JUST VISITING / 2022
pag 3
EVERYDAY RELICS / 2021
pag 7
CONTACT
pag 9
OUT OF OFFICE / 2022
pag 11
ARTIST STATEMENT
pag 14
PLEASE TAKE OF YOUR SHOES / 2019
pag 19
OUT OF THE ORDINARY / 2018
pag 21
UNDER ONE SKY / 2020
pag 24
特斯韦克 | 2018
pag 27
THANK YOU FOR THE SUN / 2018
pag 30
MONDRIAN FOR SALE / 2017
pag 33
THE EXOTIC SUITE / 2017
pag 35
CONTRABANDE / 2016
pag 38
THIS WAS A COUNTERFEIT / 2016
pag 43
BIOGRAPHY
pag 44
TELEVISION TABLES / 2015
pag 46
UTOPIA BCN 2015
pag 48
DASHILAR FLAGSHIP STORE / 2013
pag 51
CHARACTER OF HUMAN ACTIVITY / 2012
pag 57
STATE OF TRANSIENCE / 2012
pag 58
some other things
pag 61
LAWS OF EXPENDABILITY / 2011
pag 65
LLOVEHOUSE ONOMICHI HIROSHIMA JAPAN 
2013 ......
From Friday 10 th June until Wednesday 5 th July artist Sander Wassink will be holding his solo exhibition Out of Office at CAVE AYUMIGALLERY. Wassink left his native Netherlands in 2021 and has been since living in Kyoto. In this new land, he realised how unearthed stones and everyday trash can be a clue to peoples activities, folklore and the wider landscape of a nation. This exhibition, which will be his first solo exhibition in Tokyo, uses objects that represent the office environment such as mobile phones, monitors and shredders, all of which are objects that Wassink collected while traveling by bicycle between Kyoto and Tokyo, along with recorded images and sounds made on his travels. We will present his exhibition Out of Office in a way that captures the relationship between nature, time, matter and space in modern society from a new perspective. In addition, the publication book which contains the creative process behind the exhibition will be published by the label Rondade.

Text by Cave-Ayumi Gallery / Photos by Go Itami  
Sander Wassink is a Dutch artist who encourages us to reconsider our ideas on beauty, aesthetic value and status. How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished facade of an abandoned building, or the everyday detritus from our overproductive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated. His creative practice sees him heavily engaging in product deconstruction, harnessing the raw material to develop objects with new meaning.  

Scroll to read more >>
His practice evolves organically, opposing the rigid construction of modern architecture, city planning and design. His work tends more towards the shifting, the ephemeral and the momentary. His process tries to take into account how our interactions in space and with objects have specific needs in specific moments. His design projects attempt to reflect the mutating shape of use, value and inhabitation, as it is evidence of human activity. These shifting constructions, which Wassink refers to as self-perpetuating spaces take their inspiration from organically developed communities and forms, appearing more rhizomatic in nature than firmly designed and are often considered to be disorganized or chaotic. These more reactively developed forms are meant to reflect the blurred boundaries between architecture and object, inside and outside, public and private.

Text by Robin Atkinson  
BEFORE I AM GOING TO SAVE THE WORLD !! GROUPSHOW THE POPULIST  at Martin van Zomeren
PLEASE TAKE OFF YOUR SHOES / 2019 
Sander Wassink, Whose installation Please Take of Your Shoes was presented in his spacious studio during Dutch Design Week 2019, discovered drawing as a liberating force. After experiencing some difficulties during project, he turned to drawing to give him freedom that would satisfy him, and would also take off any pressure that he was feeling, bogged down by the practicalities of design project. The work he showed consisted of some existing and new work brought life by this newfound liberation. He has also started implementing this methodology in his interior design projects. A cornerstone of the exhibition was a large scale carpet created form the  leftover pieces sourced from Dutch company Desso / Tarkett. He wanted to slow people down and take a moment to have a conversation or just willing to embark on a new experience. This choice coincides with Wassink’s way of working with found materials, waste or leftover products, and by combining these, creating something new. 

