Celestial Machines

Part of Hanging Matter – a window exposition at my studio complex – Foundation B.a.d, Rotterdam 2023

All photos by Janine Schrijver

Window #1

At the end of 2022 I started making balls, globes or spheres. In a way each ball is a world on its own, with its own history and properties. At my studio building we have 18 windows and I was allowed to use nine to experiment and explore a very basic question: how to hang them? Hanging Matter was a collaboration with Jan Bokma, supported by CBK Rotterdam

Window #2
Window #3
Window #4
Window #5
Window #6
Window #7
Window 8
Window 9


made possible with the generous support of CBK Rotterdam

Denktank de Vuurvlinder

Commision by Stroom the Hague for a work of art at the new school building of elementery school  de Vuurvlinder 2023

photo Sander Foederer

The challenge for this work was to get to a plan that would be supported by the school and the pupils of the school. As a reaction to the invitation to come up with a proposal for a work of art, I didn’t make a proposal, but I did come up with a strategy on how to get to a proposal. Together with Anouk Nooteboom, we devised a strategy how to find out what really mattered.

With a group of school children between the ages of 10 and 12, we formed ‘Denktank de Vuurvlinder’. I hosted 7 meetings where we tried to figure out what the artwork should be about and what really mattered to them. We had conversations, did a workshop on enamel, made drawings and sculptures, and went on an excursion to Buitenplaats Brienenoord. At the last meeting, I had to leave the room so they could formulate the criteria for the artwork to fulfill on their own. 3 weeks later, I presented them my final proposal; it was up to them to decide if they accepted it. They thankfully did, otherwise I would have had to give the commission back. One could say I used the children to get an idea of what to make, but by letting them have a final say, I think it was a fair exchange.

The school proposed that the work should be at the border between the school yard and the park. We took this as a starting point for the conversations and workshops with the children. In the end it turned out that for them, the border wasn’t that important after all.

Special thanks to the members of Denktank de Vuurvlinder: Dash Raap, Guncha Gupta, Damien Niehoff, Tishanny Inocente, Lara Evtimov  and Sofia Molcanova. And thank you Anouk Nooteboom and Rob Rosier from BS de Vuurvlinder.

filmed by Lucia Berg edited by Lío Spinnewijn
the assignment by Denktank de Vuurvlinder

Made possible with the generous support of:

Waterwerken/ a.pass RC4

Waterwerken in a residency project at Buitenplaats Brienenoord initiated in collaboration with Sander Zweerts de Jong. Rotterdam, started in 2020

After the tenth artist it made sense to look at the project and the curatorial proposal and to find out if and how to continue. To explore this I joined the a.pass Research Center which resulted in the publication ‘Curating Waterwerken’ (2023) – Published bij a.pass and Buitenplaats Brienenoord, edited by Vladimir Miller, proof read by Sarah Cale, graphic design and print by Sadie Girigorie & Sevgi Tan

The publication consist of short introductions to the projects and an essay



 Introductions to the ten projects:

Slootje/Performance medley with Sander Zweerts de Jong 2020

2 Elen Braga

Elen Braga explored the meaning of water as a medium that connects people and goods, and brings together global histories. Braga’s presentation concluding her residency, Zand Erover, focused on the literal meaning of this saying and how we systematically transform water into land fit for human use. Braga’s interest in human control over nature is interwoven with her personal experience while working on the island and the Dutch invasion of her home country Brazil in the 17th century. Braga’’s presentation consisted of several tapestries, an installation with boiling water and sixteen palm trees with ceramic leaves.


Zand Erover 2021 Photo: 500watt

3 de Onkruidenier

How do we perceive the landscape when we leave the fast-pace of our economic times behind us, and adapt to the rhythm of the tides? What do we see, feel and experience in harmony with the plants and organisms in a maritime ecosystem? De Onkruidenier pleads for a shift in perspective to a state where mankind is the one that adapts to its surroundings. De Onkruidenier explored training techniques for a new kind of human: the salt-loving human. De Onkruidenier consists of Rosanne van Wijk, Ronald Boer and Jonmar van Vlijmen


SWEET-SWEAT Travelogue 2021 Photo: Jan de Groen

4 Maud van den Beuken

Maud van den Beuken scans, defines and measures physical space looking for relationships with the space surrounding us. Often van den Beuken works together with scientists, engineers and experts to map the landscape with scientific tools and instruments. During her residency, van den Beuken wondered what it would entail to scan and measure the bottom of the waters around the island of Van Brienenoord by herself. Together with people from Buitenplaats Brienenoord, van den Beuken built a raft and invited people to explore the waters around the island with her.


Greet the River for me Raft/Vlot 2021 Photo: Hilde Speet

5 Víctor Santamarina

Víctor Santamarina experienced the island of Van Brienenoord as a place in constant transformation. From caterpillars to rainfall, many forces come together and redefine the landscape continually. Santamarina found this continuous transformation most notably in the tides. The tides don’t just change the contours of the island, it covers and reveals whole bits of island twice a day. Santamarina concluded his residency by presenting Foundation, a site-specific sculpture in the zone between high and low water.


installing Foundation 2021

6 Josje Hattink

Waterwolf is about the animalization of nature on and around the island of Van Brienenoord. Nature is self-evident, but it is mankind that interprets it. Hattink wants to show in her project how our imagination runs free. On this island, mankind’s interpretation is ambiguous: on one side one feels safe with the water as a moat; all that is alive is easy to control. On the other side, the water can be dangerous and sneak up on one. It remains unpredictable. The Waterwolf is real.


