Blues Klair

A publication by Vincent Meessen

This publication accompanies Vincent Meessen‘s exhibition project Blues Klair

A poetic, formal, rhythmic, and discursive immersion in the colour of history, Blues Klair attempts to elucidate Western colonial modernity’s urges to conquer, classify, and immortalize. Numerous illustrations and texts by Corinne Diserens, Eric Fillion, Harmony Holiday, Vincent Meessen, Matthew Quest and Michèle Thériault revisit elements of this exhibition that examines three journeys of exile at the end of the 1960s : that of Gylan Kain, the African-American poet precursor of rap at the end of the 1960s, of the writer and critic Patrick Straram living in exile in Montreal in the late 1950s and of the Caribbean students involved in a racial uprising at Sir George Williams in the late 1960s. Voices, sounds, and shapes calling for a blues of exile, a poetics and a politics dedicated to the harmonics of difference.

Editors: Vincent Meessen and Michèle Thériault
Texts by: Corinne Diserens, Eric Fillion, Harmony Holiday, Vincent Meessen, Matthew Quest and Michèle Thériault
Graphic design: Speculoos

Publishing: The Leonard & Bina Ellen Art Gallery in partnership with The Power Plant Contemporary Art Gallery

English/French, 312 pages, colour, lay flat binding, 2021

© 2021 the editors, authors, The Leonard & Bina Ellen Art Gallery and The Power Plant Contemporary Art Gallery
ISBN: 978-2-924316-19-1
EAN : 9782924316191

To order the book, please contact Jubilee through




A Modest Proposal

A publication by Vermeir & Heiremans

Contributions by Annelore Hofman, Victoria Ivanova, Caroline Knowles, Luke Mason, Louis Moreno, Andrea Phillips, Emily Rosamond.

This publication is compiled on the occasion of Vermeir & Heiremans’ solo exhibition A Modest Proposal (in a Black Box), presented at Pump House Gallery, London (2 October to 16 December 2018), and A Modest Proposal (Symposium) at the Royal College of Art in London (27 October 2018).

Vermeir & Heiremans’ project, A Modest Proposal (in a Black Box), investigates if financialisation can be repurposed as a tool to create more equitable conditions. The artists’ proposal suggests that financialising public art collections, museum real estate and their symbolic capital could create a cycle of wealth that will benefit not only investors and institutions, but also the creators of these values, the original stake-holders—the artists and art workers.

A Modest Proposal aims to benefit artists and art workers, but its implementation raises some fundamental questions: can values originating from public goods be claimed for the benefit of specific stakeholders, or should the funds rather be redistributed through a political process?

These pressing questions were addressed during the symposium for which Vermeir & Heiremans invited a number of speakers working in the fields of financial geography, art and law. The texts assembled in the present publication focus on the relationship between art and finance, the contemporary role of public museums and collections and the influence of financialisation on urban processes and daily life. The ultimate question the symposium wished to address is whether finance can be a useful tool to create a more equitable society.

The publication features the script of Vermeir & Heiremans’ video installation A Modest Proposal (in a Black Box) and a series of essays.

Annelore Hofman, focuses on Battersea Power Station in London and the financial instruments used within the Opportunity Area surrounding it. Victoria Ivanova, considers the contemporary art field as an ideal setting for reformist projects, especially in relation to the future of technologically organised financialised societies. Caroline Knowles, writes about the infrastructures of plutocratic London and the effects this has on the city and its citizens. Luke Mason, elaborates on the historical shift in the meaning of the concept of equity within law, from equity as a principle of fairness to equity as a stake in capital. Louis Moreno, delves into the influence of finance on the city and suggests we are in a new “plantation age”. Emily Rosamond, introduces “surveillance capitalist aesthetics”, a practice which financialises a user’s online data, in which analysing and intervening in behavior becomes directly profitable. In the epilogue, Andrea Phillips focuses on the inequities produced by global financial trading in relation to questions of value and contemporary art.

A series of archival documents on the creation and realisation of Battersea Park, which the artists brought together for the exhibition at Pump House Gallery (located within the park), illuminate this publication. The documents represent the sudden and dramatic transformation of Battersea during the Victorian era, when changes in land use, from common land for grazing and agriculture to urban land uses, triggered real estate and land speculation around the proposed park.


