EXHIBITION

EXPOPLU

1 MARCH–15 MARCH 2015

THECUCUM-BERTEMPLE

You might wonder how to describe me, but I am one of those

who cannot be described properly. What you call me, how you

name me, depends on you.

A HOUDINI ACT

EXHIBIT ION VIEWS

THE CUCUMBER TEMPLE

DANNI VAN AMSTEL

KATREIN BREUKERS

TYAS LEEUWERINK

MAUD OONK

MOHADESEH RAHIMITABAR

MAARTEN SPONS

ARTIST STATEMENTS

COLOPHON

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CONTENTS

3

A HOUDINI ACT

BY BAS VAN DEN HURK

Six young artists from MFA St. Joost Academy of Arts and De-

sign are invited to make an exhibition at Expo Plu in Njme-

gen.1

As their practices are very diverse they asked Martjn in ‘t

Veld to write a text, as a framework, a structure. And he did.

Or better, he wrote an assemblage of several short texts.

These text fragments do not have a classical beginning, mid-

dle and end. They are rhizomorphic, in line with Milles Pla-

teaux by Deleuze and Guattari.

“…any point of a rhizome can be connected to anything other,

and must be”, so they say.

In this light the fragments become a ´body without organs´,

something that grows and overgrows, of which beginning

and end could be anywhere. Anywhere out of the world. Any-

where or not at all.

These fragments do and do not have an inner relation simul-

taneously. They relate wildly. Win the world cup, get drunk

4

and throw up in a sink, break the walls that block your search

for love and happiness, a slice of cucumber stuck in a teach-

er’s beard.

But there are recurring elements. The cucumber is one, hence

the title of the exhibition. And, more important in this con-

text, there is the recurring green screen. The green screen

that becomes an open ield. A ield that holds a moment of

potential. That performs an invitation.

The six artists have set themselves the task to respond to

this open moment, to this invitation. And to do so with works

of art. How do they do this? Dear public, pay close attention

now! On the one hand they have set themselves up. Cufed

their hands. There is a text they must respond to. A text about

green screens and cucumbers. But on the other hand the art-

ists have freed themselves. In the same movement that they

cufed their hands they set themselves free. Because the text

is not only about green screens, it also functions itself as a

green screen. A screen to project anything on. Anything at all.

It’s an open invitation. A body without organs. A place to take

of from. To scramble the codes.

Green screens as contemporary streams to pass through,

without knowing any longer whether they are carrying us

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elsewhere or lowing back over us already.2

It’s a Houdini act.

I will retrace the steps. But this time for real.

Get someone from the public, have the artists’ hands cufed

and get rid of the key, throw the artist in a water tank illed

to the max, make sure the public knows there is no escape, -

make absolute sure -, then have the tank covered with black

cloth, dim the lights, make the public hold their breaths for

endless moments, beat the drums faster, take the cloth away

with a gentle sweep.

Show them the miraculous escape.

Getting cufed to show how you can escape. Any good art-

work inds the ine balance between self imposed rules and

freedom.

Originaly this exhibition was planned to be part of the project ́ Sub-

ject, Tjd en Ruimte´ (“Subject, Time, and Space”) by Stjn van Dorpe.

This line is re-written from: Deleuze and Guattari, Anti Oedipus,

p. 132-133.

2.

1.

FOOTNOTES

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EEN HOUDINI ACT

DOOR BAS VAN DEN HURK

Zes jonge kunstenaars van MFA St. Joost Academy for Arts

and Design zjn uitgenodigd een tentoonstelling samen te

stellen in Expo Plu in Njmegen.1

Omdat hun praktjken zeer divers zjn vroegen zj Martjn in ’t

Veld een tekst te schrjven, als een raamwerk, een structuur.

Dat heeft hj gedaan. Beter gezegd, hj schreef een verzamel-

ing korte teksten.

Deze tekst fragmenten hebben geen klassiek begin, mid-

den en eind. Ze zjn rhizomatisch, als in Milles Plateaux van

Deleuze and Guattari.

“…elk punt van een rhizome kan en moet verbonden worden

met elk ander punt”, stellen zj.

In het licht hiervan worden de tekstfragmenten van in ’t Veld

een ‘lichaam zonder organen’, iets dat groeit en woekert,

waarvan het begin en het einde overal kunnen zjn. Anywhere

out of the world. Anywhere or not at all.

