Automatische concepten


(Jeroen van Westen and Michael Pestel, Amstelpark Amsterdam for Zone2Source) 2018 The Amstelpark is a framework for showcasing a wide variety of plants and trees from around the globe. As such, it epitomizes our full-blown arrival in the Anthropocene, the epoch in which humans have permanently impacted eco-systems and geological layers worldwide. An articulate and nuanced acknowledgement of this reality is a critical first step to work towards a sustainable relationship with and between all forms of life and habitats on this planet.   In this context, and building on nearly twenty-five years of projects focused on birds, bird sound, and bird extinction, we proposed an installation (BirdScape) for the Glass House as our point of departure, along with a related performance work (BirdGrid) designed to move throughout the park in a series of performances over a two-week period. In both BirdScape and BirdGrid, we look at the world from the point of view of extinct birds, nearly two hundred species since the time of colonial expansion in the 17th Century. We seek to give voice to sounds we can no longer hear, and images to sights we can no longer see. In the process of our research, we approach nature from different angles – science, art, music, and mundane culture – and switch cultural roles with the birds we are focused on. Of course, we are aware that it is not so much the birds themselves we are studying, but the culture-specific language employed to understand their place in our lives, and ours in theirs. link to publication fieldguide: BirdScore, all the birds of Amstelpark  etc

Sea garden/Zeetuin

  (Jeroen van Westen – Anne Ausloos (icw Koos de Muinck (composer), Michael Pestel (flute) and Miek Zwamborn (poem), Allert van Westen (Sound)), Schelphoek, Bewaerschole) 01-09-2018 There is a tidal garden out there, hidden inside that big concrete block. Not far, but too far to swim, the water to deep to walk. The block is a ‘caisson’, a concrete ‘box’ that can float when empty.  They were build for D-Day in Normandy, and in 1953 after the flood disaster transported to be steered into gaping holes in the coastal defense of de Dutch Delta. Those three were misplaced and failed, left to the sea. No one tended the ‘garden’, just the sea.  Five years of research into the world between salt and fresh feed the thought that since salt is the reason for the first settlers to come to Schouwen, salt still could, should be the main cultural force. And may be it is without us realizing! Just for one day, visitors were kindly invited to get into the small boat that brought them to the garden to see for themselves, to smell, to listen. They were asked to wear headphones as to enhance their listening adventure, to hear the smallest sounds. Upon arrival at the SeaGarden they were received by silent guides who led the boat quietly wading through the garden.  soundscape Zeetuin not yet published


(Anne Ausloos – Jeroen van Westen , Bewaerschole) 1 september 2018 Special reprise of a video we made in 1999. During our research Balancing between Salt and Fresh our minds returned to this movie.  First when we looked for a visual expression of salt in soil in suspension, settling in a set of glass containers. A ‘muddy’ world transforms into algae gardens in wondrous colors. In the film Suspension it is the opposite, a perfect red sphere floating in clear water looses its form and disappears in a reddish fog.  Later on our minds turned to the video again. We sat at the dike near Schelphoek looking out over the Oosterschelde where caissons are visible, used to close a gap in the dike after the 1953 flood diaster.  Caissons were then floated to the gap, and sunken when in the right position. Right between floating and sunken there is suspension! We got the original tapes digitalized and restored the film and showed the images as well as the theatrical (natural) soundtrack of the ‘dying sphere’ in a segment of a caisson that is part of the closure of a gap.

Cloister brick Tour

(Zeeuws Museum, Middelburg) 2018 Anne Ausloos – Jeroen van Westen 15 mei t/m 30 september Invitation One may notice rather big, some beautifully shiny bricks at some places in the medieval walls of the abbey in Middelburg (NL). Visual artists Anne Ausloos and Jeroen van Westen investigate how fresh and salt (water) express themselves in landscape and culture. Not unlike experimental archaeologists they explored why some cloister bricks do shine, and others not. It is generally assumed to be salt glaze, which is definitely not the case. But does salt play a role in this phenomenon? What can these bricks tell us about the history of the local coastal landscape and its inhabitants. Jeroen and Anne consider the abbey itself as one of the masterpieces of the Zeeuws Museum. The artists take the visitors on a tour. Inside and outside, from the treasure room for drowned villages to the foundation. Several of their artworks resulting from this exploration are placed in the museum as connotations to the collection. link naar podcast achterhalen

Zinnenbeeld / Senses Constellation

(Vechtpark, Hardenberg 2017-18 (for Gemeente Hardenberg) realization by JobArt Five big boulders, inspired by the erratics brought by glaciers from the nordic countries. But bigger, and designed to represent the five senses. Dispersed in the park along the river it is a constellation, an invitation. An invitation to open up to a stronger sensorial experience of the landscape. But also a playful invitation to touch, smell, taste, … the artificial rocks themselves, may be even to climb the boulders (know what you are doing:-). Touch is a boulder that is not completely stable, the balancing is a special extra for climbers.

