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A Bunch of Political or Artistic Things

2014

A Bunch of Political or Artistic Things

This video essay is part of the research project What Else! on metaphysical homelessness ("rooflessness" literally in Dutch). This project is part of an infinite residency at The Yes Foundation in 's-Hertogenbosch.

What Else! – www.theyesfoundation.nl


(HD) PowerPoint Screen Capture Animation Video—1'30"
Affective Images

2015

Affective Images

Affective Images: How Public Images Produce Affect in a Digital Age is a year long research and design project of DAI with Open! as structural, discursive and productive framework. The project spans curatorial, editorial and artistic practices, and its overall aims are to better understand the working of mediatisation and digitization processes for the public sphere by working and reflecting on a specific topic within a globalised digital publishing environment. Part of the project is to -as a group- organize the symposium 'did you feel it?' which approaches the concern of how affect manifests through technology, by taking the idea of the interface as a way of understanding the creation and mediation of affective forces and their influence on our social, political and artistic encounters.

Through lectures, artworks and performances we attempt to understand: How do interfaces shape, transform and transmit affect? In what ways does experiencing affect, mediated through an interface, work upon our daily lives? And how can we as artists, designers and 'users' engage in the zone of aesthetic activity that the interface opens?

Participating artists are: Ben Burtenshaw, Eduardo Cachucho, Charlie Dance, Sebastian De Line, Chris den Dulk, Monique Hendriksen, Yung Han Juan, Jammie Nicholas, Marie-André e Pellerin, Miguel Angel Rego Robles, Kastė Šeškevišiütė, Aarti Sunder, Hu Wei and Amir Avraham.

Affect can be defined as as "a pre-personal intensity corresponding to the passage from one experiential state of the body to another and implying an augmentation or diminution in that body's capacity to act" (Brian Massumi). In our contemporary situation these experiential states and feelings are readily exchanged and traded upon in many areas of life: Your Facebook friends are editing and mediating their lives so that you can engage with them through liking and sharing. News media increasingly appeals to us on an affective register, influencing our reactions from occupation to commodification. With the growth of the service industry, an increasing number of workers no longer merely exchange the labour of their bodies, rather they exchange on an affective spectrum, like the call centre worker who must present a relentless kind and civil demeanor, no matter what. What we do in the media is enabled and disabled by interfaces. The interface is the ubiquitous and largely hidden layer between human and machine, but its transparency does not make it neutral. It is also an autonomous zone of aesthetic activity, guided by its own logic and its own ends. (Alexander Galloway). The interface permanently shapes our view of the material, the social, the political and the technological.

COOP Academy, Dutch Art Institute
did you feel it? on Open!


  did you feel it? symposium at Designhuis Eindhoven, September 2015

  Mercedes Bunz at did you feel it? September 2015

Photographs by Kastė Šeškevišiütė and Sebastian De Line
Also If You Would Not Make a Manifest "Work"

2014

Also If You Would Not Make a Manifest "Work"

This "request" was part of an email sent to me by Doreen Mende, the curator of the research project Travelling Communique where this video essay is part of. The project is informed by the idea that the collective statement articulated as a call for a new kind of internationalism by the 25 delegates of the first Conference of the Non-Aligned Movement (NAM) in Belgrade, September 1961, remains unanswered. Travelling Communique enquires into the possibilities of 'prolonging' the formation of the NAM into the social conditions of the present. The NAM can be understood as a third space of emancipation that sought to unsettle the bipolar world order through a wide variety of anti-colonial thinking. The Travelling Communique is an attempt to understand the process of becoming a political subject, initiated by those without names whose voices exist despite the efforts to silence them.