Waterwolf 2022 photo Josje Hattink

7 Pilar Mata Dupont & Erika Roux

The Polder Western is a project that uses theWestern genre to unpack various concerns regarding rising sea levels globally. Situated in the Netherlands, a country where Pilar Mata Dupont and Erika Roux have lived for many years, this experiment in narrative and absurdism allows the artists to research and investigate personal concerns arising from living in a vulnerable country facing complex issues such as climate change and the handling of its management. Through text-based research and interviews with multiple people working with and by the water in the Netherlands – sea-level researchers, millers, hydraulic engineers, artists and farmers – Mata Dupont and Roux developed a speculative screenplay for a film.

Scene from the Polder Western 2022

8 Narges Mohammadi

Narges Mohammadi concluded her residency with Op een eiland (On an island), a multi-sensorial dinner made in collaboration with Yannik Güldner. Mohammadi invited six artists to dive into their relationship with water with her. It highlights the notion of ‘digesting’, of similar experiences, and of words of hope and hopelessness in relation to being land- or waterless. The dishes are inspired by the texts of the writers and artists: Sahar Shirzad, Tina Farifteh, Mina Etemad, Saba Askary and Melisa Can. The texts were shared during the dinner. Reflecting on being land- or waterless, the dinner was prepared without the direct use of water.


Op een Eiland 2022 photo Lizzy Zaanen

9 Frank Bruggeman

Frank Bruggeman’s research was focused on the exotic species he found on the island of Van Brienenoord, and our relationship with them. Bruggeman finished his residency with an attempt to introduce Japanese quails onto the island, an endeavor doomed to fail since they are no longer able to reproduce without human help. Bruggeman had the hope his rewilding project would work. Islands are isolated places, sometimes this leads to a much faster rate of evolution; there is a chance the quails could flourish.


Peregrini insulani (Foreign islanders) 2022

10 Steven Jouwersma

Steven Jouwersma brought a foldable sauna with him to create the hottest place on the island, and he explored the deepest place on the island, ten meters below the surface of the swimming pond. Jouwersma concluded his residency by fulfilling a desire he had for many years: to build a sauna heated by the surplus energy of a bread oven. Bread and water are necessities that bring people together. With materials Jouwersma found at Buitenplaats Brienenoord, he built the Common Bread Sauna. While baking bread, visitors can sweat together and share the bread once it is finished.


Common Bread Sauna 2023

Sitting in flux

Making the scenography for the Spanien 19C symposium during the Aarhus festival. DK 2022

The symposium organized by Spanien 19C is situated in an area that is undergoing a huge transformation. In a corner of the construction yard of the Sydhavns Kvarteret is a space that is normally used for storage and as an outside workshop – during the festival it will function as place that is halfway between the city and the new development. I will make a scenographic intervention that is based on a flexible process and which will transform and expand during the festival. The starting point is very simple: people need to sit. For almost ten years now, when I came in a situation where I didn’t like the sitting arrangements or they were simply missing, I just made some object to sit on, stools, chairs and benches with whatever materials were available. This has slowly developed from a purely practical, hands-on approach driven by necessity into a integrated part of my practice.


With the arrival of Bananskolen, a Copenhagen based collective calling themself activist-neodadaists’, the project really started taking of. Their proposal from the Bananskolen was to use the context as a backdrop for making of a film based on the play ‘Dulcitius’ written by Hrotsvitha of Gandersheim in the tenth century. There were other collaborations, but this specific one was the most transformative. When I offered them my services their initial reply was reserved, they had everything they needed. Before they came I had already made them some furniture, but they didn’t really know what I could offer them – so I suggested that cloth hangers might be very useful for the costumes they were making, to give them an idea about how I could be useful for them. The hesitation they felt with allowing me into their practice is also understandable, they came as an actual collective under the same denominator, while I was in the symposium my own agent. The Bananskolen is for me an entity that is hard to grasp, if you search for them online you will find that it is a record label run by Goodiepal and friends – but that is definitely not all they are. What I understood from observing them was that the Bananskolen is a collective with varying composition and their method is in collective learning and experimenting – around a core of queer-feminist politics and activism.

After completing a dozen cloth hangers, I asked them if I could do more for them. With a bit of twinkle in her eyes, Nynne Roberta, one of the founders of the Bananskolen, told me they needed a wooden dick for one of the costumes. I found myself a piece of wood, flipped open my knife and started cutting in the middle of the area where they worked and a short time later the dick was finished. This was a crucial moment in our relationship, the initial hesitation from Bananskolen fell away and the next request was if I could make them wooden shoes – obviously because I am Dutch. In the same performative way I started constructing some Roman inspired sandals, since the play was situated in the third century a.d.. In the days after I made dozens of artifacts: spears, pots and pans, helmets, more shoes, a sword, a crown, a scepter, anything the Bananskolen needed and some more. It is not that I was exaggerating the acts involved in the making, but there is some drama in the noise and space it takes and that is strengthened by the sheer number of objects. The way I made them gave them a very specific aesthetic that made it easy to identify as something I made.

The Bananskolen got ready for filming by completing the costumes and asked me to make some extra props and set pieces. They also came with an interesting proposal – since they liked the work I did for them, they offered me the role of the Dulcitius, a character that played a comic role in the first half of the play and from who the play got its common name from. Even though Hrotsvitha named the play Passio Sanctarum Virginum Agapis Chioniae Et Hirenae (“The Passion of the Holy Virgins Agape, Chionia, and Irena”)* with the three girls as the main characters. The Bananskolen interpreted the story written by the nun Hrotsvitha in a contemporary secular way. In the original play Dulcitius was a pagan Roman governor who tried to corrupt three Christian virgins who where, because of their strong faith, incorruptible. In this version they were not incorruptible because of their faith in God, but because they were strong independent women, and at the same time, Dulcitius was renamed ‘Governor Pervert’.