Fresh water cistern Kievitshoeve / Trasbak Kievitshoeve

(Anne Ausloos – Jeroen van Westen, Kievitshoeve – Bewaerschole) spring 2018 Living on an island in an estuary is not that easy. Fresh water is scarce, the ground water is mostly brackish, one has to harvest the rain. It was like that for centuries on Schouwen and Duiveland in the Schelde estuary. In 1930 a freshwater distribution system was installed, but it was not until after the flood disaster in 1953 when all cisterns were filled with salt sea water, that all changed to piped water. A major cultural history, very specific for the islands, disappeared almost completely. Puts and cisterns were demolished, filled, covered and forgotten. Climate change brings the islands longer periods of droughts in summers, with an occasional heavy rain shower running off to te brackish canals. Time to revive a history. We met the owners of the Kievitshoeve who still use the old cistern. They were talking about need to clean, and install a better system to fill the cistern and to use the water. We offered to do the cleaning, if we were allowed to take our time, time to get familiar with the cistern, to observe all the details, to harvest the material to be found at the bottom. It was a very special experience!

Geese of the World 

 (mini-symposium Artisbibliotheek Amsterdam; presentation Oology, Miek Zwamborn) 20 december 2017 Lecture as a contribution to a mini-symposium in the Artis-library in Amsterdam to celebrate the publication of Oology by Miek Zwamborn. Oology is a bibliophile publication by Miek Zwamborn in a collaboration with Jo Frenken, Sandra Merten en Rutger Emmelkamp.  Hans Mulder (Artis Bibliotheek, UvA) Introduction, collecting eggs, and about ‘Lapwing’-paper;  Jeroen van Westen (landscapeartist) The manuscript Geese of the World, an ‘ode to science’; Ab Baars (improvising musician) I Inspired by the work of composer/ornithologist Olivier Messiaen ‘birdsongs’ ‘escape’ from a clarinet, sax andshakuhachi; Jan de Hond (curator Rijksmuseum) – Ostrich eggs from the Rijksmuseum collection; Rutger Emmelkamp ((artist, Knockvologan Studies ( – Egg-experiments; Ilja Nieuwland (KNAW) Dinosaur eggs; Bas Teunis (scientific illustrator) – The egg, interpretation and representation, a crash course scientific illiustrator; Miek Zwamborn (writer and artist) Bonte kraai, Zeekoet, Watersnip, poems from  Oology  Artis Bibliotheek | Plantage Middenlaan 45 |1018 DC Amsterdam link naar stukje over presentatie

Zwaartepunt / Point of gravity:  zwerfkei – Findling – Erratic

,  a small fieldguide to artefacts (ArtOverijssel in HeartPool, Hengelo icw Frans Baake and Rudi Bastiaans) 2017 The digital exhibition ArtOverijssel was a relay started in 2011 that closed in 2017. In 2014 Jeroen van Westen handed over to Frans Baake. Frans to Rudi Bastiaans in 2016. Jeroen knows Frans, Frans knows Rudi, Rudi and Jeroen didn’t know each other. Landscape  as their source of inspiration is the common denominator. 2 October 2017: preparing their collaborative contribution to the exhibition marking the end of ArtOverijssel they wandered just west of Ambt Delden. The spot was chosen by calculating the point of gravity of the triangle formed by their respective addresses.  publication

Atelier X- Riviertakken, essay

 (IJssel) – 2017 Een serie expert-bijeenkomsten waar lokale besturen en organisaties scenario’s ontwikkelen voor een klimaat adaptieve toekomst van het stroomgebied van de IJssel. Voorzien wordt een nog actievere rol van de IJssel in de Nederlandse delta. link naar essay (pdf) en publicatie werkboek