Text by Damn Magazine / Photos by Sander Wassink 
OUT OF THE ORDINARY / 2018 
Under One Sky for Postmodern / 2020
特斯韦克 / 2018
THANK YOU FOR THE SUN / 2018
MONDRIAN FOR SALE / 2017 
THE EXOTIC SUITE / 2016
CONTRABANDE / 2016
STATE OF TRANSIENCE / 2012 
From its inception, the Bauhaus and its timeless geometric aesthetic carried a hegemonic undercurrent. Its luminaries were among the first to realize that designs suitable for mass production could restore uniformity and authenticity to what they viewed as a fragmented and derivative society. Inspired by the movement, Dutch designer W.H. Gispen conceived the Diagonal chair in 1927. Although the frame consisted of a continuous length of tubular steel, one model of the chair had a rustic rattan seat that apparently rejected the Bauhaus principle of alienation from human handicraft.

Scroll to read more >>
Since that era, the trajectory of globalism makes the Bauhaus creed seem ever more prophetic, despite the individual creative impetus and originality so highly regarded in Western societies, as well as the far less egoistic values of the cultures it colonized. In Morocco, for instance, a design is never viewed as a finished product, allowing users the freedom to interpret and adapt the product as they see fit. Dutch designer Sander Wassink initiates a dialogue between indigenous Moroccan aesthetics and global industrialism in his reconstruction of the Diagonal chair. He spent nine days in Sefrou, a small city in Morocco, working with local artisans who had been asked to modify the chair using materials found on the street. Photographs of the chair’s incarnations demonstrate the fluidity of Moroccan design while separating the resultant pieces from the chair itself.

Text by FRAME Magazine / Photos by Sander Wassink 
 
THIS WAS A COUNTERFEIT / 2016
BIOGRAPHY
Sander Wassink (b 1984, Harlingen) is an dutch artist and designer currently based in Japan. Instead of focusing on design, Wassinks work revolves around the meaning of the creative process. He employs an organic design method that combines functions and materials to generate new forms and ideas, which are then studied, adjusted, and collaborated upon to reflect on their context. In a world oversaturated with products and design, Wassinks non functional creations serve as paradigms that raise questions about appearances, functionality, transience, and beauty. Wassink is interested in contemporary aesthetics, copyright issues, and the relationship between image and object. Wassinks work is held in various museum collections, including Museum Boijmans Van Beuningen in Rotterdam and the Museum of Modern Art in New York. Wassink graduated from Design Academy Eindhoven in 2012 and has taught at various institutions.
TELEVISION TABLES / 2015
Photo by Ronald Smits 
UTOPIA BARCELONA WITH GUILLERMO SANTOMA / 2015 
DASHILAR FLAGSHIP STORE / 2013
During Beijing Design Week 2013, Sander Wassink set up a temporary flagship store in the Chinese capital’s Dashilar district. The fictive flagship store saw him transform the space into a pop-up shoe shop. On this occasion, he used cheap, counterfeit footwear as his choice material, employing designers to cut and re-edit them into new pieces, assembled by local Dashilar shoemakers. Uncracking a new local pride and identity, Wassink’s initiative resulted in an interactive project which led to a refreshed collaboration between the product, the maker and the industry.

Text by designboom / Photo by JW Kaldenbach en Sander Wassink / Project for SALON/BJ 
CHARACTER OF HUMAN ACTIVITY / 2012
His project Character of Human Activity took as it’s inspiration the construction of collective spaces, areas created for communal activity and collaborative interaction. The fundamental design strategy is to adapt to the needs and ideologies of individuals as they interact in space, a progression shapes built by human activity, which could not be predetermined on a drawing board but must necessarily be adaptive to their inhabitants. In this way, these forms are a testament to the complexity of human interaction, both with one another and with spaces and objects, and in this way, reflect the intricacy daily relations with both the social and built environment. 

--- Text by Robin Atkinson  --- Photos by Sander Wassink 
The on-going project, State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Sander Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. As the world of design is more and more spreading through images on the internet or the press no physical object is presented. Each new version of this chair, documented in incremental stages, shows evidence of its future potential. Every new state is a testament of the ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both its past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.

