Touch to see. Those few words translate a major part of van der Keuken’s approach since Blind Child. Here he is filming a painting by Lucebert (Lucebert, Time and Farewell): right eye pressed to the Aaton, almost swallowed by the eyepiece; left eye closed, or alternately open and closed; left arm reaching forward, parallel to the camera lens, to touch the paint, as if he wanted to “cover” the shot by his grasp, or ground it, make sure of it. Or in On Animal Locomotion, removing his thick glasses, wallowing in the blur of forms, a tactile vision in which the grain of the photo burgeons, refusing to disappear in the figure that would ordinarily subsume it, the image of an object whose name remains unspoken. Likewise, lengthily, in The Long Holiday, boats going back and forth, exiled by the lens from their reassuring iconicity to reinforce the contour and texture, uncertain traces that, in this film, already belong in the Lethe.