He publishes about miscellaneous topics, which are mostly, if not always, filtered through the lenses of photography and art as keys in an attempt to unlock worlds beyond and behind screens.
Since 2006 he has published essays, interviews, as well as book and exhibition reviews with various international magazines, publishers, art institutions and artists.
Additionally, he works as translator (English<->Dutch<-German), text editor, (image) researcher, (editorial) advisor and guest lecturer.
Publications with: Camera Austria International (AT), Fw:Photography (NL), EXTRA (B), Foam Magazine (NL), Aperture (USA), Stedelijk Museum Amsterdam (NL), British Journal of Photography (UK), Dutch Doc (NL), Künstlerhaus Bethanien (GER), PhotoQ (NL), Fotografisch geheugen (NL), Mister Motley (NL), Rheum (B), Extrapool (NL), and Unseen Magazine (NL) among others.
Translations for: Sandberg Instituut (Amsterdam), KABK: Royal Academy of Art (The Hague), Minerva Art Academy (Groningen), Johan Deumens Gallery, Kehrer Verlag, FotoMuseum Antwerpen, Rein Jelle Terpstra, Anouk Kruithof, Frank van der Stok, Hanne Hagenaars, Mariken Wessels, Extrapool, and Alumniportal Deutschland among others.
For Paradox, producers of large-scale multi-platform photo projects, Bakker worked as researcher, writer and editor on the extensive documentary project The Last Days of Shishmaref (2007-2010), involving a photobook, a web documentary, and a traveling exhibition.
Between 2009 and 2011, under the alias of Perec, he engaged in an online photo-conversation with his colleague Creep. What resulted was a photo-dialogue showing the eclectic ephemeral on two sides of the Atlantic (USA vs. Europe & Africa), moving from digital to analogue and vice versa…
Short educational biography
During the second half of the 1990s, Bakker studied painting, printing and drawing at the art academies in the Dutch towns of Kampen and Maastricht. In 2007 he obtained his Master’s degree in Photographic Studies at Leiden University. His 2007 thesis (written in Dutch and supervised by Helen Westgeest) is called: Ancestors return in silver grains: photo theory and visual repatriation.
Inspiration for the subject of his thesis followed from an internship in 2006 with arctic anthropologist Cunera Buijs, at the photo collections of the Dutch National Museum of Ethnology, where he learned about the importance of photographs in ethnographic archives for so-called “source communities” (descendants of indigenous peoples once subject(ed) to scientific and photographic surveys by explorers and scientists who ventured from the powerful urban centers of the West). Photographs of their ancestors have been taken back to them by anthropologists and museum curators & started performing new and often pivotal roles within their lives and works. In return, by this practice museums are enabled to gain specific knowledge and insights from sharing and opening up their audio-visual (and other) archives.