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Martin La Roche

@martinlarochec

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a museum inside a hat @museelegitime
a library with a @goodneighbourbooks criteria

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🪜 I remember nine years ago, on a day like today, in Belgrade, wearing this bowler hat for the first time, filled with 19 artworks I had received by different friends for a museum inside a hat.

🪜 I remember I bought it in Maastricht, in a hat shop that is now gone. I chose it because it was the one that fitted me best. I later realized that, even though it was a classic English bowler hat, it had actually been made in Spain by hat makers called Roche & Fernández.

🪜I remember the owner, an older woman with a deep voice, told me something that sounded very strange to me that day: “Listen, young man, with that hat you will receive a lot of attention.”

🪜 I remember I didn’t anticipate everything that was going to change for me because of a hat, I was never a “hat person.”

𝘔𝘶𝘴é𝘦 𝘓é𝘨𝘪𝘵𝘪𝘮𝘦: 𝘢 𝘮𝘶𝘴𝘦𝘶𝘮 𝘪𝘯𝘴𝘪𝘥𝘦 𝘢 𝘩𝘢𝘵.
𝘐𝘵 𝘸𝘢𝘴 𝘪𝘯𝘪𝘵𝘪𝘢𝘵𝘦𝘥 𝘣𝘺 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵 𝘔𝘢𝘳𝘵í𝘯 𝘓𝘢 𝘙𝘰𝘤𝘩𝘦 𝘪𝘯 2017.
𝘌𝘷𝘦𝘳𝘺 𝘢𝘳𝘵𝘪𝘴𝘵 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 𝘪𝘴 𝘪𝘯𝘷𝘪𝘵𝘦𝘥 𝘵𝘰 𝘤𝘰𝘯𝘵𝘳𝘪𝘣𝘶𝘵𝘦 𝘢 𝘱𝘪𝘦𝘤𝘦 𝘴𝘮𝘢𝘭𝘭 𝘰𝘳 𝘪𝘮𝘮𝘢𝘵𝘦𝘳𝘪𝘢𝘭 𝘦𝘯𝘰𝘶𝘨𝘩 𝘵𝘩𝘢𝘵 𝘪𝘵 𝘤𝘢𝘯 𝘧𝘪𝘵 𝘪𝘯𝘴𝘪𝘥𝘦 𝘰𝘯𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘪𝘯𝘴𝘵𝘪𝘵𝘶𝘵𝘪𝘰𝘯’𝘴 𝘩𝘢𝘵𝘴 𝘸𝘩𝘪𝘭𝘦 𝘪𝘵 𝘪𝘴 𝘸𝘰𝘳𝘯 𝘣𝘺 𝘵𝘩𝘦 𝘢𝘳𝘵𝘪𝘴𝘵 𝘸𝘩𝘰 𝘤𝘢𝘳𝘳𝘪𝘦𝘴 𝘵𝘩𝘦 𝘮𝘶𝘴𝘦𝘶𝘮. 𝘐𝘯 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘮𝘰𝘮𝘦𝘯𝘵𝘴, 𝘩𝘦 𝘥𝘰𝘦𝘴 𝘢 𝘴𝘦𝘭𝘦𝘤𝘵𝘪𝘰𝘯 𝘰𝘧 𝘱𝘪𝘦𝘤𝘦𝘴, 𝘵𝘶𝘤𝘬𝘴 𝘵𝘩𝘦𝘮 𝘪𝘯𝘴𝘪𝘥𝘦 𝘵𝘩𝘦 𝘩𝘢𝘵, 𝘢𝘯𝘥 𝘨𝘰𝘦𝘴 𝘧𝘰𝘳 𝘢 𝘸𝘢𝘭𝘬 𝘸𝘩𝘪𝘭𝘦 𝘸𝘦𝘢𝘳𝘪𝘯𝘨 𝘵𝘩𝘦 𝘮𝘶𝘴𝘦𝘶𝘮. 𝘐𝘧 𝘵𝘩𝘦 𝘮𝘰𝘮𝘦𝘯𝘵 𝘢𝘳𝘪𝘴𝘦𝘴, 𝘩𝘦 𝘵𝘢𝘬𝘦𝘴 𝘵𝘩𝘦 𝘩𝘢𝘵 𝘰𝘧𝘧 𝘢𝘯𝘥 𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘴 𝘵𝘩𝘦 𝘱𝘪𝘦𝘤𝘦𝘴 𝘪𝘯 𝘵𝘩𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯, 𝘵𝘦𝘭𝘭𝘪𝘯𝘨 𝘵𝘩𝘦𝘪𝘳 𝘴𝘵𝘰𝘳𝘪𝘦𝘴 𝘢𝘯𝘥 𝘵𝘩𝘰𝘴𝘦 𝘰𝘧 𝘵𝘩𝘦 𝘢𝘶𝘵𝘩𝘰𝘳𝘴, 𝘰𝘯𝘦 𝘣𝘺 𝘰𝘯𝘦. 𝘈𝘵 𝘵𝘩𝘦 𝘮𝘰𝘮𝘦𝘯𝘵, 𝘵𝘩𝘦 𝘤𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯 𝘪𝘯𝘤𝘭𝘶𝘥𝘦𝘴 212 𝘸𝘰𝘳𝘬𝘴 𝘣𝘺 𝘥𝘪𝘧𝘧𝘦𝘳𝘦𝘯𝘵 𝘢𝘳𝘵𝘪𝘴𝘵𝘴, 𝘱𝘳𝘦𝘴𝘦𝘯𝘵𝘦𝘥 𝘢𝘤𝘳𝘰𝘴𝘴 23 𝘮𝘶𝘴𝘦𝘶𝘮 𝘣𝘶𝘪𝘭𝘥𝘪𝘯𝘨𝘴 (𝘩𝘢𝘵𝘴). taken in U10 by @martinlarochec

