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@timodemollin

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Timo Demollin | Structural Tension

Timo Demollin often works with things that have already been put to work, recasting the social relations they carry.

For 20368-20369-20370-20371-23222, however, the material enters the work before ever having served its intended purpose. Demollin acquired an unused 1995 stock of silver-plated wire links made for repairing broken copper wires in telephone cables. A box of links is spilled out onto the exhibition floor, forming a loose field of shimmering metal. Its boundaries remain unfixed: as visitors move through the space and step onto the work, the wire links gradually shift, scatter and gather.

The work’s title, itself a scatter of numbers, strings together the file numbers of successive parliamentary bills through which the Dutch state postal and telecommunications service was reorganised and privatised during the 1980s and 90s. In 1995, the Dutch state lost its position as majority shareholder, further loosening the company’s ties to direct state control.

Within Mounting Tension, Demollin’s work brings material and structural forms of tension together. Social and economic transformations become embedded in physical material, while the sculpture itself remains subject to external forces, shifting as people move through and encounter it.

Mounting Tension
4 September – 11 October 2026
Ontsteking, Ghent

@timodemollin
20368-20369-20370-20371-23222, 2021
Emptied box of silver-plated cable wire links from 1995 stock
Dimensions variable and adjustable by the public

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As workers gathered on Museumplein for a @fnv_vakbond demo marking International Workers’ Day, a plaque was presented to @stedelijkmuseum in recognition of the labour of all individuals and communities who have contributed to its construction, financing and ongoing operation.
While existing plaques inside the museum commemorate its founders and celebrate today’s wealthy benefactors, the labour on which their wealth is built remains invisible. This absence has its origins in East Javanese plantation workers, whose labour was extracted through coercive plantation systems in the former Dutch East Indies (present-day Indonesia). C.P. van Eeghen, whose estate was the principal source of funding for the construction of the Stedelijk, profited directly from the Dutch colonial project—an entanglement addressed in recent years by @catpc_lusanga and @renzomartens. The wealth of trading house Van Eeghen & Co., extracted from the colony, was channelled through philanthropy into Amsterdam’s cultural infrastructure.
This nineteenth-century history is acknowledged, but far from exhausted—and by no means an isolated case. Driven by the outsourcing of production and a growing middle class in the Global North, the exploitative relationship between capital and labour has been pushed out of view for many: out of daily life, out of thought, and out of art. Extending from the absence of plantation workers and their descendants is the absence of many others: the Amsterdam builders and craftspeople who constructed the museum; dockworkers, factory workers, domestic workers, and the shipbuilders of the NDSM in Amsterdam North; guest workers from Turkey and Morocco in the 1960s and 1970s; migrant and seasonal workers from Central and Eastern European member states of the European Union since 2004, and many more. The Stedelijk belongs to them as much as to anyone. All these workers and their communities contributed directly and indirectly to the economic prosperity that enables both public funding bodies and private benefactors to support art.
This plaque marks a collective step towards redressing the role museums have played historically in obscuring the exploitation of labour by capital.

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ⓙⓔⓢⓣⓔⓡ warmly welcomes its new resident Timo Demollin!

Timo Demollin considers production as a site of economic, social, and historical defiance. Their context-driven installations, sculptures, and publications often draw from structural contradictions in class society, tracing how authority over resources and public goods circulates through materials, objects, spaces, and the abstractions they generate. Where such flows meet contact or resistance, Demollin sets up collaborations in local contexts, suggesting how co-producers and the public might participate in or reorient them. These inquiries extend to institutions, infrastructures, and other centres of power that are nominally public yet often privately administered, prompting questions about governance, funding, capture, and control.

NL

Timo Demollin beschouwt productie als een terrein van economische, sociale en historische weerspannigheid. Hun door context gedreven installaties, sculpturen en publicaties putten uit structurele tegenstellingen in de klassenmaatschappij, en traceren hoe macht en zeggenschap over middelen en sociale voorzieningen zich bewegen door materialen, objecten, ruimtes en de abstracties die daaruit voortkomen. Waar deze stromen op tegenkrachten botsen zet Demollin lokale samenwerkingen op om te verkennen hoe coproducenten en het publiek deelgenoot kunnen zijn in het ombuigen van zulke stromen. Deze werkwijzen strekken zich uit tot instituties, infrastructuren en andere machtscentra die ondanks hun publieke status vaak privaat worden beheerd, wat vragen oproept over bestuurs- en financieringsmodellen, invloed en controle.

