Can you tell us a little bit about yourself?
We met as participants of De Appel curatorial program in Amsterdam. We found each other in our interest for the intersection of art and digital culture, so we started collaborating in different projects. We have recently curated the program for Impakt festival earlier this year, which addressed the value of authenticity in the post-digital era and we will soon publish a book about it too.
What do you consider your distinctive achievement?
We both enjoy to try to expand our exhibitions beyond the gallery. For instance, we’ve worked with Benjamin Forster, an artist who makes digital works of art. We invited him to do a work for Stedelijk museum, which was an online performance and drew from the contents of the website. It was site specific but completely virtual. For our upcoming show Tessa Groenewoud has made a work which is accessible both online at www.marres.org, as well as physically in the exhibition.
What are you looking forward too?
We are currently installing our new show for Marres in Maastricht. It’s called Running Time and takes as a starting point the quiet moment in which the mind drifts off and processes thoughts and ideas. It’s a very creative moment, and we are working with artists from the Netherlands, Belgium, and Germany who share, in one way or the other, an interest in this type of cinematic time.
Which advice would you give to other professionals?
Working in the cultural sector can be very demanding, so our advice would be to try to make it enjoyable for everyone involved in the project.
What are the challenges that we need to overcome to make cultural entrepreneurship more accessible?
Fair pay for all: http://www.kunstenaarshonorarium.nl/