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2 months ago

𝙈𝙚𝙢𝙤𝙧𝙮, 𝙎𝙥𝙖𝙘𝙚, 𝙖𝙣𝙙 𝙎𝙩𝙤𝙧𝙮𝙩𝙚𝙡𝙡𝙞𝙣𝙜
tomorrow Wednesday, June 18, 2025, at 7 p.m. at the
@kunstverein.wiesbaden

Together with curator and author Mela Dávila, artist Martín La Roche, and moderated by the kunstverein director Lotte Dinse, we will discuss questions related to memory and space in a guided conversation through the exhibition 𝙈𝙚𝙢𝙤𝙧𝙮 𝙋𝙖𝙡𝙖𝙘𝙚*.

We will explore the idea of the 'memory palace’, an ancient technique for preserving and retrieving memories, by moving through the nine rooms of the exhibition:

1. Foyer
2. Playroom
3. Library
4. Video Room
5. Museum Hall
6. Color Room
7. Archive
8. Winter Garden
9. Inventory Room

If you’re near Wiesbaden, we would really appreciate the opportunity to experience it together.

*The show has been extended and will be on view through June 29, 2025. taken in Nassauischer Kunstverein Wiesbaden by @martinlarochec

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a year ago

Opening February 19, 2025, at PCG’s Reilly Gallery, “Sandplay” brings together artists Mirthe Berentsen and Martín La Roche in a participatory exploration of storytelling, memory, and connection, posing the question: How do personal objects shape outstories and connect us to others? The artists’ collaboration stems from their personal experiences with the Beautiful Distress @beautiful.distress artist-in-residence program at Kings County Hospital in East Flatbush, Brooklyn.

At the heart of Sandplay is a hands-on installation inspired by Jungian psychoanalyst Dora Kalff’s therapeutic methods. A sandbox, surrounded by an eclectic collection of objects-miniatures, toys, natural materials, and everyday trinkets—becomes a space where visitors create their own narratives. By embracing storytelling as a communal act, this exhibition seeks to foster meaningful connections and cultivate curiosity and care.

The exhibition also features individual works. Berentsen’s “The Right to Be Forgotten,” a multi-media exploration of memory and loss, embodies both the elusive and tactile nature of memory-keeping. La Roche’s “Gamma Colors,” a reimagined color library created with participants at Kings County Hospital Behavioral Health Center, invites reflection on how we perceive and describe the world. These works deepen Sandplay’s focus on the transformative power of storytelling, personal narratives, and shared artistic processes.

Visit the link in bio for details 🔗

Organized by Carol Stakenas, PCG Director & Chief Curator.
Generous support for Sandplay has been provided by Mondriaan Fund @mondriaanfonds.
Find the image captions and credits posted in comments.

