A self-organized exhibition taking place in the private homes of Amsterdam-based artists.

Participating Artists:

James Beckett
Anthea Bush
Martín La Roche Contreras
Silvia Mantellini Faieta  
Maartje Fliervoet
Willum Geerts
Seán Hannan
Marc Philip van Kampen 
Guy Königstein
Martijn Janssen
Angelo Leonardo
Rody Luton
Wolfgang Messing
Sebastián Díaz Morales 
Multiple choice (Dina Danish, Rumiko Hagiwara, Jean-Baptiste Maitre)
Martine Neddam
Anna Orlikowska

Josje Peters
Ronit Porat
Willy Smart
Maartje Smits
Michelle Son
Leonid Tsvetkov          
Angeliki Tzortzakaki
Maya Watanabe
Ayako Yoshimura
Ran Zhang
with special guests:

Anna Buyvid

Chris Meighan


Home Sequence is a self-organized exhibition taking place in the private homes of Amsterdam-based artists from 28 - 30 June 2019, with opening on Thursday, 27. June 2019.


During this period artists temporarily transform (their) homes into exhibition spaces. Home Sequence is framed by a series of invitations from artist to artist, who either exhibit together in one home or each in their own homes. As such this expanded group exhibition is imagined to cast an open net that connects a route through the city.


For the second edition of Home Sequence we have asked artists who have participated in 2018 to further invite another artist. In addition we have invited several artists ourselves.


The initial idea for Home Sequence comes from an impulse to instantly make an exhibition. The most immediate way to accomplish this appears to be the use of the spaces we already inhabit.


Home Sequence is a gesture that addresses the politics of space and representation, inverting the role of the artist as guest in public space to that of host in private space. It is simultaneously a withdrawal from public space and a making of one’s own space public through an invitation. Home Sequence is an experiment that aims to unsettle the relations between the public and intimate space of dwelling, without knowing where this experiment will lead. We hope that such an exhibition will provide ground for a sort of a neighbourhood to emerge – one that could continue on the basis of an immaterial topography of mutual affinities that might quietly already exist.


Home Sequence is initiated and organized by Sascha Pohle and Tao G. Vrhovec Sambolec.

Home Sequence is organized without public funds and is fully funded on the part of the participating artists.




Practical Information:


Exhibition Dates: 28 – 30 June 2019
Time: 14:00 – 19:00

Opening event will take place on Thursday, 27. June 2019 from 19:00 – 21:00.

Performance The matter of mothers and mud by Maartje Smits at 20:00.

The single location of the opening is included in the Places and Schedule document.

Special event:
Performance Software Haikus by Chris Meighan.
Saturday, 29. June 2019 at 20:30.

Talk and finissage:
Presentation of Worldwide Apartment and Studio Biennale project and Zine by Anna Buyvid.
Sunday, 30. June 2019 from 19:30 - 22:00.

Places and Schedule:
To receive the list of home addresses and the events schedule please RSVP to the email address: homesequenceadam@gmail.com
We kindly ask you not to circulate this document in order to keep overview of who obtained the list of private addresses of the participating artists. The list will be distributed few days before the opening.





(Invited by Bojan Fajfrić)


(Invited by Sebastián Díaz Morales)

Saturday, 29. and Sunday, 30. June.

Maya Watanabe
Liminal (2019)


In recent years, Peru went through a fierce internal conflict period, which brought nearly 70,000 deaths; perpetrated by the military and two guerrilla groups: Sendero Luminoso and Movimiento Revolucionario Tupac Amaru. The narrative officialised by the Peruvian Truth and Reconciliation Commission established the beginning of the conflict in 1980 – Sendero Luminoso’s declaration of war – and the end on the year 2000 – with the fall of the former president A. Fujimori. While rounded numbers and historical periodization do help to grasp the scope of violence, the official narrativization has also the effect of marking the period as a time of exception – an exception that appears, apparently, resolved. Nevertheless, nineteen years after the official end of the conflict, 16.000 missing people and 6.000 unexhumed mass graves are still waiting to be grieved.
Generally speaking, current exhumations and post-mortem efforts to identify buried victims in mass graves strive to ‘restitute’ their personhood, to determine the legal death and to confer the family the possibility for grieving. In the Peruvian case where the corpses are reduced to bones, it is both the forensic archaeologist and the forensic anthropologist who ‘restore’ the victim's identity. During the fieldwork, the forensic archaeologist exhumes and recovers the human remains, which are later taken to the forensic anthropologist for the laboratory analysis and the definitive identification. In between those two interventions, the remains hover in a suspended transitional legal status between “missing person” and the official declaration of its death.
Liminal takes place during that transitional state and responds to the subjects that are in a limbo of legal recognition, on the threshold of the subjecthood, the recognisable and the representable.

Liminal has been produced by the Han Nefkens Foundation and supported by Mondriaan Fonds.

Maya Watanabe is a Peruvian visual artist who works with video installations. Her work has been exhibited at: Maxxi Museum, Palais de Tokyo, Matadero Madrid, Das Fridericianum, Museo de Arte Contemporáneo of Lima, Kadist Art Foundation, Kyoto Art Center, La Casa Encendida, among others. She has been featured in festivals like Videobrasil and the Rencontres Internationales, as well as in the Havana Biennial, Asian Art Biennial, 2nd Wuzhen Contemporary Art Exhibition, Bienal de Arte Contemporânea de Coimbra and the Beijing Biennial. In 2018 she received the Han Nefkens Foundation prize. She has also collaborated as a set designer and audio-visual art director for theatre plays performed in Peru, Spain, Austria and Italy. Watanabe holds an MA from the Dutch Art Institute-DAI.