Horizont 2018, Grensmeander Vecht

(NL/BRD) (for Provincie Overijssel/Waterschap Vechtstromen) – icw Henk Volkers The winterbed of the Vecht is widened to create more space for water. This is for safety reasons as well as to create new opportunities for nature. It is a collaborative project by the German and Dutch governments. Where the border between the two countries cross the dike we raised the dike as if a mound is incorporated in the dike, a high water refuge. On the mound a floor, a balcony, sculpted from local soil and fossilized. Looking like the patterns in the sand that were visible when a new meander was created with big machines. The multicolored sand has been deposited by the winds after the last ice age, and stained by oxidation of the different minerals the sand contains.  The balcony is made in rammed concrete, as if directly made with the sands of the river valley. publication

Terp voor een Toekomst / Mound for a Future, icw Curdin Tones

(for IJsselbiennale 2017, Zutphen) 2017 In the work Terp voor een Toekomst a decades-old landfill is interpreted as an island. If the sea level keeps rising these layers of garbage may, ironically, become a life-saving mound for settlements by 3017.  The Terp voor een Toekomst welcomes visitors with a communal infrastructure for a possible future, consisting of public squares, a water pump and a grid of roads. At the end of each road, a signpost marks the location of one of seven virtual past- present-future views, overlaying the river IJssel landscape. The 360° views reflect on seven essential themes: water, energy, shelter, food, work, nature, community.  During the IJSSELBIENNALE 2017, the project hosted an event at which a ‘temporary community’ discussed the topic society and climate change. A second event was initiated by Rietveld participants to investigate multiple identities of found objects like they are fossils of the Anthropocene.  publication

Landschap in mijn hoofd/landscape in my mind- boegbeeld/figurehead

(Stichting Beeldruimte icw CBK-Drenthe) 2015 ‘master’ for an open competition open call for artists, amateurs and professionals from Overijssel and Drenthe to participate in a ‘contest’ with mainly winners. All submitted works were shown. The theme is covered with ‘masters’ in different disciplines and styles. They judged the first round, and visitor votes added one more winner of a mastercourse. Those winners worked for several months guided by the masters towards a second show with the results of that trajectory. zjkln was one of my two master students, she won the public award for Overijssel. zjkln Finals winner of the publics votes

Vledders hay fields / Vledders hooilanden

(for Landschap Overijssel, Vledder) 2016- Peter Hermens (landscape architect), Jeroen van Westen (cultural advisor) Verdwijnen en verschijnen/Disappearances & Appearances The Dutch landscape is highly managed. The main control mechanism is water management. In this densely populated and intensely used landscape often many interests have to be juggled. The Vledders hooilanden are culturally historically a refuge for somehow they mostly escaped this approach. Partly because of its situation. Landschap Overijssel (a nature conservancy organization) has the chance to restore the old situation of ‘no’ watermanagement, that is almost no. This opportunity is broadly discussed with inhabitants in the area and nearby. With respect for its cultural past, nature will play the first violin in the future. A very exciting experiment for the ecologists, hydrologists, and inhabitants, including plants and animals. Everyone becomes a participant observer, the result will be ‘guide’ on changes: Disappearances & Appearances. What kind of guide? The landscape itself as well as a publication that can be appreciated in an armchair. A slow process, a careful process, a promising approach: an experiment link naar nieuwsbrief

Points of Departure

, Matfield Green, Kansas USA 2013-2017(for PrairieArtPath) – icw Anne Ausloos and Ton Haak Point of Departure is the result of a research project.  “Some landscapes are epic, and the prairie is often talked about in that way: the myth of how the West was won. But the subtle beauty of this ‘empty ‘landscape can probably better be read as poetry. The big story of cowboy romanticism fell short; farming is hard, ranching not without complications. The prairie, once covering 1/3 of the US, is in its more or less original form only recognizable in the Flint Hills in Kansas. Nature is no longer to be conquered but to be conserved. It is exactly that combination of culture – if not in decline then in transition – and nature, which demands close observation and reflection.”  Jeroen van Westen & Anne Ausloos  “The artists ‘investigated’ the Flint Hills. They looked for locations and existing situations that surprised or impressed them, and inspired them to review the artefacts of the white settlers and their descendants. This guide presents the ‘collection’ the artists assembled and can be seen as a guideline for three interesting augmented reality, virtual art tours in Chase County. But anyone driving or walking in the Flint Hills can detect similar amazing spots and views, and create his or her own dreams of meaningful accentuation and further beautification to augment their own reality.” (quote from intro to the fieldguide by Ton Haak)