Travelling Communique– Museum of Yugoslav History
official website


(HD) PowerPoint Screen Capture Animation Video—5'45"
Appropriation and Dedication

2014

Appropriation and Dedication

If I Can't Dance, I Don't Want To Be Part Of Your Revolution's year long course at DAI is constructed around sessions with Matthew Lutz-Kinoy and Gerry Bibby, Sara van der Heide, Snejanka Mihaylova and Emily Roysdon. Alongside a shared interest in working performatively, all five artists have adopted a responsiveness to If I Can't Dance's research field, of 'appropriation and dedication'. With this research field they express their interest in how acts of appropriation -or making something one's own- might be considered as acts of acknowledgement, homage and mutual influence. The course is coordinated by If I Can't Dance curators Susan Gibb, Tanja Baudoin and Vivian Ziherl.

COOP Academy, Dutch Art Institute

APTTTHNTDWEA

2014

APTTTHNTDWEA (About Putting Things Together That Have Nothing To Do With Each Other)

This video essay is part of the long term collaborative research project Distribution of the Sensible (Blind Mix), curated by myself. DOTS (Blind Mix) is an experiment in the form of a long-term collaboration between seven artists in response to the text 'The Politics of Aesthetics: The Distribution of the Sensible" by Jacques Ranciere.

DOTS (Blind Mix)– distributionofthesensible.blogspot.nl/ Blender– defabriekeindhoven.nl


(HD) PowerPoint Screen Capture Animation Video—7'19"

        APTTTHNTDWEA at DOTS (Blind Mix) #2, De Fabriek Eindhoven, 2014
Audio Guide Political Art Exhibition (EN)

2012

Political Art Exhibition (EN)



This audio guide is part of a group show at the conclusion of the minor Art & Politics of AKV St. Joost 's-Hertogenbosch at the DMT-loods in 's-Hertogenbosch. Fourteen artists show their work distributed over fourteen voting booths. In the last booth you find three wiresless head phones. The audio guide mixes the works, visitors, creators, work that previously occupied at this place and other elements that passed during the minor.

Part of the text: You enter a gallery. The exhibition is called 'Political Art'. A lightly grimy place of eight by eight meter. In the middle of the space fourteen artists show their work spread over fourteen voting booths which stand in two lines with the backs against each other. The first voting booth contains three wireless headphones with an 'Audio Guide' sign.

Hup! Den Bosch – De Ondergrond

Audio Tour 's-Hertogenbosch (EN)

2014

Audio Tour 's-Hertogenbosch (EN)



This sound work was made for the Playful Arts Festival in 's-Hertogenbosch in 2014. The tour can also be performed on any other moment and on any other location. For the listener that doens't feel like going outside, it is also possible to perform the tour on Google Street View. This half an hour long sound work guides the listener through an emotional and visual experience of the location they find themselves in. It is a walk, not a quest.

Playful Arts Festival – playfulartsfestival.com

Audiotour Eindhoven (NL)

2011

Audiotour Eindhoven (NL)



This audio tour goes through the city centre of Eindhoven. The tour takes half an hour. Go to the Central Station of Eindhoven and listen to this tour online on your smartphone or download it on your mp3-player. A voice gives background information about where you are as well as instructions on where to go or what to do, such as 'Take the elevator' or 'Act as if there is a gnat in your eye'. You doubt wether or not to trust the voice intirely. In the back you hear footsteps and people passing by. Mutiple realites are mixed. The city becomes a playground and the audience gets accessory.

Audiotour Groepsexpositie Kunst & Politiek (NL)

2011

Cartons & Carpets (EN)



This audio guide is part of a group show at the conclusion of the minor Art & Politics of AKV St. Joost 's-Hertogenbosch at the DMT-loods in 's-Hertogenbosch. Fourteen artists show their work distributed over fourteen voting booths. In the last booth you find three wiresless head phones. The audio guide mixes the works, visitors, creators, work that previously occupied at this place and other elements that passed during the minor.
Part of the text: You enter a gallery. The exhibition is called 'Political Art'. A lightly grimy place of eight by eight meter. In the middle of the space fourteen artists show their work spread over fourteen voting booths which stand in two lines with the backs against each other. The first voting booth contains three wireless headphones with an 'Audio Guide' sign.