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De fragmenten zjn tegeljkertjd wel en niet aan elkaar ger-

elateerd. Een wild verband. Win de World Cup, wordt dronken

en ga over je nek in een wasbak, breek de muren af die je

zoektocht naar liefde en geluk in de weg staan, een stukje

komkommer dat achterbljft in de baard van de meester.

Maar er zjn ook terugkerende elementen. De komkommer is

er een,- vandaar de titel van de tentoonstelling. En, nog belan-

grjker in deze context, er is het terugkerende green screen.

Het green screen dat wordt tot een open veld. Een veld dat

een moment van potentie in zich draagt. Dat uitnodigt tot.

De zes kunstenaars hebben zichzelf de opdracht gegeven

om op dit open moment, op deze uitnodiging, in te gaan.

En dat te doen door middel van een werk. Hoe doen ze dat?

Geacht publiek, let nu goed op! Aan de ene kant is er geen

ontsnapping mogeljk. Hun handen geboeid. Er is een tekst

waar ze op moeten reageren. Een tekst over green screens

en komkommers. Maar aan de andere kant hebben ze zich in

een en dezelfde beweging waarin ze zichzelf klem zetten ook

bevrjd. Want de tekst gaat niet alleen over green screens, hj

functioneert zelf ook als een green screen. Een scherm om al-

les op te projecteren. Willekeurig wat. Een open uitnodiging.

Een lichaam zonder organen. Een vertrekpunt om de codes

te kraken.

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De green screen als een hedendaagse stroom om doorheen

te waden, zonder te weten of die ons ergens anders heen

draagt of terug over ons heen stroomt.2

Het is een Houdini Act.

Laat me de stappen herhalen. Maar nu echt.

Neem iemand uit het publiek, laat de kunstenaar in de boeien

slaan en gooi de sleutel weg, gooi de kunstenaar vervolgens

in een tot de nok gevulde tank met water, zorg dat het pub-

liek zeker weet – heel zeker weet - dat er geen mogeljkheid

tot ontsnappen is, trek een glimmende doek over de tank,

dim het licht, laat het publiek de adem inhouden, versnel het

tromgerofel, trek met een ruk de doek weg.

Toon het publiek een miraculeuze ontsnapping.

In de boeien geslagen worden om te tonen hoe je kunt

ontsnappen. Elk goed kunstwerk zoekt het evenwicht tussen

zelfopgelegde regels en vrjheid.

VOETNOTEN

Oorspronkeljk was deze tentoonstelling gepland als deel van

het project “Subject, Tjd, en Ruimte” van Stjn van Dorpe.

Vrj naar Deleuze en Guattari, Anti Oedipus p. 132-133.2.

1.

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EXHIBITION VIEWS

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A FRIEND OF MINE once told me about his dad who came

home with a slice of cucumber in his beard. His father is a

teacher in elementary school and every day brings a cucum-

ber salad with him for lunch. He has lunch around noon and

then continues teaching till about ive. Apparently a piece

of cucumber had gotten stuck in his beard during lunch and

he’d been standing in front of the class for half a day without

noticing. Nobody had said anything.

This is how I sometimes feel after seeing an exhibition. I go

and see a show, I am inside, I look at the artworks attentively,

like serious school kids they obey me, silently undergo my

gaze, but when I go out, I often feel there ’s a piece of cucum-

ber stuck in my beard. In short, as if something slipped my

mind.

Initially, by reading some documentation, doing some extra

research I ‘d tried to pick that piece of cucumber out but at a

certain point I got used to it, to that piece of cucumber. And

now, I am actually disappointed when I leave an exhibition

without.

THE CUCUMBER TEMPLE

BY MARTJN IN ‘T VELD

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THERE WAS SOME SWEAT ON THE TABLE when I came

in. Underneath the glasses it was. I don’t know for how long.

It was the hundred and eighteenth minute and it was still nil-

nil and all the walls where white, except for one which was

bright and green and which seemed to suck everybody’s

eyes in. It looked like it would be penalties. Stefen ordered a

round of Moscow Mule.

Moscow mule is normally served with mint and lime but in

Berlin they tend to leave out the mint and swap the lime for

cucumber. Stefen says it’s because lime is strongly associat-

ed with what he calls ‘Popcorn cocktails’ by which he means

Caparinha’s, mojito’s etc. Berlin doesn’t like to be part of this

popcorn culture he tells me. It wants to be a bit diferent from

the rest of the world, at least here in Neu-Köln he says.

While I am starring at the green door, he tells me cucumber

is conscious, is healthy and therefor a perfect alternative to

those ‘mainstream chewing gum cocktails’.

