Lace entered our practice before a grand theory caught up. We weren’t looking for symbolism, we watched light in slow motion. In Angelic Space (2005), lace became an anti-screen: not a surface that receives an image, but one that distorts it. Projections pass through holes instead of landing cleanly. Color scatters. Shadows leaks. At first, nothing resolves. Then, slowly, perception clicks. The image doesn’t appear, it is assembled in the viewer’s mind. Slow-motion seeing ch

Greyzones Revisited shifts attention from retrieval to circulation: to how artworks persist through language, how they disappear without vanishing, how institutions remember through text as much as through objects.

Los Angeles has long operated through projection, not only as image, but as spatial reality. Light settles on surfaces, narratives overwrite land, and futures are rehearsed while the ground beneath them continues to shift. Working along the coastline, where erosion, regulation, and speculation converge, we find ourselves in a transitional phase.

From Weegee’s crime scenes to Debord’s dérives, Zorn’s rule-based improvisation, and Nabuurs&VanDoorn’s performative mapping, there is a continuous fascination with the city as a site of unpredictability, improvisation, and layered narratives. In all these works, “grasping” the city in its entirety is impossible; the point is to navigate, respond, and engage with what emerges—turning maps, images, and scores into living, evolving experiences.

In the gallery at SCOPE BLN, a ten-metre canvas stands in the centre of the space, rising the full height of the room. It doesn’t behave like a painting. It behaves like a presence; leaning, twisting, folding itself around the air. You don’t look at it. You watch it, like you watch a screen, or a fire, or the city at night from a tram window. Something that keeps moving even when it appears to pause.

Anti-painting gestures, we deploy erasure and absence as generative tools. Censor texts, rewrite form; absence speaks. Maps, images, and instruction-based protocols form open systems, activated by performers, collaborators, and viewers alike.

At Nieuw en Meer, Nabuurs&VanDoorn filmed a sunrise over an Amsterdam lake, serene yet shadowed by loss, and transform it into a five-channel, topsy-turvy text-video spelling “d r i f t,” reflecting memory, metamorphosis, and the impermanence of movement.

When human and algorithm collide to co-compose urban memory, place, and performance.

Distorted Notes on “Incubating Narratives, Haegue Yang”, Hamburger Bahnhof, Berlin, Oct. 04, 2025

A vessel of experiments, not solutions: Berlin dreams forward. Art offers fresh air, not answers—tenderness as promise, conversation as future.

Art as contact zone: Nabuurs&VanDoorn’s Penance and Rehabilitation confronts memory, endurance, and freedom in fractured Europe.

Abstract Resonances explores how Nabuurs&VanDoorn transform archival fragments into living art, reimagining memory, city, and imagination in new ways.

Berlin’s myth has rotted. From cracks and peripheries, a new art emerges: jagged, unfinished, alive. Freedom stirs where noise begins.

A manifesto of future art forms: off-center, subversive, unfinished. We build yes-spaces, echo communities, and celebrate art as alive.

affective data into instructions for performance. Each mapped location becomes a minute of play, where colors, numbers, words, and images fuse into actions.

Mapping the City Through Affective Data: Nabuurs&VanDoorn transform urban experience into color-coded, perceptual maps that reveal hidden social, cultural, and emotional dynamics, connecting Dutch artistic traditions to contemporary city life.

Explore the Field notes Berlin Edition Living ATlas as we traverse Berlin's phantom zones. Discover the living archive and its mythopoetical playground.

We begin our mapping of Berlin not as cartographers of spacetime, but as detectives of lost gestures—seeking subtle residues of movement, memory, and spiritual form embedded in the city’s surfaces. This is not a project of documentation, but of attunement. We are tracing a lineage of embodied knowledge that stretches from Javanese court dance to contemporary performance, from carved stone to whispered steps. Berlin, to us, is not a constructed city, but a palimpsest of attitu

In Memories Between Edges, presented at The Noise in NL=US Gallery, Nabuurs&VanDoorn transform erased travel maps into poetic portals that explore memory, place, and attention as quiet forms of resistance in a world overwhelmed by noise.

In search of new audiences, we’ve taken a bold step: bringing our art out of the white cube and into the wild. Where landscape painters once translated nature onto canvas, we now try the reverse—bringing our canvases back into nature.