1971. The other participating artists were Ger van Elk, Peter Struycken en Stanley Brouwn. One of the photographs that was made during the recording of Boezem’s lm isincluded in the invitation for the presentation of the lms in the Van Abbemuseum, Eindhoven, on March 31, 1971. One AP of the work is in the collection of the Stedelijk Museum in Amsterdam.