Hup! Den Bosch – De Ondergrond

Audiotour 's-Hertogenbosch (NL)

2014

Audiotour 's-Hertogenbosch (NL)



This sound work was made for the Playful Arts Festival in 's-Hertogenbosch in 2014. The tour can also be performed on any other moment and on any other location. For the listener that doens't feel like going outside, it is also possible to perform the tour on Google Street View. This half an hour long sound work guides the listener through an emotional and visual experience of the location they find themselves in. It is a walk, not a quest.

Playful Arts Festival – playfulartsfestival.com

Be a Plant

2014

Be a Plant

This video essay is part of the research project Travelling Communique, curated by Doreen Mende. This project is informed by the idea that the collective statement articulated as a call for a new kind of internationalism by the 25 delegates of the first Conference of the Non-Aligned Movement (NAM) in Belgrade, September 1961, remains unanswered. Travelling Communique enquires into the possibilities of 'prolonging' the formation of the NAM into the social conditions of the present. The NAM can be understood as a third space of emancipation that sought to unsettle the bipolar world order through a wide variety of anti-colonial thinking. The Travelling Communique is an attempt to understand the process of becoming a political subject, initiated by those without names whose voices exist despite the efforts to silence them.

Travelling Communique—Museum of Yugoslav History
official website


(HD) PowerPoint Screen Capture Animation Video—9'23"

         Be a Plant at Museum of Yugoslav History
Cartons & Carpets (EN)

2012

Cartons & Carpets (EN)



In this audio work a monotone voice discribes a script. It is not certain wether this situation already has taken place or it hasn't. In fact this script is a documentation of a Knuspt salon, but that's not necessary to know. The discribed situation corresponds to a situation that already took place, but it might as well be a script for an exhibition or performance in the future. It doesn't matter if it's about the future or the past. And it doens't matter which reality is the right one.

Alles dat Blinkt – www.galeries.nl

Ceci Une Peinture de Printemps

2012

Ceci Une Peinture de Printemps

Contemporary Art in a Humid Political Climate

2011

Contemporary Art in a Humid Political Climate

This performance video started as a live PowerPoint performance through Skype at Tæt gallery during Art Night's-Hertogenbosch 2011. The video was part of the exhibition Alles Dat Blinkt at CBK 's-Hertogenbosch.

The Yes Foundation/Stichting JA! – Ja! Live
Alles dat Blinkt – www.galeries.nl


Performance Video 3'08"

         CAIAHPC at CBK 's-Hertogenbosch, 2012
Distribution of the Sensible (Blind Mix)

2014

Distribution of the Sensible (Blind Mix)



DOTS (Blind Mix) is an experiment in the form of a long-term collaboration between seven artists. At the invitation of De Fabriek Eindhoven to arrange five small, experimental public moments I collected six artists to engage in a long-term cooperation. Participating artists are: Geert Cooijmans, Germen Zoer Gilly van Zanten, Max van den Hout, Remy Neumann, Toni van Tiel and myself. The project is in response to the text 'The Politics of Aesthetics: The Distribution of the Sensible "by Jacques Ranciere divided into five phases: #1 Take Me To The River: The Joke / The Game, #2 This Must Be The Place: The Collection, #3 Stay Hungry: The Invitation / The Encounter, #4 Stop Making Sense: The Mystery and #5 The Good Thing: Consensus. All correspondence between the artists and more information can be found on the blog.

