My soon-to-be-for­mer work­space is avail­able for rent per june 1 2019. Spread the word!

deplaatsmaker.nl/huuraanbod/locaties/vlampijpateliers/35

Just imag­ine this:

No retweets, no trend­ing hash­tags, no unlim­it­ed glob­al search, and no algo­rith­mic rec­om­mend­ed users. … It’s time for plat­forms to slow down, active­ly curate, and lim­it fea­tures that will spread hate.

Man­ton Reece — New Zealand and social media.

Hav­ing fun build­ing a com­mis­sioned sound instal­la­tion for the upcom­ing Shell Shock pro­gramme at Eye Film­mu­se­um, Ams­ter­dam. Old tech­nol­o­gy meets new tech­nol­o­gy.

“Why does our per­cep­tion and eval­u­a­tion of an art­work change sim­ply by learn­ing it is a forgery?”

How exper­i­men­tal psy­chol­o­gy can help us under­stand art

“The real, under­ly­ing issue here is that brands are pro­duc­ing way too many clothes–and they’re con­vinc­ing cus­tomers that it’s nor­mal to buy way more than they need.”

We have to fix fash­ion if we want to sur­vive cli­mate change

I real­ly loved this atmos­pher­ic video instal­la­tion. Shot in near-total dark­ness and silence. Sun­rise, by David Claer­bout, De Pont, Tilburg.

Art works by Richard Long, at De Pont muse­um, Tilburg.

Gaufrettes Sequence Ran­dom­ly, Ann Veron­i­ca Janssens, (2018). De Pont muse­um, Tilburg.

Beau­ti­ful film props from the sur­re­al cin­e­ma of Jan Švankma­jer, on dis­play in EYE Film­mu­se­um Ams­ter­dam. This one is from one of my favourites: Con­spir­a­tors of Plea­sure (1996)