I am only half listening. Germany is playing Argentina and be-

cause of the excitement I already drank four pints of beer.

I don’t care what I am drinking next, wether my cocktail is

conscious or not, or if it tastes like popcorn. As long as the

alcohol burns a hole my nervousness its all good.

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Stefen comes back and hands me my drink. I just briely see

the slice of cucumber loating in my glass and then look back

up to the screen where the soccer players move around like

little atoms. They are forming formations, huddling together,

then blowing up again, all seemingly possessed by this black

and white ball which like a magnet pushes and pulls and dic-

tates all the movement of the game.

I ind myself looking at the ball, but it’s not the ball I am think-

ing about but the green pitch which makes all this movement

possible. To me, it looks like a green screen used for movies

and which as such holds this ininite amount of possible sce-

narios in which the game can unfold.

I ind myself thinking about how many people in the whole

world are looking at this very same screen, who are illing

their own green screens with their own personal thoughts

and emotions when suddenly Germany scores a goal in the

very last minute.

Everybody around me is jumping and screaming. I am win-

ning! We are wining! Stefen congratulates everybody in the

bar, hugging them and shouting and I don’t really know what

to do with all my excitement, where to take it, how to enter

this chaos and then I look at my drink. There is a small and

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round green screen loating inside my glass.

ONE DAY, traveling through the west coast I visited an an-

tique market. It was a small market on a fenced of parking

lot in San Francisco. Most of the stuf they sold were just an-

tiques, rusty chandeliers, cutlery, paintings etc.. but there

was one guy who was selling material from movies, like light-

ning equipment, scene boards, some costumes etc.. All old

and discarded stuf from Universal studios he claimed. He

looked a bit like a retired hollywood director himself, wearing

a baseball cap, big sunglasses etc.

Among the things he was selling was green screen. Which

was just a role of green fabric wrapped around a wooden

stick. I asked him about which movies it was used for. He

didn’t know, but he assured me it came from the Universal

studio’s so it must have functioned as a backdrop in some

hollywood pictures.

It looked like an ordinary role of cotton to me. It was impos-

sible to tell wether or not this thing has even been near the

Universal studio’s. For a moment I considered buying it and

traveling with it through the states, just to have it along and

let it absorb my journey, but it seemed too much of a hassle.

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Perhaps I could just cut out a small piece I thought. I asked

him what it costed; two hundred dollars; way more than what

i could aford.

Then I noticed the cotton was wearing of a bit on one end,

and iddling a bit with the green screen, pretending I was in-

specting it and considering a purchase, I managed to pull a

lose a small thread, which I stuck into my pocket.

That small green thread travelled with me through the states

and is now hanging in a small zippy bag on the wall of my liv-

ing room. Biking in New York, skateboarding in San Francis-

co, and who knows a small fragment of a hollywood movie,

it’s all in there.

YOU MIGHT WONDER about how to describe me, but I am

one of those who can not be described properly. What you

call me, how you name me, depends on you.

Just tell me what ever comes up in your mind. Every-

thing is ine with me. Really, don’t worry about it.

As a matter of fact I don’t have a say in all of this, so just tell

me what comes up in your head, in your heart, in your little

toe if you like.

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If you are thinking about the sound of the car passing by the

open window and wonder what colour it is that is who I am.

If because of the curly hairs sticking to your coat you wonder

if you actually own an invisible cat, that’s me as well.

If you are wondering if last summer smelled like almonds,

cherries or something totally diferent, that’s also me.

If somebody asks you a question and you don’t immediately

know the answer, that’s me.

If you wake up in the morning, trying to remember what you

dreamt, and the only thing you know is that it was pleasant or

unpleasant, that is me.

If you are asked hey, what is your favourite colour, and tend

to answer a rock before you actually say green, that’s me.

If you are waiting for the buss and reach in your pocket just to

see if it still its your hand, that is me as well.

If you are at the supermarket and right in the moment you

have paid for your groceries at the counter you realise you

forgot to buy something, that is me as well.

My eyes are green and so is my skin.