After exhibiting the 47 isolators at JOEY RAMONE in 2022, I got the question, why is it not one work?  The answer was simple, because I wasn’t done with it. BUt even though I wasn’t done, it was also not the same. I wanted to go bigger, I wanted to see more of the wood, of the tree it once was. These works are made with a chainsaw, chisels, axes, crowbars, grinder, sanding machines and any tool I could get my hands on.

Walnut isolator 2022 – the one I planted as a kid and cut done in 2021
The middle: Willow 2023, from the garden of Michiel van Abbe in Rotterdam

The one on the left is a longer story: When cutting down the walnut tree, I suddenly had a lot of wood, more than I could imagine I would ever use. Menno Verhoef, with whom I worked on previous projects also works with wood and has a van. I made the deal he would get the big trunk. After making many things with the walnut wood, my stock was running low and I wanted to work bigger. Menno did not start working on his trunk yet. But a deal is a deal, so it was his. Thankfully he agreed that we could trade it, if I was able to find a proper replacement. On an auction website  I found a proper replacement and after winning the bid, I decided to see if I could buy some odd pieces of wood: this one is red iron wood. 2023

The one on the right is one of the 47 that I changed.

Bilinga 2022

Hardware & Industrieelektronik

Solo exposition at JOEY RAMONE, Rotterdam 2022

Five axes (2017-2021) Prospecting: Caterpillar Bench (2022) – Sketch (2021) – Pickaxe (2022)

Exposition text by Kiki Petratou

Sculptured structures are bodies. Their matter consisting of different materials, is variously formed. The forming of it happens by demarcation as setting up an inclosing and excluding border. Herewith, space comes into play. Becoming occupied by the sculptured sculpture, space receives its special character as closed, breached and empty volume. 1

Hardware & Industrieelektronik is Maurice Meewisse’s not only first exhibition at JOEY RAMONE but also his first gallery exhibition in general. This is specifically noteworthy because his trajectory follows a very rich spectrum of activities and exhibitions in institutions and art spaces, which came to inform his critical attitude towards the institutionalized contexts in which he finds himself and led him to question his own position. He has been emphatically scrutinizing his role as an artist in relation to the context he brings with him in his practice. His explorations took him to the idea of an artist as a self-institutionalized figure to focus on that artist’s agency. In his last works he has been considering himself in the same way as he has been approaching a platform until now, with his doubts, vulnerabilities, curiosities and assumptions and looking for discrepancies between his theoretical and ideological views and seeing it as part of the larger context. This has ushered him to regard within his practice what kind of space he can offer as an artist to the people with whom he works as well as to the public. In that sense, his role has changed from that of the artist or the performer on stage to that of the facilitator to the extent that in one occasion he became the curator and started inviting and hosting other artists. This is essential and connects with Maurice’s conception of context in the broad sense that does not just concern the physical place, but also the politics surrounding it, the institution and the reason why he is there.

Anthropological studies of space and place recognize that landscape, space and the body represent important sites for cultural meaning, social and political memory, and public discourse. Space can be used to carry social meanings that are culturally and historically constructed as well as contested. The hermeneutic study of space explores space as a symbolic medium and recognizes that space and space language convey a culture’s meanings about the immediate world, while place carries with it sentiments of attachment and identity that emerge out of lived experience. 2

Maurice Meewisse’s work is in principle site-specific, whereby he sees the ‘site’ as part of a complex network of interests, projections and relationships. Within that he looks for a discrepancy, a certain complexity or a potential hidden beneath the surface. These finds function as the impulse to create a work or action for which he uses different techniques, ranging from sculpture to performance. In fact, and this is true for his present installation at JOEY RAMONE, he negotiates the tension between the sculptural and the performative space. His installation consists on the one hand of the making of space within space as it were. The transformation that the gallery underwent under Meewisse’s auspices doesn’t only concern the placement of artworks but also and most importantly the alteration of the context, which treats space as a symbolic medium and allows for new relationships and new imaginaries. In the hands of Meewisse space becomes place as it connects to our memory and experience of certain elements with which we are confronted within but also outside the exhibition space. In fact the borders are blurred in a sense that the outside suggests that one enters not the gallery as we know it but Meewisse’s own ‘dwelling’. The two Neon signs – installed at the façade above the two entrances of the gallery – read Meewisse hardware & Miscellaneous and Meewisse Industrieelektronik & Sonstiges. This intervention evocative of a different context became a gesture that has opened up new potentials and possibilities of interpretation and participation. Reflecting on his approach Maurice Meewisse explains: I go into context with an open mind and try to gain insight into the network of relationships that make up such a context. From that position I make an aesthetic intervention and try to provoke a re-evaluation of our patterns of perception or behavior. I explore the boundaries of a context, looking for inconsistencies or for something that is overlooked. With my work I examine the projections on that context and add a certain subjectivity to bring to light something that can break our conditioned patterns. The vital point here is that space in its most fundamental sense is based on the ‘release’ of places. In Heideggerian terms, this involves ‘making-room’, and in the course of this, ‘granting’ and ‘arranging’.

making-room admits something. It lets openness hold sway which, among other things, grants the appearance of things present to which human dwelling sees itself consigned. On the other hand, making-room prepares for things the possibility to belong to their relevant whither and, out of this, to each other… Place always opens a region in which it gathers the things in their belonging together. 3

The interconnectedness of body, space, politics and history is manifest in the ways Meewisse stages his work, piece by piece and as an installation unfolding freely, starting from the exterior and moving into the two exhibition rooms. The individual works are explorations of a more autobiographical nature, connections of the artist’s past with stories he came across. The prevailing material throughout the exhibition is scavenged wood because as Maurice sees it, it is alive, it is transformative and it carries its own history. Such is the case of the immersive installation “Isolators”, which includes 47 pieces of diverse sizes, made out of different types of wood, of different timelines with countless tales to tell and sourced throughout the country.

