Welcome

On this page you will find all the latest updates about exhibitions, actions, concerts and so on.

Dr. Peter Puype is working inside the field of the arts (galleries, musea, biennale, etc) as well as in the public sphere.
The post-global environment is commanding us to bring critcal questions and remarcs on nowadays society. Artists have to bring their work in confrontation with the audience (outside the protected world of ‘the art scene’). Puype is questioning the flat consumerism, marketing, propaganda and how we get manipulated.
To accomplish all of this Peter works with video, photo, drawing, installations, graphic, propaganda, fanzines and direct action. He’s making music and does performances.
His work was exhibited in Poland, Germany, Estonia, Turkey, Belgium, Egypt, Ukraine, France, Latvia, U.S.A., etc.

l’Art Pour l’Argent

l’Art Pour l’Art, een slogan uit het begin van de 19de eeuw, verwijst ernaar dat een kunstwerk autonoom bekeken moet worden, louter op de kwaliteiten die aanwezig zijn in het werk. Deze inslag is moeilijk te volharden in een tijd van individualisme en hyper capitalisme Elk individu, elke maker, brengt een geladenheid aan de eigen creatie. De manier van schilderen, de woordkeuze, het materiaal, dragen een bewuste keuze met zich mee.

l’Art Pour l’Argent is een bedenking die Puype maakt over hoe bewust de kunstenaar is van de hyper capitaistische markt waarvoor het gemaakt wordt.

Het ‘product’ kunst is weinig kritisch tov de markt en is daarbij nog eens weinig democratisch, het is een dictatuur van het kapitaal geworden. De financiële bubbels die gecreëerd worden hebben heel weinig te maken met l’Art Pour l’Art.

De markt zal op zichzelf niet veranderen. Het zijn de kunstenaars zelf die paal en perk moeten stellen aan deze wildgroei van hyper kapitalisme.

I am another You / Istanbul Feshane Biennale

ArtIstanbul Feshane, hosts Mediations Biennial, with the title, I am another you, You are another me.

ArtIstanbul Feshane, one of the historical places brought to the city after a comprehensive restoration process by the Istanbul Metropolitan Municipality Cultural Heritage Department (IMM Heritage), meets art lovers with a new exhibition.

At a press conference recently held for the event, Istanbul Mayor Ekrem İmamoğlu expressed that the biennial coincides with the 100th anniversary of the founding of the Republic of Türkiye, and emphasized that Istanbul is one of the most valuable art cities in the world.

Stating that art has a great power on the world, İmamoğlu said, “Art has the power to overcome all conflicts and all negativities and bring the masses together with goodness, beauty, peace and tranquillity. It has a healing power. I do not believe that a person surrounded by art can live a life full of violence and anger. On the contrary, it will make a person feel at peace. Every branch of art and every work affects me in this way.”

The 10th Asia-Europe Mediations Biennial is the result of a collaboration of 17 curators from various countries. Paintings, 3D works, photographs, videos and digital works of approximately 154 artists invited by the curators meet the audience in the magnificent atmosphere of ArtIstanbul Feshane.

The Mediatons Biennial, founded by the artist and curator Professor Thomasz Wendland and his team in Poznan, Poland, in 2008, will be held at Artİstanbul Feshane under the auspices of the IMM Culture Department, in the context of the 100th anniversary of the Republic of Turkey.

In this sustainable exhibition series, which aims to present Conceptual Art and Media Art productions in a global context, 727 artists from 33 European and 34 Asian countries have participated in more than 10 exhibitions so far.

The feature of this biennial is to enable artists and curators, who live in a very wide geography and need support and solidarity in terms of communication and cooperation, to meet with a wide audience in various cities through joint work. Its second feature is to overcome political, economic, cultural and ecological negativities in a global context and to act as a peaceful, constructive and conciliatory mediator between the artist’s creativity and production and the broad masses.

The event is the result of the collaboration of 18 curators from various countries who wanted to participate in this common goal of dialogue. Paintings, three-dimensional works, photographs, videos and digital works of approximately 150 artists invited by the curators will meet the audience in the magnificent space of the Feshane building.

Something Else – Cairo Biennale – Egypt

Introducing the third edition of Something Else – an extraordinary international art extravaganza that unites 135 artists and 19 esteemed curators from around the world. This event explores profound questions using traditional and contemporary art forms, promising an immersive and thought-provoking experience. The iconic Citadel of Saladin serves as the backdrop, bridging the realms of the past and the contemporary. In our endeavor to showcase the diversity of contemporary art, both well-known and new and emerging artists will be invited to reflect on the question ‘What Then?’ in a variety of disciplines, including documentary and independent film installations, video installations, photography, and fine and performing arts. We invite you to join us on this remarkable journey of artistic exploration and discovery and be a part of Something Else. Opening on November 24th – December 23rd. 2023. https://somethingelse.art/ https://darb1718.com/

https://somethingelse.art/

VINDLUST expo – Stad Onderstroom / Polderpand Diksmuide / 15 juni – 20 augustus 2024