Text by Robin Atkinson /  Photos by Ronald Smits 
LAWS OF EXPANDABILITY / 2011 
Beijing is a city undergoing extreme transformation. Mega-Blocks are rising everywhere, quickly replacing the old hut ones. These new high-rises bring an improvement to the living standards for the Chinese population, with more space and better facilities; but there is a downside to this kind of development - a lack of individual expression in the new buildings. These mega-blocks are developed from the top down; because everything is taken care of, people no longer feel personally involved with their environment. This phenomenon also occurs in the Netherlands, but far more gradually. In many urban areas, city planners decide how people should live in the coming decades. They rarely accommodate people’s need for change. The potential for chang should be incorporated into the planning process. Looking at the rigidity of long-term planning strategies in both China and the Netherlands, I began to wonder how our world would look if we built to satisfy our present needs, rather then trying to predict our needs for the rest of our lives. Could a city be built from individuality while still embracing the collective?  

Scroll to read more >>>

I created several personal spaces , equal in size. These volumes have the ability to expand and shrink according to human needs and interests. The idea is that all human beings are more or less the same, but as we live our lives, we develop interests and ideologies that shape our existence. When these spaces expand, blurring the boundaries between architecture and furniture, they also explore the border between the public and the private in an experimental way. Instead of a hard wall separating the inside from the outside, this separation can be conceived as an interaction of volumes and functions, a progression of shapes that characterize human activities. These ‘designs’ of self-perpetuating spaces follow their own logic; they could never have been made on a drawing board. 

Text by Gabrielle Kennedy / published in NEXT / photo’s by Sander Wassink 
CONFISCATED STOCK PHOTOS OF ANONYMOUS BRICKS PRINTED ON GOLD PAPER POSTCARDS . for Post Modern Collection
.....
......
We have an innate tendency to mimic. It feels as though it’s an integral part of our being. Our actions reflect our surroundings and beliefs, allowing us to interpret and recreate what we observe in a distinctive, new manner. The creative energy we encounter on the streets of China or Morocco is as captivating as that of the modern architects and artists who have shaped our contemporary world. Through this cycle of imitation, reimagining, and collaboration, we gain knowledge, understand its importance, and push ourselves forward. This ability, at its core, represents immense power and status. It underscores our freedom and ability to shape our world true our actions, regardless of our financial circumstances.
2022
* Just Visiting - Eindhoven - Oktober * Out of Office (Solo) Cave Gallery - Tokyo - June * Open Muji - Kiji Arita - Osaka and Fukuoka* Kiji Arita, Hikarie - Tokyo - June* Haku Gallery (solo)- Kyoto - March* The Roaring twenties, Museum Kranenburgh - Bergen - Okt 2021/Apr 2022

2021
* Trots - Zuiderzeemuseum - April

2020 
Big Art - Postmodern - Amsterdam - Sept * Unseen at the Gallery - Martin van Zomeren - Amsterdam - Sept * La Manufacture, A Labour of love - Edelkoort Lille -Aug * The Populist - Martin van Zomeren - June * Walden - Schloss Hollenegg Austria - May * Post Corona Scenario’s - Roca Gallery BCN - Apr * Kiji Arita - Japan - Februari * Tutor Well Being, Design Academy Eindhoven - Febr/may

2019
Please take of your shoes - Eindhoven - Okt * Kiji - Arita Japan - March / ongoing * Broken Nature - Triennale - Milan - 1mar/1sep * Christie’s Auction AIL - Milan - Apr * Rossana Orlandi - Milan - Apr * Tutor Master Creative Process Elisava- Barcelona

2018
Out of the Ordinary - Eindhoven - 19okt/29okt * Thank You for the Sun - Eindhoven - 19okt/29okt *    Gallery 6mas1 - Madrid - July * Villa Mondriaan - 特斯韦克 - March/September *     Tutor Master Creative Process Elisava - Barcelona

