WORKNOT!
Sarmad
Neverland Cinema
eflux: Laboring for Home (text)
Extraction; a trans-scalar inquiry (book)
Livelihoods, Solidarities, and Others: Minimum Dwelling
Minimum Dwelling (talk)
Fictioning Comfort
Fictioning Comfort Closing
 Fictioning Comfort Pocket Books
On Solidarity
Parable of Mehr
Other Ways of Watching Together
A Discomfort Inside (convo)
FC and Other Strata of Rotterdam (convo)
Un-Making Image
2 X 1 Compression / Augmentation (book)
Footprint: The Common Apartment (text)
Chamber
The Project of my Self
Housing Contemporary Forms of Life
Farsh
Narrating the Shared Spaces
Framing the Common 
Framing the Common / مشاع
Cierre La Puerta Antes de Entrar
Absalon: Proposition D’habitation
The exhibition Tower (book)
The Inventory
Life Hack: Space
Public Terms in Transition
Spatial Potential
The Imperfect Image
HUNCH: Community Issue (book)
The Berlage Reading Group
Bike Messenger Round Roffa
BAKfiets bike messenger rounds Utrecht/R’dam
A Family House
Gentle Strategising

About / Contact
The Inventory was an installation made for the open studios at Jan van Eyck Academie (2016).

The installation is an inventory of the (domestic) objects, furnitures, and machinery that epitomize the impossibility of separating production and reproduction activities in the life of the precarious worker today, in this case Jan van Eyck artists. It is a dense arrangement of all the domestic objects that the 30 residents used in their studios to supposedly produce artworks, inevitably being majorly objects for activities of reproduction (to sleep, to eat, etc).

Ironically, at the time of the Open Studios show these objects have to be thrown out of the studios to make space for artworks. My studio housed these objects; filled up all the room densely, leaving only a narrow corridor to spectate the room for the ‘visitor’. Objects collected from the artists’ studios, personal belongings of this year’s resident artists. The arrangement is accompanied by a book made of line-drawings of all the objects put at the entrance of the room. The work argues for the extreme territorial and political role of the furniture, while also the excess of these minimum belongings; as well as their role in artists’ everyday practices of the self.



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