#SandplayPCG #MirtheBerentsen #MartinLaRoche #Storytelling|nArt #ParticipatoryArt #ProvidenceCollegeGalleries #CommunityThroughArt #Sandplay taken in Providence College Galleries by @martinlarochec

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2 years ago

NYC Friends! Stop by Good Neighbor’s table (T9) at Printed Matter’s NYABF to pick up a copy of this tiny zine ($2) that contains instructions for creating your own “Sandplay.” “Sandplay” is a participatory artwork by Martín La Roche and Mirthe Berentsen, inspired by Jungian sandplay therapy. The sandbox is enlarged into a collective arena, where memories and objects are shared and negotiated through play. The zine, designed by @omnivoreland (with Martín), was created alongside the implementation of “Sandplay” at a Wellness Center for senior citizens in Washington DC. It was co-published by Thick Press and Good Neighbor as part of Good Neighbor’s initiative “one publisher leads to another,” which invites coincidental encounters and collaborations between neighbouring publishers.

Good Neighbour’s presentation at NYAB is made possible by the support of @mondriaanfonds

@printedmatter_artbookfairs #NYABF2026 at PS1
Thursday 7:00-10:00
Friday 12:00-7:00
Saturday 10:00-7:00
Sunday 12:00-6:00

#3 “Sandplay” for exhibition “I remember,”Beautiful Distress, Amsterdam, 2021-2022
#4 “Sandplay” for exhibition “Memory Palace,”Nassauischer Kunstverein, Wiesbaden, photo by Johannes Schwartz, 2025.
#5-6 “Sandplay” at the Bernice Fonteneau Senior Wellness Center in Washington DC, September 21, 2026 by @martinlarochec

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23 days ago

Tomorrow at 6:30 PM at the the @centerforbookarts NY
🐒🐒🐒

‘after futura 26: a museum inside a hat

Join us on Friday, July 31 at 6:30 pm for Martin La Roche’s presentation after futura 26: a museum inside a hat.

To mark the closing of after futura: 26 broadsides printed by hansjörg mayer, Martín La Roche presents a live activation of his newly commissioned broadside, created in response to futura 26 by Robert Filliou, the final issue of Hansjörg Mayer’s historic series. Famously transformed by Filliou from a printed sheet into a paper hat, futura 26 shifted the publication from the wall into the street.

Nearly sixty years later, La Roche revisits this gesture with a new fold, inspired by Toshiko Kobayashi’s Expressive Origami Therapy. The performance also includes a presentation of selected works from Musée Légitime, the museum inside a hat that La Roche founded in 2017 after encountering Filliou’s story in a library in Cali, Colombia.

Martín La Roche’s participation in this event is supported by the Mondriaan Fonds.’

28 West 27th St, 3rd Fl New York, NY 10001 212-481-0295

@eorigamit
@calipsopress
@camilo.otter
@eva_parr
@mondriaanfonds by @martinlarochec

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3 months ago

𝙖𝙗𝙚𝙘𝙚𝙙𝙖𝙧𝙮; ...𝙖 𝙘𝙡𝙖𝙨𝙨𝙧𝙤𝙤𝙢 𝙨𝙝𝙤𝙬
🔖📕📓🪟🏷️🗒️🗄️🗃️
@darling_green_studio recently organized an exhibition taking place in a public high school art classroom in Brooklyn. 𝙖𝙗𝙚𝙘𝙚𝙙𝙖𝙧𝙮; ...𝙖 𝙘𝙡𝙖𝙨𝙨𝙧𝙤𝙤𝙢 𝙨𝙝𝙤𝙬 includes 31 artists, each of whom chose a letter (or punctuation mark) and responded to it with an artwork, collectively creating an abecedary for the classroom.

I responded to the invitation with the letter 𝘿, for ‘display’ and sent six works from the series 𝘐𝘮𝘢𝘨𝘦𝘴 𝘧𝘳𝘰𝘮 𝘵𝘩𝘦 𝘚𝘱𝘦𝘤𝘪𝘢𝘭 𝘊𝘰𝘭𝘭𝘦𝘤𝘵𝘪𝘰𝘯𝘴 𝘰𝘧 𝘵𝘩𝘦 𝘔𝘶𝘴é𝘦 𝘓é𝘨𝘪𝘵𝘪𝘮𝘦 (𝘢 𝘮𝘶𝘴𝘦𝘶𝘮 𝘪𝘯𝘴𝘪𝘥𝘦 𝘢 𝘩𝘢𝘵), 2025–2026.
These are printed images on shikishi boards, produced with a Canon Arizona machine by @petervanede and graphic design by @dongyoungleee , reproducing works from the collection of the Musée Légitime.

