*Banner design by Qiao Chu Guo
Free entry
NUL ZES, Gasfabriek 3A, Eindhoven
17-18 | 24-25 mei
Saturday & Sunday | 14.00-19.00
Should we separate the art from the artist, is that even possible? What does a name, your background, and your experiences have to do with your work? Nothing. Everything. We believe that art speaks for itself, which is why we organise the Anonymous group exhibition as part of our yearly programme.
Artists
Anonymous
Roos van Geffen
Nati Hoki
Anne Kolbe
Gleb Maiboroda
Antrianna Moutoula
PERFORMANCES
Saturday 17 mei
Anne Kolbe
Nati Hoki
Roos van Geffen
Sunday 18 mei
Antrianna Moutoula
Nati Hoki
Roos van Geffen
Saturday 24 mei
Anne Kolbe
Nati Hoki
Roos van Geffen
Sunday 15 mei
Antrianna Moutoula
Nati Hoki
Roos van Geffen
Anonymous – Dearest reader
Is it possible to connect without ever seeing or speaking to one another? Does intimacy depend on being present? Is the reader at the mercy of the writer, or does it work the other way round? And how is that bond affected by anonymity? It’s all covered in this letter, in which dreams and philosophy blend together. A letter written specifically for you.
Roos van Geffen – Courtesy of the Artist
In the performance Courtesy of the Artist, the ten-year-old son of the artist, sits on a mound of raw wheat. He separates the wheat from the chaff. The height of the mound is determined by his mother’s fee.
The classical image of the artist—autonomous, free, fully devoted—clashes with motherhood. An artist may devote herself fully to her work, but a mother must devote herself fully to her child. Leaving her child at home is neglect; bringing the child to an opening undermines her professional status. Courtesy of the Artist breaks through this impasse and poses questions like; What holds true value? How do you balance art, care, and economic necessity? How much is care worth? Who determines that? Where does art end, and life begin?
*picture is from different work.
Nati Hoki
As a photographer, I work with forgotten archival materials, asking questions regarding belonging—to a place, to a time, to memory. Belonging to an image: who captured it? Who is captured by it? This set of photographic slides I found next to a trash can, once carefully captured, has now been discarded—transformed into raw material, stripped of their original context, taking on new meaning.
In this installation, composed of a single-take video and a live performance in the gallery, I position myself in front of the projection, shifting and blurring the lines between roles: from an anonymous passerby who discovers a treasure to an individual desiring to interfere in a scene, to a photographer in dialogue with the original photographer, to a sculptor, a painter, and a performer.
It is an ongoing attempt to find a place within something that resists connection, a gesture of wanting to belong, even when the space I reach for no longer exists.
Anne Kolbe – Uncomfortable Bodies (2025)
At ANONYMOUS, Anne Kolbe presents a performative installation of wearable soft sculptures, carried and activated by performers. Their patterns of improvised movement emerge through negotiations between body, object, and space.
This new work explores the body as a site of both potential and constraint, by embracing discomfort as a necessary disruption.
These object choreographies will unfold according to the following timetable. Beyond their moment of occurrence, traces in space echo what has passed.
*pictures are from different performances.
Gleb Maiboroda – What the Body Remembers
“The Body Remembers” combines painting with weaving, exploring the tension between authorship and tradition. Drawing on traditional icon painting and weaving techniques, the piece reflects on how cultural identity is formed through inherited histories and personal experience. The painting’s rhythmic patterns mirror the woven textile, extending the visual language beyond canvas. The textile, narrow and long, stretches through space, creating a conversation between body, material, and memory. Informed by the artist’s migration to the Netherlands and shaped by queerness and diasporic heritage, the work speaks to the complexities of belonging. It questions the artist’s role in carrying, interpreting, and transmitting tradition in the present.
*pictures are from simular works.
Antrianna Moutoula
Primarily language-based Antrianna Moutoula’s work spans performance, film, radio, writing, and installations. Her current research focuses on nonstop languaging, a performance practice in which she traces her thoughts simultaneously in spoken and written form. This practice is rooted in autotheory and driven by a desire to articulate the continuous present.
Her new work titled LANG U AGE I SAC ON FINED SPACE marks a first attempt to translate the ephemeral nature of nonstop languaging into an installation of objects. By literally working with the malleable character of language, she constructs words and sentences, meanings and narratives – once again seeking to make the boundaries of language porous and to explore the space between sense and nonsense.
Alongside the installation, Antrianna will perform nonstop languaging live on both Sundays at 15.00.