Following Heidegger’s idea that ‘things themselves are places’ – the elemental notion of place is ontologically fundamental – Meewisse’s ‘sculptures’ are not just things that occupy the space but they are ‘places’ themselves, they are the embodiments of places.

1. Heidegger, Art and Space in Leach, Rethinking Architecture, 121.

2. Pauline McKenzie Aucoin, Toward an Anthropological Understanding of Space and Place,408.

3. Heidegger, Art and Space in Leach, Rethinking Architecture, 123.

Exposition overview


Commisioned by Kunstenlab for AMUSE Van Hier Tot Ginder – Okkenbroek 2021


Kunstenlab invited me to make a site specific work for AMUSE Van Hier Tot Ginder in Okkenbroek. On the first location visit I was struck by a small spruce forest (appr. 30m by 50m). Trees planted very close together in straight lines so they became very tall and thin. My plan was simple: to connect ropes high in the trees and put tension on them so the trees would bend away to reveal a streak of light in the canopy. For Lichtstraat (Sky Light) we had to bend 36 trees out of the way.

The work was made possible by the amazing tree climbing skills from Victor van den Bosch and the help from Elen Braga.


Into Nature: New Energy – Bargerveen NL 2021

Curated by Sanne Morserink and Hans den Hartog Jager


Drone picture by Nico Westerhof

When exploring the Bargerveen I was searching for a place where I could find as many as possible influences and traces in the landscape from the different uses over time. In the middle of the area – which was also the hardest place to reach – I found a place where the peat mining, recreational paths and tracks made by sheep and wildlife were crossing and overlapping each other. And more came during the preparations, Staatsbosbeheer build a new sand path crossing the area, and during the work plowed over some of the landscape.

For Prospecting we created a network of paths, made out of pine wood slats which connected every traceable influence. In the construction we follow the landscape and tried to link them all together in a big interlinking network. Every trace got its own kind of path based on the forms in the landscape and where they intersected we formed small complex intersection resulting in a 70 by 70 meter network.

For construction I had a lot of help and it became more and more aparrant how important that help was: their handwriting became an intergraded part of the work.

Waterwerken #1



Together with Buitenplaats Brienenoord I started in 2020 Waterwerken – a residency/research project where 5 artist are invited to work, research and think with us about our connection with water. The Buitenplaats is build with materials from the old building, second hand materials and a little bit of new materials. After the building was finished, we started looking around us and realized that, even though it was build on an island in the Maas where the city is developing a tidal nature area, there was no real connection with the water around us. This formed the starting point for Waterwerken.

My role in this project is interesting, I became facilitator, a combination of artist, curator and builder. We invited the artists to do a context specific research and to include the discoveries of the previous artist as part of that context and to share that with the next. As I was the first artist, I saw it as my task to simply bring water to the Buitenplaats. The first action was to unplug a 90 years old sewage pipe, now, with very high tide in the Maas, the pipe will work in reverse and we can welcome water from the Maas in the garden.

The second intervention was to introduce a small bit of polder in the garden. In the Netherlands there is a more then a thousand year old tradition in managing the water which resulted in a very typical Dutch landscape: the polder. This is also the landscape I grew up in. Interesting in this landscape is that it forces the stakeholders to work together, a dike around a polder is as strong as its weakest part. Polderen is also the Dutch name for a political consensus model, a model at the moment much disputed.

Due to COVID, I had to rethink the way of sharing my research with the audience and with the next artist (Elen Braga). To conclude my working period I made an audio tour in which I combined my findings, interventions and memories. The tour was 25 minutes and guided the visitor over a part of the Island of Brienenoord.


Waterwerken is made possible with the generous support of:

Last Stone

Rotterdam 2020

The Maasbode, build for the newspaper with the same name, had to be demolished to create space for a 70 meter tall apartment building. Selma Hengeveld, an independent curator who lived for several years in the building, decided to take this situation as the starting point for Tot hier en weer verder (free translation: Until here and onwards again) to gather a group of artist to speculate about these circumstances and project their findings on the windows of the building, just days before the demolition started.

When exploring the building I got interested in the first stone, installed there during a festive ceremony on the 6th of May 1952. It seemed the only logical thing for me to do, was to bring the last stone – which raised the question: What stone?

I asked three artists, Elen Braga, Katinka van Gorkum and Sina Seifee, to travel with me to the north of France, because until recently there were several quarries, to find a stone to bring to Rotterdam. Arriving there we heard about the village of Craonne on the Chemin des Dames. In the First World War it was completely obliterated to be rebuild 500m further down the road.

