Rijksakademie inside/out

Artist Close-up: Idan Hayosh

By Debbie Schonenberg

Artist Idan Hayosh is in his second year of residency at the Rijksakademie, he was born in 1979, Tel-Aviv, and currently lives and works in Amsterdam.  Some days before his latest work: “version RUNWAY (Lamps #21)” will go in display in the exhibition ‘Kunst in het stationsgebied’, I visit Idan and his (almost finished) work in a vacant store in Hoog Catharijne, Utrecht.

Like most of Hayosh’s works, which are huge in size, sound and light, this project is no different and even though not finished yet it is already impressive. “Version RUNWAY (Lamps #21)” is a large scale installation consisting of hundreds of stroboscope lights, tripods, and fire extinguishers. When finished the amplified sound of the flickering strobes can also be heard.  

For the past few weeks, Idan and five experienced friends have been working on the installation and are now setting it up in Utrecht. Due to a lack of chairs we sit down on some large speakers standing in front of his installation, and I get the chance to ask Idan some questions.

D: The first thing that comes to mind when you see an installation this big is: do you always make such large pieces?

I: I usually do one of these pieces a year, the rest of the year I am preparing the project, for example, by collecting images that inspire me. In fact, not the constructing of the actual piece but the gathering of materials is the biggest part of the work. 

Idan takes out his laptop and shows me a selection of his large collection of pictures showing battle aircrafts with their ammunition composed in a symmetrical way.

I: I think I am a pretty consistent collector of photographs. I search the internet every day looking for stuff. Every week, there are a few hundreds of images added to my archive. They could be about everything, but the common thing is that they are serial. Sometimes the images become a layout for work.

D: In the preparations for this interview I checked your Facebook page and I found countless pictures, are they examples of pictures you use for your work?

I: Sometimes. When I joined facebook, I’ve decided to show these collections of serial things in the form of a weekly facebook album. Gradually it became a consistent thing, and also some of these albums moved onto paper, and publications. Nowadays anyone can watch them on my page.  Check the pictures over here

D: Was there one particular image you used for this piece?

I: Yes. This particular piece is inspired by found photographs of runway approach lights (the light formations signaling an aircraft for landing). Something in their order attracted me into compiling a collection, and then one image was used for the layout of my installation. The installation is the third “runway piece” I’ve made. Somehow I cannot stop dealing with these landing lights platforms.

D: Your work always seems to have some kind of aggressive feel to it,do you do this on purpose?

I: Both actually. Of course it’s on purpose and of course it’s not on purpose. This is just what I am into, and I just follow it. It is true that my work often is always forceful. I’m interested in these layouts that impose their effect on people. I want to create work that is inter-reactive, uncontrollable by the viewer. A determined piece of art.

D: Can you tell me a little bit more about the process of making such an installation? From idea/concept to realisation? 

I: Well, first of all, the space I choose kind of dictates the nature of the piece to be made. It’s enough for me to stay in a potential space for a very short time, and then the ideas start to flow. It’s like space have their own manifests, and I just have to listen good enough. Whenever I scout a space I always bring my catalog of collected photographs, and in cases, the shape of the exhibition space fits a certain image and thus the initial volume is set. The rest is a period of time in which the content is being developed. So for example if I decide on a formation of gas containers, then I have to test how they would be displayed and what would they do (would they explode, would they make a sound of leaking, what colors, what gasses, etc.). The last stage is the production part (working most times with a producer). For this piece, I needed 80 fire extinguishers, after some contact and negotiations, the company Ajax Chubb Varel was kind enough to sponsor the piece with the equipment.

D: It seems to me that your work is not very ‘convenient’ art to sell or expose, I mean, not many galleries will be able to even fit an installation by you, let alone exhibit your work, does this affect your work?

I: The truth is I did not really hit it off with the commercial part of the art world; it is very hard to be profitable in the way I work. This installation is my first commission in the public sphere.  That is really great because here I can involve everyone in my work - it is meant for the public, galleries always are a selection of the public. Works in the public sphere is something I really want to continue doing, whenever I get the chance to.

D: That sounds admirable but doesn’t this worry you for the future?

I: To me it does not feel like I have a choice really because I feel very strongly about it. My intention is to go public with this, and become an independent artist within the public domain, but it will be very hard of course. I am not good at making concessions with my art, I have a very strong feeling about how I want things done and I cannot compromise them. For example, it is problematic for me to participate in group exhibitions due to the strong physical nature of my installations. It is difficult to hang a painting near my installation and make people pay attention to the painting.

