Are artist-run spaces now being created/simulated by real estate developers?

In the case of "Huidenclub" Rotterdam, it's an art space calling itself “a bottom-up non-institution” that does “self assemble and strategically address societal and ecological justice”.

In Rotterdam-Delfshaven, the real estate development companies Dura Vermeer & Dudok Groep are turning a former factory territory into a new upmarket housing complex as part of the larger Merve-Vierhaven real estate development/gentrification project. A part of this complex will house “a new experimental platform for contemporary culture” [description on the website] called “Huidenclub”.

The launch will be during Art Rotterdam Week. Announcements can be found on art/culture websites such as WeOwnRotterdam and, but also on real estate websites like and Dura Vermeer’s own website.

The website of “Huidenclub.tmp” looks like that of a contemporary art space, but has a contact adress of a P.R. firm that works among others for FrieslandCampina.

The driving forces behind the Huidenclub seem to be the art consultancy Liv Vaisberg and the architect Chantal Schoenmakers whose bureau IWT.IO lists Dura Vermeer and Dudok Groep as its clients

Will give a public lecture on conspiracy culture, as part of the Münster lectures of University of Fine Arts Münster, Germany, on Tuesday June 22nd, 6pm Middle European Time.

The lecture will be on Zoom and in English. Link here:

second video shot with (Raspberry Pi raw video camera solution):

- social sculpture Koffie & Ambacht, video field recording of Gilbert van Drunen's coffee bar & neighborhood center in Rotterdam-Carnisse

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my first footage shot with the (CinemaDNG 12bit raw video-recording Raspberry Pi with the HQ Camera module):

Got interviewed, on among others: magic, software, 'post-digital' vs. 'new media', DIY culture & collectives, futures of art, the Crapularity, design as social experiment, dark sides of 'openness', artistic research:

What is wrong with the "Vienna Declaration on Artistic Research"?

- dissecting a European policy document that relates artistic research to "enterprise Research & Development" and has it "validated" through "international QA bodies".

rolling shutter study
realized as a simultaneous HD video + Slow Scan Television (SSTV) transmission.

[To receive the SSTV images, install the Android app Robot36 or the Linux program QSSTV.]

Streamed online conversation on crisis tactics between Joan Heemskerk ( & Heath Bunting on April 8th:

Joan and Heath will continue where they left off at Varia Rotterdam, when Heath talked about his everyday life tactics that anticipate the collapse of infrastructures, while Joan criticized this as a "boy scout" approach.

(I will be the moderator of the conversation.)


Support and Resource Pad for self-organised, artist-run and DIY initiatives in Rotterdam and beyond:
Our website 'Autonomous Fabric of Rotterdam' has been changed from a map of DIY spaces into a freely editable mutual support page.

my video of Amy Suo Wu's work/shop/exhibition 'Thunderclap' at PrintRoom, Rotterdam, March 7th 2020:

"Part-shop, part-sewing workshop and part-exhibition, Amy Suo Wu's Thunderclap employs steganography to publicly redistribute the erased work of Chinese anarcho-feminist He-Yin Zhen (1886–1920) through the medium of clothing accessories.

Visitors of Printroom are invited to make their own DIY Chinese anarcho-feminist patches. Thunderclap patches and ribbons will be also available to buy on the evening. The artist will offer free services to sew DIY patches and Thunderclap patches on clothes that visitors bring in from home.

Thunderclap is a steganographic zine that piggybacks on fashion accessories. The ribbons and embroidered patches contain translated English quotes taken from He-Yin’s essays and are nested around the QR code. When passersby scan the code, they can download her original Chinese writing. The work was originally designed to be hidden in plain sight on the streets of Beijing by co-opting shanzhai fashion - the Chinese phenomenon that features nonsense English - together with a QR code, as a covert system to publish sensitive knowledge originally destined to circulate within China.

COVID-19 Resources collectively created by teachers & students of Willem de Kooning Academy Rotterdam:

Manifestos & charters
Mental health
Education-based resources
Community-based resources
News articles, blog posts etc.
Safe practices
Software for online collaboration, with a focus on Free/Open Source
Free online archives & libraries
Inspirational films, art, literature
Rotterdam local support resources
Social impact, general articles/essays
Carework curves
Gossip diary


prophetic critique written in 1991:

"In systems such as those described by hypermedia project leaders, 'smart' systems will filter information and structure access. These developments in technology and design of information systems raise genealogical, ethical and aesthetic questions regarding relationship of knowledge, power and value and require a series of studies focusing on borders between apparently opposite or similar knowledge configurations. These studies should deconstruct 'invisible' architectonic structures supporting knowledge construction, illuminating unacknowledged choices embedded within existing and planned information systems".

Beverly J. Jones, Cultural Implications of Integrated Media, in: Leonardo, Vol. 24, No. 2, April 1991, p. 158

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Friendly reminder about free software. It’s not free as in free beer, nor free as in free speech (urgh), but free as in free toilet: it’s our collective responsibility to keep it clean and working.

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"I belong to a crowd that is quite skeptical of the projects of what we might call the “techno-fix,” in part because of their profound immersion in and their disengagement from communities of practice."
Recent interview

visual poem by Jan Voss, shown by himself (at Boekie Woekie, Amsterdam), 12-2019

my video of 12 ghosts of Stockholm at NIFFO Galerie/ Recycle Studio, Rotterdam, Netherlands, Dec 3rd,
with Igor Titenko (tenor saxophone, trumpet, Persian flutes, vocals, performance) (Russia), Stefanie Janssen (vocals), Hernán Samá (tenor saxophone), Johanna Monk (wind), Marijn Van de Ven (double bass), Rory van der Woerd (drums), John Giskes (butoh performance)

“12 ghosts of Stockholm” is related to the real events that occurred in Siberia and Europe in the 90s of the last century.

The hero of Radio Vostok-4 is DJ Maxim Samoilov, who was in a radioactive accident at Radio Vostok in the 90s. For three weeks he was on the air to keep himself sane, telling strange stories, and then disappeared.

This episode is about a firefighter who participated in extinguishing the fire at the Chernobyl nuclear power plant. He burned his hands, and to forget the disaster, became a sailor. When his ship dropped anchor in the port of Stockholm, a fireman-sailor heard the legend of the crown of Eric the Mad. He met with 12 ghosts (masters of the 12 Islands of Stockholm) and received a reward from the hands of the shadow of king Eric the Fourteenth.

My essay 'Welcome to the Crapularity - Design as a Problem':

"Both types of design-production, Apple’s and Aputure’s, end up in various crapular economic feedback loops. These feedback loops include GAS [Gear Aquisition Syndrome] consumption, bottom-up globalization such as the multi-storey specialist electronics shopping centers in Shenzhen and Guangzhou that serve African traders who export the goods to their home countries, the global economy of AliExpress consumption, their links to the human/non-human zombie armies of shadow banking, fintechs and crypto currency mining, resulting in whole batteries of mutually interwoven, meta- and super-wicked problems from financial system bubbles to post-democratic politics and environmental collapse.'"

Turns out that the one trillion Dollars which the big tech companies (Apple, Google, Amazon...) hold in their offshore accounts are mostly in bonds. By that, these companies have become shadow banks, keeping alive other 'zombie' companies that otherwise would run of credit/go out of business.

The author compares it to the subprime crisis and sees a similar systemic risk for the world economy, now with the tech giants being the corporations that are "too big to fail".

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