Sebastián Díaz Morales
Talk with Dust (2018-19)
The series Talk with Dust, 2018-19 is composed of eight video works. At this occasion two fragments or sequences from the whole series is shown. The sequences in and of themselves do not constitute a straightforward narrative or plot. There is no story, only singular details, movements, shapes and sites that create an atmosphere, a succession of different sensations. Through this fragmented narrative, Talk with Dust intends to explore an idea of the fantastic.

This fantastic is not the one that interrupts the ordinary course of things but rather that which is at once strange and present, at the same time its contradiction and its confirmation. For something to be fantastic, it is not enough to be different from the real: also (and above all) it is necessary to mix inexplicably with the real thing. In more philosophical terms we can say that the fantastic is not the other of the same but its alteration: not the contradiction of the real, but its subversion.

Clement Rosset, El Objeto Singular, Editorial Sexto Piso, 2007


The sequences present both material and mental territories - spaces that function as a mirror upon which an image of our world can surface.
Resume from text: Karen Verschooren

Sebastián Díaz Morales (1975, Comodoro Rivadavia, Argentina) is a visual artist working mainly in video and film. In his practice, he shifts time and space to question the way we continuously construct and understand reality. His works simultaneously have a documentary and dreamlike feel to them, which in essence, transports us to another uncanny dimension from which we can observe/scrutinize the world known as our own. Sebastián Díaz Morales’s work is part of major permanent collections and has been shown world-wide, a.o. in Museum für Gegenwartskunst Siegen; Le Fresnoy; CAC Vilnius; Tate Modern; Centre Pompidou; Stedelijk Museum Amsterdam; Ludwig Museum Budapest; 57th Venice Biennial; Bienale São Paulo; Biennale of Sydney; Fundació Joan Miró, Barcelona; MUDAM Luxembourg; and the Calouste Gulbenkian Foundation, Lisbon. Sebastián Diáz Morales is represented by gallery carlier | gebauer, Berlin.





(Invited by Alena Alexandrova)


(Invited by Maartje Fliervoet)

Friday, 28. and Saturday, 29. June


This is a presentation in the form of a museum inside an installation, inside an apartment, inside a hat, that intends to share some thoughts on various forms of collecting information on the world surrounding us. Its form may be classified, yet its contents revealed according to chance encounters. It must be emphasised that such a presentation relies on the visitor's attitude to this collection that is personal and empirical, little concerned with the chronological classification and still less with balanced representation.

Maartje Fliervoet has exhibited at A.VE.NU.DE.JET.TE Institute de Carton and Wiels CAC in Brussels, Grim museum, Berlin, Lokaal 01 Antwerp, Kunstverein Göttingen and SKOR in Amsterdam. She has held several teaching positions, including a tutorship at the honoursprogramme ART and RESEARCH of the UvA and Gerrit Rietveld Academie. Residencies include Frans Masereel Centrum (2016), Air Berlin Alexanderplatz (2013) and Wiels CAC (2010).
In 2015 she initiated Manifold Books, a space for art and books.

Martín La Roche Contreras
Born in Santiago Chile (1988). Lives and works in Amsterdam. Martín La Roche studied Visual Arts at the University of Chile in Santiago and then in 2015 he completed a postgraduate program at the Jan Van Eyck Akademie in Maastricht, the Netherlands. His work has been shown among others at Die Ecke Arte Contemporani, Barcelona; Manifold Books, De Appel and Akinci in Amsterdam; U10, Belgrade; Galería Gabriela Mistral, Museo de Arte Contemporáneo and Die Ecke in Santiago de Chile; Casanova, Sao Paulo; CIAP, Hasselt; Lugar a Dudas, Cali; B32, Maastricht; Palacio Molina, Cartagena, España. Residences include FLAT Station (2015), Calipso Press Cali (2016), Beautiful Distress at Kings County Hospital NY (2019).
In 2017 he started the Musée Légitime, a nomad institution that now has 102 artworks by different artists. In 2018 he started with Dongyoung Lee an artist book platform in Amsterdam called Good Neighbour dedicated to make art with words. Also participates in Ediciones Popolet an artist book publisher born in Santiago de Chile and now also in NY and Amsterdam.





(Invited by Sefer Memişoğlu)


(Invited by Josje Peters)

Friday, 28. and Saturday, 29. June

For Home Sequence Josje Peters and Ran Zhang create a dialogue between imagery repetition and visual registration of memory that overlap and distort private space with imagery space through modeling and sampling in a different home. Josje Peters repeats components and images that are already present in her home but never meant to be made public. By repeating and showing these private elements in another space, they reflect on the thinking process within the private home and how the images we live with relate to our work process. Ran Zhang’s cut-outs are stenciled shapes from Josje Peters’ works and textured through painting detailed areas of Peters’ home by memory. They speak about how the continuity of a space is interrupted and distorted by memory and translated into the surface value of imagery representation.

Josje Peters (NL/CA) researches a state of being in which figures and spaces seem to lose their identity. She articulates certain elements f.e. gestures, by using repetition and way of painting. Her work questions through minimizing the amount of information given within the compositions and the abstract approach towards the anonymous figures and spaces, what it is we actually see. Peters graduated from AKV St. Joost ‘S Hertogenbosch. In 2010 and 2011 she was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam. Peters graduated from AKV St. Joost ‘S Hertogenbosch. In 2010 and 2011 she was a resident at the Rijksakademie van Beeldende Kunsten in Amsterdam.