D: Do you have artists you look up to? Some idols maybe?

I really admire the work of Hans van Houwelingen (RA 84/85, PdR 87) (you might know him from the Lizard sculptures near Leidseplein in Amsterdam) and Mark Bain (RA 99/00). Both are known for their works in public space.

I am drawn to the physically more extreme projects, Mark Bain for example uses buildings as instruments, he connects oscillators to architectural structures in order to make them shake. Also I admire how they work since many of their projects seem hard to exhibit as well.  

Idan strongly recommends me to look up their work, which I of course did, check it here and here

D: Finally what do you wish for the near future?

I: When I finish the Rijksakademie I plan to move to Denmark and from there be able to do one or two pieces a year.

“version RUNWAY (Lamps #21)”  by Idan Hayosh can be seen in Utrecht until May 30th, watch a movie of the finished installation here

Find out more about Idan Hayosh here

Recommendations by the Dutch Council for Culture

Yesterday we received the recommendations of the Dutch Council for Culture concerning the subsidy for the Rijksakademie in the period 2013-2016.

The Council for Culture has recommended the Secretary of State for Education, Culture, and Science not to grant the Rijksakademie van beeldende kunsten funding for the period 2013-2016 yet.

The Council proposes that the Rijksakademie and De Ateliers come up with a collective plan before the end of the year to receive a maximum of 1.5 million in subsidy together. 

As a boundary condition, however, the Rijksgebouwendienst and the Ministry have been asked to put forward a solution to the high housing and personnel costs of the Rijksakademie.

Read the Council’s complete recommendation here (only Dutch) and our full comment here

Furthermore, Dutch television show Nieuwsuur broadcasted an item about the advice the Council for Culture published and the impact on the Rijksakademie, including a response by the Council’s chairman Joop Daalmeijer. Watch the episode here

Why do we want to understand artists?

One of the (few) positive side effects of the Stedelijk Museum being closed for so long is the need for more collaboration with other institutions. Stedelijk @ Rijksakademie is one of these great initiatives that make both the Stedelijk Museum and the Rijksakademie more visible and open to the public.

During these evenings anyone can join in on conversations between prominent figures in the art world. Last week artist Andy Hope 1930 met art historian John Welchman during Stedelijk @ Rijksakademie.

Both artist historian and artist gave a short lecture before starting a conversation. During both the talks an exciting tension hung in the air. The art historian seemed slightly nervous for obviously he didn’t want to offend the artist, while the artist had to listen to an outsider explaining his work. At the beginning of the evening John Welchman explained he had intensive contact with Hope through email and skype, but actually never physically met him until today at the Rijksakademie. As an art historian, fueled by great admiration, he studied Hope extensively and wrote several articles about the man now sitting only few meters away from him.

Welchman chose to focus on the typography in the work of with German artist Andy Hope 1930 (alias for Andreas Hofer).   While some people might dismiss Hope’s work as figurative, naïve and popular (he has the habit of incorporating elements of popular culture like comic book heroes in his art and also take obvious inspiration from other iconic artists) Welchman revealed a multilayered complexity used by the artist that refers to our shared unconsciousness. He also compared him to other artists, mostly avant-garde, and discussed the motifs the artist used in a broad context. 

Andy Hope 1930, Eye of Tomorrow

 But did he do the work of Andy Hope 1930 justice? Or did he get overexcited and maybe over interpreted the whole thing? Did he go too far when he introduced Freud and Socrates? Opinions will probably differ. Whatever the case, his gaze upon the work of Andy Hope 1930 is relevant, for he is not the artist. As an art historian he was able to create a specific context to the work.

