The exhibition Hutong Whispers is a steganographic catalogue of steganographic publishing projects camouflaged as a laundry line.
A transcription of a talk on censorship and steganography given in Beijing wherein a suspected government spy was part of the audience.
Attempting to put into action the articulation of Iranian design researcher, Mahmoud Keshavarz, that passport forgery can be viewed as a ‘critical practice of making which momentarily interrupts the matching accord of body, citizenship and freedom of movement’, the project ‘Shanzhai Passports’ not only attempts to place questions of race and empire at the centre of the surveillance discourse, but also how this continues to perpetuate the construction of illegalised bodies from the ’third world’ and illegal counterfeit products made in Asia.
‘Thunderclap’ is a steganographic zine, that piggybacks on fashion accessories to publicly distribute the erased writings of Chinese anarcho-feminist, He-Yin Zhen (1886-1920).
Limited edition printed for TENT Rotterdam, during the exhibition Spending Quality Time With My Quantified Self curated by Niekolaas Johannes Lekkerkerk and Jesse van Oosten.
Eyesberg played a double function again organising and designing the identity for Zine Camp at WORM this year. We made the posters, flyers, website and navigational signage. In the same spirit as Zine Camp 2014, the aim was to make zines together, but also to provide a space to socialize and collaborate in an attempt to discover and foster a growing community of zine-makers in the NL and abroad.
Working under Eyesberg (Tim Braakman and myself) we organised and designed the identity of Zine Camp, a DIY festival with open workspaces connecting like-minded zinesters and newbies from Rotterdam to national/international zinesters and newbies. The aim was to make zines together, but also to provide a space and place to socialize and collaborate in an attempt to discover and foster a growing community of zine-makers in the NL. In collaboration with WORM, PrintRoom and Rekult.
Meditations on the Indranet follows the philosophical Buddhist metaphor 'Net of Indra' in which Indra's celestial Net is used as a model of our interconnected universe. This imperial net is made of all jewels. Each eye of the net is a jewelyou can think of them as nodes.
Inspired by Gordon Matta-Clarkes' completion through removal method in changing the perspective and complexity of spaces, I adopted the same technique to a Vogue magazine.
A book of portraits of five close friends and family. Affection grows through time spent with others; it is tactile, emotional and intimate.
Exhibition design for 'Fields of [Inter]action', part of the exhibition ‘A better world, Another power’ in the Netherlands Architecture Institute (NAi) Rotterdam, at the Architecture Biennale Rotterdam. Fields of [Inter]action is an exhibition of 5 projects of artists Jeanne van Heeswijk and Dennis Kaspori.
Published in the 1975, Mexican/Dutch artist Ulises Carrións wrote “The New Art of Making Books”. In the chapter “What a book is” he was thinking about books not restricted to its formal properties but as a sequence of spaces and moments, essentially liberating its definition from its physical representation as a paper codex. For the Off the Press: Electronic Publishing in the Arts conference in Rotterdam, I transposed the text “What a book is” into an e-book using hotglue, a visual tool for creating websites directly in the web-browser.
Exhibition identity and typeface design based on Platform for Chaos typeface developed in 2007. I also made a zine called Tour de Squat that was a part of the exhibition about the story behind how and why I made this typeface.
Set in the near future, BENJI™ is a fictitious entity that journeys into the world of bio-information as a commodity and consequently envisions the prospects of genetic discrimination and the increasing personalisation of marketing strategies. Named after the child of Sergey Brin, co-founder of Google.com and Anne Wojcicki, co-founder of 23andme.com (a privately held personal genomics and biotechnology company), Benji represents the ideological and economic union as historically practiced in royal political marriages and commonly witnessed in corporate mergers.