Water = Culture Napels

 lecture DADI department Universitá Vanvitelli 2016, essay – book 2019 Francesca Muzillo, professor at the DADI department invited Henk Volkers and me for a small, intense conference on Flood control for being the designers of WaterLeaf.  It was co-organized by Anna Maione who did her master with prof Muzillo on various methods of flood control from a (landscape-) architectural point of view. Confirmed by the lively conference professor Muzillo continued widening the ‘conversational drift’ resulting in a compact inspiring book with nine contributors. An e-book version is kindly made available for the website by the publisher La scuoala di Pitagora editrice


(Jeroen van Westen – Marije Schaafsma a.o., Zurich) 2015- … A Dijkstoel is as well a stretch of a dike to be maintained, as the name for a simple building where materials and tools are stored for maintenance. Dutch Coastal defense is in a high flux of debate on how to adapt to climate change.  We propose, inspired by a late 18th century open call to solve problems with the dike along the tiny Zurich polder, a new essay competition. The competition is framed as an invitation by the coastal defense itself, not knowing if it should be stronger, or wash over, or completely disappear.  The tradition of the Enlightment fits the present need to take up grand projects rather bottom up then top down. This requires open information and opening up to real creative thinking. Our Dijkstoel will be a stage for wind, water, and essays.  First presentations of the essays, which can be written, music, theater, … will be public events in the Dijkstoel. A digital archive of essays will be accessible in the Dijkstoel only. Dijkstoel Zurich is embraced by the local community, welcomed by Sense of Place, teamed up with MarneArt, and when realized it will be in close collaboration with Wetterskip Fryslan

Vechtpark 2010-2013

De Vecht in Overijssel wordt -opnieuw- aangepast, dit keer terug naar een meer natuurlijke rivier. Hardenberg grijpt de kans om bewoners en natuur meer kansen te bieden om te leven met de rivier. Het dal wordt binnen het invloedsgebied van de stad een bijzonder park. Het Vechtpark krijgt haar vorm door de halfnatuurlijke rivier. Half natuurlijk is half cultureel, de kunst wordt uitgenodigd mee te ontwerpen aan de rivier, en kunstwerken te ontwerpen die mede gevormd worden door de rivier. De gemeente heeft Jeroen van Westen als intendant aangesteld om de kansen voor beeldende kunst te benoemen en samen met de klankbordgroep en het projectteam kunstenaars te zoeken die bij kunnen dragen aan een bijzonder transformatieproces. In een open uitnodiging hebben geselecteerde kunstenaars een veelheid aan invalshoeken en interesses kenbaar gemaakt. Inmiddels heeft Atelier Veldwerk een prachtige serie Staalkaarten uitgewerkt die leidend zijn bij aanleg en inrichting van het Vechtpark. Atelier de Lyon heeft een analyse gemaakt van de ruimtelijke structuur van het Vechtpark en op basis daarvan de ontwerpopgaves rondom bestaande en nog te bouwen routes helder en beeldend op de agenda gezet. Deelgebied Molengoot is inmiddels ontworpen in samenwerking met de bewoners, en in uitvoering. In het oog springende onderdelen zijn enkele bruggen, de nieuwe sluis en de Koppeltuin die geheel is ontworpen door Carmela Bogman ism met Natuureducatiecentrum De Koppel en AOC De Groene Welle. Downloads: Cultuurbijlage van de structuurvisie Vechtpark (2,4 MB) meer hierover te vinden op Huidige rol: Curatorschap Meer informatie op de website Vechtpark.

Recreatieve knoop (Recreational knot) 2005-2011

Follow up to De Elsenerbeek, commissioned by the DLG regio Oost Icw De Grontmij (civil engineers) Where Rijssen borders to the Elsenerbeek a ‘country’road coming from town crosses the creek. At this site a portrait can be made of the landscape of lateral moraines, seepage up swell and rubble fan, welcoming nature and culture

Kwelwatertafels (Seepage/up swell tables) 2005-

Follow up to De Elsenerbeek, commissioned by the DLG regio Oost The immediate reason for creating the Elsenerbeek is the up swell of seepage coming from sandy lateral moraines. The special qualities of this kind of water bring forward a one of a kind habitat, but for a long time now the water is mixed with agricultural run off water and simply transported directly to the Regge by straight canals, not getting a chance to let special plants grow or amphibians live. In the new nature development the special water will find space and time to re-create the landscape. Three tables + seats will mark crucial locations along the new watercourse. Tables and seats made of a nearby mined, locally traditionally used natural sandstone. Water will well up in the tables at which people can seat themselves on the blocks carved with names of the areas that contribute water to the Elsenerbeek. Two out of three tables were delivered in June 2011.