 When Andy took the stage everything changed. He referred to his own work in multiple ways. Through his art he composes a melody. He compared himself to a sponge that absorbs things and echoes them back into the world. Therefore, his work contains a lot of references to other artists, usually modernists like Malevich, Duchamp, and Picabia. When he said ‘I don’t invent things, I find things’ he must have known he was almost quoting Picasso. (I don’t seek, I find)

Andy Hope 1930 at the Rijksakademie

 By creating another identity, the alias, he finds the power to make art. Hope: ‘Andy Hope 1930 is a fictional character that can do things Andreas Hofer cannot.’  He explains that this alter ego allows him to ‘paint in another context since the current context is impossible’ because ‘the art world is full off mannerism these days’ and ‘finds itself in a hardcore crisis’. Next to the concept of ‘creating an alternative identity’ the concept of the existence of another world is evident in his work.  For instance, in the addition to his name: ‘1930’. Hope: ‘It is like a password on a computer, a portal to the other world’ Furthermore, he is fascinated by the color black. He refers to it as the ‘never-ending black’ and the ‘absorbing black’.

Andy Hope 1930, Time Tubes

During the evening the gap between artist and art historian became very clear. Sometimes painfully clear when Welchman asked Hope direct and bold questions he could not reply to, like ‘But what do you mean when you combine a dinosaur with the words abstract expressionism?’ Other moments were priceless for other, very positive, reasons. Someone in the audience asked about all the superheroes in his paintings: ‘Is this a way to, as an artist, appropriate superpowers and also become a hero?’ Hope replies: ‘As an artist I reflect, I mirror back to you.  Maybe it is your own desire, do you want to be a superhero?’

The lectures of the two men were different like night and day, but both fascinating. During the conversation afterwards the atmosphere shifted back and forth between awkwardly silent to feelings of great like-mindedness. Did Welchman not ask the right questions? Or did Hope not want to reveal some things? Either way if you listened carefully to his story, as if you were trying to understand a language that resembles your own but isn’t, you got a glimpse of the genius hiding behind Andy Hope 1930.

The Workshop series

The Rijksakademie has a high level of expertise on the use of different materials and instruments in the fields of image and sound (photography, film, video, sound, and electronics), graphics (intaglio, relief print, planographic printing, screenprint and artists’ publications), chemicals (paint, plastics, ceramics and glass) and construction (metal, wood and precision mechanics). This expertise is made available to resident artists in six different workshops, and technical experts in all different fields are available for advice. In professionally-equipped workshops, residents work and experiment with traditional and contemporary materials and techniques. In the Workshop series we are exploring what is going on in the technical workshops one area of expertise at the time.

1. Wood

The wood workshop is equipped with all the heavy machinery needed for the countless techniques of woodworking. There are assembly tables, power machines, (electric) hand tools, and air pressure tools.  Additionally there are tools available for cutting glass and plastic. Many artists use the wood workshop for presentation purposes of their work, including making frames, walls and statues.

Because of all the modern manufacturing methods available today, not all artists are aware of the interesting more traditional woodworking techniques. The technical supervisor of the wood workshop Wim Janssen specialises in traditional woodworking, which is a mostly manual labour.

Every year, Janssen gives an introductory demonstration on traditional woodworking to point out the value and the many techniques available to realise different projects. Janssen: “Every year some residents are interested in the craft of traditional woodworking, and want to learn more about this. For example Femmy Otten, who works very meticulously on her delicate wooden faces with a tiny router, and who is also interested in the traditional technique of gouging.”

Femmy Otten at work in the wood workshop 

Femmy Otten - work in progress

Another example of a (former) resident who likes woodworking is Inti Hernandez. Currently, he is showing a work at the Havana Biennial 2012 that he recently made in the wood workshop of the Rijksakademie. The project titled ‘Bancontodos’  is a large  bench made from bend and traditionally carved wood, designed to unite people. 

Inti Hernandez - work in progress

Inti Hernandez - Impressie van Bancontodos 2012 - Havana Biennale 2012

Even in the twenty years he worked at the Rijksakademie, Janssen rarely is bored by his work: “Artists push boundaries, and always come up with something unexpected. You never know what will happen here.”

For more info about Femmy Otten click here

For more info about Inti Hernandez click here

Schatten uit de Collecties: ontdekking ontwerp bankbiljet

For English see below

De Rijksakademie bezit bijzondere historische collecties. De bibliotheek en de collecties vormen een ‘theorie werkplaats’ voor residents, maar zijn ook toegankelijk voor publiek. Uit de verzameling objecten, prenten en antiquarische boeken wordt een kerncollectie samengesteld. Op het blog zullen we regelmatig aandacht besteden aan een object uit de kerncollectie. 