2017
* Boijmans Van Beuningen - Change - Okt   * ICL Workshop- Tianjin China - May 2017 * Maarten Van Severen Co - Design Museum Gent May/July * Boijmans v Beuningen (solo) - Contrabande - Rotterdam - 10sept/26febr * Design of the Year Award - Design Museum London - 24nov/19febr *

2016
Wild Things - Stedelijke Museum Kortrijk - 14oct/04dec * Northern Clay Center - Minneapolis - 23sep/06nov * 4 uur met - MAFAD Maastricht - Sept * Ne Ar - Beirut - 20may/29may * Galleri f15 - Tendencies - Moss/Norway - 19mar/08jun *      Princessehof - Leeuwarden - Febr/Sept *      Sin Limited- Madrid- Jan/Febr

2015
* Van Abbe Museum - Oct * Mint Gallery - London - Sept * Masters of Form - Academie Van Bouwkunst - 2015 *      Symposium - Gorinchem - Jul/Aug *    Salon - Paris - May/June * Vert Le Nord - Paris - May/Jun * Krehky - Mikolov - May/Jun * Rossana Orlandi - Milan - Apr *     Dutch Design Award in Seoul Feb/Mar *     Dutch Design Awards - Washington      Dutch Design Awards - Amsterdam - 2015

2014
Walls Gallery - Amsterdam - 2014.      Dutch Design Awards Eindhoven - Oct Artdirection Camper Workshop - Mallorca - 2014 * Piet Hein Eek - Eindhoven - 2014 *     Droog - Cape Town - 2014 * Rossana Orlandi - Milan - 2014. *  Droog - Amsterdam - 2014 * Wintersalon Lensvelt - Amsterdam - 2014 * Buitenplaats Beeckestijn - 2014 * Talenta -Muenchen - 2014 * Beijing Design Week in - Manchester - 2014 * Mu the Sitcom Re-Enactment - Eindhoven - 2014

2013
Designforeland - Beijing - 2013  * Design - Shanghai - 2013 * Beijing Design Week (Salon Bj)- Beijng - 2013 * Depot Basel Basel - 2013 * Paradise Reset - Eindhoven - 2013 * Dutch Design Awards - Eindhoven -2013 *  Show Me Design and Art - Braga Portugal - 2013 * Just Mad - Madrid - 2013 * Salone Del Mobila Rossana Orlandi - Milan - apr 2013 *