This made finding a stone hugely more complected – there are interesting parallels between the histories of Rotterdam and Craonne, but taking a stone from there seems wrong and shouldn’t be taken lightly – even though as a memorial site it was neglected. And after further research, more discoveries made the story only more interesting, there was extremely heavy fighting with a lot of useless waste of human live during WWI, Napoleon had close by his last victory before his defeat in Waterloo, Caesar claimed his victory over Gaul – hugely complex context – just taking a stone would be problematic – but these stories should be told.

We decided it was okay to bring a stone, under the condition that it should be brought back after it has been shown in Rotterdam.

A movie of the slow spinning stone was projected on the window next to the first stone, while the window was turned into a speaker which played La Chanson de Craonne.

The stone will be returned when traveling is allowed again.

Thanks Elen Braga, Katinka van Gorkum and Sina Seifee to find a stone with me.

Curated by Selma Hengeveld:


Performance medley

Rotterdam 2020

During the Waterwerken edition of the Z-files programm (Sculpture International Rotterdam/Stichting CBK Rotterdam) Sander Zweerts de Jong and I made a performance as a starting point of Waterwerken. Sander performed spoken work, and I made a performance medley with adaptations of performances/videos by Bruce Nauman, Bas Jan Ader, Wim T. Schippers, Goerge Brecht and Francis Alÿs.




a.pass – End Communication

A.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. The institute includes two complementary bodies that operate in parallel and in dialogue: a Post-master Program and a Research Centre.” – since May 2018 I follow the Post-master Program. (a.pass)

After 16 months the a.pass cycle draw to a natural end, it was time to present my findings, discoveries and new questions. Together with Laura Pante and Caterina Mora under the guidence of Lilia Mestre we created Peach Baskets – three angles on balancing. A.pass End-Communications are every four months and happen at different locations every time, we had the opportunity to present it within the space of the institute, where it become part of the scenography for the next block curated by Lilia Mestre and Sina Seiffee.

For me it was very good to be able to present within the institute, in my practice I am drawn towards the periferie, to take a position on the side, and sometimes even on the outside. But it became urgent during the last period at a.pass to question what my position is, where I stand and where am I in what I do. These questions formed the starting point for the explorations that resulted in three closely related, but very different interventions. 2019

Double Spiral

In previous works I often used piles of material, pathways and the act of work, very often my role was that of a performer and my relationship with the audience was in a way one direction. In a relative simple gesture, I inversed those motives, and that changed everything, it became a space in which I could invite the audience, my role changed from a performer into that of a facilitator. During the end-communication evenings I invited people to walk the 92 meter path of the spiral and experience the transformative potential of the structure. During the rest of the four month block the double spiral functioned as a stadium or theatre that is used as a place for debate and presentations.


To focus on the ritual potential of the spiral during the evening I wanted to introduce sound devices that could function as a clock. I started experimenting with electronics to create some sort of drone sound, this turned out to be a dead end. I looked further and became curious in non western music instruments and I saw potential in Rainsticks. Out of bamboo I created three motorized rainmakers which I painted in a mix of red, yellow and blue paint and filled with split peas (the main ingredient for snert, the Dutch national soup) – in the final presentation they became independent from the double spiral.



During several presentations and openings I served food or drinks, so far I used it primarily in a supportive role. During my time at a.pass I started wondering about the agency of serving stuff at those moments and for my end communication I decided` to experiment by taking over the catering. During my last block I came across Valhalla, where viking warriors feast on pig and mede – for a presentation I spoke about paradigm shifts and decide to serve pig food instead of pork. I took this dish and served it.

At a.pass I met the Muslin Bros, Tamar Levit and Yean Levi, and I asked them if they would like to make an outfit for the evenings based on their reseach.

My participation at a.pass is made possible with the generous support of Peter Paul Peterich Fonds/ Cultuurfondsbeurs and Research/Development grant from CBK Rotterdam.



a.pass – block III – Settlement 14

“A.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. The institute includes two complementary bodies that operate in parallel and in dialogue: a Post-master Program and a Research Centre.” – since May 2018 I follow the Post-master Program. (a.pass)

“During the days of Jan 7th-26th 2019 a.pass will come together and host an open workspace called SETTLEMENT. In the course of these three weeks we will share our current work processes within an open collaborative workspace. We aim to create a poly-central gathering that is self-structured, self-organized and open to contributions from anyone. You are cordially invited to join this process by establishing your own space in the a.pass SETTLEMENT and sharing some of your ideas, practices or works with others. The materials and structures available at the a.pass main space will be a common resource for all who join to create whatever is needed to facilitate this process.” Curator Vladimir Miller

The Settlement was prolonged and resulted in Unettled Study, as a part of Performatik19, the Brussels performance biennial in Kanal Centre Pompidou.

In the context of the  Settlement I started a proces where I would explore themes like ownership, value and territory.

Step I – Sitting

The Settlement started as an empty space, and I needed to sit, but if you make only one stool, there will always be somebody on it, so I made a lot more.

Step II – Helping

I offered my skills to the group, if somebody wanted something, I would make it for them!

Step III – Branding

On the last day of the first week I branded everything I made with green and orange, in total 27 objects, after this I left the Settlement for two weeks.

Step IV – Follow-up

I told the settlers that all my efforts were for the benefit of the collective and that they should feel free to do whatever they want with the stuff I made. But after two weeks I came back to follow up on my work, and about half  ‘my’ things were used in people individual projects – which was perfectly fine, but where I could find traces of my branding, I rebranded and spread my motif further.

