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<channel>
	<title>jeroenkoolhaas</title>
	<link>https://jeroenkoolhaas.com</link>
	<description>jeroenkoolhaas</description>
	<pubDate>Fri, 02 Jan 2026 12:15:52 +0000</pubDate>
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		<title>Front Page</title>
				
		<link>https://jeroenkoolhaas.com/Front-Page</link>

		<pubDate>Tue, 24 Nov 2020 16:45:25 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

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		<title>2024 Human copy</title>
				
		<link>https://jeroenkoolhaas.com/2024-Human-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:49:22 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

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		<description>
	HUMANVideo Installation

2024 - Cacaofabriek, Helmond

&#60;img width="1404" height="1815" width_o="1404" height_o="1815" data-src="https://freight.cargo.site/t/original/i/8d85a6ed67e8b67a22c263f6b2d39aabf8ea668615a981d9562ec6fbbc241b10/human.jpg" data-mid="242335577" border="0"  src="https://freight.cargo.site/w/1000/i/8d85a6ed67e8b67a22c263f6b2d39aabf8ea668615a981d9562ec6fbbc241b10/human.jpg" /&#62;The viewer enters the space and sees 4 monitors stacked on top of each other with a large cctv camera aimed&#38;nbsp; slightly downwards. At first the monitors show a portion of the room, a continuous image, distributed across the vertically stacked screens. The viewer is naturally inclined to take position in front of the monitors within view of the camera. 8 seconds later, they see themself appear on the screen with a corresponding delay. The viewer is confronted with their immediate past in a feedback loop. 
Real time behaviour is juxtaposed with an external view of your past behaviour. The conflict this causes in your nervous system, creates the illusion that you see yourself as another would, unable to interact with your own image directly. As you consciously move through the space, the passing of time, which you normally do not perceive, reveals itself. 
 


	

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The work builds on the legacies of Nam June Paik, Dan Graham and Peter Campus in a way that is unafraid to resemble or reenact these ideas because they have kept their relevance and deserve to be experienced 50 years after they were first created. Similar monitors, cameras and other electronics, rearranged into new combinations. The experiments are technical in nature but aim to show processes which are psychological. Like with the artists mentioned, the aim is to ‘show’ a process that is taking place in the viewers mind.
The viewer takes central position in front of the camera becoming the main actor. The time delay causes the individual to disassociate with the image projected across the 4 screens. The installation, consisting of a camera and screens in a vertical composition, impersonates the mobile phone including the standing format now so commonly used on social media to better capture our vertical bodies.The viewer is trapped in a state of observation not unlike in the digital enclosures of social media where we sculpt online versions of ourselves. A constant feedback loop of filming, being filmed, watching, reacting and engaging with our immediate pasts in a way entirely new to the human experience. An explosion of self consciousness.

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	<item>
		<title>2024 Humans copy</title>
				
		<link>https://jeroenkoolhaas.com/2024-Humans-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:48:59 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

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	HUMANSVideo Installation2024 - Cacaofabriek, Helmond

The viewer enters the space and sees an array of randomly placed LED screens flickering softly with pixelation. Once the viewer steps into the light shining from above, an image of the viewer appears on the screen. 15 seconds later, 3 more images of the viewer appear, from different angles, with a corresponding delay. The images are filmed by cameras attached to, and protruding through, the LED screens. 
The immersive, close circuit installation embodies the literal encroachment on our physical space by screens and cameras. A reference to the telescreens in George Orwell’s 1984. Omnipresent and never turned off, they are an unavoidable source of propaganda and tools of surveillance.
Our privacy erodes in the digital enclosures we inhabit. We submit to the collection of our audiovisual data, often unwillingly and unknowingly.  Our online selves, labouring away without pay to create endless profits for mega corporations owned by billionaires. &#38;nbsp;What Mark Andrejevic calls ‘The work of being watched’. 
‘Consumers who submit to comprehensive surveillance in response to offers of convenience and participation perform valuable work for corporations and marketers..... a critical approach to forms of surveillance facilitated by interactive media must focus on asymmetries of power and control over information technologies and resources.’
From: The work of being watched: Interactive media and the exploitation of self-disclosure