Draaideur (Revolving door) 2005-2011

Follow up to De Elsenerbeek, commissioned by the DLG regio OostThe new watercourse has to cross a Medieval borderline between two Markes. There is chosen for a clear solution, showing the cultural historical value of this border, and the important (cultural) decision for the development of new nature. The border is formed by a low dike with trees and shrubs growing on top of it. Part of it will be “cut out”, and “rotated”. The cuts will carry words LAND-VER-WEER-BINDING, words that in Dutch combine two by two (depending on where you are in the landscape) into new words with a different meaning. Delivery of the project was in 2011.

Bovenloop van een laaglandbeek/Upstream of a lowland creek 2003-2011

In a small village, Heesch, a new neighbourhood (De Hoef-2) was planned in 2003. The goal was set on a sustainable development, not necessarily focused on alternative energy and building methods but by taking the original landscape as point of departure and working towards a community by variation in types of houses. An artist was invited to contribute to raising awareness among the new inhabitants, awareness for the position of the new neighbourhood in the surrounding landscape, for the (cultural) historic features that defined the lay out of their streets, for the water management. The commission was understood as a role: the artist as an audible conscience, creating conditions to understand and researching the continuity of cultural responsibility towards the natural landscape. In 2007 part of the new area is build. Streets were named after creeks that are part of the same watershed. Each house has a river polished rock similar to the sediments of the river Maas below the soil on which the houses are build. In the rock a name of a plant, insect or animal living in the biotope of the upstream part of a lowland creek. The first inhabitants of the new houses could choose the name that they like, they got two rocks, one has to be put under the downspout, the other they will bring to a certain location in a park. The run off water from houses and streets all will feed to this small park zone. The design of the park is inspired by the lay out of local old estates. In a green border between two parts of the new neighbourhood high rise apartment blocks are build for species that have lost nesting opportunities. These 5 meter high constructions are build of left over materials and recycled plastics. Two roundabouts mark the entries to the area, both are treated as compasses build of beautifully coloured local bricks, demonstrating the slight inclination between the northern and the southern access road. A website ( ) was build with all kind of information on the former and present landscape, cultural historic information but also bike routes for a sunny afternoon in the surroundings. In close collaboration with Stan Elings Landscape architecture, Compositie 5 Urban Planning, but also thanks to many conversations with local experts and future inhabitants. Production: Jeroen van Westen, Steenatelier Johan Looije, Smile Plastics, Gemeente Bernheze

Zinnenbeeld 2012 (Sense Image 2012)

In the proposal for the ‘green’ traffic transfer point P+N Holt& Berg, the link between the A1 freeway and national park Sallandse Heuvelrug is realised in two steps. The first step is to bring the hill into Holten, and overcome the barrier of factories and infrastructure between the village centre and national park. One of the objectives of step one is to increase the number of routes on the Holterenk. The second step is to redesign the routes between the A1 and the national park in order to give visitors a sense of ‘arrival’. The direct link between step one and two is a series of large boulders, analogous to the one on the marketplace in Holten, but way bigger. The two exits of the A1 will be marked with these boulders. Five special boulders, each of which speaks to one of our senses specifically, are to be placed at crossroads of the new routes over the Holterenk. From every boulder, two others are visible, inviting the visitor to wander over the Holterenk on their way to the main entrance of the national park. The boulders are designed in collaboration with rock climbers, locals, and local business owners. Together the boulders form a sensory image, a horizontal beacon in the landscape which reforges the bond between the town of Holten and ‘her’ hill. Commissioned by Gemeente Holten-Rijssen, made possible by  province Overijssel. Designed in collaboration with Theo Reitsema, JobArt, Mothership BV Rotterdam. Zinnenbeeld is a continuation of GroenTransferium P+N Holten. Download the booklet Zinnenbeeld (pfd) for details of the design process. Definitive design delivered November 2012. Project canceled June 2013.