Editors: Vermeir & Heiremans
Copyediting and proofreading: Jesse van Winden, Ned McConnell
Graphic design: Salome Schmuki

Archival documents from Wandsworth Heritage Service and London Metropolitan Archives
Photography: Piet Janssens (cover front), Eoin Carey (cover back), Vermeir & Heiremans (archival documents)

Publishing and distribution: Jubilee vzw
Production: Jubilee vzw, 
supported by Arts Council England, Cockayne—Grants for the Arts, the London Community Foundation, and by the Flemish Community, the Wallonia-Brussels Federation and a/r (art & recherche asbl)
Printing: Gazelle nv, Deurne
Printed in an edition of 400 copies

80 pages, colour, paperback, 2018

© 2018 the editors, authors and designer
ISBN: 9789082966206

The publication can be ordered via Price: 10 euro (postal costs excluded)


Presentations to date:

The art of equity / The equity of art, lecture and book presentation at WIELS Contemporary Art Centre, Brussels (2019)


Reviews and reflections:

Zeynep Kubat, ‘Kop of munt: financiële verbeelding in de kunst‘, in: Rekto:Verso, August 29 2019 (in Dutch)

Dirk De Wit, ‘Naar een wederkerig werken in de kunst‘, in: Boekman Stichting, 2020 (in Dutch)

Selection overview of press, reviews and reflections on Vermeir & Heiremans practice (2009-2020)


The Other Country / L’autre pays

Volume IV of Vincent Meessen‘s publication project Prospectus

On the occasion of the solo exhibitions Sire, je suis de l’ôtre pays (WIELS, 2016), and Omar in May (Centre Pompidou, 2018) Vincent Meessen edited this artist book. It includes essays by Pedro Monaville, Stefano Collicelli Cagol and Ruth Baumeister, a dialogue between Tom McDonough and Vincent Meessen, a visual essay by Vincent Meessen and reprints or the first publication of texts by Guy Debord, Omar Blondin Diop and Diangani Lungela.

The Other Country / L’autre pays will be presented on May 11, 2018, at Centre Pompidou during Omar in Memoriam.

Chief editor: Vincent Meessen
Copyediting: Emiliano Battista, Benoît Roussel
Proofreading: Caroline Dumalin, Vincent Meessen, Isabella Ritchie
Translation En-Fr: Charlotte Woillez
Translation Fr-En: Emiliano Battista, Bill Brown, Jesse van Winden
Graphic design: Speculoos (Sophie Boiron, Pierre Huyghebaert)

Archival documents from Archives du Centre Pompidou, Archives Famille Blondin Diop, Archives nationales de Dakar, Bibliothèque et Archives nationales du Québec, Montréal, Bibliothèque Nationale de France, Fonds Debord, Beinecke Library Yale University, Cinim, Jean-Luc Godard/ Archives Michel Séméniako, Centre des Archives diplomatique de Nantes and private collections

Photography: Bouba Diallo (cover front), Private collections, Guy Debord, Philippe de Gobert, Jacqueline de Jong, Leo Dohmen, Fondation Le Corbusier, Getty Images, Jean-Luc Godard, INA, Matthieu Joubert, Audrey Laurans, Sven Laurent, R. Lenin, Vincent Meessen, Museum Jorn, Marilu Parolini, Taipei Biennale

Publishing and distribution: WIELS, contemporary art centre (Brussels) and Sternberg Press (Berlin), in collaboration with Musée national d’art moderne, Centre Pompidou (Paris)
Supported by Jubilee—platform for artistic research, and a/r (art & recherche, Brussels)
Printing: Cassochrome, Waregem
English/French, 128 pages, colour, paperback, 2018

© 2018 the editors, authors, WIELS and Sternberg Press
ISBN: 9783956794025

To order the book, please contact Jubilee through





Patterns for (Re)cognition

Volume 2 of Vincent Meessen‘s publication project Prospectus

This publication documents the three editions of Patterns for (Re)cognition, an exhibition comprising various duos with Tshela Tendu conceived by Vincent Meessen: at KIOSK (Ghent, 2013), Kunsthalle Basel (2015), and BOZAR (Brussels, 2017). It also offers new perspectives on the reception of this assemblage that was intended to cast a contemporary eye on the abstract works that the Congolese artist, Tshela Tendu – better known until now by the name of Djilatendo – painted in the period between 1929 and 1932.

