Letters to my friend Eden
While researching the concept of what is perceived as a public space, my research brought a question, who owns public space. More particularly, who inhabits a space that in some sense is perceived as a free area where the public meets. Noticing unwritten moral rules how an individual should behave in between others brought up awareness to a group of people who in some sense do not fit upon agreed structures of a public space. Those were the homeless. Involuntarily placed upon a condition to obstruct accepted fluctuations of open spaces. Seeking shelter, slinking unnoticed under the Tschumi pavilion. Taking wakeful rest and setting out in search for another open sanctuary.
Having an opportunity to tackle upon public space, a desire was to create an environment for a passerby to take rest, more to step into a bum's shoes. Unfortunately this was not accepted. Thus, instead of providing an experience for the other, one evening I have placed myself as a vagrant under the Tschumi pavilion. An action became a voluntary disruption of an open space. Being completely exposed yet unnoticed, having comfort yet being alert every second.
An urge to bring turmoil into an area of Heresingel was taken over by feelings it has caused me while staying in a position of a bum.
mixed media installation, part of Het Resort midseason'20 program, Tschumi pavilion, 2020, Groningen, NL
A Child of Voluntary Exodus; Part 2,
or - Paganus dwellers
In continuing a research of settlement and belongingness in the summer of 2020 I had a chance to go back to the place of the infinite fields and connect with the inhabitants of the hoary lands. Creating a self-inflicted residency with the community of a small village I was able to capture four stories by which an individual took on a choice to settle with the condition they were born into.
video installation, Tales of the Unseen, Koepezaal, 2020, Groningen, The Netherlands
A Child of Voluntary Exodus; Part 1.
This is a work in attempts to gather personal investigations towards the existence and a purpose of a human life, combined with philosophical enquiries in a form of mathematical formulas. Speculations of equations concerning the notion of settlement.
A wish for connection with the other and it’s attempts of finding one or more individuals to share similar thoughts. In between connection finding common metaphysical frustrations towards questions of existence.
Within the book a viewer is invited to reflect on their individual choices and it’s after effects. The moment one makes a choice to settle, to dwell, to seek, to restrain, how influential it becomes to
the one who has made a choice. What if some resign in making any choices, in which category those individuals fall. The book attempts to make a dialogue with a spectator in questioning their own settlement and it’s deeper meaning.
artist book, laminate matt cover, edition of 100 prints, 60 pages, 2020, printing company UAB Didmena, Kaunas, Lithuania
A Child of Voluntary Exodus - bridge
The past - what has happened, present - where is it now, future - where things will go. In attempts to place myself within the spectrum of time and for a moment find a settlement brought back memories of being an innocent child. The point of view where the purpose of existence contained simplicity and careless attitude. Reminiscing the past while contemplating on the present moment lead me in making contact with a little brother. The bridge was built in regards of asking to send video footage of the places his sister missed on. In between the sent footage there was one accidental video capturing his little feet swinging on the swings.
video installation, 2020, Academy Minerva, Groningen, The Netherlands
We, as social people tend to create peers, most of the time sticking with it while socialising outside our comfort zones. Be it a bar, parks, social events. Usually we don’t see the loner wolves hanging over the corners, seeking for any kind of connection. Moreover, we tend to stigmatize certain groups of individuals. While writing prose, most of the time it happens in a social environment where I tend to become an active observer and investigate unspoken lives of socially alienated personas. Raising questions on who they could be, where are they coming from, what is their purpose. Afterwards, when a story is finished, I give it to them, as a sign of accepting their way of being.
This specific story was captured during one of the nights where I attempted to make a connection with a man, a regular customer of a bar in Groningen. The story ended up us becoming acquaintances, where Jeen thanked me for showing that his presence can be noticeable.
A month later, l read the poem at the poetry reading event which was part of an initiation of Fluxus street events in Kaunas, Lithuania. Subsequently I met yet another persona, a wallflower poet with a disability who kindly showed gratitude towards the action I did while sharing a story of a brief encounter with Jeen.
performance, 2020, part of event made for 'Kaunas 2022 contemporary capital', Kaunas, Lithuania
farewell white cubes !
In January 2020, the notion of chance had brought me to destroying my own project. I gave myself a possibility to experience what it is to let life be decided by the flip of a coin. John Cage claimed that the chance method allows for a space free from intentionality and invites a closer connection with our pre-intentional nature. While living according to the decisions made by a coin, I have discovered
a few peculiarities present within the chance method. To begin with, having no possibility to choose in any immediate sense, did leave me with a number of undefinable unintentional outcomes. Nevertheless, choosing which decisions should be made by chance allowed me to still nurture some sorts of intentions. Thus, even though I left some decisions for chance, I had power in deciding which decisions I shall give to the consideration of the coin. This made me question how much chance actually played a role, and how much freedom from my own intentions I had. To challenge this questioning, on January 31st, while developing an extensive project, I flipped a coin for deciding whether the project should be destroyed. The coin said yes. Thus, I have destroyed what was already developed within the project. In retrospect, this experience has given me a realisation that one’s own intentions can challenge oneself, an awareness that one’s own intentional stance upon the infinite possibilities can manifest its existence in the world.
video installation, looped, 2020, Green Lights, De Loods, Groningen, The Netherlands
Berger & de Vries - in context
Having an opportunity to perform at the ArtIsBook Shop at the event under the topic of ‘context’ we have taken up to question how well contextualized works of art can define
a work of art. Thus creating fictional characters, a gallery curators, we gave a guided tour through the space of a bookstore. Audience were introduced to the maintenance tools, domestic purpose holding objects, unfinished construction works, dismantled furniture as works of art. Each work of art was made by a fictional artist, we, curators decided to invite. Next to the tour, a spectator was given a booklet with in depth descriptions of the artworks they had seen on the tour.
booklet as part of a performance collaboration w/ Michiel Teeuw, 12 pages, ArtIsBookShop, 2019 Groningen,
performance collaboration w/ Michiel Teeuw, part of DIHAN Context, ArtIsBookShop, 2019 Groningen, The Netherlands
Implementing a space for a total freedom of interpretation while providing only one tool - a pair of binoculars.
installation, 2019, part of Diagnosis Oxymoron exhibition, Kunstwerk Droomwoonwensen, Groningen, The Netherlands
To Make A Sound
Action: Looping a sentence ‘it is all about the language’ in 15 different languages.
Purpose: To create a chaotic sound from a mixture of languages.
Outcome: When a climax of a mixture was reached a baby from the audience started crying.
solo performance, part of DIHAN Translation, ArtIsBookShop, 2019 Groningen, The Netherlands