Notebook quotes:






Meschac Gaba/Kerryn Greenberg

"Whenever I walk into a museum, I am very much aware - and maybe this is increased because I have sometimes worked in museums for money, as a labourer - of the fact that I had nothing to do with choosing what got in there. The objects that are important in my life, or my family's life, or your life, or in the vast majority of people's lives are never going to end up in a museum, because most people aren't in a position to enforce the meanings in their lives.

... Museums are filled with objects that were commisioned by, or owned by, a priviliged class of people who have assumed and presumed that these objects were important to the culture at large."

Allan Mc-Collum




(How to reach an inclusive art-practice in which my work is accesible to all layers of society?)





"The philosopher Charles Taylor employs the term 'modern social imaginaries' to describe the link that exists between the multiple narratives contained in these discourses of modernity. Several historical experiences characterise these modern social imaginaries:

The connection, for instance, between imperialism and modernity, and colonialism and anti-colonialism. Taylor sees the encounter between cultures -each with their own histories and archives - as embedded in a moral order of constant negotiation. He writes:

It is through works like Gaba's that the analysis of historical encounters between Western and Non-Western can produce profound reflections of modernity as multiple. "

From the Tate Modern book "Meschac Gaba's Museum of Contemporary African Art"





Reinaart vanhoe: Also-Space: From Hot to Something Else, How Indonesian Art-Initiatives have Reinvented Networking

'The fundamental context of Indonesian Artists is in fact quite different from that of the contemporary Western Artistic Practice, in which notions of individuality and autonomity play a key role.'

'This perspective, at least in its current manifestation, is based on a neo-liberal worldview focused more or less entirely on the pursuit of individual succes.'

'However,  what is often missing from this perspective is an awareness of local networks, and a contextual (as opposed to purely conceptual) way of thinking and acting.'


'How can we develop an artistic practice that does not define itself as 'alternative' or 'in opposition' to the society in which it exists, but rather as integral part of the various communities in which the artist functions, produces and lives, and is thus very much apart of?."









The expression ‘Lazy Action’ is derived from the essay ‘Marcel Duchamp and the Refusal of Work’ by Maurizio Lazzarato, in which the author describes Duchamp as celebrating laziness in art. With this he is refusing to submit to the functions, roles and norms of capitalistic society, among which the identification with a profession.

“What am I? Do I even know? A human, quite simply, a breather.”

Duchamp encourages us to imagine and exercise a ‘refusal of work’, which constitutes an ethical-political principle that goes beyond work, which frees us from the enchanted circle of production, productivity and producers. For the creative process is present in all kinds of activity, it’s the tendency to act, at any pace. He proposes to develop and experiment with all the possibilities that ‘lazy action’ creates in order to carry out a reconversion of subjectivity, to invent new techniques of existence and new ways living time

Excerpt from the exhibitiontext written with Pim Tieland for "An Architecture of Encounters (Home for Lazy Action)







De vraag “How to Defy the Pressure to Perform?” is geïnspireerd op de tekst “Exhaustion and Exuberance, Ways to Defy the Pressure to Perform” van Jan Verwoert , waarin de neiging in de (kunst)wereld tot presteren, tot aan, of voorbij de uitputting, ter discussie wordt gesteld. Hij heeft het over de alomtegenwoordige mentaliteit van het “I Can” en de schijnbare onmogelijkheid om een “I Can’t” te uiten. Hij pleit hiermee voor het herkaderen van een speelveld, waarin dit “I Can’t” een prominentere rol krijgt. Een “I Can’t” vanuit het perspectief van zorg dragen, in tegenstelling tot een “I Can” vanuit een voortdurend streven naar zichtbaarheid en erkenning.

Fragment uit de expositietekst geschreven voor "An Architecture of Encounters", geschreven ism Peter van der Horst en Ingmar Heytze