The book brings together for the first time all of Tshela Tendu’s geometric abstractions, most of which are completely unknown to the public. Their presentation is discussed in a series of dialogues that Vincent Meessen conducts with artist and curator Toma Muteba Luntumbue, publisher Guy Jungblut, curator Elena Filipovic, ethnohistorian Jan Vansina, and art historian Yasmine Van Pee.

Through a polemic approach to abstraction, which is perceived, beyond its formal aspects, as both an epistemic issue and a power matrix, Vincent Meessen proposes a ‘para-curatorial’ operation that casts light on a blind spot in colonial modernity.

The book was first presented featuring a round table discussion on 8 September 2017, with Morad Montazami discussing the themes broached in the exhibition and publication, together with Vincent Meessen, Toma Muteba Luntumbue, Yasmine Van Pee, researcher-curator Bambi Ceuppens and art historian Kathrin Langenohl.

Chief Editor: Vincent Meessen
Copyediting: Paul Roberts, Richard Pitwood
Translation Fr-En: Duncan Brown
Graphic design: Speculoos (Sophie Boiron, Daphné Clavel and Pierre Huyghebaert)

Archival documents from Collections Royal Library of Belgium, Brussels; Private collection, Courtesy Collection MAGNIN-A, Paris; Collection MAGNIN-A, Paris; Collection Pierre Loos, Brussels; Collection Royal Museum for Central Africa, Tervuren; CINEMATEK, Royal Film Archive if Belgium, Brussels; Collection Iwalewa-Haus, University of Bayreuth; Collection Lucien Bilinelli, Brussels/Milano; Collection Marc Leo Felix, Brussels
Photography: Tom Callemin, Philippe De Gobert, Philipp Hänger, Vincent Meessen, André Morin

Publishing: Snoeck Publishers & BOZAR BOOKS with the support of the Wallonia-Brussels Federation and a/r (art & recherche)
Printing: Graphius, Ghent

English, 192 pages, 132 illustrations, colour, hardcover, 2017

© 2017 Vincent Meessen, Snoeck Publishers and Centre for Fine Arts, Brussels (BOZAR)
ISBN: 9789461614148

€35 – order online



Publication by Jasper Rigole

Addenda is the joined title of a series of publications, which reflects on the practice that artist Jasper Rigole developed in the past ten years. In that period, the artist manifested himself as collector, artist, archivist, researcher, founder and employee of the fictitious International Institute for the Conservation, Archiving and Dissemination of Other People’s Memories (IICADOM).


These seven publications can be viewed as an addendum to the artist’s practice as well as to each publication as such. However, this statement could also be inverted, in which the work itself would function as an addendum to the publication.


Central in Rigole’s book is the work 81 things which I thought I had forgotten, in which Rigole researches the mnemonic quality of 81 objects stored in his studio and how these operate within the artist’s practice.

In co-production with KASK, Jubilee, Z33 and Brakke Grond. The publication is bilingual, with a focus on Dutch.

7 books with various nr of pages

Size: 16,5 x 11,5 cm

Published by: AraMER

Language: NL / EN

Author: Jasper Rigole

Design Studio: Luc Derycke

Printed by: Graphius, Gent

ISBN 978 94 9232 101 5

Price: 30.00 Euro


Third Form (Prospectus vol. 1)

A publication by Vincent Meessen

The publication Third Form is a monography on My Last Life, an exhibition project by Vincent Meessen including his film Vita Nova that has received international critical acclaim and continues to travel. The publication was launched on the occasion of Vincent Meessen’s solo presentation of  My Last Life at FRAC Aquitaine in Bordeaux from May 22 to August 31, 2015. The exhibition took place in the framework of Lumières de Barthes, an exhibition project celebrating the centenary of Roland Barthes’s birth.

My Last Life
The solo exhibition My Last Life by Vincent Meessen has been presented in various institutions between 2011-2015.

As its starting point, the exhibition uses the cover of Paris Match, issue 326, published in 1955, which depicts a colonial cadet performing a military salute. Roland Barthes famously wrote about this cover in his Mythologies, published in the late fifties. Vincent Meessen borrows the French thinker’s open-ended thread and speculates on the possible reasons that motivated Barthes to choose that particular picture. Meessen uses codes both from realism and narrative storytelling in order to construct a case study on the haunting mythography of colonial modernity.

Thanks to a poetic and critical rereading of some of Barthes texts, Meessen is also able to emphasise their conceptual and formal scope. Mediated by the artworks (video, text, sculpture, photographs, documents) “Herbé” and the visitors are included in this speculative narrative, escaping the restrictions of truth that are imposed by the format of critical discourse.