Eét je uitzicht 2011-2012 (Eat Your View)

Spring SOW April 21 – Summer HARVEST June 23 – Fall EAT October 13 – Winter AFTER DINNER January 12 Kunstvereniging Diepenheim has a long-standing tradition of art and landscape, which has resulted in many beautiful and noteworthy projects, such as the ‘A1’ project around the A1 freeway, and the recent construction of the Diepenheim Gardens. In collaboration with SKOR and the province Overijssel, the Kunstvereniging added a very special project to their list, in which the landscape in and around Diepenheim takes a central place. ‘Eét je uitzicht’ is a research project into the relations between people, landscape and food, curated by Jeroen van Westen and Karina Hendriks. The research focuses on the consumers’ blindness to the origins of their food, and the role landscape plays in food production. Food can be seen as the intermediary between man and landscape: landscape as an expression of what the body eats, or the body as expression of the eaten landscape. On three days in spring, summer, and fall of 2012, four explorers were sent into a four square kilometer stretch of land near Diepenheim, with the directive “This is food”. The explorers dealt with questions such as: ‘how does this taste?’, ‘what kind of meal would this make?’, and subjects of poetry, music, nature, economy and body. With backgrounds ranging from chef cook or farmer to survivalist soldier or monk, the explorers all searched the landscape for nutrition for the body or mind. Artist/chef Ernst Ruijgrok went received the results of their search and recorded the taste of the landscape in his field kitchen. Every exploration was presented to the public in the form of a lecture, debate or exposition. Through a website and social media the process can still be followed. A small booklet is available through Kunstvereniging Diepenheim For more information please visit

Sentinel 2013

Sentinel, Anne Ausloos & Jeroen van Westen (proposal) The prairie is essentially horizontal. The rolling hills are endless, a vast sea of grass under a big sky. It is hard to tell distance or to keep bearings. There are few landmarks (mostly cellphone towers). In this naturally horizontal landscape the landmarks, “cultural towers”, are “archipunctural” connections between earth and sky. In their vertical loneliness they don’t radiate power like a castle would, but they look like guards, keepers of the lands, sentinels. This tower on Highway 177 south of Bazaar is shiny, constructed with salt-glazed stone in rich sand-colored ochers (and aren’t the prairie hills in fact old sea bottom–salt, sea, sand?). There is a crack running from top to bottom connecting the inside with the outside. The stones the tower was built with still look like new, the crack painfully shows it is being neglected. A shiny ring at the top reclaims the tower and returns it to the community. A soft light shining from within beckons the passer-by during the night. Take a seat, lean back, look at the tower. Step inside, look in, look out, look up, observe the land, the sky; discover the text in the ring at the top. Listen how voices resound in the tower.

HerKenning Erf 201 (2013)

Commissioned by Gemeente Kampen with support from Provincie Overijssel. Closed competition under the title ‘Kampen De Kloof’. With the arrival of the A50 freeway, the Hanze railway and the bypass, the IJssel delta is expanding. The city has two fronts now: besides the well-known historical view from the IJssel, the city will get a new face in the Kampen Zuid area. The new entry into the city lies within the ring of dikes that has protected the city from the river for centuries. The Medieval Zwartendijk, the Hanze Railway and the A50 together encompass centuries of cultural history. It is time for Kampen to reacquaint themselves with the area, and to make it more appealing to the traveler. It is time for the traveler to recognize the new side of the city. In HerKenning Erf 201 attention is brought to the gain in recognizability of the landscape the bypass brings to Kampen Zuid. A spear point of this plan is that there should not be urban development between the freeway and the Zwartendijk, because this closes the ring of dikes that lies around Kampen. In order to attain the ‘readability’ of the landscape that was requested in the competition, there should be no urban development, so that the Zwartendijk remains visible from both the freeway and the train station Kampen Zuid. The area between the freeway and the Zwartendijk can become a city yard, in line with the tradition of Kamper stadserven. The fragmentation created by freeway ramps and the railway will be fixed by interpreting these heights as levees with a sublimation of sand dunes in between. Throughout the year streams of plants and grasses will roll off this portrait of of the streaming landscapes of the original IJssseldelta: bulbous plants in spring and special grasses from the Hanze region in Summer. In the winter the city yard will appear as a clearly flowing sculpture, a beautiful and recognizable entry to Kampen Zuid. Complete proposal in collaboration with Henk Volkers. For more information, please download HerKenning Erf 201 (6,6 Mb)