Ran Zhang (CH/NL) graduated from Gerrit Rietveld Academie, and worked in the residency program in Rijksakademie van beeldende kunsten in Amsterdam. Her work starts from a pure interest in materials, to looking at the very appearance of the image itself, using painting, drawing, analogue and digital printing to create images in layers that are visually complex and accurately balanced between the minimal recognition of the content and the arrangement of the imagery surface. Her works capture or highlight the duality of formulating methods of image making and researching beyond them: a relation between our comprehension of creating images, and being shaped by them at the same time. 





(Invited by Sefer Memişoğlu)


(Invited by Anthea Bush)

Saturday, 29. and Sunday, 30. June.

Anthea Bush


My drawings are a development of the stories I tell myself, of fantastic plants and insects and of the worlds they inhabit. My starting point is to dissect the insect or plant in front of me and from there I connect with them and reconstruct an alternative reality. I feel a connection to early botanists, as my drawings are an ongoing process to try to understand what I see by collecting, dissecting, recording and categorizing. The potato is the subject of my recent drawings, although now being seen as plain; this vegetable fed the industrial and agricultural revolutions whilst also taking the blame for the spread of sexual immorality and leprosy.

Anthea Bush (1974 UK) has worked with a wide range of media but now focuses mainly on watercolour on paper. She uses this medium for its unforgiving nature. It has a life of its own, once a mark is made it can’t be removed, the only option is to incorporate it. Connected in an abstract way to the natural world, both are evolving and unpredictable.
Anthea graduated from Newcastle University and was a resident at De Ateliers, Amsterdam. She has been an artist-in-resident in Finland (Mustarinda and Atelje Stundars) and in Düsseldorf (Ateliers Höherweg). She has also participated in various international and group exhibitions.

Rody Luton
Verdant I — IV (2018)

The word verdant does not just denote the colour green, it refers to ‘growing green’, to vegetation, and to nature – derived from the French words ‘vert’ and ‘verdure.’
Nature imbues stillness as well as flow - like the waves of wind moving through a verdant green wheat field. Even in a city dwelling, amidst the anxiety of urban life, it can evoke serenity.
Verdant: these four paintings, connect to my interest in exploring transitory zones between nature and culture, between different environments, surfaces and ecologies.

Rody Luton is a British/New Zealand visual artist, based in the Netherlands. Her mostly abstract art work has involved a variety of media forms, including painting, mixed media and photography. Born in England and growing up in New Zealand, she has lived and worked in England, France, Netherlands, Italy and the United States.
She was trained at Bath Academy of Art (UK) and École Nationale d’Art Décoratif (France), and holds a degree in anthropology from the University of Sussex (UK).?Her work has been exhibited internationally. In 2016 Witteveen Art Centre Amsterdam hosted a retrospective exhibition of her work entitled Time Encircled (2016). In Spring 2019 she was artist in residence in Kyushu, Japan.





(Invited by Tomo Savić Gecan)


(Invited by Angelo Leonardo)


(Invited by Angelo Leonardo)

Friday, 28., Saturday, 29. and Sunday, 30. June.

Season of Mistakes

Conceived by Angelo Leonardo and hosted by Silvia Mantellini Faieta in her Jordan home-studio, Season of Mistakes is a furious looking back framed by the impossibility to imagine the future. An anachronistic loop of “been there before” transformed into a temporary living space. The recurring state of changing houses along with side jobs appears like an alienating movement across the shades of precarity, a continuous self-reflection and vicissitude.
In the context of Home Sequence and as a result of a series of open invitations, the two artists stage a scenographic set, an open platform that works as a pretext for these narratives to emerge. Silvia Mantellini’s work interferes in the set questioning the different layers of consciousness that the body has to cross: solitude, trauma, exhaustion. Surrounded by the current rising wave of misogynism spread like a deadly virus at the Colonies, Silvia’s daily gestures remain still and silent as a deafening act of resistance.
Angelo Leonardo’s research is developed through attempts, quotes and actions to reconstruct his fictional imagery through the lives of contemporary heroes. Leonardo likes to dive in the archival nature of these personalities and appropriate their elements. The endless possibilities of the hypothetical combinations similar to an extended algorithm affirm the complexity of being. At the same time Leonardo’s actions can be read as a flux of data: available, democratized, commodified, speculated.
Text by Angeliki Tzortzakaki
Angelo Leonardo was born in 1991, Calascibetta, Sicily. He lives and works between Naples and Palermo, temporary based in Amsterdam. Since 2014 he’s co-author of E IL TOPO artist-run magazine based in Milan, since 2015 he’s part of Hisn Al-giran, a no-profit that takes care of Villaggio Bizantino an archeological site in Calascibetta. He also exposed for: Pio Monti arte contemporanea, Rome (2017), EnclaveLab, as part of the project “We are all involved in this mess” with the support of Art Department of Goldsmiths, University of London and the Goldsmiths Annual Found, London (2017), and also part of the Stefania Galegati’s project “Caffe internazionale” as curator, artist and trainee barman (2015-2018).

Angeliki Tzortzakaki (1990) is an independent curator and writer based in Amsterdam. She is part of the collective and artist residency bi- and for 2018-2020 a curatorial fellow of the research programme “A Natural Oasis?” focusing on the Mediterranean area. In Amsterdam she collaborates with Looiersgracht 60.