distributionofthesensible.blogspot.nl

DOTS (Blind Mix) #1 Take Me to the River: The Joke/The Game

The joke is the connection of heterogeneous elements presented as a voltage of antagonistic elements, designate one or the other secret. The dialectical tension is reduced to a game which is played with just the indistinguishability of the procedures onsluieren the secrets of power, and the ordinary procedures of delegitimization that are part of the new forms of power domination -the procedures of delegitimization produced by power itself (by the media, entertainment or commercial advertising). playing with the undecidability mocking the current hierarchical distribution debordiaanse the idea of "play" as the opposite of 'spectacle' - Streetview quiz - Photograph yourself with your favorite outlet - A poem about a lecture on the importance of blacklight in discotheques. - Talk about Joe perry - Find the differences - Sign 243 frogs - Meeting at the office at IKEA - Interventions and performances in the park, on the bus, in the pet Inevitably raises public on its opposite: the movement to make something public is connected to a counter movement that some areas off from what is seen, heard, or can be perceived in the public forum. An exhibition boasts hierarchy itself; an assumption that there is a difference between inside and outside, between the participant and the spectator. This mime hisses exhibition is an attempt our basic attitude (call it nihilistic) nothing than to let his. No explanation, no accountability, no action, no activity. Only aesthetic choices out of sheer boredom. The reaction of the public to clean up on the opening night of the exhibition indicates a total rightly or wrongly social refusal to let his this attitude. (at least within this art bastion) Blaming as boredom, laziness, pretension, theft, lack of explanation, lack of accountability, lack of artistic quality, lack of commitment, mutual reproaches both dedication, commitment and lack of quality. Apologies if lack of time, lack of interest and lack of artistic quality of the Other include results of a nihilistic exhibition. "If we get away with this?" It is not dada, it's contemporary.

DOTS (Blind Mix) #2 The Cafeetje --- This Must Be The Place: The Collection

Heterogeneous elements continue to be brought together, albeit not to provoke a critical collision from even to play with the undecidability of their critical ability (# 1 Joke / Game). So gather as a positive act, as an attempt to collect. Traces and testimonies of a common world and history Collecting is remember. pieces of art, the equality of all objects, private photographs, utensils, advertisements, commercial videos, enzovoorts- is thus the equality of the archives of the life of a community. About bringing together uncompromising things that have nothing to do / with each other do not belong together / that you would not expect. In one sentence About making (insane) connections. houseplants & Sausage Ranciere & carnival Dolphin & watermelon frogs everywhere Smurfs & explosions a chess game and someone who jumps over a line on the floor an inflatable pool, Christmas tree lights, a golden retriever, etc. etc. about why we like to do that. and why it works better than the other one. aesthetic choices / creating equality / visualization of the rules of a time / lifting limits / .... About overcoming cynicism by something you might call? 'Absurd' need for unexpected, illogical or non-hierarchical. Over the total does not feel guilty about not being able to redeem the political promise.

DOTS (Blind Mix) #3 Stay Hungry: The Invitation/The Encounter

under construction


        DOTS (Blind Mix) #1, De Fabriek Eindhoven, 2014


        DOTS (Blind Mix) #2, De Fabriek Eindhoven, 2014


        DOTS (Blind Mix) #3, De Fabriek Eindhoven, 2014

Drabstraat

2011

Drabstraat

Epic New Everything (1981-2010)

2014

Epic New Everything (1981-2010)

Gelig Paars/Yellowish Purple

2012

Gelig Paars/Yellowish Purple

난 당신의 목숨을 변경하지 않으/I Don't Want To Change Your Life

2013

난 당신의 목숨을 변경하지 않으/I Don't Want To Change Your Life

Ik heb ook een mening/I Also Have An Opinion

2014

Ik heb ook een mening/I Also Have An Opinion

Juggling (4 The People)

2013

Juggling (4 The People)

This video essay is part of the research project What Else! on metaphysical homelessness ("rooflessness" literally in Dutch). This project is part of an infinite residency at The Yes Foundation in 's-Hertogenbosch.

What Else! – www.theyesfoundation.nl


(HD) PowerPoint Screen Capture Animation Video—5'28"
In Front of the World/An Update on my Research #1

2014

In Front of the World/An Update on my Research #1

This lecture performance is part of the master program at the Dutch Art Institute. A plant who embodies the performer in this presentation reflects on my research and position within the institute.

