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FORM

@_form_at

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Lobby Jan Domicz @_form_at Hotel without a lobby. A flat turned into a hotel room. „Lobby” is an exhibition composed out of readymades. Some are readymades in the classic sense. Found objects designated as art. Used lockboxes for keys had been stolen digitally or using a battery powered grinder. Others are spatial. As the gallery. Its interior is occasionally altered into a hotel lobby. Something lockboxes need. Common space used for the profit of one. I like readymades because they bring up the question of function. What is it for. If I fill my flat with water is it still an apartment or rather a fishing pond. Sorry downstairs neighbour, the ac unit is rather loud.
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cross cutting edit between: - a gallery space with airbnb lockboxes - the same space rebuilt into a hotel lobby on view at @_form_at made with generous support of @francesco_de_prezzo and @deconstructie
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„Lobby” now at @_form_at
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Design for Paul Emery, 'Ontology of Synthesis A', published by Form (NL). Ontology of Synthesis A and B constitute a two-part investigation into the conditions of form, authorship, and legibility within processes of constructed image and text. Across sculptural relief, pictorial composition and densely stratified writing, the works operate at the threshold of intelligibility, producing configurations that appear systematic yet resist stable interpretation. Rather than offering coherence, the books foreground a condition of epistemic uncertainty, in which meaning remains provisional, deferred and continually reconstituted. £10 + p+p link in bio @paulll526 @_form_at
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My new book – Ontology of Synthesis B, published by @_form_at is now available. 36 pp.
210 × 277 mm, HP-Indigo digital print, saddle stitched £10 + P&P Link in bio
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Untitled Cruciforms, 2024 - 2026 plasma-cut plate brass, silver-brazed, (two parts) 39 × 49 × 2 cm (15.4 × 19.3 × 0.8 in) each - James William Murray presents new works at Form. The exhibition extends the artist’s longstanding concerns with tactility, corporeality, materiality, fragmentation, image-object relations, and tensions between subjectivity and objectivity. “A cache of photographs in a munitions box brought home from Syria. Light caressing silver gelatin. The rose of hand-painted cheeks, an azure sweater, the impossible green of trees. Slotted screws and Irish linen. A woman I never knew but have always loved. The ceaseless, indifferent flow of time. Our Lady of Walsingham holding the feet of her dead son. The silence that must suffice after witnessing unspeakable violence. Breastplates and bullet casings. The Fifth Sunday of Easter 1945. Cotton scrim dyed in iron oxide and vinegar. The skin and bones of painting. Image-as-body and body-as-image. Orientations towards objects and others. The skin-like patina of brass oxidising from golden yellow through brown to green. Gaps through which a finger could pass and gaps through which a finger could not pass. The tear in the screen of language and signs that veils raw unmediated materiality. Indexes, icons, and symbols. The work of art as a carrier of tactility and corporeality and intimacy and desire and loss.” #jameswilliammurray #emergingartist #brasssculpture #conceptualartpractice @deerhuntermusic
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“James William Murray: 1988 - 2026”, James William Murray, FORM, Wageningen (NL), 30 May – 30 June, 2026. James William Murray presents new works at Form. The exhibition extends the artist’s longstanding concerns with tactility, corporeality, materiality, fragmentation, image-object relations, and tensions between subjectivity and objectivity. A cache of photographs in a munitions box brought home from Syria. Light caressing silver gelatin. (...) @_form_at @jameswilliammurray #jameswilliammurray19882026 #jameswilliammurray #form