	



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		<title>2022 DEEP  copy</title>
				
		<link>https://jeroenkoolhaas.com/2022-DEEP-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:53:19 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

		<guid isPermaLink="true">https://jeroenkoolhaas.com/2022-DEEP-copy</guid>

		<description>
	
SLOW ANIMATED LIGHT SCULPTURES
	When staring at the sea, the sky or a fire, the interplay of simplicity and complexity holds our attention, a slowing down of time to the non-linear inner. The moving colors you see when your eyes are closed. Abstraction allows for disassociation from what is real. In the slowness a dialogue starts between the outer and the inner, the eyes and the mind.What you see and what you are looking at. Inside and outside.Exhibited at Robert van Oosterom Gallery and MOYA Museum.
</description>
		
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		<title>2023 XYZ copy</title>
				
		<link>https://jeroenkoolhaas.com/2023-XYZ-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:53:02 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

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XYZ2023 Rotterdam. 50cmx50cmx20cm
128x128px High luminosity LED screen, reclaimed polyester resin, Stainless steel frame.&#38;nbsp;
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	DEEP2022 Rotterdam. 50cmx50cmx20cm
128x128px High luminosity LED screen, reclaimed polyester resin, Stainless steel frame. &#60;img width="3578" height="3576" width_o="3578" height_o="3576" data-src="https://freight.cargo.site/t/original/i/7f6f0d253e59f9f3dff98eb0d395ee2df461888a0c73c33f1b9853c59bfd0ba4/IMG_65732-crop-copy.jpg" data-mid="242338681" border="0"  src="https://freight.cargo.site/w/1000/i/7f6f0d253e59f9f3dff98eb0d395ee2df461888a0c73c33f1b9853c59bfd0ba4/IMG_65732-crop-copy.jpg" /&#62;


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&#60;img width="3578" height="3576" width_o="3578" height_o="3576" data-src="https://freight.cargo.site/t/original/i/d64419d39d37f00640c06f2203678f12f67795aeb9c2fb3213e66ac58d670c25/IMG_65732-crop-copy-4.jpg" data-mid="242338680" border="0"  src="https://freight.cargo.site/w/1000/i/d64419d39d37f00640c06f2203678f12f67795aeb9c2fb3213e66ac58d670c25/IMG_65732-crop-copy-4.jpg" /&#62;
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	HALO2022 Rotterdam. 50cmx50cmx20cm
128x128px High luminosity LED screen, reclaimed polyester resin, Stainless steel frame. 

&#60;img width="3578" height="3578" width_o="3578" height_o="3578" data-src="https://freight.cargo.site/t/original/i/c048e3a658f880aa317dc6fecf6478a38e2ccba2e73db470ceb4003ac73c72d3/IMG_6633-copy-6.jpg" data-mid="242338684" border="0"  src="https://freight.cargo.site/w/1000/i/c048e3a658f880aa317dc6fecf6478a38e2ccba2e73db470ceb4003ac73c72d3/IMG_6633-copy-6.jpg" /&#62;
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</description>
		
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	<item>
		<title>2022 HALO copy</title>
				
		<link>https://jeroenkoolhaas.com/2022-HALO-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:54:22 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

		<guid isPermaLink="true">https://jeroenkoolhaas.com/2022-HALO-copy</guid>

		<description></description>
		
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		<title>2022 Data Center copy</title>
				
		<link>https://jeroenkoolhaas.com/2022-Data-Center-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:55:15 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

		<guid isPermaLink="true">https://jeroenkoolhaas.com/2022-Data-Center-copy</guid>

		<description>
	DATA CENTER 2022 Amsterdam. Audio visual installation
Big Art Fair, Amsterdam.
MOYA Museum, Oosterhout
Kunstkerk, Dordrecht
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In the interactive spaces of our digital era, users allow for their data to be owned by predatory entities within whose boundaries our online lives take shape. Data center, as a digital enclosure, interrogates the relationship between surveillance and the interactive economy. 