From left to right works by: Anna Banana, Amílcar Guzmán, Arefeh Riahi, Martín La Roche, Dongyoung Lee, and Rod Summers.
 While the exhibition is not open for public viewing, you can view images of the show and a checklist on the link in BIO

P.S. Darling Green’s project was inspired by On Kawara’s 𝙋𝙪𝙧𝙚 𝘾𝙤𝙣𝙨𝙘𝙞𝙤𝙪𝙨𝙣𝙚𝙨𝙨, which brought his 𝘿𝙖𝙩𝙚 𝙋𝙖𝙞𝙣𝙩𝙞𝙣𝙜𝙨 into kindergarten classrooms around the world.
Last image: On Kawara
Installation view: 𝙋𝙪𝙧𝙚 𝘾𝙤𝙣𝙨𝙘𝙞𝙤𝙪𝙨𝙣𝙚𝙨𝙨 (1998– ), Brooklyn, New York, 1997
© On Kawara. Photo: Courtesy David Zwirner, New York/London, Photographer: Brad Harris taken in Brooklyn, New York by @martinlarochec

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5 months ago

Appendix to TALKER #16 with @martinlarochec

This edition was printed at @printroom_rtm Rotterdam by @youblinktwice on Friday, 27 March 2026, to celebrate a decade of TALKER and the launch of TALKER #16 with Martín La Roche.

Each uniquely hand-stamped envelope contains three two-colour riso prints with texts developed from the interview in TALKER #16. These overlay images of objects from the collection of the Musée Légitime, a museum in a hat, carried on the day of printing by Martín.

£20 apiece and link in bio by @martinlarochec

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5 months ago

Today from 20:30 at @lydgalleriet
💡🔖💡🔖💡🔖  Following our interest in books as performative tools, for @bergenartbookfair , Good Neighbour invited To See the Inability to See (Maartje Fliervoet, Arefeh Riahi, Martin La Roche) to read from 𝙈𝙮 𝙂𝙖𝙧𝙙𝙚𝙣’𝙨 𝘽𝙤𝙪𝙣𝙙𝙖𝙧𝙞𝙚𝙨 𝘼𝙧𝙚 𝙩𝙝𝙚 𝙃𝙤𝙧𝙞𝙯𝙤𝙣: 𝘼 𝙋𝙤𝙧𝙤𝙪𝙨 𝙍𝙚𝙖𝙙𝙚𝙧 𝙩𝙤 𝙐𝙣𝙜𝙪𝙖𝙧𝙙 𝙩𝙝𝙚 𝙂𝙖𝙧𝙙𝙚𝙣.

To See the Inability to See’s collective writing rises from an effort to open up spaces, question borders and establish new connections between objects and stories. In My Garden’s Boundaries Are the Horizon the artists look into power structures related to conventional forms of archiving and collecting. They see this archiving as a state of mind that we all experience on a daily basis: clinging to ‘the known’ and resisting change, ‘the unknown’, or the uncategorisable. For this publication the collective departed from (fictional) stories surrounding certain traditional Iranian buildings, such as the Persian garden called Fin Garden in Kashan, and in particular an octagonal vestibule called the hashti. The women-led uprising in Iran in 2022, triggered secret correspondences between the members of the collective, that turned out to have a big influence on the content of the book.

This publication has sculptural and performative qualities, stressing the relationship between bodies and books; provoking collectivity in writing, reading and thinking. It has been developed in close conversation with its designer, @elisabeth_klement , who joined their collective process by designing the book parallel to the development of its content.
The publication was printed by @petervanede
 This reading and Good Neighbour’s participation at the Bergen Art Book fair are made possible with support from the @mondriaanfonds

Photos 1-4 and 7-8 courtesy of @____page_not_found____

Photo 5-6 courtesy of @de_appel

📷 1-4 by @feb.viz
📷 6 by @nikolalamburov
📷 7-8 by @ilianamichali_ taken in Lydgalleriet by @martinlarochec

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6 months ago

As we prepare for the @bergenartbookfair, we’re sharing information about our re-edition of 𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙄𝙄𝙄:

Martín la Roche, 𝘾𝙝𝙖𝙥𝙩𝙚𝙧 𝙄𝙄𝙄, 2026
Leporello or Concertina book.