Contributing authors to the publication are:
Peter Bloom
T.J. Demos
Olivier Marboeuf
Cuauhtémoc Medina
Vincent Meessen

Graphic design: Speculoos (Pierre Huyghebaert and Delphine Platteeuw)
Photography: Normal, We Document Art

Published by: Mousse Publishing
with the support of Cera Partners in Art
Printing: Cassochrome (Waregem)

English/French/Spanish, 79 pages, colour, paperback, 2015

ISBN 978-88-6749-173-5
Price: 25 Euro + shipping costs

To order a copy, please contact Jubilee via


Press Release Frac Aquitaine (in French).

Presentations to date:

My Last life, a solo exhibition at NETWERK / center for contemporary art, Aalst (2011)

This is not only French Theory, screening and artist talk at the Brussels Academy of Fine Art (ArBA)(2016)

Lumières de Roland Barthes, a double exhibition project at Centre d’Art Image/Imatge in Orthez (France) and Frac Aquitaine in Bordeaux (2015)

In-Residence Magazine #02

A publication by Vermeir & Heiremans

In-Residence Magazine #02 is an artist publication by Vermeir & Heiremans, to be published on the occasion of the presentation of their new video Masquerade.


Next to the artists’ own research, the magazine offers articles by guest writers that give in-depth information on the  issues that Vermeir & Heiremans’ work touches upon.


The artists chose a ‘glossy’ lifestyle magazine as the most appropriate presentation format for their work, which is linked directly to the content that is addressed in the video Masquerade, such as art & value, the construction of confidence in art and economy, financialisation in art and real estate and reproduction of capital. The artists apply a magazine’s specific approach to form and content (editorial, interview, column, review, photo reportage…) to take on complex subjects in a playful, non-didactic way for a broad audience.


Vermeir & Heiremans and Andrea Phillips are the editors of the magazine. Design of In-Residence Magazine #02 by Salome Schmuki.


Andrea Phillips is Professor in Fine Art and Director of PhD programmes in the Art Department at Goldsmiths, London. She lectures and writes about the economic and social construction of publics within contemporary art. One of her recent projects is an investigation into the ways in which the art market shapes artists’ careers and public exhibition. She has also worked with Vermeir & Heiremans on the occasion of the Public Programme of the 13th  Istanbul Biennial in 2013 and Masquerade, in which she plays one of the film’s main characters.


Editors: Vermeir & Heiremans, Andrea Phillips
Editorial Assistant: Eleanor Duffin
Proof Reading: Erik Empson, Alain Ayers
Graphic Design: Salome Schmuki

David Bassens, Fabian Bocart, Till-Holger Borchert, Florence Cheval, Eric Corijn, Michael De Lausnay, Benjamin Fallon, Michel Feher, Zachary Formwalt, Ciel Grommen, Nav Haq, Luc Hollevoet, Alexi Kukuljevic, Dieter Lesage, Anna Manubens, James M. Murray, Susanne Neubauer, Andrea Phillips, Jan Ritsema, Martha Rosler, Ulrike Schaede, Alain Servais, Gregory Sholette, Els Silvrants-Barclay, Kuba Szreder, Tom Trevor, Fatos Ustek, Akseli Virtanen, Mi You.


Publisher: LTD.ED.vzw
Production: JUBILEE vzw
ISBN: 9789081914710
Language: English

To purchase a magazine contact:
price: 15 Euro + shipping costs

Presentations to date:

Bruges Triennial 2015, Poortersloge, Bruges (2015)

In-Residence Magazine #02, book launch at WIELS, Brussels (2015)







In-Residence Magazine

A publication by Vermeir & Heiremans

On the occasion of their participation in Manifesta 9 Limburg, Vermeir & Heiremans published In-Residence Magazine, designed by Swiss graphic designer Salome Schmuki. This artist publication – a ‘faux’ lifestyle magazine – produces a reflection on the new video work The Residence (a wager for the afterlife) (2012). It contains source materials, as well as a series of articles that resulted from Reading Room, a discursive platform that was set up in collaboration with Extra City (Antwerp). For Manifesta 9 Limburg the artists also produced the magazine in a special edition, as ‘a scroll’, presented on a 14m long table as part of their presentation.