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I ’M SITTING ON MY KNEES on the loor and am staring

at the walls of the temple around me. The walls are made out

of boulders, some of them are big and look unbearably heavy

and other are small and seem very light. The walls around

me are like the walls inside of me. The walls are my problems

and my shortcomings ,which have been blocking me all my

life in my search for love and happiness, and now here, sit-

ting on my knees, in all peace, concentrating on my breath-

ing I inally understand it. The big stones are too heavy to

move, but they are so heavy because they form the founda-

tion of my life, of who I am, and if I’d remove them, my temple

would collapse and my life with it. No, I should leave the big

stones on their place, but the small ones on the other hand I

can easily remove them from the walls, and when I do, fresh

green sunlight will come lowing in and release me from my

coninements. Here a small opening. There another one. Step

by step. And before I know it, I am loating in a green sky be-

tween the cucumber stars.

A STORY WITH CUCUMBER PARENTHESES.

The story is about a man who is packing for a vacation. He

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is in the living room of his house where he has assembled

all the things he will take on his journey. Among the things

he packs are a small tent (green?) books, water and canned

food for about a week. He doesn’t bring a phone or laptop.

After making sure he hasn’t forgotten anything (he uses a

checklist) he puts everything in a big backpack, and puts it

on. Then he picks up a small key from the table and walks to

a door (door should be solid) in the living room. He uses the

key to open the door and enters the room. When he is in the

room he locks the door behind him and puts the key away.

The door leads to an entirely windowless room with white

walls and a wooden loor. It is apr. 10x10x10m. There is only a

round hole high up in the domed ceiling (unreachable) which

lets through sunlight (green?).

The man sets up the tent in the middle of the room and sta-

bilises it by connecting guy-rope from the top of the tent to

the ground. To attach the rope to the ground he jams a tent

nail into the wooden loor with a hammer and ties the string

around it.

By the huge number of holes already present in the wood-

en beams it becomes clear that the man has pitched his tent

here many times before (decades). After the tent is set up,

the man spends the whole week reading books and writing

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in his diary.

More often than not he looks up from his diary and look at the

white walls, lost in thought. In the evenings he heats up his

canned food on a small gas stove. Mainly he uses the week

for a period for exclusion and contemplation. On the morning

of the eighth day, he picks up all his gear again and walks up

to the door. He slides his ingers is his breast pocket to get

the key out, but when he takes them out instead of the key he

is holding a bronze slice of cucumber in his hand.

The man stares at it for a bit. He looks slightly surprised but

then nevertheless, puts it in the lock. The cucumber squeaks

(like rust?) when he puts it in but when he turns it, it breaks

of, which makes it impossible for him to open the door.

The man tries to force the door open in numerous other ways,

but nothing works. After hours of trying he gives up and falls

asleep on the ground(?). The next morning he tries again, but

without any result. Still he makes many further attempts to

open the door (using pocket knife? hammer? etc.). All unsuc-

cessful. At the end of the day, tired, he gives up and starts to

slowly pitch his tent again while it is getting dark in the room.

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WAKING UP, I vaguely remember throwing up the world cup

last night. Some green remnants are still in my sink. Using my

thumb, I push them down the drain, waiting for the cofee

water to boil.

The night still swirls through my head and I have to calibrate

my thoughts. I am trying to think what it is I have to do today.

The only thing which actually comes to mind is to drop by

the grocery store for some vegetables. But what else? I know

there is more but I can’t igure out what at the moment.

Some work... Some appointments... For sure there is some-

thing. It must be the alcohol still messing with my mind...

These bloody Moscow mules...

Well… perhaps it is best to just start with the groceries. What-

ever the rest might be, i’m sure it will come later...

It always does.

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QUARTZ

The Irish word for quartz is grian cloch,

which means ‘stone of the sun’.

Roman naturalist Pliny the Elder believed

quartz to be water ice, permanently fro-

zen after great lengths of time (the word

“crystal” comes from the Greek word

κρύσταλλος, “ice”).

Rock Crystal

(St. Gotthard,

Switzerland) *

Silicon dioxide:

SiO2 rhombic

Hardness: 7

Similar weight:

2,65

Stripe: colour-

less, white to

grey *

DANNI VAN AMSTEL

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* Mineralen en Gesteenten, Omega Boek Producties, Amsterdam

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GLASS

Glass is an amorphous (non-crystalline) sol-

id material which is often transparent and

which is familiar from use as window glass

and in glass bottles.

