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Eigenlijk ben ik niet zo goed in verhalen vertellen maar… 

 

Group-published graduation publication, 2016

 

For the sixth consecutive year graduating students from the Academy of Fine Art and Design issued a publication. In this publication – designed by Lyanne Polderman – the 14 graduating students try to link theory, research and visual practice. 

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Informal host

 

244x366cm particleboard, textile, 2016

 

The tent is meant to be a safe and cosy space that creates a comfortable and intimate surrounding in which people can spend their free time. Here, you can take your time to imagine, discuss and rethink - alone or with others - whatever is on your mind. As such, the tent operates as a host for sharing and generating insights and dialogues.

 

During the course of three months the tent has been a meeting platform for planned and spontaneous dialogues, workshops, lectures, debates and discussions. Therefore, the activity within this context is greatly defined and influenced by how people are participating and interacting, with each other and the tent. 

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Public Homebase

 

Installation, Marres (Maastricht), 2017

Many many thanks to http://www.denieuwecontext.nl

 

Public Homebase could be understood as a library, a workshop, a studio, an artwork, a class, and a performance. It is activated by the public, who are welcome to browse, explore, and intervene. Public Homebase embodies the unstable nature of a work in progress, and understands the exhibition as a platform that explores the conditions of artistic production. 

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What am I (not) doing here anyway

 

Wooden contruction, Video, 00:13:22, LEDTV, 2015

 

‘’In this video I will try to give you a short critical reading about the process in my studio.’’ This video work involves several different objects and actions that are presented, one by one, on a dark grey setting. While doing this, subtitles comment and analyse my behaviour in my studio.

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Let's Talk About The Elephant In The Room

 

Performance, ± 30min, Playtime Festival SSBA SalonStadsschouwburg Amsterdam, 2017

 

A colossal wooden object stands in the middle of the space, so: let's talk about the elephant in the room. Reijntjens and Van Dijk will present 30 ways of handling this object in 30 minutes. All proposals could be executed within the given timeframe of 30 minutes, deal with the wooden structure in the space, and take PLAYTIME as starting point, although some are more feasible than others.

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Debating Arena

 

±3hrs. long, Collaboration between Polis Master and Master Arts and Heritage students, at the former Maastricht Academy of Fine arts and Design library, 2017

 

Over the course of a few weeks, a group of students from the Master Arts and Heritage and the POLIS Master students from MAFAD have been exploring the possibilities of working together, the relationship between artist and curator, and the challenges of exhibition making. As a result of this process, we find ourselves continuously faced with the dichotomy between the role art in debate and the role of debate in art. 

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Retrospective Act

 

Performance, ±15min, 2016, Kunstpodium T, Tilburg

 

The Retrospective Act is a performance in which I tell a story about 5 artists making a group-exhibition. ‘’I observed our behavior, tried to think and talk about what we were actually doing here, with what reasons, and at which place.’’

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The world is full of objects, more or less interesting;

I do not wish to add any more

 

Self-published essay, 2016

 

This essay investigates the origin and activity of the postartist’s practice. I gathered different interpretations from several sources describing the concepts of the postartist and accordingly its postproduction. Thereby this essay tries to oppose to the romantic notion that the task of the artist solely lies in a brilliant act of creation. The changing art practice from the 60s and the preceding upcoming of the readymade form the basis for the supposedly ‘dematerialized’ practice of the postartist. What exactly does ‘the artist without artworks’ produces? And is the postartist even interested in art and aesthetic issues? Or is everything outside of art more interesting for this type of artist? 

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OSUC (open source urban campus) Dakar 

 

Nomadic academy, research based group project, Dakar, Senegal, 2016

 

The project's main question is to find out how a temporary radical change of cultural conditions influence the learning process of an artistic practice. We operated as a ‘learning community’, which can be seen as a continuous open debate. The project includes the Dakar Biennial ‘Dak’Art’, where participants met with curators and participating artists. After that, the project moved to the island ‘Ile de Mar’ one of the most rural area’s in Senegal.

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‘’THE TRUE ARTIST HELPS THE WORLD BY REVEALING MYSTIC TRUTHS’’

 

Essay, 2015

 

In short this essay is about the tension between two kinds of artistic mentalities. One mentality focuses on the rather romantic notion of the creation of a very autonomous object where the eccentric artist completely surrenders himself to its making, while the other mentality is very conscious and critical of itself and its surroundings and where the artist strategically tries to take position and make a statement. The actual writing of the essay is in a way a rethinking of my artistic practice. In this line of thought, reflection and analysing become a way of making.

 

Cover designed by Roel: http://www.roelvaneekelen.com

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Praxis

 

Lecture-Performance, ±13min, 2015

 

In this lecture-performance I relate the word praxis, which means a successful interaction between theory and practice, to my artistic practice. I do this by using objects and a text I had prepared. The text is spoken out, while interacting with the objects.

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Het object als fysiek geheugen

 

Interview, short text, photo’s, 2015

 

Artist Julie Fassbender (1986, Düsseldorf) offered me a ‘guided tour’ in and around her mother’s house, the place where she grew up. In return I wrote a short text, interviewed her and photographed the house. I tried to write about topics that both concerned her artistic practice and the stories told by her about this house, such as memory, history, identity and objects. 

 

Cover designed by Roel: http://www.roelvaneekelen.com

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Het object als fysiek geheugen

 

Interview, short text, photo’s, 2015

 

Artist Julie Fassbender (1986, Düsseldorf) offered me a ‘guided tour’ in and around her mother’s house, the place where she grew up. In return I wrote a short text, interviewed her and photographed the house. I tried to write about topics that both concerned her artistic practice and the stories told by her about this house, such as memory, history, identity and objects. 

 

Cover designed by Roel: http://www.roelvaneekelen.com

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Two artists exchanging views

 

video-loop, 00:01:53, TV, no audio, 2013

 

In this video work, a conversation is shown through subtitled black video frames. This conversation is inspired by ’10 RULES FOR STUDENTS AND THEACHERS FROM JOHN CAGE’, which has been circulating online in various photocopied and scanned forms. Even though it’s unclear who actually did write the rules, Cage, by whom the tenth rule quotes directly, commonly popularized it. I used the list of rules to rethink them in a fictional conversation between two artists. By doing so, I expose my own questions and views on the artistic practice.

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