Concept & editors: Vermeir & Heiremans
Authors and co-authors: Bert De Munck,Liu Ding and Carol Yinghua Lu,
Christine Gerrard, Nav Haq, Luis Jacob,Bernard Lietaer, Daniel McClean,
Donald MacKenzie, John McTague, Cuauhtemoc Medina, Robrecht Vanderbeeken,
Koen Vermeir.
Graphic design: Salome Schmuki
Photography: Kristien Daem, Greet De Gendt, Vermeir & Heiremans,
National Bank of Belgium
Translators: Lucy Chen, Lei Chiu
Proofreader: Eric Empson
Printing: New Goff, Ghent
ISBN: 97890819147

Publishing: Limited Editions vzw
Support: the Flemish Community
Co-production: Argos (Brussels), C-Mine (Genk), Cultuurcentrum (Bruges),
deBuren (Brussels), Extra City Kunsthal (Antwerp), FLACC (Genk),
Manifesta 9 Limburg (Genk) and Triodos Fonds.
Research support: artist residencies in China, CEAC (Xiamen) and TIM (Beijing)

To purchase a magazine contact:
price: 15 Euro + shipping costs

In-Residence Magazine exists as a magazine and as a scroll version.


Scroll version
Table display: wood, metal, perspex (dimensions 67 x 90 x 1408 cm)
scroll printed on paper (dimensions 2 sheets of 33.5 x 1408 cm)


Magazine version
Size: 22 x 33 cm
Pages: 96 pages + a foldout, a 1 page insert, a 16 page prospectus

Presentations to date:

Somewhere in Between. Contemporary Art Scenes in Europe, exhibition at Bozar, Brussels (2018)

Benefit Auction Artists for Ringland / A City is Not a Road, auction at Veilinghuis Bernaerts, Antwerp (2016)

Tables, a Flemish-Dutch presentation of art(ists’) books, Art Rotterdam (2015)

We, Friends, group exhibition curated by Ma Wen, Xiamen, CN (2014)

Research on Value, screening and discussion organised by Critical Practice, London (2014)

IF I CAN’T DANCE, I DON’T WANT TO BE PART OF YOUR REVOLUTION, screening curated by Vivian Ziherl, Frederique Bergholtz and Nav Haq, OCAT, Shenzhen, CN (2013)

Of Those Who Inhabit Rooms, group show curated by Theo Cowley at Twelve Cells For The Intoxicated, Brussels (2013)

13th Istanbul Biennal, group exhibition curated by Fulya Erdemci, Galata Greek Primary School, Istanbul (2013)

Ingredients, group exhibition curated by Inga Steimane, Riga Art Space, Riga (2013)

Manifesta 9, group exhibition curated by Cuauhtemoc Medina, Katerina Gregos and Dawn Ades, Genk, BE (2012)

Museum Outlet, presentation in collaboration with Arnolfini Art Center, Art Gwanju 12, Gwanju, KR (2012)

The Travelogues

A project by Eleni Kamma

“Every story is a travel story-a spatial practice”

“Narration created humanity”

(Speculate: ORIGIN late 16th cent.: from Latin speculat- ‘observed from a vantage point’, from the verb speculari, from specula ‘watchtower’, from specere ‘to look’.)

(Spectacle: ORIGIN Middle English : via Old French from Latin spectaculum ‘public show’, from spectare, frequentative of specere ‘to look’.)

In 2011, I was an artist-in residence in three different European institutions and cities for a period of two to four months; I lived and worked in IASPIS, Stockholm, Villa Romana, Florence, DUENDE, Rotterdam. I decided to develop a one-year project that would respect the framework of my new living conditions. The project would investigate possibilities of alternative readings of the city, in an attempt to understand what the notion of common place might mean today.

The starting point for this body of work was a visit to the museum of natural history in Florence in 2010. The museum is called La Specola ( The Observatory). This word reminded me that although there is an etymological proximity between ‘spectacle’, and ‘speculation’, the act of looking (specere: to look) has evolved in two discreet ways. It also made me wonder whether one can read a city by looking at the way speculation, the spectacle, and labour intersect.

I started my research by conducting a series of interviews in Florence, Stockholm and Rotterdam. My focus was on individuals that work in music and architecture industries respectively. I transcribed their experiences and opinions concerning the relation of acoustics to space, more specifically to resonance in common space. In each city, I was looking for specific sites and locations, methods to film, as well as anonymous or old literary ethnographic sources that deal with the specific cultural and natural landscape, and issues of economy and value.