Step V – Outsourcing

Again I was away for some time, but I needed to stay involved, so what better way then hire people to make me the things I desired? The assignments varied from things I actually needed, up to stuff I was curious about how my colleagues would react. “I need a flag and I pay € 10,- for it” – “I want something pretty for € 8,- ” – “Could somebody make me a 10% oversized chair for € 10,-?” – “I pay € 10,- for something to organize all these jobs” ect.  In total 13 objects have been made based on those minimal guidelines, but there was always one hard demand, it needed to be branded! The resulting objects varied enormous, there were provocations, there were simple executions, useful ones and even a virtual one!

Step VI – Selling

The Settlement moved to Kanal Centre Pompiduo and transformed into ‘Unsettled Study’ as a part of Performatik19. In the middle of the group I erected a small shop, Meewisse Mobilier et Divers, where I engaged into negotiations to determine the value of the outsourced objects. The visitors had then the option to buy the object for that price. In that negotiation I was completely open about the procedure that led to these object and tried to sketch an as complete as possible image of the object. Factors like material, who made it, what is it for, what did I pay for it, is it art, is it something else, ect..?

With special thanks to Katinka, Diego, Adrijana, Steven, Elen, Vlavio, Antye and Pierre for making objects!

My participation at a.pass is made possible with the generous support of Peter Paul Peterich Fonds/ Cultuurfondsbeurs and Research/Development grant from CBK Rotterdam.




a.pass – block II – School of Love

“A.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. The institute includes two complementary bodies that operate in parallel and in dialogue: a Post-master Program and a Research Centre.” – since May 2018 I follow the Post-master Program. (a.pass)

School of Love

“SOL is a collective platform that was initiated some years ago, inspired by the interest in both love and school as charged with potential to generate new politics and relations in the world. SOL is practiced through regular meetings, but follows no curriculum. Instead, it develops a spontaneous program through the presence and interest of its participants. SOL is basically an invitation to hang out. But to hang out deeply. To practice school as a place of free time – free to study things as they appear, separated from the dependency on the time and space of social order and production. And to practice love – Not the kind of love that is generated through affirmation of who we think we are, but love as an act of giving by allowing it to transform us.” Curated by Adva Zakai, Sept/Dec 2018

The curatorial proposal seemed from the start interesting but problematic, so I decided to beforehand what my position should be and how I want to relate to the program and a.pass. From the start the claims made by the curator – it is not about love, but about political love, the willingness to let yourself be transformed by other, and that it was not a school, but there is an interest in school – formed the basis of my attitude of constructive opposition. In a not always subtle way I put the thesis of this block to test. The production of actual works was not the main goal of the block, they functioned more as conversation starters within the continuous political game. For me it resulted in a period where I explored how to relate to activism and specific perceptions of reality.

test – the tower

I decided to start with a small provocation, in the middle of the space I build a tower where it was possible for one person to sit on top of. The tower formed a visualization of the attitude I approached SOL with. Halfway through the block, during some presentations I explained my motives and asked the people there if they thought that they excepted the tower. Everybody but one wanted to keep the tower – no unanimity – so the tower had to go.

test – the class picture

During the closing week of this block we traveled together to Performance Art Forum, in northern France. This school trip made me think about our group, what we are, what are status is and how we are related to each other. I decided to do an expiriment, with making a class picture – to see if that could clarify some those questions. I put up a camera on a stand and made every 10 seconds a picture, assuming that at one point everybody would have their eyes open. The actual picture didn’t clarify much, but what remained was the act of the making the picture.

My participation at a.pass is made possible with the generous support of Peter Paul Peterich Fonds/ Cultuurfondsbeurs and Research/Development grant from CBK Rotterdam.







a.pass – block I – m.a.s.o.m.

“A.pass is an artistic research environment that develops research on performativity and scenography, in an international artistic and educational context. The institute includes two complementary bodies that operate in parallel and in dialogue: a Post-master Program and a Research Centre.” – since May 2018 I follow the Post-master Program. (a.pass)

“Milieus, associations, sieves and other matters.”

“Ensemble of problematisations composing a processual environment. A metastable milieu in crisis, which evolves by shifting to new dimensions out of a series of confrontations with and temporary resolutions of problems. The basic grid is one of a series of self organised interactive events intersecting with a series of theoretical study days and a series of advanced forms of feedback.” (May-August 2018, curated by Pierre Rubio)

During my first block I spend most time trying to understand in what kind of environment I ended up and to learn the lingo. Besides that, it was urgent to reformulate my research question that come out of my practise.

C.R.I. I

The block was activated by C.R.I.’s (critical research interfaces)  which raised questions about what does your research open up or makes you see and how does it function as a dispositif (from Foucault). For the first C.R.I. I stacked all the materials, from coffee cups and wall segments to research objects from other participants on one big pile in the middle of the room. I invited all my colleague to come the next day with a very simple task, walk around the pile with me sitting on top. Every time somebody completed a full circle I would read up one ‘act’ that composed the pile, and if somebody activated the horn, I would start over again from the beginning. After more 90 minutes they managed to walk all the 123 circles around me without stepping on the horn.

C.R.I. II – A 40kg likable object to carry around

During a day at ZSenne artlab we were invited to make a small scale C.R.I. for which I introduced my likable object that was filled with 40kg of sand. My request for the group and visitors was simple, please carry the thing and don’t put it down!

My participation at a.pass is made possible with the generous support of Peter Paul Peterich Fonds/ Cultuurfondsbeurs and Research/Development grant from CBK Rotterdam.