2012
Wintersalon Amsterdam - Dec/jan *    Frozen Fountain - Amsterdam - dec *     Graduation Show Design Academy - Eindhoven - okt 
NEXT: <br>[url=https://www.moma.org/]MoMA[/url] | [url=https://www.centraalmuseum.nl]Centraal Museum[/url] | [url=https://nl.museumjan.nl/]Museum Jan [/url]| [url=https://www.mintgallery.co.uk/]MINT[/url] LLOVEHOUSE ONOMICHI HIROSHIMA JAPAN Sander Wassink, Sander Wassink 2013 ......[email]sander@sanderwassink.nl [/email] <br><br>[url=https://www.instagram.com/sander__wassink/?hl=nl]INSTAGRAM[/url] [b]From Friday 10 th June until Wednesday 5 th July artist Sander Wassink will be holding his solo exhibition Out of Office at CAVE AYUMIGALLERY. Wassink left his native Netherlands in 2021 and has been since living in Kyoto. In this new land, he realised how unearthed stones and everyday trash can be a clue to peoples activities, folklore and the wider landscape of a nation. This exhibition, which will be his first solo exhibition in Tokyo, uses objects that represent the office environment such as mobile phones, monitors and shredders, all of which are objects that Wassink collected while traveling by bicycle between Kyoto and Tokyo, along with recorded images and sounds made on his travels. We will present his exhibition Out of Office in a way that captures the relationship between nature, time, matter and space in modern society from a new perspective. In addition, the publication book which contains the creative process behind the exhibition will be published by the label [url=http://www.rondade.jp/]Rondade.[/url][/b]<br><br>[i]Text by [url=https://caveayumigallery.tokyo/]Cave-Ayumi Gallery[/url] / Photos by [url=https://www.goitami.jp/]Go Itami[/url]  [/i][url=https://vimeo.com/724189582]LINK TO VIDEO[/url][b]Sander Wassink is a Dutch artist who encourages us to reconsider our ideas on beauty, aesthetic value and status. How can we reconsider what is important and what is desirable to include notions of history, memory and the preservation of a past which is slipping away. Amid new construction, new production, and constant proliferation of new forms and facades, Wassink turns his attention to the discarded, the abandoned, the left over and attempts to reimagine what can be done with the already partially formed. What new possibilities exist in the surfaces and materials that are half-built or half-destroyed. Whether his object is the partly demolished facade of an abandoned building, or the everyday detritus from our overproductive culture, Wassink asks what new forms and new visions of beauty already exist to be discovered and appreciated. His creative practice sees him heavily engaging in product deconstruction, harnessing the raw material to develop objects with new meaning.  [/b]<br><br>[i]Scroll to read more >>[/i][b]His practice evolves organically, opposing the rigid construction of modern architecture, city planning and design. His work tends more towards the shifting, the ephemeral and the momentary. His process tries to take into account how our interactions in space and with objects have specific needs in specific moments. His design projects attempt to reflect the mutating shape of use, value and inhabitation, as it is evidence of human activity. These shifting constructions, which Wassink refers to as self-perpetuating spaces take their inspiration from organically developed communities and forms, appearing more rhizomatic in nature than firmly designed and are often considered to be disorganized or chaotic. These more reactively developed forms are meant to reflect the blurred boundaries between architecture and object, inside and outside, public and private.[/b]<br><br>[i]Text by Robin Atkinson[/i][b] [/b] BEFORE I AM GOING TO SAVE THE WORLD !! GROUPSHOW THE POPULIST  at [url=https://www.martinvanzomeren.nl/shows/the-populist-at-the-hazenstraat-biennale]Martin van Zomeren [/url]PLEASE TAKE OFF YOUR SHOES[b] [/b]/ [i]2019[/i] [b]Sander Wassink, Whose installation Please Take of Your Shoes was presented in his spacious studio during Dutch Design Week 2019, discovered drawing as a liberating force. After experiencing some difficulties during project, he turned to drawing to give him freedom that would satisfy him, and would also take off any pressure that he was feeling, bogged down by the practicalities of design project. The work he showed consisted of some existing and new work brought life by this newfound liberation. He has also started implementing this methodology in his interior design projects. A cornerstone of the exhibition was a large scale carpet created form the  leftover