Tijdens het onderzoek in de kunstcollectie bleven lange tijd twaalf tekeningen van krachtig getekende hoofden, armen en benen in een rood raster op de stapel ‘onbekend’ liggen. Na onderzoek bleken het ontwerptekeningen van Nicolaas van der Waay (1855-1936) en Antoon Derkinderen (1859-1925) te zijn voor bankbiljetten. Het biljet van Van der Waay is ruim 40 jaar in omloop geweest aan het begin van de 20^e eeuw.

Nicolaas van der Waay, Studie van een vrouw, ontwerp voor Arbeid en Welvaart, ca. 1903, 32,5 x 50,5 cm, Collectie Rijksakademie van beeldende kunsten

Nieuwe ontwerpen voor bankbiljetten werden bij voorkeur door Nederlanders en specifiek door hoogleraren van de Rijksakademie uitgevoerd. De samenwerking tussen de Rijksakademie en De Nederlandse Bank begon in 1903, met de vervanging van verouderde bankbiljetten. Hiervoor werd Nicolaas van der Waay gevraagd. Van der Waay was hoogleraar teken- en schilderkunst op de Rijksakademie en had een goede reputatie als kunstenaar. Hij kreeg de opdracht om een nieuw tien gulden bankbiljet te ontwerpen, genaamd Arbeid en Welvaart. De kersverse hoogleraar graveerkunst Pieter Dupont (1870-1911) was bereid gevonden om van der Waays ontwerp te graveren. Waarschijnlijk heeft hij daarvoor gebruik gemaakt van bovenstaande ontwerptekeningen. Op 1 oktober 1904 werd het biljet in omloop gebracht en het is vervolgens tot 1945 gebruikt.

Nicolaas van der Waay, Romp van een man, ontwerp voor Arbeid en Welvaart, ca. 1903, 32,5 x 50,5 cm, Collectie Rijksakademie van beeldende kunsten

In 1908 werden door drukkerij Enschede in Haarlem nieuwe drukpersen in gebruik genomen die een andere graveerplaat vereisten om het ontwerp van Van der Waay te kunnen drukken. Hiervoor graveerde Dupont een plaat die nagenoeg voltooid was toen hij begin 1911 overleed. In 1912 werd het nieuwe biljet in circulatie gebracht.

Na Duponts dood schonk academiedirecteur Derkinderen de koperplaat aan Drukkerij Enschedé en bood de studietekeningen aan De Nederlandse Bank aan. De bank stuurde echter de twee portefeuilles tekeningen en gravures terug naar de Rijksakademie als aandenken aan Dupont. In het archief van de Rijksakademie werd een brief met betrekking tot deze zending gevonden waarin Derkinderen verzekerde dat “de teekeningen met eenige afdrukken […] ingelyst in de Afd Graveeren worden opgehangen”. Wel waarschuwde hij “dat de Academie geen brandkast bezit en de teekeningen en gravures dus bewaard worden zooals wy al onze kunstschatten bewaren.” [1] De tekeningen bevinden zich nog altijd in goede conditie in de Rijksakademie Collectie.

 
Tien gulden bankbiljet Arbeid en Welvaart, 1904, ontwerp N. van der Waay.

Het ontwerpen van geld is voor de Rijksakademie nog steeds een actueel onderwerp. In 2011 organiseerde de Rijksakademie voor de derde maal een muntontwerpworkshop in opdracht van het Ministerie van Financiën en in samenwerking met de Koninklijke Nederlandse Munt. Het ‘WNF Vijfje’ van de hand van Willehad Eilers (Rijksakademie resident in 2009/2010 ) is het resultaat van dit workshoptraject en is in omloop gebracht. Meer informatie over deze munt en muntontwerp in de publicatie Munt met een Missie, die gratis op te halen is in de bibliotheek.

Meer informatie over Munt met een Missie hier

Opmerkingen of vragen n.a.v. het onderzoek? Reageer op de post of mail naar helewise.berger@rijksakademie.nl.  

English Summary

Treasures from the art collection: banknote design discovered

The Rijksakademie owns a historical art collection. Together with the library it provides a ‘theoretical workshop’ for residents, and both library and collections are also open to the public. From the collection’s objects, prints and antique books a core collection is being composed. On our blog we will highlight different interesting sides of this core collection on a regular basis.

