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Guus

@guus.null

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Researcherella 🤓🫰 living in Brussels
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Oh, hola! Aquí teniu el meu inventari de Minecraft. Moltes gràcies a la @cris_noguer i a @tatara_org per convidar-me a participar a @swabartfair Barcelona! 🫶 by @guus.null
Our posthuman bodies in hybrid worlds seek ecological clarity within a reality increasingly alienated from earth, mud, worms and bacteria. Materiality no longer guarantees the real. Inventory is an artistic research project by Guus Vandeweerd based on a virtual environment. It explores other ways of inhabiting the planet, creating new relationships with the more-than-human and recovering ancestral ways of bonding and relating. Situated ecological knowledge is translated through plants, rocks and relational objects from Flanders, Belgium. Can a virtual, pixelated cartography transfer situated knowledge and create a rhizomatic landscape capable of generating other realities through a non-colonial ecological gaze? @swabartfair @guus.null by @guus.null
Ens fa molta il·lusió formar part del programa Vortex de Swab Barcelona 2026 amb la companyia de Trastienda Machete gràcies a la visió i sensibilitat de comissaria Lena Solà Nogué Vortex del 8-11~Inventory de Guus Vandeweerd. Casa RARO~dia 9 l’exposició col·lectiva de Swab on els mons de Guus Vandeweerd i de la Maria Roy Deulofeu es fusionen. Veniu del 8 a l’11 Palau Victòria Eugènia a Montjuïc El 9 a C/ Jaume Giralt, 49 a Ciutat Vella. @swabartfair @lenasolanogue @trastiendamachete @guus.null @mariaroyde by @guus.null
Newly published article! 🐙 Co-learning: Conversational, situated, and more-than-human pedagogies at Master’s level. 🐒 For the third academic year in a row, I have the privilege of co-organising the MA seminar “S (or: exploring more-than-human entanglements in a post-digital culture)” with Guus Vandeweerd at @pxlmad_schoolofarts in Hasselt. The seminar draws on James Bridle’s Ways of Being to explore technological, ecological, cultural, and sociopolitical questions through contemporary art and design practice. 🦄 Guus and I wrote about the seminar for the latest @forum_forresearchandarts, focusing on the exchange between artistic research and education. Our contribution is part of a dossier on the art school as an ecosystem. In the editors’ words, the issue presents pedagogical and artistic practices as “rehearsals for agency”: spaces to exercise imagination, appropriate existing tools, invent new ones, and set situated conditions. 🐚 Digital technologies are often developed from human-centred perspectives, overlooking relations with more-than-human actors, such as plants and animals, as well as machines and AI. Ways of Being addresses this tension. 🦓 Each class takes one chapter as a starting point for critical and creative reflections, which students relate to their own practices and to the work of other artists and designers. Together we ask: what does it mean to consider digital media not merely as tools for human expression but as mediators within broader ecosystems? Who, or what, is intelligent, and how to learn from, and with, others? Why, and how, to become aware of, and attune to, the more-than-human in your process? And how, as an artist or designer, to navigate and make a positive difference in times of technological acceleration, political conflicts, and ecological crises? 🦕 We experiment with “a more horizontal model of knowledge-sharing, one without a fixed hierarchy, where expertise can take many forms, recognising that we are all continuously learning, and that we can do so in many ways. This calls for truly, and respectfully, listening to one another, mindful that understanding is itself plural.” 🦇 Link in bio! 🕸 by @guus.null
Graphic for a Minecraft Crafting Table 🙆‍♂️ by @guus.null
Omg people… love is coming. I can feel it. by @guus.null
“Life must be lived as play” had become “He bites snails” by @guus.null
🌱 This project, developed in collaboration with @liam.landerloos is a Minecraft mod that adds plants from Flanders, Belgium, with a focus on Limburg, into the game. The plants spawn in the world as you play, just like other in-game plants. Each one is based on a real plant from the region and connected to how people actually use it. How they grow, when you can harvest them, what you can craft or cook with them, all of that follows specific game mechanics. You don’t get everything explained upfront. You learn by using them over time. The behaviour of the plants is based on different kinds of plant knowledge: agriculture, gardening, foraging, but also older cultural and historical practices from Central Europe. These references shape how the plants are perceived and how players interact with them. Cooking and plant-based recipes are translated into actions inside the game. By working with similar actions both digitally and physically, so that those practices grow alongside each other. It works a bit like a virtual berry-picking ground (robin wall kimmerer). How can foraging and use practices exist across digital and physical contexts? How can berry-picking be translated into a game as a relational practice, not just resource gathering? by @guus.null
Designed some spreads for @kingkongmagazine issue 15 by @guus.null
☝️🤓 This year I co-taught Master Seminar S again at @pxlmad_schoolofarts together with @anneleenswillen. The seminar was a manifestation of a book club around Ways of Being by James Bridle, combined with ongoing conversations and collective reflection. We worked in a nomadic way, switching between classrooms, public spaces, exhibitions, and outdoor sites. These different environments influenced the kinds of conversations we had and how people engaged with the text. The seminar was informed by ideas around situated knowledge, sympoiesis, and nomadic subjectivity (Haraway, Braidotti), and was centered on learning from each other through discussion and sharing knowledge. I really appreciated being part of this again. Thank you to everyone who participated. 🧚✨️ by @guus.null
😌✌️ by @guus.null
🧚‍♂️✨️🐧🍉🫧🦄 Once upon a time, in a village where clocks ticked backwards and chickens crowed at midnight, lived a penguin named Albert. Albert was no ordinary penguin; he wore a top hat and had a passion for collecting clouds in a tiny glass jar. One day, while strolling upside down on the rainbow that connected his home to the moon, Albert encountered a talking watermelon. The watermelon, named Gerald, was on a quest to find the lost melody of the sun. Intrigued by such an unusual adventure, Albert decided to join Gerald, equipped with his cloud jar and a spoon he believed was magical. Their journey took them through a forest of neon trees that played jazz with their leaves, guided by a map drawn on a piece of cheese that only appeared under moonlight. They were seeking the wisdom of the Great Owl, who, rumor had it, had turned into a teapot and refused to speak in anything but riddles. After three days and two nights, or possibly the other way around, they found the teapot perched atop a hill made entirely of discarded hats. The Great Owl, now a teapot, offered them tea and whispered the secret they sought: "The melody of the sun can only be heard by those who listen with their feet." Puzzled but determined, Albert and Gerald danced their way across deserts of powdered sugar and seas of green tea, until they arrived at the sun's abode just in time for tea. There, they discovered the sun was merely a giant disco ball, spinning silent tunes that could only be felt through the soles of their feet. With the lost melody found, the duo decided to celebrate by throwing a party on the moon, inviting the backwards-clock villagers, the midnight-crowing chickens, and even the jazz-playing trees. Albert opened his jar, releasing the captured clouds, which rained confetti, while Gerald sliced himself into refreshing watermelon snacks for everyone. As the party carried on, the Great Owl teapot flew in, finally speaking in clear sentences, declaring, "In a world where nonsense reigns, sense finds itself out of place." And they all lived nonsensically ever after, in a tale where time was a suggestion and reality was but a guest. by @guus.null

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