Research Catalogue

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

50 A3 drawings black and coloured markers, including: 3 A3 collages on paper with newspaper cutouts and printed photos. 12 A4 drawings on paper with coloured markers, glued on A3 paper + 1 A3 with black ballpoint pen and markers, glued on A3 paper. 13 A3 drawings on paper with black marker, and red, pale blue, gold, pink and orange markers +1 A3 two-sided. 17 A3 drawings on paper with coloured markers. 1 drawing on sketchbook cover with red nail polish. 1 text drawing on sketchbook cover inside. 1 drawing on sketchbook cover back inside with black, orange and gold markers. 22 A4 drawings with ballpoint pen. 59 pocket sketchbook black marker and ballpoint pen drawings. Some of the above is preparatory work for 4 large prints and 13 paintings. The 12 A4 glued on A3 are preparatory work for a collage on panel. I made the art between 2023-2024, from the perspective of the observer. Most of the research material came out of crime and fraud reports. I started writing the blog afterwards, since the summer of 2024. I adopted the visual vocabulary of the graphic novel, which I partly studied and read a lot about, looking at different graphic artists' work, when I was attending classes at the University of Malmo, Sweden, in 2012, to familiarise myself with elements of game design. Much of this work is, amongst other, about children. I wanted to emphasise that, by intentionally applying stylistic elements from children's drawings, in a naive and loose architectural composition, using heavily the black marker and stick figures. Adopting this visual approach, I also wanted to evoke a comically sharp twist, as satirical comment, in the British tradition of political satire, to the otherwise dark subject matter. Finally, the artistic style refers to the populist character of actors, mainly far right of the XRW, but also others. The text is written like a trip-hop song. I use heavily popular culture signifiers, names of fictional characters from film, television, music and painting, as reference to actual individuals. Parts of the analysis is inspired by Saul Kripke's interpretation of Wittgenstein's example of mathematical calculation. I used plenty of popular and less popular literary and philosophical references, for the visual art and in the writing. Saul Aaron Kripke was the inventor of the possible worlds philosophical hypothesis, which was seminal for philosophers working in the area of contemporary analytic metaphysics, including the theory of counterparts and the theory of names. He died in 2022. Lauren Berlant was a cultural theorist and gender studies scholar. She died in 2021. The exposition is underpinned by an underlying Marxist interpretation that, in my view, is relevant not just to economists and political philosophers, but also to people working in different sectors of our modern economies of advanced capitalism, such as banking and cybersecurity. In the style of art, I was inspired by Jean-Michel Basquiat's drawings and paintings, which are laden with input from popular media sources, like jazz music and television, recorded in an automatic and naive drawing manner, turned into abstracted paintings. For Nikos ('Rama', 'Mr X'), Filip ('Philip'), and Brandon - August, September, and October 2024. For "Daddy G", 'Eric' ("Her Man") and 'Prudence' ("Mole's Beau", or "Her Man's alter-ego") - December 2024, January 2025, May 2025. Who are not politicians, but are doing something political, so they must take care of what they do. See also exposition "The Loot", under 'Art and Activism Exposed as Research Blog'.

Documentation of preliminary steps and collection of musical material and related reflections during the first Term of the Master's Program in Improvisation and World Music. December 2022

Thesis of the Royal Academy of Art, The Hague, 2023 BA Photography Summary: "Why does she cry salty tears while he touches the sea". Follows a search for understanding how being in cold water has a relationship with humans. More specifically if the sea is for people to be in or not - the upbringing stories from Iceland and a Nordic background is noticeable in how the author approaches the subject of the sea. From the perspective of being cautious towards it, yet fearful and therefore the quest is giving contrast on how the sea shapes people. On an emotional level yet spiritually as well. Questions regarding people’s place within the social context and, with others. The personal writings is intertwined with challenges people face and how it’s displayed in the art world. Research into how artist have dealt with overcoming bigger forces than themselves. The social element of a sea swimming community is discussed where recent acknowledgment in a modern society to be in cold water is ever present. This is done by interviewing people who have been tuned in with the sea, a former sailor and a sea swimmer. The paper is divided into four chapters. Their titles serves the focus points. In Salt water, a look into the unknown, how artists deal with the sea as a natural force, admiration towards the sea with a connection to the emotional state. Community, is where the unknown offer a place to belong to, observing from a distance as well inside a sea swimming community. In Rituals, sea swim is investigated as a social act binding the community. Tales brings storytelling with focus on sailors and sea creatures.

Thesis of the Royal Academy of Art, The Hague, 2023 Master of Photography and Society On 12 May 2008, at 14:28 Beijing time, an earthquake with a magnitude of 8.0 on the Richter scale struck my home province of Sichuan, China, killing 69,227 people, leaving 17,923 missing and injuring 374,643 in various degrees across China. At the time, I was at university in another city far from home. In this thesis, My beginning question is how to fit myself who is absent from this earthquake into its history and the memories shaped by it. As a practitioner and researcher of photographic images, I want to reach out beyond the physical and psychological distance to the real memories of the earthquake understand its impact by describing, speculating and analyzing ready-made images about it and by explaining my own visual strategies, such as making and reworking photographs on this topic. These images contain 1) group photos of local people before the earthquake who were separated from each other in life and death by the it, 2) video clips taken by television camera reporters and other anonymous people on the day of the earthquake, and 3) the visual outcomes produced by people who look at or photograph the earthquake ruins which turned into tourist attractions now. In these ways, I highlight that we can encounter actively that earthquake through dealing with photographs about it and new photographic actions since then, in order to find possibilities to shape the postmemories for those Chinese who, like me, were absent or irrelevant at the time of the earthquake. In September 2022, a new strong earthquake occurred in Sichuan. I regard it as a bridge to relate the 2008 earthquake to present-day China. At that time, China was still in the midst of an extremely rigorous Covid-19 prevention and control phase, with various restrictions trying to prevent the spread of the Covid-19 cascading from the top down. By putting the two earthquakes together to discuss, I argue that Chinese people should remember the disasters of the past so that we can find our place in new dilemmas to deal with them. We should face up to the pain others have experienced and are experiencing and reach out to help, instead of ignoring or avoiding our responsibility. As a Chinese studying an English-taught MA program in the Netherlands, the differences between the Chinese and English contexts, the temporal distance between the current Chinese context and the European historical context were gaps that I could not avoid in this thesis writing. These gaps are reflected by describing and reflecting on my act of going to the former site of the Auschwitz Concentration camp. Acting as a spokesperson, I brought the inappropriate reactions of some Chinese people in the present to the plight of their compatriots to that field of traumatic memories, emphasising the importance of confronting one’s own absence and distance from the disaster from the other’s side.

Thesis of the Royal Academy of Art, The Hague, 2022 Master Photography & Society Using photography as a point of reference, this master thesis explores the political, cultural and scientific structures which allow profit-making with human sickness in the German healthcare system. It is argued how photography — in the form of medical imaging — separates physically representable symptoms from patients and their lived experience, by that creating an abridged representation of life. As healthcare has been deliberately embedded in a profit-oriented market by politicians over the last decades, medical imaging today not only acts as an operational image that gives evidence helping to diagnose a patient, but also as an operational image which facilitates the commodification of the body. This puts the well-being of both patients and medical staff (and therefore society at large) at stake. In the context of this analysis the question arises how photography itself can act as a tool to bring these issues to discussion. Because visual makers themselves deal with the challenge of being part of a profit-oriented system, this demands reexamination of the stories considered worth telling.