Silicon dioxide: SiO2

75 %

Sodium oxide: Na2O

Calsium Oxide: CAO

Hardness: 5.5

Similar weight: 2,5

Stripe: colourless

Glass

(Njmegen,

The Netherlands)

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KATREIN BREUKERS

Time to Recollect 2015

p. 35

paper mache, gold leaf

p. 36 - 38 monotype on paper

(4x) 100 x 140 cm

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Loom

2015

(stills from video)

TYAS LEEUWERINK

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Loom, video projection (loop)

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The Other 2015

(overview)

MAUD OONK

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Close Separated Serie 2015 metal bucket, sand, brush and dustpan

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The Other 2015

ceramics, textile, wigg, chocolate

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The Other 2015 paper, feather

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It was night with its darkness

Or the day with its brightness

I don’t remember well.

She had leaned on the wet lawn, gazing at the horizon.

MOHADESEH RAHIMITABAR

Untitled 2015 transparent resin 40 x 20 x 28 cm

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Untitled 2015 silkscreen print on painted metal35 x 50 cm

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Untitled 2015 transparent resin 40 x 20 x 28 cm

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51/MAARTEN SPONS

Eyewitnessmade with IKEA home planner software

MAARTEN SPONS/52

53/MAARTEN SPONS

ANTOINE201560 x 60 x 80 cmIKEA basic kitchen cabinet, sink and water tap, Praxis worktop, stickers depicting collective paintings, water, copper pipe and PVC pipe

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ARTIST STATEMENTS EN

The work of DANNI VAN AMSTEL (NL) seems to leave be-

hind a trace, a memory, a gesture in the space. What kind

of efect does the habitation have on the memories of oth-

er spaces? Van Amstel researches the notion of ‘embodied

space’, and what this generates. Her installations exist of

found domestic objects in combination with sculptures made

of metal, wood, ceramics and glass. They are essential, po-

etic images, on the edge of what is and can be a work of art.

Themes and recurring questions in the work of KATREIN

BREUKERS (NL) are related to her personal environment

and experiences. She was raised in a family where the line

separating family life and creative expression was thin,

where performances where held in the living room. Breukers

connects these experiences and forms with Folk art, which

for her holds a personal as well as a social urgency. Her at-

tention goes out to handcrafted work, the authenticity that

shows itself through a performative and often humoristic

manner.

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The focus of TYAS LEEUWERINK’S (NL) practice lies on

how to use and visualize the moment of insight. It is about

the fascination with the unconscious mind, its processes and

how it reveals itself to the conscious mind. Leeuwerink looks

for ways to capture the spontaneous and fugacious charac-

ter of these promptings and to depict them in his work. He

makes use of short ilms, installations, sculptures, texts, im-

ages and photos. The unconscious mind becomes something

one can always return to, a loop, which is activated and com-

pels the viewer to relect on the abundance of images and

thoughts we are exposed to.

For MAUD OONK (NL), movement is the most important

aspect of her work. Movement is a dialogue, the story, and

the end result. Oonk takes the position of a player by making

choices and rules about how to work and deal with materials.

The material gets decontextualized from its plastic origins

because of Maud’s action, like a play that has its own intrin-

sic reality.

MOHADESEH RAHIMITABAR (IR) focuses on the relation-

ship between place, memory, and imagination. Our bodies

ind themselves in between the past and the present, within

the unique space we call memory. The relationship between

our bodies, reality, and the place where our bodies and mem-

57

ories are shaped is transformed into visual experiments. The

works become a combination of silkscreen and paint on small

metal plates leaning against the wall, depicting grey, misty,

always abandoned spaces. The result is not necessarily real-

istic, imagination is always involved.

MAARTEN SPONS ’ (NL) art practice is about the shared

potential during the creation, selection and display of a visu-

al language that relates to the medium of painting. He works

in the tradition of Provisional Painting and explores the pos-

sibilities of painting collectively. Spons formulates condi-

tions and structures to act intuitively, either individually or

collectively. In exhibitions he combines paintings, collages,

assemblages, prints, sculptures and ready-made objects. He

treats these things in a fundamental way.

MARTI JN IN ‘T VELD (NL) makes sculptures and writes

texts. He is interested in everyday objects and tries to give a

poetic or philosophical meaning to them. The relationships

between personal experiences, everyday situations and the

world “at large” play a major role in this process.

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Het werk van DANNI VAN AMSTEL (NL) ljkt een spoor, een

herinnering, een gebaar in de ruimte achter te laten. Wat voor

efect heeft bewoning op onze gedachten over andere ruim-

tes? Danni van Amstel onderzoekt de ‘belichaamde ruimte’,

en wat deze genereert. Haar installaties bestaan uit gevon-

den en huiseljke objecten gecombineerd met sculpturen van

metaal, hout, keramiek en glas. Het zjn essentiële, poëtische

beelden, aan de grens van wat een werk is en kan zjn.