Twelve depictions of fiercely drawn heads, arms and legs in a red grit in the Rijksakademie Collections  remained on the ‘unknown’ list for a long time.  However, after some extensive research they turned out to be designs for banknotes made by Nicolaas van der Waay  (1855-1936) and Antoon Derkinderen (1859-1925). The notes were in use in the Netherlands for over 40 years in the beginning of the 20^th century.

Nicolaas van der Waay was professor at the Rijksakademie and additionally enjoyed a good reputation as an artist. Therefore, he was commissioned to design the new Dutch ten guilders banknote titled Arbeid en Welvaart (Labour and Wealth). Professor Pieter Dupont (1870-1911) very likely used the drawings shown above for making the engravings from Van der Waay’s designs.

Five Residents Walk into a Bar…

Rijksakademie residents exhibit their work on a regular basis. This is also the case in the exhibition Three Artists Walk into a Bar… by de Appel arts centre’s curatorial collective The Black Swan. The exhibition is the result of an open call to students and residents related to a Masters or post academic program in fine arts in The Netherlands such as the Rijksakademie. Five Rijksakademie residents reacted and got included in the exhibition; Deniz Buga, Dušan Rodić, Crystal Z. Campbell, Pawel Kruk and Emile Zile. The multi-site exhibition consists of all kinds of witty artworks spread throughout Amsterdam is on display until May 13.

According to their website, the exhibition Three Artists Walk into a Bar… started out as joke. Now, with over seventy new artworks produced especially for the exhibition it appears to have become a pretty serious affair. Nevertheless, humour plays an important role in the show. It is used to address serious subjects, as becomes clear in the description of the exhibition:  “Using the quality of humor to test the potential of art as a critical instrument for the analysis of social, political and cultural issues this exhibition aims to build a community of peers, professionals and a variety of publics.” Our five residents also worked with the concept of humour for the exhibition.

Dušan Rodić

Dušan Rodić’s project Engarde consists of over a hundred posters that he will deliver to cultural institutions in Amsterdam whose existence is under threat by cutbacks in  government funding.  He made two different posters showing a group of smiling artists. One with a group of laughing avant-gardist Dadaists and the other with the laughing members of the neo avant-gardist group: Fluxus. A big stack of posters is ready for delivery during the exhibition, sealed traditionally with wax and an ‘engarde’ stamp Rodić designed himself.

Deniz Buga

Deniz Buga selected Duran 01 for the exhibition, a photograph from the archive of Lutifye Duran. Buga is currently working on the archive of Istanbul based traveler Duran. According to Buga, the work seeks for “a visual interruption in the perception of humour”. Buga: “With its incomplete mise-en-scene, Duran 01 is a promise of humor. I think different stages of perception unfold in the transition from promise to realization. Presenting a suggestive form is a way to step back and rethink the way we perceive humor, what we find humorous and what not.”  The work will be at display at http://www.threeartistswalkintoabar.com/ and, starting on May 3rd, a banner version of it will be placed in the playground at the cross section of Van De Veldestraat and Jan Luijkenstraat, Amsterdam.

Emile Zile                                

With Emile Zile the joke is on the participating artists, as he has prepared an unannounced series of pranks on the artists in the Three Artists Walk into a Bar project. The video documentation of the prank performances will be available online, entering the stream of adolescent humour, ‘punking’, ‘happy slapping’ YouTube videos available freely on the net. In this way his performance is both an art performance and a participant in contemporary video sharing culture. Or as Zile calls it “Turning the premise of the show in on itself, my actions are directed towards the artists involved in the show questioning the very premise of a show organised around Humour”. The final videos will be available to see on the project archive http://www.threeartistswalkintoabar.com.

Pawel Kruk

Pawel Kruk is preparing a redo of a comical performance by Cezary Bodzianowski titled 1001 trifles.   1001 trifles originally took place in the queue of people getting tickets for an exhibition in the National Museum of Krakow. Bodzianowski patiently stood in line until he almost reached the cash deck, by which time he would ask someone from the end of the queue to take his place. During the performance he traded places with a few people, never reaching the cash deck. 

Pawel Kruk’s redo will take place Saturday 5 May, 10.00-15.00h at the queue in front of the Anne Frank house. 

Kruk says about the piece “I just love this particular piece by Cezary Bodzianowski, apart from a lot of references I find in it, for example the biblical connection Matthew 20:16 ‘So the last will be first, and the first last’  I just envy it’s alluring invisibility and goodness.”

