• Lending White Walls

    Lending White Walls

    Generously, the Netherlands lent the Rietveld Pavilion to Estonia for the Venice Biennale. But we could not prevent the work of one of our guests being censored. What does real engagement actually look like?

  • Nuummi


    This book was made by Nuummi. She is an artist who makes drawings and writes poems. While Nuummi tries to live off of her art, her body is working hard to keep her healthy. And things can get pretty rough. Bacteria are constantly bugging each other and T-cells launch the attack. Both in Nuummi’s inner and outer bubble, the battle for survival is a turbulent ride.

  • The Perpetual Citizen

    The Perpetual Citizen

    Saturday, January 23 2021, The Perpetual Citizen was distributed at the Justus van Effen complex in Rotterdam. This inaugural issue of The Perpetual Citizen is committed to reporting from the frontline on the events that have transpired at A Tale of A Tub over the past months, ones which might spell out what it’s all about a little bit more clearly and which might then contribute to shaping public opinion within the Justus van Effen complex regarding the gallery at the centre of its grounds.

  • Towards a Boneless Ethic: Exhibiting Institutions in Ecologies of Decease

    Niekolaas J. Lekkerkerk’s essay on the primary function of art as a means of finding one’s inscription into contemporaneity, seeks to connect geopolitical turmoil, the Corona pandemic, ecological breakdown, the Black Lives Matter movement, uprising against dictatorships and the enduring migrant crises to the activistic inadequacy of the art workers brigade.

  • The Practice of

    The Practice of

    The Practice of assembles multiple first-person experiences taken from the Dutch art field. Based on true stories, these experiences expose various dilemmas and dogmas that exist in the production and presentation of art. Shaped around a collective first person ‘I’, this publication aims to offer insight in the interests at play in the predominantly hierarchical closed-circuit of the Dutch art field, and extends an invitation to third parties to become involved. Through the figure of the ‘I’, the question is raised of whether artists and art institutions have presumptuously assumed their position, and explores opportunities to vacate these positions in favour of new attitudes and models. The Practice of voices its stake in matters of fair pay and remuneration structures, exclusion and inclusion, homogeneity and heterogeneity, authorship and individuality versus the possibilities of democratized and collective practices.