Silvia Mantellini Faieta, visual artist and performer, born in 1992 in Pescara (Italy) and based in Amsterdam since 2018.





(Invited by Noa Giniger)


(Invited by Guy Königstein)

Friday, 28., Saturday, 29. and Sunday, 30. June.

Facing the Palace

Seemingly idle, an island itself, with its square and somewhat randomly organized, non-transparent windows, the Courthouse of Amsterdam (in Dutch Paleis van Justitie) amounts not much to our daily life, apart from dominating our view.
For the occasion of Home Sequence we take the look (and gaze) toward the Palace on the opposite side of the road as a starting point for an investigation: of our home (and castle), of our past and the way we judge (and live) it, of our work and the question of its local relevance (and timeliness) - a collaborative, multi-medial work setting, embedded in our private palace.  

Written or sculpted, photographed or cooked, printed or casted, installed or performed, Guy Königstein’s works examine both his ability as an artist, and the capacity of the spectator, to participate in alternative historical, social, institutional and national narration. Königstein holds a Master degree in Applied Arts from the Sandberg institute Amsterdam, and a B.A from the Design Academy Eindhoven.

Ronit Porat works in the medium of photography, and includes archival materials and biographical texts in her installations. She holds a Master degree in Fine Arts from the Chelsea School of Art and Design in London, and a B.A. in Photography and Digital Media from the Hadassah College in Jerusalem, which she completed with distinction.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)



(Invited by Rumiko Hagiwara)

Friday, 28. and Saturday, 29. June.


Multiple Choice presents three multiples that we have either made or commissioned and which all fit perfectly into an A4 sized cardboard box. For Home Sequence we also launch our new multiple: The great rolled food recipes e-cookbook! Come by and contribute to our recipes, and be welcome to munch on some of our signature Multiple Choice rolled food!

Multiple Choice is an artist initiative, meant to be in constant flux, always changing its function. We make multiple things including, but certainly not limited to exhibitions, workshops, think tanks, collections, books and multiples. Anything and anyone can be a member in the Multiple Think Tank including fish and dead writers. Meanwhile, our events are mobile and can take place at any location. Multiple Choice is an artist initiative founded by Dina Danish, Rumiko Hagiwara and Jean-Baptiste Maitre.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)


(Invited by Anna Orlikowska)

Saturday, 29. and Sunday, 30. June.

1. “S-w-i-t-c-h W-i-s-h”. Let’s consider the insects in the family Gerridae (insects colloquially known as water striders, water bugs, magic bugs, pond skaters, skaters, skimmers, schaatsenrijders, water scooters, or Jesus bugs). The water strider carries out its life on a surface, as does an erotic novel: all details and no depth. So perhaps better than an erotic novel about the interests of humans would be an erotic novel about water striders. And perhaps better than reading such a novel on land would be to read it on water (or the next best thing, a house boat).

2. “*Uh, uhh, mmm*” is a spatialized, site-specific, performative sound poem, which, as a starting point, takes a drawing from the novel and treats it like a score. “*Uh, uhh, mmm*” is a woman. It zooms in on a page, empties it out, brings it into depth, spreads it into the ceilings, shakes the walls, drops (into the water).

Willy Smart is an American writer and artist whose work proposes expanded modes and objects of reading and recording—stones, insects, ponds, surfaces, hormones, spores, clouds. Willy directs the conceptual record label, Fake Music (fakemusic.org). They have presented visual and performative work in venues including MCA Chicago, Bas Fisher Invitational Miami, Centre for Contemporary Arts Glasgow, Carpenter Center for the Visual Arts, and MÉLANGE Cologne. Publications include a novel forthcoming from Meekling Press, book length-publications with Publication Studio Portland, and essays published by MIEL press, World Forum for Acoustic Ecology, Dilettante Journal, and others.

Anna Orlikowska is a Warsaw-born artist working in Amsterdam. Her practice is defined by the concept of “space activation” and involves a variety of media ranging from installation, performance, sculpture, video, drawing, text and sound. She explores the relationship between the ear and the eye and their relatedness to other senses. She received MFA from School of the Art Institute of Chicago and BFA from Gerrit Rietveld Academie in Amsterdam. Her work has been presented in international solo and group exhibitions including Centre for Contemporary Art U-jazdowski Castle in Warsaw, Neuer Kunstverein in Wuppertal, Randy Alexander Gallery in Chicago, Casa do Povo in Sao Paulo. She was an artist-in-residence at Residency Unlimited and LES Studio Program in New York.

Installation in a houseboat possible thanks to the generosity of Michal Sypien and Jurek Owski.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)


(Invited by James Beckett)

Saturday, 29. and Sunday, 30. June.

James Beckett
Strange Glow

Strange Glow is a new series of work in progress, primarily an exercise in compacting disparate sources. As assemblage, these pieces can be described as backdrops of architectural reproduction, super-imposed with seemingly random objects and extracts from the news.
The so called “formatore” or plaster casters of the 19th century, used reproduction as a means of study, for the outlining and defining of architectural canon. In a summarisation of western tradition and motif, they later expanded to include the ethnographic, the exotic. Beckett’s selection however, is based on the inhabitants themselves, on the social-political implications of these buildings and their surroundings – at times seemingly circumstantial in terms of the architecture itself. This focus on the people, the users, renders the façades more human and grounded, less grandiose perhaps than their great-grandparent plaster casts of the Trocadero in Paris.
A contrasting layer of found objects and extracts from the news, mounted directly on the reproductions, seeks not to unpack, but contrast these architectural examples. In an associative chain, these parts look to create a kind of remote magnetism or odd relation of parts, much like the unlikely occurrence of events in life itself.