Chapter III is a publication of selected images from the artist’s personal archive, gathered over three years while studying other collections. It draws inspiration from Albert Kahn’s Archives of the Planet (Paris, 1909–1929) and Lina Bo Bardi’s Civilização do Nordeste (Salvador, 1963), exploring disappearing landscapes and popular culture objects. Using photos, diagrams, drawings, and scans, the artist assembles his own collection, connecting materials through visual associations without text.

Printed on a Riso A2 duplicator at the Charles Nypels Lab, Van Eyck, Maastricht.
Edition: 21 numbered and signed copies.
Size: Folded 20 x 38,5 x 4,5 cm. Completely unfolded 600 x 38,5 cm.

New editon box made by @boox.space
New edition graphic design @dongyoungleee
📸 by Johannes Schwartz
🔖🔖🔖 taken in Bergen, Norway by @martinlarochec

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6 months ago

A big thank you all who joined us for 10 years of TALKER!
With wonderful performances by Martín La Roche and Giles Bailey.
A small part of Martín’s Musée Légitime: a museum inside a hat is on display at PrintRoom - as well as the complete series of Talker - until 2 May.
@martinlarochec @worldissudden @museelegitime
#talkerzine #muséelégitime

Photos by @foto_jakecaleb by @martinlarochec

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6 months ago

Otra versión de los amuletos en un rincón de la casa
Cuestionario visual #25, @naranjapublicaciones
Segunda pregunta: Un objeto atesorado en tu espacio doméstico

🍊🍊🍊

📷 @amilcarguzmanv by @martinlarochec

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6 months ago

Some photos of the 𝙇𝙚𝙜𝙞𝙩𝙞𝙢𝙖𝙩𝙚 𝙋𝙖𝙫𝙞𝙡𝙞𝙤𝙣 (𝘽𝙓𝙇) presented for @art_rotterdam with @josilda_da_conceicao_gallery at the Sculpture section.

Inside the pavilion, I’m showing an older piece.

It’s been a long time since I presented what is now called 𝙐𝙣𝙩𝙞𝙩𝙡𝙚𝙙 (𝙍𝙚𝙫𝙞𝙨𝙚𝙙 𝘼𝙧𝙘𝙝𝙞𝙫𝙚 𝘾𝙤𝙧𝙣𝙪𝙘𝙤𝙥𝙞𝙖),the erasers collection I have assembled from spontaneous gifts from good friends. I remember, ten years ago, when it was shown at another art fair in São Paulo. A journalist wrote about it as a work that echoed stories of erasure in art history, such as 𝘌𝘳𝘢𝘴𝘦𝘥 𝘥𝘦 𝘒𝘰𝘰𝘯𝘪𝘯𝘨 𝘋𝘳𝘢𝘸𝘪𝘯𝘨 by Robert Rauschenberg.

If I’m honest, even though I love that piece and was excited by the reference, and the relationship between Robert Rauschenberg and Willem de Kooning intrigued me, especially as it relates to erasure and the desire to revision, I realize now that I hadn’t fully thought it through. It began as an obsession with collections and with the things we keep. But lately I’ve returned to it and started to notice a recurring design pattern in some of the erasers: the Latin phrase “Errare humanum est” written in different languages.

Even if that saying sounds commonplace, I’ve come to see it differently, wider, as an interesting aspect of these erasers, to be able to wander, their role as tools tied to mistakes, errors, and the frustration that comes with these actions.

I also notice how many memories they bring back.
I remember.

𝙇𝙚𝙜𝙞𝙩𝙞𝙢𝙖𝙩𝙚 𝙋𝙖𝙫𝙞𝙡𝙞𝙤𝙣 (𝘽𝙓𝙇)
Installation. Wooden frames, paper, sliding door, table and eraser collection
2023-2026
The partitions of this pavilion are made from recycled paper drawn from the artist’s ten year archive of exhibition materials, including brochures, sheets, and catalogues. Each time the installation is shown, a different object appears inside on a special table. For Art Rotterdam, presents the eraser collection 𝙐𝙣𝙩𝙞𝙩𝙡𝙚𝙙 (𝙍𝙚𝙫𝙞𝙨𝙚𝙙 𝘼𝙧𝙘𝙝𝙞𝙫𝙚 𝘾𝙤𝙧𝙣𝙪𝙘𝙤𝙥𝙞𝙖)
206 erasers collected from different sources
2015–2026

Josilda da Conceição, Amsterdam
Solo/Duo Section booth A07 & Sculpture Park

photos by @jonathandewaart

✏️✏️✏️ taken in Rotterdam,Netherland by @martinlarochec

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7 months ago