Dutch Art Institute – The Kitchen / Not The Restaurant

        Live at Dutch Art Institute, Januari 2014

(HD) PowerPoint Screen Capture Animation Video—20'35"
In Front of the World/An Update on my Research #2

2014

In Front of the World/An Update on my Research #2

This video essay is a response to In Front of the World/An Update on my Research #1. I reflect on my own reflection on my own research and position within this institute. The video has been screened at Onomatopee Eindhoven.

Onomatopee – SuperBookSunday, March 2014


(HD) PowerPoint Screen Capture Animation Video—20'35"
Gay Monument

2014

Gay Monument

This intervention is part of the research project Travelling Communique, curated by Doreen Mende. This project is informed by the idea that the collective statement articulated as a call for a new kind of internationalism by the 25 delegates of the first Conference of the Non-Aligned Movement (NAM) in Belgrade, September 1961, remains unanswered. Travelling Communique enquires into the possibilities of 'prolonging' the formation of the NAM into the social conditions of the present. The NAM can be understood as a third space of emancipation that sought to unsettle the bipolar world order through a wide variety of anti-colonial thinking. The Travelling Communique is an attempt to understand the process of becoming a political subject, initiated by those without names whose voices exist despite the efforts to silence them. Part of this project is a research trip to Addis Ababa (Ethiopia), in order to investigate the remainings of the NAM moment in 1961 in this specific area. Part of this investigation was a three-hour discussion in an ancient forrest attended by around 30 people about gay rights. The most striking about this event for me was that it resulted in a more or less 29 people trying to convince one Ethiopian man about the importance of accepting gays. Especially after spending months discussing the importance of anti-colonial thinking.

Travelling Communique– Museum of Yugoslav History
official website


        Travelling Communique at Addis Ababa, March 2014

        Travelling Communique at Addis Ababa, March 2014

        Travelling Communique at Addis Ababa, March 2014

Photographs by Coco Duivenvoorde and Jan Adriaans
Molecular Revolutions (To Make a Work)

2015

To Make a Work~Molecular Revolutions

This project, curated by Grant Watson and Yael Davids premises to return to the questions thirty years after the book Molecular Revolutions in Brazil was written by Suely Rolnik and Felix Guattari, and to see where we are today in terms of cultural practice, in particular in relation to working as artists. In Brazil, French theory and the work of Foucault, Deleuze and Guattari, have had an important effect on a number of areas, from left wing politics, to culture, to clinical work; the introduction of this theory has combined existing aspects of Brazilian culture, social experience, experiments and practices to produce new forms.

Roaming Academy, Dutch Art Institute


  To Make a Work~Molecular Revolutions at Casa do Povo, São Paulo

  Meeting with Suely Rolink at Casa do Povo

Photographs by Nil Ilkbasaran
Nettie

2012

Nettie

Nettie is an intervention of two paintings and a name tag. Both a collaboration with artist Klaas Burger as an intervention in his artistry. He invites me in his open atelier for homeless people in Breda. Nettie is a visitor and Klaas tells her that he thinks her paintings are beautiful. At my request to present these paintings as his own work, he says he wishes to keep his philanthropical work separate from his artistry. I suggest to exhibit the paintings at the railway station where I happen to have the key of this window case. Unasked I add the tag 'Nettie by Klaas Burger and Monique Hendriksen'.

Annahuis Breda– Inloopatelier





        Nettie at Breda

        Nettie at Breda
No'ing Me No'ing You Aha/An Update on Research

2014

No'ing Me No'ing You Aha

This lecture performance is about simultaneous realities and the possibility of having no hierarchies. This video lecture is a composition of different people i.e. artists, musicians and friends who talk about these issues. I intervene the video by blowing a recorder every time the words 'I' or 'me' come up. I also throw marshmallows against the screen every time a human being appears. In the back of the space a bubble machine blows bubbles against the audience.