Exhibited works:


CNC machined wood, over-printed with UV ink bronze, oil paint.

110 x 169 x 15 cm

In the early 1970’s, this house was moved from Olkhovchyk village in the east of Donetsk Oblast, to be part of the exhibition titled “The Socialist Village,” which presents 20th-century houses from across Ukraine. Since April 2014, the region has been occupied by pro-Russian militants, culminating in the shooting down of Flight MH17 in July of the same year. Internally displaced people of Donetsk have since taken patronage over the building, ensuring its maintenance through volunteer work. A member of the activists group had visited the outdoor museum and seen the dilapidated condition of the house, and had the idea to bring it back to shape.



CNC machined wood, over-printed with UV ink Cast epoxy, steel, polystyrene mounted laser print.

94 x 36 x 7.5 cm
Reproduction of a door from a late 18th century farmhouse, which was demolished whilst building the Channel Tunnel, the only fixed link between the island of Great Britain and the European mainland.

BBC news article, which documents a dangerous online challenge whereby people force a whole light bulb-shaped sweet into their mouth, which then often gets stuck. This can result in choking and even suffocation, as well as potential mechanical injury.



CNC machined wood, over-printed with UV ink mixed products on shelf.
200 x 275 x 23 cm
Reproduction of external wall of a former prison, showing children’s drawings in chalk. German filmmaker and gay rights activist Rosa von Praunheim was born here, whilst his mother was a prisoner following the 2nd world war.

A selection of products, chosen for their similarity to the colour of Persian turquoise. The precious stone comes from a number of mines in modern day Iran, stones which show a great colour variation. There is evidence that surface mines have been exploited as early as 2100 B.C. In Persia, turquoise was the de facto national stone for millennia, extensively used to decorate objects from turbans to bridles, as well as important buildings such as mosques both inside and out.



CNC machined wood, glass Newspapers.

255 x 135 x 35 cm
Reproduction of entrance to former home of Daina Taimina, a mathematician known for crocheting objects to illustrate hyperbolic space (curvature in 3 dimensional space). The building is in the architectural style of National Romanticism.
A series of newspapers reporting on former Bosnian Croat general Slobodan Praljak’s death, following his drinking a phial of poison. This was whilst standing in the dock at a UN tribunal in The Hague, where his war crimes sentence of 20 years had just been upheld. Amongst other things, Praljak was charged with ordering the destruction of Mostar’s 16th-century bridge in November 1993, which judges in the first trial had said “caused disproportionate damage to the Muslim civilian population”.

Strange Glow is supported by Amsterdams Fond voor de Kunst, FLACC artist residency in Genk Belgium, and Stimulerings Fonds Creatieve Industrie, Rotterdam.
James Beckett (ZA, NL), born in Harare, Zimbabwe, 1977. Lives and works in Amsterdam, The Netherlands.
James Beckett’s work in diverse media examines subjects of a historical nature, from the development (and subsequent demise) of European industry, to the more metaphysical aspects of dowsing and voodoo. His constructions favour an obscure and rambling logic, often within a strict formalism reflecting the mechanisms of display. A sometimes-dubious approach to his subject matter entertains the historic as suspended in a state of constant re-interpretation, a portrayal of a world where anomaly and change are fundamentals. With craft-like assembly placing the work uncomfortably between a bourgeois decorative art and a crude social reality, the outcomes explore the peculiarity of human behaviour.
Beckett was resident at the Rijksakademie (2001-2002) after which he won the Prix de Rome for Art in Public Space. Further residencies includes: Wysing, Cambridge; Centre International Des Recollets, Paris; FLACC, Genk. His works are in the public collections of: Stedelijk Museum Amsterdam (NL), Pompidou, Paris (FR) and is represented by galleries Wilfried Lentz, Rotterdam; T293, Rome; Markus Lüttgen, Düsseldorf.
Recent shows include: The World is Flat, MCAD, Manila; Witness, 1st Karachi Biennale; Utopia/Dystopia, MAAT, Lisbon; 5th Thessaloniki Biennale; 56th Venice Biennale, Belgian Pavilion. Published Monographs include: TWAAS/Koenig books ; Kehrer Verlag (DE).

Wolfgang Messing
Ambiguity and Detachment

The series of paintings continue a distinctive form of dialogue with Western European culture and history.
Currently, people experience everyday images as full-colour slides via computer, smartphone or huge advertisement screens.  Inversely, the paintings by Messing are referring to distant memories with blurred details and faded colours; representing space of subjective perception, which possibly could be more significant than common reality.
The artist is researching a refined technique to appropriate the role of a spectator of non-matter.

Wolfgang Messing was artist-in-residence of the Rijksakademie voor Beeldende Kunsten, Amsterdam in 2003-2004.
Messing participated in numerous international exhibitions in Amsterdam (Netherlands), Berlin (Germany), London (UK), Los Angeles (USA), Milan (Italy), Paris (France) St. Gallen (Switzerland) and Tokio (Japan).





(Invited by Leonid Tsvetkov)

Friday, 28. and Sunday, 30. June.