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네덜란드 바헤닝언 출신의 에리스 하위헌스(@deconstructie)는 ‘Deconstructie’라는 이름 아래, 노란 작업조끼를 입고 폐공장의 울타리를 넘어 벽 위에 정밀한 기하학을 남기는 — 허가 없는 회화를 실천해 온 작가다. 조경 건축가였던 아버지의 모눈종이 아카이브에서부터 폐공장 바닥의 천공 금속판까지, 한때 기능했으나 쓸모를 잃은 그리드 구조물들을 수집하고 잘라내고 비틀며 질서 안에서 질서를 깨뜨리는 지점을 찾는다. 그는 자신의 머릿속이 꽤 혼란스러운 곳이라 말하며, 그리드의 질서가 그 혼돈에 평온을 준다고 한다. 그리고 그 평온을 다시 부수는 것이 곧 그의 작업이다. _ Erris Huigens(@deconstructie) based in Wageningen, the Netherlands, works under the name Deconstructie. Dressed in a yellow work vest, he slips into derelict factories to leave precise geometric forms on their walls — an unauthorized act of painting. From his father’s archive of transparent grid paper to perforated metal plates salvaged from factory floors, he collects grid structures that once served a function but have since lost their purpose, cutting, twisting, and reconnecting them to find the point where order breaks within order. He describes his mind as a rather chaotic place, and says the grid brings him peace. His work, then, is the act of breaking that peace again. Image Courtesy of @deconstructie Editor @haleenleestudio #핸들매거진 #handlmag #errishuigens
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ECCHIGHLIGHTS #272 • 1. Alexandra Karakashian at Sabrina Amrani Gallery @alexandra.karakashian @sabrinaamrani 2. Brisa Noronha at Société Interludio @brisanoronha @societeinterludio 3. Horst Linn at Hilde Vandaele Gallery @hildevandaelegallery 4. Jennifer J Lee at The Sunday Painter @jenny_j_lee @thesundaypainter 5. Indrikis Gelzis at Tatjana Pieters @indrikisgelzis @tatjanapietersgallery 6. Oscar Lourens at FORM @oscarlourens @_form_at 7. Gabriel Sierra at Franco Noero @galleriafranconoero 8. Bat-Ami Rivlin at Management @amirivlin @management.nyc 9. Suki Seokyeong Kang at Tina Kim Gallery @sukiskang @tinakimgallery 10. Brice Guilbert at Gratin @briceguilbert @gratinnyc • #ecchighlights #ecc #eccontemporary
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@oscarlourens Reframe 06.03.26-25.03.26 @form_at Last night, while talking with friends over a glass of wine, an intriguing discussion emerged about how we perceive the spaces we inhabit every day. Some argued that a room is merely a functional container; others suggested that every place retains invisible traces of what occurs within it, gestures, memories, habits. It felt unusual to reflect on how, often without realizing it, we assign emotional meaning to walls, objects, corners of the house, even to the placement of things. On reflection, we believe that space is never neutral, because it is always interpreted through our own gaze. Even a simple arrangement of furniture can alter the way we move, encounter one another, and even the way we think. Perhaps the true experience of space arises precisely in the relationship between what is measurable, dimensions, distances, proportions, and what is imagined or felt. Our everyday environment, then, is not merely a backdrop but an active presence that shapes our perception and our relationships. Read more on our website. Link in bio. #form #oscarlourens #reframe #objects #rearranging
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"summer goes west 09" Artists: Siggi Hofer, Yixuan Hu, Erris Huigens, Raphael Pohl, Hans Schabus, Lisa Sifkovits, Fabio Zolly @siggi.hofer @a.moro_yixuan @deconstructie @raphael_pohl_daenke @hansschabus @sif_ko @zollyfabio Curated by: Nora Brown 📍FORM, FORM Wageningen, Netherlands @_form_at 22.01-21.02.2026 Read the complete text on lowgroundpressure.blog web platform (🔗 in stories). 📸 courtesy the artist and the gallery; #contemporaryart #artisttoday #lowgroundpressure #arttoday #artist
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Prompt = + - > x / * Poetry I might be wrong / Print Protocol 2024 project with @_form_at " The formal characteristics of the prompts, whether active verbs, contexts, or characters, act as constructive modules of the work. The dichotomy of the output — text perceived by humans and text perceived by machines — endows the machine with an autonomous subjectivity, equal to that of sapiens."
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