Being an artist-in-residence in these three cities turned out to be an intense and stimulating experience. I became completely absorbed and fascinated by the different sets of conditions highlighting the notion of ‘commonplace’ in each geographic location and language. The issues of language and translatability took on much more space and importance in my project than I had initially anticipated. Being a foreigner, I had the advantage of being a good observer and the disadvantage of not being able to fully grasp the situation. My response was to take the position of one who holds the mirror, a vehicle for the local voices to be heard, enhancing the dialogue first in a local and then in a global context.

If the idea of folding and unfolding depends on the structure and expectations a city arouses or suppresses, what images can be produced by the coexistence of sound and space, the space between lived experience and a simultaneous reflection of it?

The recorded and collected material is now transformed into four short films that investigate possible and manifested contemporary European notions of common place, created at the crossroads of music and architectural practices.

In these films, the notion of spectacle is examined through the gesture of folding or unfolding in space, especially in spaces of production: the Lijnbaankwartier, the back stages of Architecture Museum in Stockholm, or public spaces like the Piazalle Michelangelo in Florence – emblematic places for the production of spectacle. The narrative of each of the four filmic collages attempts to reflect the inherent characteristics of the fold; physical and formal, but also immaterial and elusive, oscillating between abstraction and specificity. They lead the spectator to a space in which the human subjects are present only through their voices. The viewer’s physical presence is in contrast to the others’ absences, intensifying the awkwardness of a space that is not yet defined. The films take the form of an unfinished musical score that the viewer is asked to complete by being present.

More information:
Ines Schaber in conversation with Eleni Kamma about her project Travelogues


Publication: More Than One And Less Than Many, 2012 by Eleni Kamma
Published on the occasion of her NAK solo exhibition in a limited edition of 300 copies.
Design: Salome Schmuki
Printed by: Sint Joris, Ghent
Edited/Published by: Eleni Kamma, Dorothea Jendricke, Carla Donauer
Sponsored by STAWAG


Shotgun Architecture

Justin Bennett

Shotgun Architecture plays with concepts of subjective measurement, translations between sound and image, and above all, the idea of the publicness of public space.

Bennett recorded the sound of a pistol shot in a number of semi-public open spaces in the Zuidas, a new business district in Amsterdam, thus collecting acoustic signatures (the impulse responses) of each space. The recordings are then used in two ways.
On the one hand they are used to create a sound composition which explores the resonances of the chosen places by repeatedly recycling or “feeding back” the sounds of the gunshots through the spaces. The resulting piece moves from a dramatic realism to an abstract composition reminiscent of the electronic music of the 1950’s. On the other hand they are used as a kind of sonar; the stereo (and therefore 2 dimensional) sound data is analysed for spatial and spectral characteristics which are plotted against each other, resulting in a visual map of the acoustic space. These maps, drawn by a computer programme, resemble the visual spaces themselves only in terms of scale: a larger, open space results in a wider pattern of lines.

Because of the complexity of the acoustic reality of an urban space, the link between the physical plan of the space and the corresponding ‘sonar map’ is very tenuous. But still they tell us something about the space. The experience of listening to an urban soundscape is difficult to describe, in words or in notation. These maps suggest a way to describe the open-ness or closed-ness of spaces, the density of reflections and reverberation, the presence of strong resonances or mechanical drones.

The piece was published in an edition of a 10″ vinyl record with a graphic poster. Later versions have been created for specific spaces (P-40 art centre, Hamburg 2008; Kus, Heerlen 2012)

10″ vinyl
Onomatopee 27
ISBN: 978-90-78454-21-2
Graphic design: Remco van Bladel
Printed by Lecturis, Eindhoven on Reprobank 60 gr/m2.
Side one: ABN-AMRO, Gershwin, ING, ITO, Mahler, WTC
Side two: Shotgun Architecture
Made during a residency at the ‘Free Spaces 2008’ project of the Virtueel Museum Zuidas, Amsterdam.

Produced by Onomatopee, Virtueel Museum Zuidas and Muziek Centrum Nederland

Read Freek Lomme’s text on Shotgun Architecture and view audiovisual material, at Onomatopee

Listen to Shotgun Architecture at Justin Bennett’s Bandcamp

Presentations up to date:

Science of Sound, group exhibition at at Dordtyart, Dordrecht (2018)