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Photo: Ringel Goslinga, 2013I write about photography-related publications and events, in Dutch and English, often supported by contextual readings in anthropology, poetry, literature, philosophy and history.

Additionally, I work as a translator (English<->Dutch<-German), text editor, researcher, and artist’s assistant.

On this website I will regularly post samples of my writings (mostly written in English, or translated from the Dutch by others or myself).

For comments, suggestions, or enquiries, please get in touch via e-mail

For a listing of relevant publications, talks, etc., have a look at my CV

Since 2006 my essays, reviews, articles, interviews and blogposts have appeared in (or on):
Camera Austria InternationalFoam MagazineFoam Blog, Stedelijk Museum, EXTRAPhotoQFotografisch geheugenMister Motley, Unseen Magazine, and Fw: Magazine.

With Paradox, producers of large-scale photo-projects on multiple platforms, 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 fine (and to Dutch standards remote) art academies in the cities of Kampen and Maastricht. In 2007 I obtained my Master’s degree in Photographic Studies at Leiden University. My thesis (written in Dutch, supervised by Helen Westgeest) is called: Ancestors return in silver grains: photo theory and visual repatriation.

My 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 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 sometimes pivotal roles in their lives and works. In return, museums are able to gain specific knowledge and insights from the sharing and opening up of their audio-visual (and other) archives.