Memory Facsimile  2015, Plaster casts of the artists right hand + written notes
Memory Facsimile  2015, Recast Norwegian pewter spoons + table by Nicholas Riis, NoPlace, Oslo
Hardangervegen 512, 5268 Haukeland  2015, UV-Flatbed print on mirror
Grim Saxeviks veg 11, 7562 Saksvik  2015, Digital UV-Flatbed print on mirror
Uranienborgveien 9, 0351 Oslo  2015, Digital UV-Flatbed print on mirror
Tjernfaret 8, 0956 Oslo  2015, UV-Flatbed print on mirror
Recording No.4 at Kunsthalle Erfurt  2014, Camera and editing by Nora Turato
Objects and Recordings  2014, During my solo exhibition at the Kunsthalle Erfurt the museum attendants interacted with the vistors through a number of small tactile objects. (photos Nora Turato)
More than Happiness  2012, Permanent installation in which the windows have been replaced by fifty-two mirrors (Billytown, the Hague)
X  2011, Lifted lead, GMvZ, Amsterdam
Text by Eirik Senje
Memory Facsimile at NoPlace, Oslo, NO
25.09.15 - 04.10.15

Maarten Sleeuwits presents a serendipitous gathering of objects held up at a certain point in their existence. Second hand mirrors with prints instead of reflections, showing the moment they were photographed for resale on the digital marketplace Ornamental decorative spoons made from pewter, also second hand, melted down and recast in the same shape, fusing their patina with the material as their molecules are rearranged by the heating and casting process. A table specially made by the artist’s colleague Nicholas Riis for display. Several hundred imprints of the palm of the artist’s hand, cast in plaster, marked with the time of their making and catalogued with brief descriptions of what the rest of his body was doing during the timespan he was gripping the hardening plaster.

Perhaps these objects will start a conversation that might later be faintly recalled and elaborated upon.


As everyone knows, chance is not random; but closely related to fortune, and unlike fate, it is very important to tempt chance in order to get interesting results. Life if looked at from a certain point of view could be described as the expenditure of time fulfilling tasks. In some ways, the practice of making art is a realization of this fact by the setting aside an amount of time dedicated to doing nothing in particular, which as it usually turns out is more or less impossible; something always happens anyhow.

Self-reflexivity at its root is a close companion of vanity. Noticing your own reflection means awareness of self, and with that the impulse to figure out and improve. Like a camera, except the mirror, like memory, can never decide on a certain picture, instead there is endless indecision, reformulation and adaptation. Rendered opaque by a frozen moment in time and space, the person that pushed the button is captured. Here their reflection is not self-conscious, but all gaze and intent, however aware or unaware of the implications. Disastrous to the point of being comical, or subtly appealing, a simple reproduction of a no longer wanted object that is to be resold, is forced to give up a few of its secrets, or not. Maybe there is just a moment of aesthetic awareness, a moment of being outside the patterns of behavior we tend to fall into.

They are all right hands, but as it turns out the artist is left handed, so they are not really right hands, the right hand is free to pursue more productive activities, such as drinking a beer, or delivering a child to kindergarten, or nothing in particular at some place. Cataloguing the imprint of a palm grasping a piece of plasticity, does one have a bearing on the other? Thematic connections come to mind and arise out of a whole; incidentally also how the mind works with memories, as our experiences don’t come with date stamps. Is there, for example some significance to the act of holding, shaping, with the inside of one’s palm? Any collection of objects can always be put together in a system, but there are so many to choose from. Why for example keep a knife in the drawer instead of next to the fruit – shouldn’t what cuts be close to what needs cutting? Individually their stories seem bland and nondescript, of little consequence, but there are many to consider. Things form systems.

In the system of language, the notion of grasping, ripping an idea out of reality and making understood or forming a pattern that can be reapplied to gain understanding. The ubiquitous word “concept” for example, seems to be etymologically related to taking into oneself, somewhere between grasping and conceiving. Or not understanding, the thing that seems just out of reach, or can be faintly glimpsed between the cracks of the boards it slipped between after being dropped. The act of taking something into one’s hand is not something so simple as allegory or metaphor, but a direct line to the complexities of being inside a body. Maybe in this way we have always been cyborgs, existing partially through objects and their associations as extensions of our selves. In the shape of spoons, pewter: a nostalgic material used mainly for such base things as ornamentation and decoration, representations not really intended for practical use, it is not at all modern. The spoons have been melted down and recast in a mold of their original shape, fusing their patina with the material as the molecules are rearranged, shiny surfaces with slight imperfections from the casting process. These things have always been more for looking at than for gripping, but they still look like they want to be held.


