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.

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.

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.

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

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

For our final Open Day at Hangar, we wanted to share a collection of forty color-coded photographs. With no dedicated exhibition space available, we decided to transform the limitations into an opportunity—creating a leporello in collaboration with XYZ Books (also known as concertina or accordion fold).

Nabuurs&VanDoorn return to Lisbon with a kinetic activation of Minor Modes of Multiple Muted Memories, where color-coded protocols unfold through movement across the city’s overlooked topographies. Interpreted by breakdancer Timo Paris, these gestures transform public space into a living atlas—part score, part spell, part site-specific choreography.

From Fugitive Margins to Methods of Resistance: Yellow posters in Lisbon echo our 2007 Basel street actions—DIY maps, performances, and refusals that shaped our ongoing politics of presence in art.

Explore the world of Fucked-Up Attitudes, where Fucked Up Objects challenge norms and provoke thought in artistic spaces.

Currently nomadic, we explore how movement, memory, and public space entangle—through mapping and storytelling in Lisbon. A blackout reminded us of our digital dependence. We return to paper, walking, marking, tracing lived experience. What we map is not place but perception. A line through Lisbon becomes a Living Atlas—forty points, two questions, many echoes. A quiet rupture becomes an invitation to grow new eyes.

Spontaneously we joined a workshop with Nkisi at the top floor of our residency at Hangar Lisbon. The workshop is part of ‘On the Wolf’s Trail’ a Research Program curated by Margarida Mendes. Nkisi merges music, performance and research in ancient musical technologies and invites participants to dance with the invisible to activate embodied forms of revolution and resistance for the unmaking and making of worlds.

Landed in Lisbon. Nabuurs&VanDoorn Displaced Legend 17 Lisbon , Archival Print Hangar—our dropzone, an art-research nerve center, opposite the gaze-point of Graça, where the city spills down to the Tejo like braised cod. Start here, summon inner ghosts, snatch outer visions—chromatic pulses, stray verses, floaty fragments of unsure futures. We descend >Northbound< twisting steep bends, spiraling staircases like thought-loops. First break point: an old tile factory, legacy-lac

Opening the 28th of March at 14H30 in exhibition space KATE at Nieuw en Meer Amsterdam, Re-coding the Comatorium suggests an active process