Dutch Art Institute – The Kitchen / Not The Restaurant

        Live at Dutch Art Institute, June 2014
Of No Interest

2012

Of No Interest

Of No Interest is a two-time outdoor continuous long durational performance program in between different sculptures. Performed once at Stedelijk Museum 's-Hertogenbosch during Point de Vue, and once at Sectie C in Eindhoven during Wild-C. This programme initiated by me commissioned by CBK 's-Hertogenbosch is executed by different artists including myself, different performers, dog-owners, animals, plants and the audience. The program consists of the performance 'Of No Interest' by me where two synchronized swimmers sit on different sculptures to eat a plate of spaghetti while an audio fragment is played of an american student interviewing Joseph Beuys about sensation in art, followed by the song 'Sonne Statt Reagan' by Joseph Beuys. In a party tent I give a PowerPoint presentation on art and ideology. Trijnie Nanninga gives a fashion show performance in animal costumes, a group of dog owners let's their dogs run over, jump on, sit on, and underneeth the sculptures. The audience executes different 'readymade performances' and 'one minute scultpures' presented like paper wad snacks on tables. And there is a doggy dance performance. With sculptures by Luuk van den Broek and Bob Schiller, Willem Claassen, Paul Geelen, Tim Hoefnagels, Theodora Kotsi, Sil Krol, Diego Sindbert & Robert Lombarts, Florian de Visser and Germen Zoer. The program Of No Interest exposes the diffuse and unnecessary separation between nature and culture -that Wild-C cites- but mostly questions the role of the autonomous artist when he is asked to organize an event. An art work disguised as an event, commissioned by the CBK 's-Hertogenbosch.

Opening

2012

Opening

Opening is an intervention by a performance, a happening, and a sculpture in the railway station of Breda commisioned by IDFX Foundation. Monthly their showcase window in the underpass of the railway station of Breda is used as an exhibition space in order to confront a wide range of people with experimental, non-conventional art and to give aspiring artists the oppurtunity to present their work to a large audience. The 119th edition of Innercity Etalage in Vitrine 8 is a performance called 'Opening'. It's literally the opening of the showcase which contains this sculpture. At the night of the opening, I read page 259 from 'Single and .. Father! by Robert Alison, a novel from the 'Rebellious Doctors' series. Thereafter, the showcase was opened and the cold plate was eaten by the public and myself. The remains of this act were visible and smellable for a month after. thropical work separate from his artistry. I suggest to exhibit the paintings at the railway station where I happen to have the key of this window case. Unasked I add the tag 'Nettie by Klaas Burger and Monique Hendriksen'.

Idfx Breda– Persbericht
Idf Breda– official website


Interview met Marijke Hooghwinkel van Idfx Breda


Photographs by Marga Hendriksen

Random Audio Guide (NL)

2012

Audio Guide 1,0 fte (NL)



This audio guide can be used as a guide in every random exhibition.

1,0 fte – De Ondergrond
CBK 's-Hertogenboschgaleries.nl

Roeren in een Onbestemde Soep (To Stir a Vacant Soup)
Link
Sind Wir Schon Da/Are We There Yet

2012

Sind Wir Schon Da/Are We There Yet

Smeltmetal

2013

Smeltmetal

Sound Piece Addis Ababa

2014

Sound Piece Addis Ababa

Spear Throwing Pig Killers

2012

Spear Throwing Pig Killers

Stühlerücken

2013

Stühlerücken

Teflon

2011

Teflon

Tegen een toch al bebloede muur kapotgooien (Smash Against an Already Bloodied Wall)

2011

Tegen een toch al bebloede muur kapotgooien (Smash Against an Already Bloodied Wall)

Part of the text of this lecture performance: "If there is no boundary between me and you, between then and now, there is no reason not to right now bring all dead children back to life and smash them against an already bloodied wall. If there is no criterion, then it makes no sense that I stand here talking and you are sitting there watching me as raped Jewess who did it themselves. You should stop trying to understand me! It is the same mechanism that nasty, stinking emancipational thinking from which all the rotten stinking nigger baby corpses which our history is rich, will revenge us into our fear of that place, that moment where time and space no longer can protect us."


