Veillée
stay-up-late evening
2026
M4 space
4th floor, Tetterode
Bilderdijkstraat 165
Amsterdam
@m4gastatelier
@wwp_tetterode
Mirrored writings and layered temporalities overlap and resonate. Empty corridors, residual sounds, material traces, and partially recovered stories shape-shifting relations between objects, bodies, and architecture.The space listens, talks, and performs, with elements exercising their own agency.
Gathering around the chimney rising above the preserved wooden floor, connecting inside and outside, past and present, smoke acts as a transformative medium. Sound, memory, and sympathetic magic circulate through this channel, unsealing the boundaries of the space.
Rhythmic stories are modulated and refracted through a tentacular network of sensors spread across the space. A speculative, ghostly smart system, a hypothetical AI of 1902, where spirits, memory, and early steam-powered technology intra-act within suspended time during the stay-up-late evening.
*Veillée refers to the French tradition of evening gatherings where listening and storytelling turn the home into a space of dreaming.
Iza Koczanowska
technical support Lukasz Zuber
‘
Series of field recordings
Automatic Writing Performance
2026
3h/day, 7 sessions
Series of automatic writing, collecting residents’ stories, and readings of Edgar Allan Poe in the empty spaces of the building, exploring the hauntological layers of the Tetterode Building, a former type foundry.
I approached the building as a living archive, letting its spatial rhythms and layered histories shape my working methods. Listening, presence, extended time spent in the lift, and transcription functioned as tools for attuning to the site, resulting in texts and actions that foreground its temporal instability and sensory depth.
M4 residency
Tetterode, a former type foundry
Amsterdam
.,.,
audio installation
2026
As part of my field recordings, I captured the sounds of historical, irreplaceable windows, iron architectural elements, interior doors, and the ambient noise of the building. Although it is a vast residential complex housing over thirty-five studios, its corridors remain largely empty, and encounters with other residents are rare.
I spent extended periods in the corridors, recording sounds from behind walls and doors, while working closely with the acoustics of the space and reading for the walls themselves—researching their agency, the hauntological dimensions of the building, and the layered histories of its inhabitants.
In the installation, these recordings resonate through speakers hidden inside cabinets, around which I mounted fragments of punctuation marks from the Libra typeface, designed by Sjoerd Henrik de Roos in 1938 and produced in this factory.
Tetterode, a former type foundry
Amsterdam
I spent extended periods in the corridors, recording sounds from behind walls and doors, while working closely with the acoustics of the space and reading for the walls themselves—researching their agency, the hauntological dimensions of the building, and the layered histories of its inhabitants.
In the installation, these recordings resonate through speakers hidden inside cabinets, around which I mounted fragments of punctuation marks from the Libra typeface, designed by Sjoerd Henrik de Roos in 1938 and produced in this factory.
Tetterode, a former type foundry
Amsterdam
UGLY BEACH
Wrong Norma, Nieuve Insituut
MIARD, Rotterdam, 2025
Ugly Beach is a research-based multimedia work which, through a sculptural installation and a projected video, explores the notion of the “beach” not as a curated paradise, but as a space of contradictions regarding privilege, exclusion, and ecological instability.
Inspired by a disorienting encounter with yellowish sea foam in The Hague, the project questions dominant beach aesthetics shaped by massive tourism, media, and resource exploitation. The sea foam—both a material presence and a parable—becomes a figure of resistance aligned with Glissant’s notion of opacity, refusing to conform to postcard-perfect imagery or the transparent legibility demanded by tourism industries. Through its formless, uncanny, almost intoxicated appearance, and its chemical traces in the seas, the foam offers an alternative discourse: quietly challenging idealisation, appropriation, and the extractive treatment of landscapes, human labour, and natural phenomena.
The installation uses unstable materials such as agar-agar, foam, seawater, and sea foam as a material-parable to reflect the constantly changing, untamed properties and complexity that the beach, as concept and haptic context, carries. Projected on translucent curtains, the beach image merges with soundscapes, 3D prints, and a “stimulator of walking” projection satirizing bodies of varying proportions dominating and moving across the landscape, creating a surreal environment where human bodies dissolve into the surroundings just as geopolitical and psychosocial agency vanishes when peripheral lands are abused, occupied, or forced into unsustainable spaces.
Ugly Beach reclaims ugliness through the slime and irritating aesthetics of sea foam, using it as a lens to confront hidden, often oppressive ecological, social, and political systems beneath the idyllic image of the beach.
Photos by @silvia__arenas.jpg
‘
Pearl play
Interactive sculptural object
2026
Pearl Extraction Game explores the intersections of play, value, and collective action. Inspired by the process of cultivating pearls—a material often associated with jewelry and tourist souvenirs—the work transforms a found string of cultured pearls into a participatory game.
Players interact with swing-like structures, moving beads into small openings within a tactile installation inspired by hand-operated children’s games. The piece references both the mechanics of play and the gamification of economic systems, from board games to postcolonial business strategies.
Players interact with swing-like structures, moving beads into small openings within a tactile installation inspired by hand-operated children’s games. The piece references both the mechanics of play and the gamification of economic systems, from board games to postcolonial business strategies.