Aanraakbaar (Touchable) 2013

In Enschede the hospital is rotated 90 degrees, and the main entrance is oriented towards the city centre. This beautiful gesture needs space. The city council has decided to create a new square above the west entrance of the parking garage, on the location of the current crossroads of the Beltstraat and the Boulevard 1945. This change in the city’s infrastructure is the next step in the elimination of the Boulevard 1945 as a cross-city route for motorists. The new square (Koningsplein), will hereby become an antipode to the other square that cut off the Boulevard 1945, the Van Heekplein. The city wants these two squares to be opposites not only in a spatial sense, but in atmosphere too. Artists have been asked to collaborate in making the new square a green and restful place, and create an artwork that functions as a point of orientation for visitors of the city and the hospital. Three teams have been invited to give their view on this assignment. In the entry AANRAAKBAAR, the idea is to design from the perspective of the sensory perception of the place and its direct surroundings. The assignment is seen as a composition of meanings related to local and global changes. Re-developments of the city have demolished many art-deco villa’s in this area, it will be exciting to research the old villa’s, to re-introduce the sensorial qualities of arts and crafts of their time in the design and materialisation of the new square. Another dimension is the global climate change, causing, in combination with more and higher buildings in the city a change towards a two-season environment in the inner city. This will lead to a new type of park to be an oasis in the city. The third aspect to be included in the design process will be the relation between what is underground (parking garage and connection to the Hospital), and what is above: the square as connection between underground and the sky as well as being a central hub in the city. All together this proposal is an integral process working towards a square which is a world in its own right, an oasis in the city. The committee selected one of the other entries in June 2013.

Creative Creatures 2014

Creative Creatures is a series of texts written by ‘creative director’ Ton Haak on his engagements with artist and other creative friends. Ton now lives in Matfield Green – Kansas, officially a ghost town, but thanks to people like him with endless energy and full of ideas, the town changes into a real lively art-colony in the prairie which is still wide and open over there: true open range territory. We share a long history and that is what he wrote about, thank you Ton for a beautiful story. Read the story Creative Creatures(pdf).

Bandage 2014-

Wounded trees, steel mesh almost completely disappeared into the trees. Man nailed the mesh against the tree, the tree grew around the mesh. Clay is supposed to be healing, it is said that clay sticks to the organism, and literally sucks out what doesn’t belong in it. Inflammations would cure in hours and wounds would close. I don’t know, but I take clay, roll it out, stagger with the slab in my arms to the tree, and I wrap the clay and myself around the tree. When I take the slab of again, I take it back in to the studio, turn it inside out and reconnect the ends: a ring with the inverse imprint of the tree’s scars is carefully made. The rings are fired, some in a field kiln at a lower temperature, most in a regular gas kiln. They have different diameters, various thicknesses, are lower and higher. Those variations result in each ring having its own tone now they are turned in stone fossils of a curing process that continues to take place inside the tree. Together the fossils can be played like an instrument, its sound vaguely reminding of an Indonesian Gamelan. Thanks to Anne Ausloos, Rob Muylaert en Curdin Tones


The India House Art Gallery in Pune offered the first opportunity to show the full body of work of INVERSE. Parth Shah, architect in Rajkot, who participated in the research on Gujarat’s stepwells, wrote the following introduction: “To the Dutch, as Jeroen mentions, water is something to be handled seriously & urgently, either to be gotten rid of or to be put to use. It is not a commodity that can be taken for granted and lived with in a leisurely way. For a person with such a cultural mindset to experience a unique Indian search for water deep within the ground – one that patiently seeks to hold water for use later on – must be perplexing indeed. This single thought, to me, marks the beginning of the journey that Jeroen so valiantly embarked upon about six years back. I am indeed happy to see his efforts come to fruition in this compilation of experiences with such painstaking and loving attention to detail. This show is Jeroen’s personal journey to India and, more importantly, a journey that reflects upon his conditioned response to water in the Netherlands, as well as his experiences with water in other parts of the world. We are fortunate that he allows us a glimpse of what the mind and body actually experiences in a space as enigmatic as a stepwell… enclosing and releasing, wonderfully dark and frighteningly bright, cold and warm, reflective and coarse. With his sketches and his writings, aided by the photo collages, audios, videos, and prints, he takes the visitor on a journey that is both enriching and thought provoking.” Read the 3 articles in Indian newspapers (pdf).