        Live at AKV St. Joost Breda
The Wanderer in Line for Coffee

2013

The Wanderer in Line for Coffee

This video essay is part of the research project What Else! on metaphysical homelessness ("rooflessness" literally in Dutch). This project is part of an infinite residency at The Yes Foundation in 's-Hertogenbosch.

What Else! – www.theyesfoundation.nl


(HD) PowerPoint Screen Capture Animation Video—5'28"
Travelling Communiqué

2014

Travelling Communiqué

The project Travelling Communiqué is an investigation into the presidential Photo Service archive (1948–1980) of Josip Broz Tito, initiated by Armin Linke, Doreen Mende and Milica Tomić. As part of DAI's roaming academy, Doreen Mende has curated this educational segment of the project in order to investigate the archival pictures taken on the first Conference of the Non-Aligned Movement (NAM) in Belgrade, September 1961. Travelling Communiqué enquires into the possibilities of ‘prolonging’ the formation of the NAM into the social conditions of the present. The NAM can be understood as a third space of emancipation that sought to unsettle the bipolar world order through a wide variety of anti-colonial thinking. The Travelling Communiqué is an attempt to understand the process of becoming a political subject, initiated by those without names whose voices exist despite the efforts to silence them.


  Travelling Communiqué at Addis Ababa, March 2014

  Original Image © Museum of Yugoslav History


http://www.travellingcommunique.net/
Museum of Yugoslav History
Roaming Academy, Dutch Art Institute


Photograph by Coco Duivenvoorde and adaptation of photograph by Photo Service of the President of the Socialist Federal Republic of Yugoslavia
Twenty7Toothpickflags

2011

Twenty7Toothpickflags

What Else!

2013

What Else!

What Else! is a critique on contemporary art. This project is part of an idefinite residency at The Yes Foundation in 's-Hertogenbosch. Didn't we just kill god?
'A Bunch of Political or Artistic Things', PowerPoint video (1"30)