Born in Enschede, NL, 1978
Nationality NL

2010-2011  Rijksakademie van Beeldende Kunsten, Amsterdam, NL
2012  CEIA, Belo Horizonte, Minas Gerais, Brasil
2006  OutStudio, Chachoengsao, TH, studio founded by Noraset Vaisayakul
2000-2005  Gerrit Rietveld Academie, Amsterdam, NL

Solo Exhibitions
2015  Memory Facsimile, NoPlace, Oslo, NO
2014  Kazachenko's Apartment Oslo, NO, 'Beyond the Rocks' with Kianoosh Motallebi
2014  Kunsthalle Erfurt, DE, 'Objects and Recordings', curated by Silke Opitz
2012  Billytown, Den Haag, NL, 'It Weighs More Than Happiness', with Kianoosh Motallebi

Group Exhibitions
2015  Billytown, Den Haag, NL, Back to the Future
2015  Mattkissing Project Space, Amsterdam, 'No Time To Hang'
2014  Galerie Ron Mandos, Amsterdam, NL, 'Zelf Weten' curated by Hans Aarsman
2014  San Serriffe, Amsterdam, NL, video screening + book presentation 'Objects and Recordings'
2014  Apice for Artists, Amsterdam, NL, 'Dall'apice al fondo (e viceversa)', curated by Philipp Kremer
2014  Art Rotterdam, NL, (represented by Momart)
2013  Momart, Amsterdam, NL, 'Momart presents all'
2012  FATFORM, Amsterdam, NL, 'Present Forever, 55 contemporary Dutch Artists', (exh. cat.)
2012  Galerie Waalkens, Finsterwolde, NL, The Only Rule is Work (exh. cat.), curated by Marijn van Kreij
2012  Funarte MG, Belo Horizonte, Brasil, CEIA, 'Permeabilidades'
2011  Rijksakademie, Amsterdam, NL, 'Rijksakademie Open 2011' (exh. cat.)
2011  Martin van Zomeren, Amsterdam, NL, 'Falten, Searching for White, Rise above Reason'
2010  MK galerie, Rotterdam, NL, 'Good Vibrations'
2010  Rijksakademie, Amsterdam, NL, 'Rijksakademie Open 2010' (exh. cat.)
2009  Meneer de Wit, Amsterdam, NL, 'Popup Cafe'

2014  OCA, Oslo, NO, Exhibition Grant
2014  Stroom, Den Haag, NL, Project Grant
2012  Stroom, Den Haag, NL, Project Grant
2011  1000 Steps B.V.
2010  Dr. Hendrik Muller's Vaderlandsch Fonds, NL

2014  Maarten Sleeuwits, 'Objects and Recordings', monograph published by Hatje Cantz, Germany

Articles and Reviews
2014  Thüringische Landeszeitung, DE, 'Maarten Sleeuwits lässt Kunst durch Erfurt tragen' ( 5th of June)
2014  Deutschland Today, 'Objects and Recordings und Mentale Duelle', (8th of May)
2014  Thüringische Landeszeitung, DE,' Jana Gunstheimer und Maarten Sleeuwits stellen in Erfurt aus', (8th of May)
2014, 'besprechung im doppelpack; Objects and Recordings und mentale duelle', (7th of May)
2013  DH/// No.3 Magazine pp. 108, 111
2010  NRC Handelsblad, 'Overtuigend bewijs van belang kunst', Sandra Smallenburg, (26th of November)
2010  De Groene Amsterdammer, 'Verschuiving', Koen Kleijn, Vol 134 (2th of December) issue 48, pp.42-43
2010, 'Maarten Sleeuwits', Irene de Craen, (29th of November)
2010, 'RijksakademieOPEN 2010: Maarten Sleeuwits', Irma Driessen, Tube's extra (26th of November)

2014  Oslo Fotokunstskole, Norway, Artist presentation
2012  CEIA, Belo Horizonte, BR, Artist presentation
2011  St Joost, Akademie van Beeldende Kunst, Den Bosch, NL, Workshop (together with Thomas Raat)
2011  KNIR, Rome, IT, Artist presentation
2011  Madre, Napoli, IT, Artist presentation

2013 - Present  Co-founder and initiator at Kazachenko's Apartment

Maarten Sleeuwits