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Selected Projects


Contrast is a regular event by annabel in Rotterdam. The ongoing series of posters that present the event is printed with contrasting CMYK only colors. This series of events presents a new, contrasting facet of annabel’s standard program. The first two editions are already done – more to come.
Made in collaboration with Zalán Szakács

Poetic Software

Software has taken command of our daily life. It is omnipresent and most of our Western society would come to a halt without it. At the same time software has become so ordinary, that it is often overlooked. Software is taken for granted while it is increasingly entangled in our life and continuously adopts new tasks. Our computers seem to become smarter through new kinds of algorithms. This leads to new challenges in understanding software – not only from a scientific point of view but also from a cultural, political and social perspective. Software has also found its way into the art and vice versa, but there are still gaps in the relation between the two. I assume that the interaction between software and art can be productive and helpful for the research in both of the disciplines. The question that I am asking is: How can artistic methods be used to elicit critical reflection on software as a cultural object beyond the interface? The current perception and use of software are significant parts of this research, especially in contrast to the original culture around software, that included hacking and that required every artist to write their own software. This publication explores the multiple layers of software with a particular focus on the assumptions and imaginations that arise around and through software. I consider poetic as a reference to the emotional, subtle and artistic expression that software can have. This work is not about considering the code of software as poems or as literature. It points to the non-neutral and imaginative character that software already has and that can be used for further artistic engagement. It also embraces the potential non-functional attributes of software and acknowledges the metaphors that software uses. It reflects on the different layers of interpretation and execution that software can have and leaves the result open for interpretation. Poetic software provides the possibility to create new artistic software, that is beyond the interface and beyond the expected mode of operation or depiction of software. Poetic software does not need to function but comes with an inherent call for statements about issues of software. www.poetic.software

Rietveld Graduation Portal


Rietveld Academy asked us to build a portal for the graduation work of their students. Together with Alex Zakkas I built a website showing all the work done by graduation students. The site is using files as a backend, the structure of folders and files reflects in the front-end.

The website exhibits works by graduates of the 2020 DOGTIME program. DOGTIME is the bachelor evening education of the Gerrit Rietveld Academie in Amsterdam, consisting of two departments: Expanded Painting (EP) and Unstable Media (UM).

The Dogtime graduation website design allows graduates to have direct access to their content on the website, adding, deleting or changing files. The subtle but powerful website-framework unites the diversity of the students' works, attitudes and media and serves it in the context of a wider world.


XPPL is a space for potential pirate librarianship. It is both an experiment and a working prototype for a distributed network catalogue and library that you can run and install on several machines and share/synchronise with the same bibliographical database. It starts at XPUB, but can go anywhere we want it to. Initially developed as a in-house tool for the XPUB course, XPPL is a project aimed at people who are studying within and outside formal education, or as we like to call them: knowledge comrades. XPPL provides a web interface and hosts a curated catalogue of books and articles. Its distributed architecture is open to instances of uploading and downloading, and allows for the collective editing of its content. In XPPL, librarians can add, and modify small collections of books that are connected by threads of thought, or follow a certain thematic or study path. We call these selections ‘stacks’. Rather than a bookshelf in a library, where books are lined up and often forgotten, the stacks on your table/nightstand/bathroom floor consist of books prone to be opened and reopened at any time. The stacks in XPPL are visible for others in the network to browse, annotate, update or shuffle. Next to the stacks, XPPL exists as a distributed bibliographical database upon which various modes of reading and writing interfaces can be created. In its current version, the XPPL search interface allows for serendipity, while playful bots point to the invisible labour of librarianship and gaps in the collection are made visible, turning dormancy into potential. Furthermore, collective annotations turn the digital library into a social space; and visualizations of the collection in 3D forms allow users to sense the materiality of their books. The XPPL is also a project of urgency. Today, the gradual loss of public libraries, the rise of corporate academia, and the systemic use of digital rights management, make access to knowledge increasingly difficult. As a result, and despite significant efforts from free culture supporters and open access initiatives, media piracy has became an unspoken practice that cannot be decoupled from the acts of researching, reading and studying. However, this practice is often fragmented, and splintered by way of legal and economic barriers. We recommend books in person, jot down reading lists on paper, then send unsteady links via email or download already known items from the haystack of existing repositories. Most importantly, under these circumstances, such practice is reduced to the act of file sharing, and fails to highlight the discursive nature of these exchanges, their ability to form new resources, to nurture collective forms of learning and an active research culture. In response, XPPL is a platform and network that offers another way to think about, aggregate and intervene in these processes.


A Bed, a Chair and a Table

A Bed, a Chair and a Table is a publication about the Poortgebouw, a former squat and vibrant living community located in the South of Rotterdam. In this book, oral histories from inside and outside the Poortgebouw are interlaced with material from various institutional and personal archives. By bringing together these tales of resilience, political struggle, frustration and friendship with historical documents, this book brings forward new perspectives about the Poortgebouw's unique history and its importance in the contemporary city. The starting point of the book was the Autonomous Archive, a local archiving machine built from parts of different computers by the inhabitants of the Poortgebouw and a group of students from XPUB.
This publication is brought to you by Delphine Bedel, Natasha Berting, André Castro, Elisa Chaudet, Angeliki Diakrousi, Max Franklin, Giulia de Giovanelli, Francisco González, Joca van der Horst, Aymeric Mansoux, Michael Murtaugh, Alexander Roidl, Steve Rushton, Alice Strete, Zalán Szakács and the Autonomous Archive. XPUB is a two-year Media Design Master course that prepares students to critically engage with societal issues within the fast changing field of art, design and cultural production. The project was developed in the context of Architecture of Appropriation, a research project at Het Nieuwe Instituut, that examines how squatters have appropriated urban spaces using radical improvisation techniques, and how this has influenced the way we think about the contemporary city.

Book, 140 × 210mm
200 pages
Dec, 2017