Eighteen Coffee Breaks / Eight Working Hours

Eighteen Coffee Breaks ( 2017 – stills)

Eight Working Hours (2018 – stills)

The Zandmotor might be one of the most curious bits of land in the Netherlands. In 2011 the sandbank was constructed to protect the Dutch coast, to create nature and to extend the recreational possibilities. But it was also presented as a scientific testcase, how to ‘build with nature’, and as an export product for the Dutch dregging industry. It seems that they projected pretty much everything on it depending on who was listening. It might not even be the Netherlands, it is outside the official coastline, so you could also see it as extraterritorial land… 

The Zandmotor formed the context for the Mondrian Fund residency hosted by the Satellite Group in 2017. During my three months stay I traveled daily to the beach to try make some sense out of this constructed mess. I did experiments that resulted in Eighteen Coffee Breaks, where I introduced on the Zandmotor an important ritual for every working person. Later I asked Jordy Walker to make a soundtrack for the stop motion film I made of this performance, around the same problematic nature/culture

In 2018 the Satellite group organized a group exposition, Climate as Artifact in the Elektriciteitsfabriek in the Hague, and invited me to join and present a new work. I used this opportunity to complete the process started in 2017. Eight times I went back to the Zandmotor to work there for an hour and it resulted in Eight Working Hours, the final part of the triplet. The video’s are around 9 minutes.


Eighteen Coffee Breaks – during 4 weeks I traveled every working day to the beach to have a coffee break. I brought a thermos with coffee with me and dug up the chairs, the table and the flag. The flag signaled that the 15 minute break was happening. After that I buried everything and left.

Eight Working Hours – During the first two week of the exposition I traveled from the venue to the Zandmotor to move sand around, with the plan to make an impact, as big as manually is possible given the situation. The individual hours of work formed together one eight hour workday.

Both actions where open for the public.

Made possible by Satellite Group/ Climate as Artifact and the Mondrian Fund

Flag pole

I was invited to make a site-specific work at the Patlz, an private estate with a very interesting history. It was originally build halfway the 19th century and fell into bits apart, but in 1984 it was bought and reconstructed by mr Raatjes, who made his fortune by coming up with the simple but brilliant idea to make it possible for cities to have their name on their manhole covers. He recreated the estate but also added his own traces, like an 7 meter tall waterfall and paths that flow like rivers over the estate from one source and lots of other things like this, it was packed! But he never lived in his dream house, because he moved into the estate of his girlfriend. At the moment the estate is a nature park with three private houses that pay rent for the ground they use, this pays for the maintenance and opens it up for the public. Meria Bakker and Wouter Blom live in own of those houses and every two year they open up their house and garden for the Paltz Biennial.

During my first visit I noticed a lot Douglas pine trees that had fallen because of strong January storm and found out that Wouter Blom, together with some friends, reraised a small tree. This seemed a lovely gesture to me. This in combination with the Paltz history and the concept of something called ‘mastbos’ formed the base of my contribution. With a chainsaw and a planer I transformed the biggest of the fallen trees into a traditional Dutch flag pole, white, an orange top and a rope. With help of my parents I raised the flagpole and now it stands there, on it original spot between the other trees. 2018

Paltz Biënnale




Puin Tuin


Sander Zweerts de Jong called me and he had in interesting proposal. With a group of people they started ‘Buitenplaats Brienenoord’ a place focussed on the future – for everybody with some interest in that future. The old building that was there had already been taken down and work had been started on the foundation of the new building, mainly build with recycled materials and repurpused bits of the old building, but there was one huge problem – there was no use for the a lot of the old rubble – over a 100 tons! – and to get rid of it was pretty much impossible. Maybe I had an idea what to do with it.

There was little money but a lot of volunteers – after some thinking I came up with a plan – although that might not be the best word for it, it was more that I designed a method how to handle the rubble and use it to its full potential. So we started with building a wall around the terrain – on the island walks a group of scottisch cows and they would love to eat everything in the garden, and at the same time it resulted in a big habitat for lots of little critters. Pretty much all the choices we made followed the same basic rules: get rid of the rubble and find a usefull fuction, or even better, more functions. At this moment we are in at the halfway stage, the wall is build, some boxes for plants created and a sort of outdoor class room made. Now we have to wait for the building to be in a further stage before continueing, together with Ronald and Jonmar from ‘de Onkruidenier’ for the ‘living’ part of the garden. 2017 – …

Buitenplaats Brienenoord      Superuse Studios        Onkruidenier

Blok Beton

Photo Jan de Groen

Blok Beton is a performance resulting in a sculpture where I filled a mold with concrete. The stage was set as pleasant gathering for the neighboorhood, with fire, blankets and hot drinks. While filling the mold Jordy Walker sampled the sounds made by the mills into a super-real soundtrack. After two days the concrete was hard enough to remove the wood and was ready for what this whole exercize was about:
The decicion if the work was welcome in the neigboorhood or should be destroyed. We put all the individual adresses from the neigboorhood in a bucket – picking out a random address and ring the doorbell and invite the person opening to make a decision. After some houses and offices we found Mrs Gina Riedewald to put a thumb up or down.

