Built with Berta.me

  1. ^

    The world is full of objects, more or less interesting; I do not wish to add any more


    Self-published essay, ±17.000 words, 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 dematerialized practice of the postartist. Getting a clear understanding of the postartist is impossible without involving and researching its work, the postproduction. Because 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? Does the postartist pollute the ‘sacred aura’ and autonomy of art or injects the postartist art with fresh new impulses and criticism?

  2. .

  3. ^

    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.

  4. .

  5. ^

    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. This work revolves around the idea that non-work might include other forms of production, and that the act of relaxing could be something more than laziness.


    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.


    Opposed to the mere production and consumption of an art object I tried to create a relaxing context where 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 that can take place in this context in many different ways.

  6. .

  7. ^

    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. ‘’So, here we are, standing in an art gallery, you listening to my text and looking to something that is not produced by one single artist, but by the decision making of 5. I guess by giving the artwork not one clear author I freed my work and myself. First of all from the obligation to make any sense, or have any meaning, implemented within the work by just one creator. But this comes at a price, for meaning and sense mostly are no longer within my control. Therefore my work became an artwork that was unpredictable and therefore incapable of being completely autonomous. In fact I am not really sure whether or not I can still call it my work. In a way I am detaching myself from the group while being part of it. I observed our behavior, tried to think and talk about what we were actually doing here, with what reasons, and at which place.’’

  8. .

  9. ^

    What am I (not) doing here anyway


    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.


    ‘’I often long for a practice that is spontaneous and uncomplicated even though I can never completely achieve this because I know I am always fully awake and in control of the choices I make.


    On the other hand, I fully acknowledge the impossibility of understanding and analyzing the artistic practice in its totality, and that failure is always around the corner.’’

  10. .

  11. ^

    Het object als fysiek geheugen


    Interview, short text, photo’s 1456 words, 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

  12. .

  13. PRAXIS


    Lecture-Performance, ±13min, 2015


    In this lecture-performance I link the word praxis, which means a successful interaction between theory and practice, to the artistic practice in general. I do this by using objects and a text I had prepared. The text is spoken out, while interacting with the objects. The main subject of this lectureperformance was the balance and interaction between two sides within my artistic practice. One side wants to control and oversee everything, it wants to make order and create logic, while the other side doesn’t want to think about anything beforehand and handle things in a spontaneous and uncontrolled matter. Where one side just wants to play, make nice works, enjoy the ride, be surprised and be temped. The other side tries to conceptualize, define, reflect, analyse, and question everything.

  14. .

  15. ^



    6424 words, 2015


    In this essay I tried to outline a context in which a series of situations and realisations of my 3th study year can be understood. I described, combined, confirmed and commented on a variety of historical and recent writings, views and experiences of others and myself. 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 the artistic practice. In this line of thought, reflection and analysing become a way of making.

  16. .

  17. ^



    Various painted objects, photo, text, 2015

  18. .

  19. ^

    All the objects in my studio


    Installation, 2015


    All the objects that were present at a certain moment in my studio were displayed in this installation. By doing so, I gave the opportunity to visitors and myself to examine, reflect, and query this representation of my studio. The moment of displaying my worktable for instance, transforms the actual and operational worktable into what could be seen as an exemplar, possibility, proposal, or as model of a worktable.

  20. ^

    Wat ik mijzelf graag voorhoud


    Essay, 5949 words, 2014


    In this essay I analyse, comment and look back on a short working period in a project-space outside of the art academy. While working I experienced a urge and desire to be authentic and original and felt I had to make a profound statement (artwork) about my ‘true self’. But the more I let this desired guide me, and the harder I tried and to actually make this statement, the more artificial the situation became.


    In short his essay is about how trying to be authentic inevitably will make you unauthentic. This is because authenticity is not something you can obtain. Striving, longing or trying to be authentic will automatically lead in artificial situations. Departing from my experience during this working period in the project space this essay investigated the notion of authenticity, where it historically comes from, how the concept is linked to the artistic practice and how this is still haunting us nowadays.


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

  21. .

  22. ^

    The demonstration of rethinking my materials


    Live performance, “Intro in Situ” Maastricht, ± 7 min, 2014


    The work consists of a range of objects – 16 mutually different objects in weight, size and material – that were taken out of my studio to be queried and questioned in their value and meaning as objects I would normally use to ‘make art’. Therefore the performance as such is a rethinking of my materials. Before the actual performance took place, there was a short introduction about the intention and ideation of the performance. Also the 16 objects were equally divided in two different groups beforehand. The performance itself consisted of slowly dragging one object at a time over the floor, closely to the wall, to the other group of objects. By doing so, the room where the performance took place and the spectators were watching, became a resonance box.  The performance as such is a rethinking of materials, context, ‘making’ and a repositioning of myself as an artist in the dialectics between those different parameters.


    Film-stills of video documentation

  23. .

  24. ^

    Two artists exchanging views


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


    In this video work, a conversation is shown through subtitled black coloured 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.

  25. .

  26. .