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Wat is kunst als niemand het ziet (voelt, hoort, ruikt, proeft)? De kunstkritiek verbindt met het publiek, voorbij het doelgroepdenken van de marketing. Maar de kritiek is in crisis. Ze valt steeds meer buiten ons bestel… Structurele subsidies zijn verdwenen en niemand weet waar de Prijs voor de Jonge Kunstkritiek is gebleven. Mr Motley @mistermotleymagazine dreigt het laatste slachtoffer te worden en naar aanleiding daarvan spreekt curator en criticus Laurens Otto @laurensotto met 10 tijdschriften en online magazines: wat gaat er mis, en wat is er nodig om de situatie te verbeteren?

Lees het artikel via de link in bio

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𝐕𝐫𝐚𝐚𝐠𝐠𝐞𝐬𝐩𝐫𝐞𝐤 𝐦𝐞𝐭 𝐓𝐢𝐦𝐨 𝐃𝐞𝐦𝐨𝐥𝐥𝐢𝐧 𝐢𝐧 𝐀𝐫𝐭𝐁𝐚𝐬𝐞!

Als afsluiting van de tentoonstelling 𝑇𝑖𝑚𝑜 𝐷𝑒𝑚𝑜𝑙𝑙𝑖𝑛 - 𝑆𝑡𝑟𝑜𝑚𝑖𝑛𝑔𝑒𝑛 organiseert ArtBase Terneuzen op zaterdag 17 mei (15:00 – 16:00 uur) een gesprek met kunstenaar Timo Demollin, filmmaker Digna Sinke en curator Adriënne van der Werf van broedplaats Nesse. Iedereen is van harte welkom vanaf 14:00 uur om vooraf de tentoonstelling te bekijken in de lobby van het Stadhuis Terneuzen. Na afloop van het vraaggesprek heffen we samen het glas en praten we na tot ongeveer 17:00 uur.

Het gesprek richt zich op de betekenis van licht in de kunst, en de invloed van het karakteristieke Zeeuwse licht op kunstenaars — vroeger en nu. Daarnaast is er aandacht voor de gevolgen van transitie, zowel maatschappelijk, economisch en ecologisch als cultureel. Wat is, of kan zijn, de rol van kunst en kunstenaars in deze veranderingsprocessen? Het gesprek staat onder leiding van Marie Jeanne de Rooij.

๏ Locatie: ArtBase Terneuzen,
Stadhuisplein 1, 4531 GZ Terneuzen
 Inloop: vanaf 14:00 uur Vraaggesprek: 15:00 – 16:00 uur

》Aanmelden kan via artbase@terneuzen.nl

Foto’s: Quinten Buijsse / Timo Demollin @timodemollin

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🎨Tentoonstelling: Timo Demollin - Stromingen

📍 Locatie: Stadhuis Terneuzen
📅 Wanneer: 25 april t/m 17 mei 2025
🕒 Vrijdagen 14-17 uur (of op afspraak via artbase@terneuzen.nl)

ArtBase Terneuzen presenteert Timo Demollin - Stromingen

De tentoonstelling Stromingen vormt een brug tussen natuur, kunst en industrie, met het Zeeuwse licht als inspiratiebron. De unieke helderheid van de kleuren in Zeeland trekt al eeuwenlang kunstenaars naar de regio. MTVP Museum Domburg draagt bij aan de tentoonstelling met het schilderij Duinlandschap van Maurice Góth.

Vanuit broedplaats Nesse bracht Demollin kunst en inwoners samen door aquarel workshops. Deze vonden plaats op industriële locaties samen met scholieren, leden van vrouwenvereniging Vrouwen van Nu en lokale kunstenaars. De resultaten zijn verwerkt in de tentoonstelling. Daarnaast is er een zwevende sculptuur van gerecycled isolatiemateriaal in combinatie met de bouwprincipes van de architect van het stadhuis, Jaap Bakema.

✨ Gesprek met de kunstenaar op zaterdag 17 mei van 15:00-17:00 uur. Meld je aan via artbase@terneuzen.nl

👉 Volg ons!

#ArtBaseTerneuzen #Stromingen #TimoDemollin #KunstinZeeuwsVlaanderen #KunstinZeeland #Hedendaagsekunst #GemeenteTerneuzen #BroedplaatsNesse #ZeeuwsVlaanderen #MondriaanFonds

Foto Timo Demollin

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What an impressive week! Thanks to all the artists, @rijksakademie team, advisors and friends for such an incredible work.
Short selection of pictures…

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🤟⚜️ ARTISTS & ENTHUSIASTS at OPEN STUDIOS 2024 ⚜️🤟
by Amsterdam’s Rijksakademie (State Academy of Fine Arts) @rijksakademie