This exhibition focusses on the difference between the way we live with art and the way we relate to art in exhibition spaces. In art spaces we look at the exhibited works within the boundaries of formal criteria based on art history and the way contemporary artists relate to this. In our own homes we tend to select the art we live with on completely different and much more chaotic criteria such as friendship, personal interest, financial capacity, size, holiday destinations, relationships and/or chance. For this exhibition I invite the artists / designers / photographers of whom I have works in my apartment to bring the art and artefacts that they live with from their houses, and form unexpected connections and associations between them.


The exhibited pieces include:

Branches with woodworm engravings, found object, undated.
Celtic bronze horse, ca. 200-100 BC, artist unknown.
Temple of Aphaia on the island of Aegina, etching, 1850, artist unknown.
Dionysos, C-print on aluminum, 2008, Marc van Kempen.
Nose Cup, stoneware, 2017, Daniel Dewar.
Okuma-Machi (Ostrich), C-print on aluminum, 2012, Yasusuke Ota.
Untitled, C-print, 2002, Tom Baas.
Noh-mask, undated.
Toi & Moi & Nous Beux (broken and fixed), Porcelain, 1950, Villeroy & Boch.
Untitled, 5 concrete casts, 2012, Leonid Tsvetkov.
Piece of Rietveld Akademie, concrete iron & plastic, 2018, various artists.
Untitled, C-print on MDF, 2003, Antoinette Nausikäa.
Found object, ceramic, undated.
Monkey Mischief, Franz porcelain, 1980-now.
Spray can, 1970s, Egypt.
Wooden shoe sole, Greece, undated, unknown artisan.
Ceremonial stone axe, neolithic (4000-2351 BC), jadeite, unknown artisan.
Two cups with turtles, Urushi lacquered, Edo period, unknown artist.
Laozi riding an ox, ink on paper, undated, artist unknown.
Untitled, circuit boards plaster, Leonid Tsvetkov.
Untitled, painting on cardboard, 2018 Helder Zedelius.
Two Atoms, screen prints, 2009, Tania Theodorou.
Found object, aluminum casts.
Japanese woodblock print, undated, artist unknown.
Human remains (bones).
Found object, aluminum casts.

Marc Philip van Kempen (b 1979, NL) studied Fine Arts at Gerrit Rietveld Academie and New Media & Film History at the University of Amsterdam. His work encompasses a variety of forms such as hand-tinted photography, life sized handcrafted diorama’s and video, and deals with the chaotic relationship between virtual images and their surroundings.
His work has been shown in various group and solo exhibitions among which at the Fries Museum (NL), Nest (NL), Hyeres Photo Festival (F), Cemeti Art House (ID), CB1 gallery (US), and Museum Huis Marseille (NL). He has curated both art shows and concerts of experimental electronical music, such as Après-Garde at Stillpoint, Berlin, and @asecretlocation at Miller, Berlin. van Kempen lives and works in Amsterdam.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)

Friday, 28. and Saturday, 29. June.

For Home Sequence I exhibit a selection of sculptures from an installation I presented in Rome earlier this year titled Transfer. I follow my earlier explorations in Rome of the intersections of history, material culture and consumption by engaging anatomical ex-voto practices. The request for divine intervention by means of a votive offering, an ancient as well as a contemporary ritual, is juxtaposed with the contemporary desire for a constant upgrade of the consumer object – from everyday use technology and electronics to the remaking of the body itself.
The assemblage of these casts draws parallels with iconology of ideograms, texts and code with hidden meaning and purpose, referencing the aspirational and instrumental character of textualized communication. The body is always fluctuating between a fragmented entity and an apparent whole, a phenomenon that is equally applicable to texts. The etymology of the word “metaphor” (from the Greek metapherein, to transfer) is translated into the title of the work.

Leonid Tsvetkov investigates the spaces where contradictions meet. Shifting cultures and disparate ways of living, the ideas of landscape or territory, and the impact of human activity on the earth’s surface direct attention toward the blurring intersections of manufactured and existing landscapes and away from specious performances of closure and finitude. His concerns are with how boundaries exist in physical, social, and conceptual terms as well as territory as it relates to nationality and identity. Tsvetkov’s own nomadic life has convinced him that landscapes, territories, concepts and perceptions are inherently unstable, despite attempts to assert control and define boundaries in place, time, and memory.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)


(Invited by Martine Neddam)


(Invited by Martine Neddam)

Friday, 28., Saturday, 29. and Sunday, 30. June.

Home Sequence opening on Thursday, 27. June at 19:00.

Martine Neddam
“these are a few of my favourite things…”

Your own house has something comforting and familiar, just like a song you might hum to yourself. It hosts some of your favourite things. They might happen to be works of art, made by others or by yourself, or not even works of art, but just things or objects that you like having around. Things that bring you warmth, just by thinking of them.
I'm inviting Maartje Smits and Michelle Son to show their art in my house, to mingle with the space, shake off the dust, or blow it away with new words or new things.

Martine Neddam is an artist who uses language as raw material.  Speech acts, modes of address, words in the public space were always her favourite subjects by which she had several museum and gallery exhibitions and large scale public commissions. Since 1996 she has created virtual characters on the internet who lead an autonomous artistic existence in which the real author remains invisible, Mouchette among others. She has also built several online participatory interfaces.


Maartje Smits
The matter of mothers and mud.

An installation and intimate chatbot performance about motherhood and what happens if a writer or artist creates a baby. This performance will be taking place in the safe space of a spare bedroom. For optimal experience a smartphone is handy but it's no necessity.