I don't like art that is made out of a lot of the same small things. Like a floor out of coffee pads or even a drawing out of small dots. I think it's pure fetishism. What's wrong about fetishism is that it's sexist and therefore it's shallow. A part of me wants to make a work that is highly aesthetic with a perfect composition of shape and colour. But I'm afraid this is just as fetishist. Also I think it's fascist to make such a work. I know that aesthetics have a political quality. But still I'm afraid that this believe in progress is just fascist and irrelevant. What's wrong with fascism is not so much that it's dangerous but much more that it undermines freedom. It objectifies. If art wants to make things open and mature it can't objectify. Is art about making things open and mature? Maybe so. So if I wanted to make a more relevant work, would that also mean it should have any political value? If it has a political starting point or is even fixed somehow, it would also objectify. Because it would suggest a difference between it's own position and the rest of the world's. So that would suggest some kind of hierarchy. Especially if it would try to change anything or even try to say something. So therefor this would be even more fascist. The only political value an art work should have is an aesthetic one. Just for being art. But be careful not to say anything. I don't like Christians because they judge and impose their morals. I think artists should never be like Christians. Also I don't like too emotional art because that makes the artist centre of attention and if a person should know one thing, it is that they are not important and not the centre of anything. But me saying that is also like being a Christian. Especially writing it down. Who am I to judge? Maybe these people really are super important. Also I don't like about Christians that they are hypocrites. That means they impose their morals on everyone but themselves. Like meat eating vegetarians. The whole base on Christianity is hypocrite. For instance wearing your best clothes to church is hypocrite. And that's just a small example. What about trying to come closer to God than others? Of course I know being born in this part of the world in this time also makes me a Christian. For example because I think it's 2013. And for the capitals I use. So maybe it's just as hypocrite to take an artwork out of a working space and into a museum. Also my scepticism inhibits my freedom. I judge. I really like compositions that are perfect. I think that has something to do with sex. Which I hate about it. It's not rational. It's stupid. And shallow. I know aesthetics aren't shallow. But perfect compositions are. I do like things that are irrational like throwing bananas or dancing silly. I also really like sculptures that contain banana throwing attributes and dancing silly shapes and colours. Especially if they are complex at the same time. I really love complex art theory and philosophy. But I'm afraid it's nothing more than entertainment for the mind. Like five star cryptograms. What's wrong about entertainment is that it's often a mass thing. I don't like mass taste and mass culture. It objectifies. It's fascist. I do like enjoyment. Words are also fascist. They objectify things. And they invade the blank sheet. Modernism is mass taste. Especially expressionism. Or is it? I really don't like bands either. Bands and pop music are such a cliché I can almost puke out of boredom. I can't believe people can still be enjoyed or inspired by bands. Just like hanging things on walls. How can you still do that without being totally cynical? I also don't like cynicism. I like about 50% of all things. I think that makes me a realist. I do think I am sceptical. But how can you trust a thing if you know that everything is uncertain? Things that I do not distrust: the perfect balanced combination of grapefruit and beetroot. And love. I'm also a romantic. But that has nothing to do with art. So if I wanted to make a work that was somehow entertaining or spectacular it would be irrelevant. It would be what culture demands, and art should undermine culture and strive for new things. So therefore it would be wrong to make something spectacular. But a very beautiful or a very ugly piece is also spectacular. Or dancing silly. So therefore I should make something more invisible. Maybe something boring, but that's also been done. Is making new things important? I think so. I don't know why. Probably because I'm still a Christian. If time is really more circular than linear we have to stop making new things and start all over again. Be more repetitive. I also don't want to use beautiful materials because that's just fetishism. And I believe buying expensive materials is immoral and it undermines my artistic freedom. Art should be immoral. I like morals. I have a lot of rules. I never go near people that are depressed. I think people that are depressed are lazy for not fixing themselves. I also don't like homeless people. I think they should at least pay for the sidewalk if they want to lie on it. It's not their sidewalk. I really like expensive and ugly community art. Like a huge golden golden retriever in someone's front yard unasked. Or something like that. But then more complex of course. It has to be complex. Four stars at least. Plants are an easy solution that really seems to work. For now. I don't like my work to be too much about me. I also don't like the word 'I'. Or writing it with a capital. In fact I don't like to use capitals at all. But in this case the universal rules are more important than my own. All these sentences start with the word 'I'. I hate that. I like sentences that start with the word 'Tevergeefs'. Because it makes you know that everything else will be totally useless. I don't like the use of the human figure in art at all. I also think the medium should result out of the work and not the other way around. Therefore I think it's lame to be a performer. Or a painter. Or a band. It's fascist to call yourself something like that. Designers also like to make things out of a lot of small things. Like a lamp out of spoons or a chair out of spoons. Boring. Lamps and chairs are boring. And so are spoons. I'm sure there are enough pretty chairs and lamps in the world to go around by now. Let's do something else. The political promise of a good art work is the possibility to undermine any kind of hierarchy. The possibility of endless reconsideration. Therefore it cannot know any moral. And therefore it should always undermine the codes of the arts. As well as the rules of the artist. The artist should always try to nullify art, for art cannot be conservative. If art becomes conservative it vanishes. Artists should try to vanish art into life. You have to kick it, break it, make it boring, make it invisible, make it ordinary.

What Else! – www.theyesfoundation.nl


  'Don't Be So Dramatically Skeptical', Digital Image (1405 x 1057) PowerPoint Screen Shot

  'Sense', Digital Image (1772 x 2658)
  'The Wanderer in Line for a Coffee', PowerPoint video (10"08)

  'Juggling (4 The People)', PowerPoint video (5"29)