Selected works:
🕶️1: Moe Satt’s ‘Pinky say something’ @moe_satt_bp
🕶️2: Alexandra Hunts, ‘Live Wires: Caution’ @alexandrahunts
🕶️3: Lili Huston-Herterich @rightgrammar
🕶️4: Natalia Papaeva’s ‘The 23rd lunar day with the Fire element’ @aryatsagan
🕶️5: Thato Toeba’s major collages @flattendacurve
🕶️6: Silvia Gatti’s ‘Briefly Humans’ @silviagatti_art
🕶️7: Martin Toloku’s ‘Immortal Smell’ @martintoloku
🕶️8: Karel van Laere’s Depp Tissue aluminium prints @karel_van_laere
🕶️9: Vince Donders, Zeitgeist, 2024 @vincedonders
🕶️10: Timo Demollin, @timodemollin

Selected works by @oficina.gabardine X @asvof 💥
🎥/📷: © Marcelo Horacio Maquieira Piriz

Last day is today 02.06 12pm - 7pm
Rijksakademie
Sarphatistraat 470
1018 GW Amsterdam (NL)

#RijksakademieOpenStudios
#Rijksakademie
#OpenStudios

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Discover Timo Demollin’s work at studio 38 @timodemollin.
Open Studios runs until June 2nd.

Tickets are available online only. Find them through our link in bio.

#timodemollin #rijksakademie #rijksakademieopenstudios #raopenstudios

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Sun 2 June | 14:30 - 15:15 | Talk @ Reading Room | Register in advance

Alles wird gut

Resident artists Alexandra Hunts, Timo Demollin, and Miloš Trakilović engage in a conversation around the dynamics and concepts that shape their individual practices. They reflect on the 1990s paradigm through topics like border figurations, personal and collective memory, and widespread privatization processes that ran rampant following this temporal timeframe. Through dialogue they navigate the intersections of these themes, situating their work in a larger social context of both historical shifts and the contemporary condition.

🖌Registration via publicprogramme@rijksakademie.nl or in the entrance reception on the same day. #Timodemollin #alexandrahunts #rijksakademie #milostrakilovic #amsterdamartweek

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Expanded Publishing Fest
Friday 12 January, 19:00-03:00 @OT301, Amsterdam

🇳🇱Het Institute of Network Cultures (INC) organiseert het Expanded Publishing Fest. Als onderdeel van dit programma lanceren Platform BK en het INC het boek ‘De bevrijding van het mecenaat’.

Expanded Publishing Fest is een drievoudige boekenlancering, microboekenbeurs, tactische televisievertoning & clubavond in OT301. De lancering van de reader maakt deel uit van het hoofdpodiumprogramma, dat plaatsvindt rond 20:30.

De toegang is gratis.

De reader is ook te vinden op onze website, zie link in bio.

🇬🇧The Institute of Network Cultures (INC) is organising the Expanded Publishing Fest. And as part of this program, Platform BK and the INC are launching the book ‘De bevrijding van het mecenaat’.

Expanding Publishing Fest consist of triple book launch, micro book fair, tactical television and a club night. The launch of the reader will be part of the main stage program, which takes place around 20:30.

Entry is free of charge.

You can find the reader online on our website, see link in our bio.

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Insurable Interest (No. 45) is an installation work by Timo Demollin (NL), featured in our current exhibition Occult Economics.

Timo Demollin’s series of abstract canvases are based on a low-resolution JPEG file from a conservation study report on the irreparably damaged painting ‘Black Painting, 1960-1966’ by minimalist painter Ad Reinhardt. This digital image was cropped, enlarged and transferred onto nine canvases using custom UV-emitting projectors and long-term exposure of light-sensitive emulsion. Six of these works are presented at Huidenclub and three are on display in the office lobby of building contractor Dura Vermeer.

‘Black Painting, 1960-1966’ was donated by multinational AXA Art Insurance Corporation to the Guggenheim Museum in 2001. Insurance companies are concerned with the protection of property and assessing the risk of loss. When insured art objects are damaged and deemed a total loss by the insurer, they are prescriptively declared “No Longer Art” to remove them from art market circulation due to their indicated loss of value in the marketplace. They may either be withdrawn from market circulation completely or still be salvaged and sold, or repurposed otherwise. Through this, the insurer is able to determine if and when there is still value to be held within the artwork.

Presented in an installation using construction materials found around the Diepeveen building, Demollin’s canvases act as proxies for aesthetic experience, while both materially and symbolically implicating the contractor and owner of the building as the overarching support structure of Huidenclub. This gesture opens up questions about the relationship between art and its indispensable supporters and benefactors. In what ways can parties like Dura Vermeer further contribute to supporting cultural production and its integral values for society? What returns do we expect from investments in art and culture?

With: DLP exposed photochemicals on canvas, nine parts, 152 × 152 cm each

Occult Economics runs until 14 January 2024.
Open Wed-Sun, 13:00-17:00 or by appointment.
Free entrance.

Images by @michelemargotphoto

@timodemollin #groupshow #artrotterdam #installationart

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