pieces sourced from Dutch company Desso / Tarkett. He wanted to slow people down and take a moment to have a conversation or just willing to embark on a new experience. This choice coincides with Wassink’s way of working with found materials, waste or leftover products, and by combining these, creating something new. [/b]<br><br>[i]Text by Damn Magazine / Photos by Sander Wassink [/i]Please take off your shoes sander wassinkOUT OF THE ORDINARY[b] / [i]2018[/i][/b] Under One Sky for Postmodern / 2020Sander Wassink , Sanderwassink, Under one Sky [b]特斯韦克[/b] / [i]2018[/i]By sander wassink[b]THANK YOU FOR THE SUN[/b] / [i]2018[/i]thank you for the sun by sander wassink Thank you for the sun by sander wassink[b]MONDRIAN FOR SALE [/b]/ [i]2017[/i] mondrian for sale sander wassink[b]THE EXOTIC SUITE[/b] / [i]2016[/i]sander wassink[b]CONTRABANDE[/b] / [i]2016[/i][b]STATE OF TRANSIENCE[/b] / [i]2012[/i] contraband for boijmans van beuningen by sander wassink[b]From its inception, the Bauhaus and its timeless geometric aesthetic carried a hegemonic undercurrent. Its luminaries were among the first to realize that designs suitable for mass production could restore uniformity and authenticity to what they viewed as a fragmented and derivative society. Inspired by the movement, Dutch designer W.H. Gispen conceived the Diagonal chair in 1927. Although the frame consisted of a continuous length of tubular steel, one model of the chair had a rustic rattan seat that apparently rejected the Bauhaus principle of alienation from human handicraft.[/b]<br><br>[i]Scroll to read more >>[/i][b]Since that era, the trajectory of globalism makes the Bauhaus creed seem ever more prophetic, despite the individual creative impetus and originality so highly regarded in Western societies, as well as the far less egoistic values of the cultures it colonized. In Morocco, for instance, a design is never viewed as a finished product, allowing users the freedom to interpret and adapt the product as they see fit. Dutch designer Sander Wassink initiates a dialogue between indigenous Moroccan aesthetics and global industrialism in his reconstruction of the Diagonal chair. He spent nine days in Sefrou, a small city in Morocco, working with local artisans who had been asked to modify the chair using materials found on the street. Photographs of the chair’s incarnations demonstrate the fluidity of Moroccan design while separating the resultant pieces from the chair itself.[/b]<br><br>[i]Text by FRAME Magazine / Photos by Sander Wassink [/i]<br> contrabande by sander wassink[b]THIS WAS A COUNTERFEIT[/b] / [i]2016[/i]Sander wassink [b]BIOGRAPHY[/b]<br>Sander Wassink (b 1984, Harlingen) is an dutch artist and designer currently based in Japan. Instead of focusing on design, Wassinks work revolves around the meaning of the creative process. He employs an organic design method that combines functions and materials to generate new forms and ideas, which are then studied, adjusted, and collaborated upon to reflect on their context. In a world oversaturated with products and design, Wassinks non functional creations serve as paradigms that raise questions about appearances, functionality, transience, and beauty. Wassink is interested in contemporary aesthetics, copyright issues, and the relationship between image and object. Wassinks work is held in various museum collections, including Museum Boijmans Van Beuningen in Rotterdam and the Museum of Modern Art in New York. Wassink graduated from Design Academy Eindhoven in 2012 and has taught at various institutions.[b]TELEVISION TABLES[/b] / [i]2015<br>Photo by [url=http://Www.ronaldsmits.nl]Ronald Smits [/url][/i]Television table by sander wassink[b]UTOPIA BARCELONA WITH GUILLERMO SANTOMA[/b] / [i]2015[/i] [b]DASHILAR FLAGSHIP STORE[/b] / [i]2013[/i][b]During Beijing Design Week 2013, Sander Wassink set up a temporary flagship store in the Chinese capital’s Dashilar district. The fictive flagship store saw him transform the space into a pop-up shoe shop. On this occasion, he used cheap, counterfeit footwear as his choice material, employing designers to cut and re-edit them into new pieces, assembled by local Dashilar shoemakers. Uncracking a new local pride and identity, Wassink’s initiative resulted in an interactive project which led to a refreshed collaboration between the product, the maker and the industry.