Thema’s en terugkerende vragen in het werk van KATRE-

IN BREUKERS (NL) zjn gerelateerd aan persoonljke om-

geving en ervaringen. Zj groeide op in een gezin waar de

grens tussen gezinsleven en creatieve expressie dun was,

waar optredens gegeven werden in de huiskamer. Breukers

verbindt deze ervaringen en vormen met Folk art welke voor

haar naast een persoonljke ook een grotere maatschappeli-

jke urgentie bezit. Haar aandacht gaat uit naar handwerk, het

authentieke dat op een performatieve en vaak humoristische

manier zich toont.

De focus van  TYAS LEEUWERINK ’s praktjk richt zich op

het moment van het hebben van een ingeving. Hoe het onbe-

ARTIST STATEMENTS NL

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wuste te visualiseren? Hoe immateriële processen kenbaar

te maken aan het bewustzjn? Leeuwerink legt de spontanite-

it en het vluchtige karakter van deze ingevingen vast in korte

ilms, installaties, sculpturen, teksten, beelden en foto’s.

Het onbewuste wordt daarmee iets waar je steeds naar terug

kunt keren, een loop, die geactiveerd wordt en de beschou-

wer aanzet tot relecteren op onze overvloed aan beelden en

daaraan gekoppelde gedachten.

Beweging is voor MAUD OONK (NL) het belangrjkste as-

pect in haar werk. Het is zowel dialoog, verhaal als eindresul-

taat. Oonk neemt de positie in van een ‘speler’ door keuzes

en regels te maken over hoe met materiaal te werken en om

te gaan. Materiaal wordt ge-decontextualiseerd, weggehaald

van zjn plastische origine, als een toneelstuk dat zjn eigen

realiteit produceert.

MOHADESEH RAHIMITABAR (IR) richt zich op de relat-

ie tussen plaats, herinnering en verbeelding. Onze lichamen

bevinden zich altjd tussen verleden en heden, binnen het

unieke dat we geheugen noemen. De relatie tussen ons li-

chaam en de realiteit (plaats), waar ons lichaam en geheu-

gen gevormd en opgeslagen worden zet ze om in visuele ex-

perimenten. De werken zjn een combinatie van zeefdrukken

en verf op kleine metalen platen die tegen de muur leunen,

60

ze tonen grjze, mistige, altjd verlaten plaatsen. Het resul-

taat is niet noodzakeljk realistisch, de verbeelding is altjd

aanwezig.

MAARTEN SPONS ’ (NL) praktjk richt zich op het (gedeel-

de) potentieel tjdens het moment van maken, selecteren

en tonen. Het uitvinden van een visuele taal aan de randen

van de schilderkunst. Hj werkt in de traditie van Provision-

al Painting en onderzoekt daarin nieuwe mogeljkheden van

(collectief) schilderen. Spons formuleert voorwaarden en

structuren om - individueel of collectief - intuïtief te hande-

len. In exposities combineert hj schilderjen, collages, as-

semblages, prints, sculpturen en ready-made objecten. Hj

behandelt al deze dingen op een fundamentele manier.

MARTI JN IN ‘T VELD (NL) maakt sculpturen en schrjft tek-

sten. Hj is geïnteresseerd in alledaagse voorwerpen en tracht

hieraan een poëtische of ilosoische betekenis te geven. De

relaties tussen persoonljke ervaring, alledaagse situaties en

de wereld ‘at large’ spelen hierbj een belangrjke rol.

61

COLOPHON

EXHIBITION SPACE

Expoplu, Kunstenaarsinitiatief Paraplufabriek Njmegen

http://expoplu.nl

CURATOR

Bas van den Hurk

TEXT ‘A HOUDINI ACT’

Bas van den Hurk

TEXT ‘THE CUCUMBER TEMPLE’

Martjn in ‘t Veld

EDITORS

Tyas Leeuwerink

Katrein Breukers

Maarten Spons

DESIGN

Alexander Smirnov

http://be.net/printgrids

62

PHOTOGRAPHY

Walter Janssen Vakfotograie

Willem Melssen Fotograie

Adriano La Licata

PRINT

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THANKS TO

MFA AKV|St. Joost

Stichting Expoplu

March 2015 ©

Edition /50

Danni van AmstelKatrein Breukers Tyas Leeuwerink Maud Oonk Mohadeseh Rahimitabar Maarten Spons