I’m a writer, translator and researcher based in Amsterdam (NL). I publish about miscellaneous topics, but mostly, if not always, filtered through photography and art as keys to unlock and to peep into worlds beyond the screens. Since 2006 I have published essays, interviews and book and exhibition reviews with various international magazines, publishers, museums and artists.
Additionally, I work as a translator (English<->Dutch<-German), text editor, (image) researcher and lecturer.
For enquiries and/or comments e-mail me.
For an overview of relevant publications, talks, etc. – please have a look at my CV.
Publications with/on: Camera Austria International, Foam Magazine, Foam Blog, Fw:Photography, EXTRA, Stedelijk Museum Amsterdam, The British Journal of Photography, Dutch Doc, Künstlerhaus Bethanien, PhotoQ, Fotografisch geheugen, Mister Motley, Rheum, Extrapool, and Unseen Magazine.
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.
With Paradox, producers of large-scale multi-platform photo projects, I have worked as a 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, I ping-pong’d photos with Creep in an online photo-correspondence. A photo-dialogue of the eclectic ephemeral, moving from digital to analogue and back from analogue to digital.
Short educational biography
During the second half of the long 1990s, I studied painting, printing and drawing at the art academies in the small cities of Kampen and Maastricht. In 2007 I obtained my Master’s degree in Photographic Studies at Leiden University. My 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 my thesis followed from working as an apprentice with arctic anthropologist Cunera Buijs, at the photo collections of the Dutch National Museum of Ethnology in 2006, where I 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 venturing 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 the opening up of their audio-visual (and other) archives.