Performances on:

Thursday the 27th June at 20:00 - OPENING EVENING
Friday the 28th June at 18:00
Saturday the 29th June at 15:00

Max.15 people per performance.

Maartje Smits is a poet in image and language. She investigates topics like 'girliness' and 'nature'  by observing and infiltrating, operating in the limbo between art and literature. Her work consists of films, performances, texts and intimate confessions. Her books of (visual) poetry When you're a girl and How I started a forest in my bathroom were published by publishing house De Harmonie.


Michelle Son
like a luminous animal (2019)

“oh, na, na, na”

M’s largest room


cathedral height

“oh, na, na, na”

marmoleum movements

sticks that look like sketches of sticks

“bom bomm!... bom bomm!”

blipped portal

rolling companion


Scripting spaces is an activity that shapes Michelle Son’s artistic practice. Her interest in the paradox of language has developed into visual and experiential practices. This forms the structure for multiple media to activate a space, through sound, performance interventions, video, object-making or hybrid writing practices. Other subjects of interest stretch across notions of self-care, suburbia, cinema, flâneury, womanhood, wildness, diaspora and (in)direct communication.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)


(Invited by Seán Hannan)


(Invited by Seán Hannan)

Friday, 28. and Saturday, 29. June.

‘Fwd: Home”

The exhibition ‘Fwd: Home”, as part of Home Sequence 2019 shows works by Willum Geerts, Martijn Janssen and Seán Hannan. The works exhibited use our home technology devices to extend beyond the confines of the domestic dwelling. In a soft and soothing living room to snuggle up on the couch and recharge your battery amid the hustle and bustle of modern day city life, all artworks shown are conspicuously placed. At first glance they read as interior decorations, perhaps bought at a thrift or design store, but also extend their influence beyond the physical into the realm of information consumed, spread and generated online. They are conduits into worlds of hidden information, accessed by the keen eye or aided by the smart devices of its ‘visitors’. In a way, the exhibition deliberately remains in a state of being “unshown”. So sit back and relax, maybe you’ll see an exhibition, maybe not, but something is going on somewhere. Coffee is on the house, of course.

Seán Hannan
Hannan’s work is driven by a never-ending curiosity about the invisible and mysterious. In search of leaked documents, whistleblower testimonies, and conspiracy theories, Hannan roams the domains of computer hackers, political influencers and agitators. The informational gems he finds here are used as source materials for his projects, through which Hannan explores how alternative, speculative sources of information, such as fake news and amateur journalism, affect our emotional well being. His work embraces the infinite, murky stream of online information in all its complexity and intricacy, and creates a world where truth and fiction are now no longer at odds with one another, and where doubt always trumps certainty. Seán Hannan currently lives and works in Amsterdam

Willum Geerts
As multidisciplinary artist Geerts plays through prosaic elements from the everyday with the major themes of our absurd existence. In a poetic, associative and satirical way, his projects question the status quo of our contemporary off- and online world, in which reality is in intimate entanglement with the world of entertainment.
Geerts presents his multidisciplinary work all around the world, in- and ouside the regular art context. Bringing him, amongst others, from the Van Abbemuseum and Kröller- Müller Museum to Nhasan Studios in Hanoi. And from Makan Art Space in Jordan to New York where he attended the LMCC studio program and Art Omi International Artist’s Residency. And as lecturer he teaches at the Fine Arts Department at the HKU University of Arts in Utrecht and as guest lecturer regularly at various other universities.

Martijn Janssen
Martijn Janssen’s emerging art-practice can be best described as a (re)search in love within the loveless. Fascinated by the many dualities in (human)nature, universal ideas of tenderness and callousness are merged in a diverse arrangement of media and idea’s.
Dispite always having been a producer and consumer of art, he has recently given in to his passion for artistic production and now studies as a dog-time student at the Gerrit Rietveld Academy. Martijn Janssen lives and works in Amsterdam.





(Invited by Sascha Pohle and Tao G. Vrhovec Sambolec)

Saturday, 29. and Sunday, 30. June.

Ayako Yoshimura
Places (over the rainbow) #2
HD video with digital prints  

For Home Sequence, I am previewing my new video work Places (over the rainbow) #2.
The work features ephemeral and imagined places, which are stage sets of classical ballet pieces, including Sleeping Beauty, Cinderella and The Nutcracker. The video is composed of still images photographed at the rehearsal hours of the productions at the Dutch National Ballet in Amsterdam. These well-known pieces are presented with décor and partly with the lighting but without performers and music. These representations that are supposed to serve dance and music become then the subject. The order of the set’s movements is in accordance with the original script of the pieces, but the length is significantly shortened. Shown together with a few photographs of the site.

Inspired by built environments and their representations, visual artist Ayako Yoshimura uses her own video and photographic images as well as found material of urban landscapes, such as cities, suburbs, parks, museums, zoos, and theaters to present the ideals and paradoxes behind the imagery.
She graduated from Rikkyo University as a Literature major in Tokyo and continued in Fine arts at the Sandberg Instituut in Amsterdam. Her works have been exhibited among others at Hiroshima City Museum of Contemporary Art, Hiroshima; Honolulu Museum of Art, Honolulu; ZKM Center for Art and Media, Karlsruhe; Ecole Regionale des Beaux-arts de Besançon, Besançon; and Gallery Loop, Seoul.