Commissioned by TENT Rotterdam and Kunstblock – Coolstof 2018

Please check out the video made by Joey Smith

Thanks to: Mrs. Gina Riedewald, Jordy Walker, Aannemingsbedrijf Mostert BV and Leonie Rip, Esther de Leeuwe, Stanley van de Meer, Menno Verhoef, Lise Sinnbeck and Gemeente Rotterdam

Jordy Walker and Stanley van de Meer (photos Jan de Groen)

Photo Coolstof

Photos Jan de Groen


Meewisse Industrieelektronik & Sonstiges

For If Paradise Is Half As Nice, 2017, we travelled with a group of 10 artist to Zeitz in former East-Germany – a small city still struggeling with Die Wende. In an abandond factory we started working on our own projects. I came there with the idea to see if I could find anything of value left after the factory stood empty for a long period and if, with my artistic labour, I could add value to it – for which I would not get paid, which is the crux of the project. I thought it was important that my added value would benefit the people living there, so I opened a shop in the most imposing space in the building. Working there I found really remarkeble objects and quickly it turned out that the best stuff was all elektricity related – thus the name Meewisse Industrieelektronik & Sonstiges.


To reach potential constumers that would never come for the art project I placed an ad on the frontpage of the local door to door newspaper – 28.000 copies spread in and around Zeitz. I also used my car as a billboard.

I made the objects in my shop extremely cheap – for example, I sold lamps for € 20,- while the market value in a design shop in Berlin would be more around € 600,-. I also ripped the last bits of copper out of the builing – the bits that were out of reach of the copper thiefs – and sold those for € 1,- for a piece – if you brought that bit straight to a scrapyard it would give you € 1,50. All this was to make it possible that local people in a way could own there own industrial heritage and that my labour stayed unpaid. Of course I couldn’t discrimate the costumers, but half the stuff got sold to people for who I intended it – and every local person had a fair option to buy it. In the end I sold everything – even the display objects which I sold for €1,- to a local art inititive.






People have to sit.

a.pass – Brussel 2019

a.pass/Permormatik, Kanal Centre Pomidou, Brussels 2019

Buitenplaats Brienenoord, Rotterdam 2017

Sattelietgroep/Mondriaan Fonds, Den Haag 2017

Karikula, Georgia 2015

  Chen Long International Environmental Art Project, Taiwan 2014




Casting #2 #4 #5

The second casting, but the first with this kind of furnace. Casting #2 is an integrated aluminum melting furnace dedicated to Homo faber. I stack a big pile of wood with an aluminum core above a mold and light the wood from above. The wooden stack will burn from the inside out and melt the aluminum so it will fall into the mold. Homo faber is a research and development project funded by CBK Rotterdam.

Casting #2 happened at ‘3D-zine’ at Foundation B.A.D. during Charlois Speciaal. July 2016

Casting #4 making lava

Registration of the 4th integrated melting furnace, filled with rocks to make lava, in the garden of Foundation B.a.d Rotterdam.
thank to   research and development grant.


Casting #5


Casting #5 Experimenting with the furnace – melting aluminum and a test with reducing low quality iron ore, found on the beach near The Hague (that experiment wasn’t successful – no iron) January 2017



‘Diep Gaan’ is an art project organized by Lucy in de Lucht in connection with the start of the Tour de France in Utrecht. They invited artists, who go deep and challenge their own physical and mental limits. With a shovel and a wheelbarrow I moved 20 cubic meters of sand (30 tons) which I dropped, wheelbarrow-full after wheelbarrow-full, from the top of a spiral-shaped construction, so that a mountain formed in the middle. I worked continuously from 8.00 to 21.45, and the wheelbarrow was filled and emptied around 400 times. May 2015
The photos above are made by Baldwin Henderson


André Schreuders made a film of the 13 hour long performance. 48 minutes – please contact me for more information.




Retrospectief is a wagon filled with wood from projects and artworks created over the last eight years. First presented at De Coöperatieve in Hasselt, Belgium, Curated by Karen Wyckmans (pictures below) Second presentation during Diepgaan, by Lucy in de Lucht at Galerie Sanaa, Utrecht (pictures above, by Baldwin Henderson) both in 2015

Lucy in de Lucht

De Cooperatieve




Art Villa Garikula in Georgia organizes every year Fest I Nova, a festival for contemporary art. Teams were invited to Fest I Nova to build pavilions. Dirk van Lieshout designed and build the Dutch pavilion. I was asked to make a work around his pavilion. Bivouac is a work that makes it possible for people to actually be around the pavilions, to live there. During the build up and the first days of the festival I created a complete camp and lived there, with places to sleep, work and shit. On the second picture the pavilion of Dirk van Lieshout is shown in the background.
Bivouac has been supported by CBK Rotterdam.

Interesting about Garikula is that art is a used as a tool to create a model for a society, based around the villa.




Coding Driftwood

In Coding Driftwood I try to reveal some of the mysteries surrounding driftwood. I picked up 30 pieces on the beaches near Hasting and St Leonards in the UK. With a set of branding irons, made out of shovels, I marked them with some data: a number and a place and sometimes the date and my initials. The SPACE, St Leonards, functioned as an outdoor workshop en as a warehouse until I put 20 back into the sea. Somebody can find them on a beach and know where they have been at one point. The other ten I brought home to send back into the sea at different locations. Summer 2014






The Cheng-Long Wetlands International Environmental Art Project in Taiwan was in 2014 focused around the fishing huts in the village. I made a plan to repair one complete hut, spread out over a series of huts and build a folly based on the repairs. The folly got the function of a coffee shack. Special thanks to Amy and Sam. May 2014


The Folly


Bål – Kunsten i Bevægelse


Bål is Danish for bonfire. During Kunsten i Bevægelse I collected wood in three different villages with the use of a little wagon. With this wood I made a big bonfire in each village. I invited the suppliers of wood to come to the fire while I served them self-flavoured-snaps. The pictures are from Staby.

This project resulted in a photo serie with seven photos, six with wagons and one with the stack. September 2013