Crystal Z. Campbell

Finally, there’s the work of Crystal Campbell’s titled: Bittersweet (The Death of R. Mutt). It is a reference to the famous porcelain urinal that was signed “R.Mutt” by Marcel Duchamp in 1917. Duchamp placed this urinal inside of a gallery and this  gesture is the historical cornerstone of Campbell’s piece. Campbell: ‘Upon arriving in Amsterdam, I have been in search of public urinals for women after noticing several public urinals for men. Bittersweet (The Death of R. Mutt) is a female voice lurking in a public urinal as a sonic proposition to the city.’ The public urinal can be found between Oosterpark and the Tropenmuseum entrance.

More information about the work of Rijksakademie residents, check our artists’ webpage

Do you want to share this post or want to react on it? Please join Tumblr or leave your comments on our Facebook page.

Home of the Rijksakademie

As an artists’ institute nurturing top talent, the Rijksakademie provides accommodation for over fifty artists’ studios and consequently offers room for new exciting art to emerge. However, not only what takes place inside the Rijksakademie is interesting. The outside, our home, a combination of nineteenth century and contemporary architecture, proves to be quite unique as well.

 The Rijksakademie resides in the state monument the ‘Kavallerie Kazerne’. These former cavalry barracks in Amsterdam were built in 1864 and could accommodate two hundred horses and men. In the mid-eighties, Dutch architect Koen van Velsen was recruited to rebuild the barracks, to which he also added an extra structure to further accommodate the Rijksakademie. In 1992, we moved in.

The Rijksakademie building is now fully equipped to be an artist’s residency; the architecture and infrastructure reflect this purpose. The new additional structure Van Velsen placed in the inner courtyard consists out of two towers in which the collections, library, artist documentation, offices and project spaces are housed. The historical quadrangular part of the building provides a place of peace, calm and concentration, with the former stables housing the majority of the technical workshops and the upper floors and former riding school providing space for the fifty-five individual studios. 

Unfortunately, after twenty years, the future of our beloved location is uncertain. The government is developing new policy for public buildings in the cultural sector, and together with the planned cuts on the cultural budgets, our accommodation in the “Kavalerie Kazerne” becomes uncertain as well. Next week, the Dutch parliament will discuss the matter, and the outlines of the new policy are expected at the beginning of the summer. At that time we expect to know more about whether – and in what form – the Rijksakademie can remain at the present location. 

We will keep you posted….

Return of the Rijksakademie blog

It has been a while, but after a succesfull start of the RijksakamieOPEN blog a few months ago, we’re back!

In order to capture a broad range of subjects that involve the Rijksakademie we decided to change the title and nature of the blog a little bit. From now on we will keep you posted on residency, collections, Prix de Rome and more.

Expect articles, interviews and photos popping up here soon. 

If you have questions or suggestions, please feel free to ‘Ask us anything’

GO as a starting point.

As I write this it’s 6.30pm and the restaurant/bar has started to get more crowded. People are enjoying the noodle soup from the restaurant and sharing their thoughts on the studios that they have seen today. Most of the comments on the Rijksakademie are almost monologues. The interesting kind ofcourse.

Even when we ask the visitors to give us just one word on de Rijksakademie, Dorian de Rijk,  chooses to use the word; “GO” as a starting point.

For Dorian this visit to the Rijksakademie is worth to go to because it’s a great opportunity to get a sense of what is going on in the up and coming art scene. “It is like a museum for a weekend. The fact that there is so much you can see has it’s good side as well as bad side. Because it makes it hard to see everything and to take it all in.” The names of the artists she finds interesting she writes down. Thats why Dorian would like to be able to visit the Rijksakademie more often. “Maybe something like a projectspace with a changing exhibition, that would be great”. She sees the Rijksakademie as an inspiring place that is very important for the Dutch art scene.

Other words we heard in the restaurant:

Work

Searching

Overwhelming

(text MB, image RK)

Visitors #4

Kids might be extremely critical while speaking about art. This is also one of the reasons why we decided to make a small series of interviews with kids. Daan is 6 years old and he has been drawing on one of the hallways while waiting for his mother. 

“I like films mainly. The one when a man is turning around (Daan is demonstrating the movement) and the one with a tree destroying a house. Maybe I would like to be an artist too one day.” Daan is referring to artworks by Deniz Buga and Roderick Hietbrink. 

(text AF, image JB)