It can be argued that the digital enclosure connects back to the enclosure movement of the middle ages, where farmers were forcibly separated from their land, only allowed to produce for the owner class.
Karl Marx viewed enclosures as a key component in establishing structural conditions necessary for a capitalist economy, framing it as “the systematic theft of communal property. He defined it as ‘primitive accumulation’ and viewed the colonization of the Americas, the African slave trade as examples of this process. Marx argued that primitive accumulation alienates humans from nature

In digital enclosures, the individual unknowingly or willingly submits to giving up their information that generates economic value for the new owner class.
Digital enclosure has the purpose of privatizing, controlling and commodifying both information and intellectual property.
	



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		<title>2021 Luma copy</title>
				
		<link>https://jeroenkoolhaas.com/2021-Luma-copy</link>

		<pubDate>Fri, 02 Jan 2026 08:55:30 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

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		<description>
	LUMAVideo installation, Art Rotterdam 2021Where do we live our digital lives? On the network, in the wires, plugs and sockets, all connected to processors. The abstract microarchitecture that hosts the programs of our digital existence. Processes too small for our senses, too abstract for our biological minds. The mystical essence that Mondriaan found in his squares and rectangles, where all parts affect each other, trapped in an infrastructure of smallness. Omnipresent like the water our bodies are made of. We spend more and more time immersed in the audio-visual spectacle of its workings. Our gazes turned away from the infinite mystery of nature, hoping for solace and a confirmation of our being. Will we find it when we shed our bodies and live on as electrons in the microarchitecture that, by now, doesn’t need us humans as architects?Will we ‘...birth an alchemical singularity—a spiritual, universe-taming mind born from techno-shamanic ecstasy’?, as Terrence McKenna put it.





	
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		<title>2006 FAVELA PAINTING IN BOIJMANS copy</title>
				
		<link>https://jeroenkoolhaas.com/2006-FAVELA-PAINTING-IN-BOIJMANS-copy</link>

		<pubDate>Fri, 02 Jan 2026 12:15:52 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

		<guid isPermaLink="true">https://jeroenkoolhaas.com/2006-FAVELA-PAINTING-IN-BOIJMANS-copy</guid>

		<description>
	FAVELA PAINTING EXHIBITION2006. Boijmans Museum, RotterdamFirst favela Painting Exhibition at the Boijmans van Beuningen Museum in Rotterdam. For the exhibition we created an inflatable favela structure which served as a projection screen.


	
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		<title>portfolio audio visual design copy</title>
				
		<link>https://jeroenkoolhaas.com/portfolio-audio-visual-design-copy</link>

		<pubDate>Fri, 02 Jan 2026 09:02:04 +0000</pubDate>

		<dc:creator>jeroenkoolhaas</dc:creator>

		<guid isPermaLink="true">https://jeroenkoolhaas.com/portfolio-audio-visual-design-copy</guid>

		<description>2012-2013 PRADA ANIMATIONS AND CATWALK DESIGN&#38;nbsp;

	Prada animations
&#38;nbsp;

&#38;nbsp;


	




&#38;nbsp;
Catwalk animated projections

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2005 Firmeza Total documentary

	2002 Clinton Hills videoclip Water Wethos


2001-2018 MOTION GRAPHICS&#38;nbsp;

	
VJ REEL 2005

	2019 Animated opening sequence Favela Painting

&#60;img width="1920" height="1080" width_o="1920" height_o="1080" data-src="https://freight.cargo.site/t/original/i/2d4fb66a756b895c9de62e4be22f11f30b6f6cd2deaf8be022241bedfdb706c3/opening-animation-sequence-w-sound.gif" data-mid="242335523" border="0"  src="https://freight.cargo.site/w/1000/i/2d4fb66a756b895c9de62e4be22f11f30b6f6cd2deaf8be022241bedfdb706c3/opening-animation-sequence-w-sound.gif" /&#62;
	Animated intro 2002
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