(Special guest)

Saturday, 29. and Sunday, 30. June.

Talk and finissage on Sunday, 30. June at 19:30.

Anna Buyvid
Be My Guest
Research exhibition

For several years Anna works with the matter of apartment exhibitions as curator and researcher.
One of the vital parts of this process is Worldwide Apartment and Studio Biennale – the project developing a distinct approach to alternative exhibition solutions and independent artistic initiatives.
Artist’s studios and apartment galleries as alternative exhibition spaces have rarely been included in popular art history. WASBiennale is not just disclosing undercurrents of contemporary art history to the general public, but foremost creates an opportunity to build parallels with the most recent developments, where again artists and curators are compelled to find alternative ways.
The headline of the first edition of WASBiennale: BE MY GUEST brought the idea of transforming boundaries, showing a decreasing approach of white-cube-based art space and inviting viewers to take a step into the intimate artist’s zone. Letting anyone in the artist’s studio, as well as inviting someone in your private space is a gesture of high confidence. Showing art in such format, involving the audience in direct dialogue, helping to reduce a gap and provide a new scale of artist/viewer communication.
During the Home Sequence, Anna Buyvid will present the first WASBiennale’s zin-catalogue and some of the unique historical material she collected for her PhD thesis. The public talk will bring the story of apartment exhibitions in Eastern Europe and match it to the Western European experience.

Anna Buyvid is an independent curator, researcher and art critic based in Amsterdam.
Anna participated in the Gallerist Programme of de Appel Arts Centre, and currently, she is a PhD candidate of the University of Amsterdam; her research is dedicated to apartment exhibitions and artist-run spaces in Eastern Europe in the period of censorship.
In 2016 Anna, in collaboration with artist Anna Khodorkovskaya, founded Worldwide Apartment and Studio Biennale. During the 1st WASBiennale, more than 70 art shows and various art events took place in artist studios, apartment galleries and even private spaces all over the world at the same time. Geography of the 1st WASBiennale includes most European countries, the UK, Russia, USA, Australia and South Korea. The project will continue in autumn 2019 with the second edition of the Worldwide Apartment and Studio Biennale.





(Special guest)

Saturday 29.June, 20:30.

Software Haikus

Contemporary life is increasingly regulated by software-driven processes. However, few people have a clear understanding of what software is, of how it functions and is structured. The essential problem with the metaphor of the computer ‘language’ is that software exists in a domain of pure abstraction, with no parallel in physical reality: what is being described is extra-linguistic, because it deals in things that cannot be named. The objective of this performance is to express the inherent poetry of this abstract domain in a visual, auditory, electronic and yet direct way, in a work for both human and machine.
Chris Meighan performs a series of software haikus, short fragments of poetry written in FORTH, a relatively obscure computer programming language that has a peculiar, succinct and intrinsically elegant structure. As these 'haikus' are being performed (by the human performer), a screen displays the visual result of their execution (by the computer performer). In this way, they function simultaneously as agents for the emergence of aesthetic expression, and as a form of expression in themselves.



Chris Meighan (1979) is a visual artist, translator, musician, brewer and computer programmer. He resurrects and repurposes technologies that have become forgotten and obsolete, often for reasons unconnected to their efficacy. He is particularly interested in (re)domesticating large-scale industrial processes as a means for individuals and communities to wrest agency from the all-consuming, all-controlling forces of the modern technological-industrial complex. He has performed and produced installations, spoken-word performances, books and video work throughout Europe, Asia and the United States, both individually and collaboratively. He lives and works in Amsterdam.







Sascha Pohle (1972, Düsseldorf) lives and works in Amsterdam and Seoul. He works in the intersection of individual projection and cultural repository. He strolls through anything classified or settled in order to perform fluid forms of home, imagination, history and originality. Through a transfer of media, often crafted, his materials becomes revaluated or imbued with archaeological or anthropological evocations.
Sascha Pohle studied at Städelschule, Frankfurt am Main, and Rijksakademie van beeldende kunsten, Amsterdam. Currently he works as an assistant professor for fine art photography at Chung-Ang University, South Korea. Recent exhibition include 2019, Passage, Grzegorzki Shows, Berlin, DE, From Here to There, Seoul Museum of Art, SeMA Storage, Seoul, 2018, Glancing into the Sun, Hongcheon Museum, KR. In 2012 he won the Principal Price at the 58th International Short Film Festival Oberhausen, DE, For Reframing the Artist funded by The Netherlands Film Fund.


Tao G. Vrhovec Sambolec (SI/NL) is Amsterdam-based artist with a particular focus in sound, new media, real-time interaction, and questions of contemporary mediation in relation to the sense of (bodily) presence. His work consists of spatial and sound installations, events and interventions. He earned his PhD in Artistic Research from Faculty of Fine Art at University in Bergen, Norway. His works have been shown internationally in major museums, project spaces and festivals. In 2017 he took part in Research Pavilion at the 57th Venice Biennale. In 2010 his work was awarded at Ars Electronica Festival in Linz – Austria. Recent presentations include: Social Capital #2 Amsterdam West, organized by TAAK Amsterdam with LIMA media art platform and DNK-days, Exchanges and Misunderstandings - The National Gallery of Arts, Tirana, Albania, Science of Sound - DORDTYART - Dordrecht, NL, Escape - Museum of Modern and Contemporary Art Rijeka, HR.  Currently he is the recipient of Mondriaan Fund Stipendium for Established Artists, The Netherlands.