[/b]<br><br>[i][url=https://www.designboom.com/design/sander-wassink-cuts-and-re-edits-shoes-into-new-footwear/]Text by designboom[/url] / Photo by JW Kaldenbach en Sander Wassink / [url=https://stimuleringsfonds.nl/en/grants_issued/1847/beijing_design_week_2013_salon_bj]Project for SALON/BJ [/url][/i]dashilar flagship store by sander wassinkdashilar flagship store by sander wassinkdashilar flagship store by sander wassinkdashilar flagship store by sander wassink[b]CHARACTER OF HUMAN ACTIVITY[/b] / [i]2012[/i][b]His project Character of Human Activity took as it’s inspiration the construction of collective spaces, areas created for communal activity and collaborative interaction. The fundamental design strategy is to adapt to the needs and ideologies of individuals as they interact in space, a progression shapes built by human activity, which could not be predetermined on a drawing board but must necessarily be adaptive to their inhabitants. In this way, these forms are a testament to the complexity of human interaction, both with one another and with spaces and objects, and in this way, reflect the intricacy daily relations with both the social and built environment. [/b]<br>[b]<br>--- [/b]Text [i]by Robin Atkinson[/i][b]  --- [/b][i]Photos by Sander Wassink [/i]his project Character of Human Activity took as it’s inspiration the construction of collective spaces, areas created for communal activity and collaborative interaction. The fundamental design strategy is to adapt to the needs and ideologies of individuals as they interact in space, a progression shapes built by human activity, which could not be predetermined on a drawing board but must necessarily be adaptive to their inhabitants. In this way, these forms are a testament to the complexity of human interaction, both with one another and with spaces and objects, and in this way, reflect the intricacy daily relations with both the social and built environment. <br>[b]--- [/b]Text [i]by Robin Atkinson[/i][b]  --- [/b][i]Photos by Sander Wassink [/i]state of transience by sander wassink[b]The on-going project, State of Transience, is a responsive design process, which is continuously shifting over time. Using the relatively simple design archetype of a chair, Sander Wassink repurposes materials, making additions, subtractions and mutations, to suggest the impossibility of a final or fixed form. As the world of design is more and more spreading through images on the internet or the press no physical object is presented. Each new version of this chair, documented in incremental stages, shows evidence of its future potential. Every new state is a testament of the ingenuity of human production and the fragility of supposedly rigid constructions. In this way the project maintains a lineage of its arrangements, preserving both its past iterations and suggesting future possible developments simultaneously. The goal is not a finished product, but instead a material history of combinations and constructions.[/b]<br><br>[i]Text by Robin Atkinson[b] / [/b] [url=http://Www.ronaldsmits.nl]Photos by Ronald Smits [/url][/i]state of transience by sander wassink[b]LAWS OF EXPANDABILITY[/b] / [i]2011[/i] [b]Beijing is a city undergoing extreme transformation. Mega-Blocks are rising everywhere, quickly replacing the old hut ones. These new high-rises bring an improvement to the living standards for the Chinese population, with more space and better facilities; but there is a downside to this kind of development - a lack of individual expression in the new buildings. These mega-blocks are developed from the top down; because everything is taken care of, people no longer feel personally involved with their environment. This phenomenon also occurs in the Netherlands, but far more gradually. In many urban areas, city planners decide how people should live in the coming decades. They rarely accommodate people’s need for change. The potential for chang should be incorporated into the planning process. Looking at the rigidity of long-term planning strategies in both China and the Netherlands, I began to wonder how our world would look if we built to satisfy our present needs, rather then trying to predict our needs for the rest of our lives. Could a city be built from individuality while still embracing the collective?  [/b]<br><br>[i]Scroll to read more >>>[/i]<br>[b]I created several personal spaces , equal in size. These volumes have the ability to expand and shrink according to human needs and interests. The idea is that all human beings are more or less the same, but as we live our lives, we develop interests and ideologies that shape our existence. When these spaces expand, blurring the boundaries between architecture and furniture, they also explore the border between the public and the private in an experimental way. Instead of a hard wall separating the inside from the outside, this separation can be conceived as an interaction of volumes and functions, a progression of shapes that characterize human activities. These ‘designs’ of self-perpetuating spaces follow their own logic; they could never have been made on a drawing board. [/b]<br><br>[i]Text by Gabrielle Kennedy / published in NEXT / photo’s by Sander Wassink [/i]<br>Sanderwassink CONFISCATED STOCK PHOTOS OF ANONYMOUS BRICKS PRINTED ON GOLD PAPER POSTCARDS . for [url=http://Postmoderncollection.com]Post Modern Collection[/url]...........We have an innate tendency to mimic. It feels as though it’s an integral part of our being. Our actions reflect our surroundings and beliefs, allowing us to interpret and recreate what we observe in a distinctive, new manner. The creative energy we encounter on the streets of China or Morocco is as captivating as that of the modern architects and artists who have shaped our contemporary world. Through this cycle of imitation, reimagining, and collaboration, we gain knowledge, understand its importance, and push ourselves forward. This ability, at its core, represents immense power and status. It underscores our freedom and ability to shape our world true our actions, regardless of our financial circumstances.2022<br>* Just Visiting - Eindhoven - Oktober * Out of Office (Solo) Cave Gallery - Tokyo - June * Open Muji - Kiji Arita - Osaka and Fukuoka* Kiji Arita, Hikarie - Tokyo - June* Haku Gallery (solo)- Kyoto - March* The Roaring twenties, Museum Kranenburgh - Bergen - Okt 2021/Apr 2022<br><br>2021<br>* Trots - Zuiderzeemuseum - April <br><br>2020 <br>Big Art - Postmodern - Amsterdam - Sept * Unseen at the Gallery - Martin van Zomeren - Amsterdam - Sept * La Manufacture, A Labour of love - Edelkoort Lille -Aug * The Populist - Martin van Zomeren - June * Walden - Schloss Hollenegg Austria - May * Post Corona Scenario’s - Roca Gallery BCN - Apr * Kiji Arita - Japan - Februari * Tutor Well Being, Design Academy Eindhoven - Febr/may<br><br>2019<br>Please take of your shoes - Eindhoven - Okt * Kiji - Arita Japan - March / ongoing * Broken Nature - Triennale - Milan - 1mar/1sep * Christie’s Auction AIL - Milan - Apr * Rossana Orlandi - Milan - Apr * Tutor Master Creative Process Elisava- Barcelona<br><br>2018<br>Out of the Ordinary - Eindhoven - 19okt/29okt * Thank You for the Sun - Eindhoven - 19okt/29okt *    Gallery 6mas1 - Madrid - July * Villa Mondriaan - 特斯韦克 - March/September *     Tutor Master Creative Process Elisava - Barcelona<br><br>2017<br>* Boijmans Van Beuningen - Change - Okt   * ICL Workshop- Tianjin China - May 2017 * Maarten Van Severen Co - Design Museum Gent May/July * Boijmans v Beuningen (solo) - Contrabande - Rotterdam - 10sept/26febr * Design of the Year Award - Design Museum London - 24nov/19febr *<br><br>2016<br>Wild Things - Stedelijke Museum Kortrijk - 14oct/04dec * Northern Clay Center - Minneapolis - 23sep/06nov * 4 uur met - MAFAD Maastricht - Sept * Ne Ar - Beirut - 20may/29may * Galleri f15 - Tendencies - Moss/Norway - 19mar/08jun *      Princessehof - Leeuwarden - Febr/Sept *      Sin Limited- Madrid- Jan/Febr<br><br>2015<br>* Van Abbe Museum - Oct * Mint Gallery - London - Sept * Masters of Form - Academie Van Bouwkunst - 2015 *      Symposium - Gorinchem - Jul/Aug *    Salon - Paris - May/June * Vert Le Nord - Paris - May/Jun * Krehky - Mikolov - May/Jun * Rossana Orlandi - Milan - Apr *     Dutch Design Award in Seoul Feb/Mar *     Dutch Design Awards - Washington      Dutch Design Awards - Amsterdam - 2015<br><br>2014<br>Walls Gallery - Amsterdam - 2014.      Dutch Design Awards Eindhoven - Oct Artdirection Camper Workshop - Mallorca - 2014 * Piet Hein Eek - Eindhoven - 2014 *     Droog - Cape Town - 2014 * Rossana Orlandi - Milan - 2014. *  Droog - Amsterdam - 2014 * Wintersalon Lensvelt - Amsterdam - 2014 * Buitenplaats Beeckestijn - 2014 * Talenta -Muenchen - 2014 * Beijing Design Week in - Manchester - 2014 * Mu the Sitcom Re-Enactment - Eindhoven - 2014<br><br>2013<br>Designforeland - Beijing - 2013  * Design - Shanghai - 2013 * Beijing Design Week (Salon Bj)- Beijng - 2013 * Depot Basel Basel - 2013 * Paradise Reset - Eindhoven - 2013 * Dutch Design Awards - Eindhoven -2013 *  Show Me Design and Art - Braga Portugal - 2013 * Just Mad - Madrid - 2013 * Salone Del Mobila Rossana Orlandi - Milan - apr 2013 *<br><br>2012<br>Wintersalon Amsterdam - Dec/jan *    Frozen Fountain - Amsterdam - dec *     Graduation Show Design Academy - Eindhoven - okt 
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