Een Ministerie van Propaganda (ook agentschap, bureau of Propagandaafdeling) is het deel van een regering dat belast is met het genereren en verspreiden van propaganda. Het gebruik van het woord ‘propaganda’ in de context van Ministeries is sinds de Tweede Wereldoorlog, wegens de negatieveve connotatie, zeldzamer aan het worden. Ook al voeren regering routinematig propaganda. De termen ‘public relations’, ‘onderwijs’, ‘reclame’ of ‘informatie’ dekken de lading in de 21ste eeuw.
Propaganda steunt op dezelfde psychologische manipulatieve technieken als bij reclame voor commerciële producten. Waar reclame het aanprijzen van diensten, producten, visies of gedachtegoed van de afzender is. Is propaganda eenzijdige ideologische of religieuze reclame. Beiden gebruiken massamedia en hebben tot doel onze houding en ons gedrag te beïnvloeden.
De slogans –waar Puype de boodschappen van reclame en propaganda op de korrel neemt- worden op afval karton van bruine verpakkingsdozen gezeefdrukt. Deze dozen zijn van de meest overbodige ‘producten’ van het consumentisme. Ze dienen enkel om producten in bulk van de fabriek tot in het distributie depot of winkel te brengen.

Screenprint performance / free prints on cardboard (boxes) + T-shirt 1/1 ‘Your Art Collection Is Obscene’.

Dehumanization / Performance

Dehumanization is the denial of full humanness in others and the cruelty and suffering that accompanies it. A practical definition refers to it as the viewing and treatment of other persons as though they lack the mental capacities that are commonly attributed to human beings. In this definition, every act or thought that regards a person as “less than” human is dehumanization.

Dehumanization is one technique in incitement to genocide. It has also been used to justify war, judicial and extrajudicial killing, slavery, the confiscation of property, denial of suffrage and other rights, and to attack enemies or political enemy.

Performance: 2012 Gent – Belgium

‘The Extinction Of A Culture’

September 9 – October 9 : Spazio Thetis – Arsenale – Venice.

Pavilion 0 / GAD – https://pavilion0.net/

Extinction Of A Culture: 40 android heads placed on ‘shelves’. Wooden construction if it is a ‘stand’. Meanwhile, you
hear the voices of a woman with Russian roots and a Ukrainian man pronounce the names of Russian artists (architects, composers, writers, filmmakers, etc.). These names are first pronounced very disciplined, each in turn they repeat a name. The mood changes as the video/performance progresses. The names are no longer repeated repetitively, they become faster and grittier. The question ‘what is a Russian artist’ is addressed in the work. The Soviets claimed all artists born on their territory as “Russian”. When we look at the list of selected artists, we come to the conclusion that it is not so easy to find their true identity.
Malevich, for example, was born in Kiev, had Russian roots, but there was also Polish-Jewish blood running through his veins. The name Eisenstein, filmmaker, sounds rather German, he was born in Riga.
About the title: According to the West, Russia is signing its own death sentence by starting this war in Ukraine. Putin is said to be wiping out his own culture: ‘The Extinction Of A Culture’. The question is, of course, can you just erase a centuries-old culture? There is a great confusion between culture and tradition: Culture can be defined as ideas, customs and social behavior of a particular people or society. Traditions can be defined ideas, beliefs that are passed down from one generation to another generation. Culture can be seen in a social group, while tradition can be reduced to a small group of people, for example a family. Culture is created by a particular social group of people, over a period of time. Traditions can be created by individuals.

The war in Ukraine is the result of the last example: the end of the Soviet Union. After the fall of the Berlin Wall, the USSR split into several countries. Control was no longer centralized and directed from Moscow. The West had won the Cold War. The Russians had to watch it with sorrow. Ex-Warsaw Pact countries were quickly annexed to NATO and the EU. This was a thorn in the side for the ex-KGB top of Russia.
The West promised Russia not to annex more countries. Yet they forgot about the fact that Ukraine, and other ex-Soviet countries, were actually tired of the way of life forced out of Moscow. The Ukrainians had seen their neighbor countries, including Poland with whom they have a brotherly bond, making progress with help from the EU. The economic situation did not improve, they were tired of living in poverty and therefore wanted to join the EU.
That was not at all to Putin’s liking. He considered this a threat to the sovereignty of Russia. Russia has lived under a tradition of oppression since Stalin. In fact, this has nothing to do with the cultural identity of the country and the people. If we consider what a rich history Russia has in the field of art and culture, we can only conclude that this is an enormous patrimony. However fierce and brutal the dictatorial oppression was, somehow artists and intellectuals still managed to bring art and culture. They risk their lives for it.

Fear Industry

Taipei / Taiwan. 2020/11/14–2020/12/31

catalogus Fear Industry Taipei.Download

Museum of Modern Art, Taipei.

水谷藝術 Waley Art

waleyart  · Museum Modern Art Taipei – Taiwan.

Artists: Belu Simon Fainaru, Julia Kurek, Peter Puype, David Koronczi, Andrew Wasilewski, Thomas Wendland.

Concept: FEAR INDUSTRY. The title and poster are inspired by the work of Peter Puype. Fear has been one of the most effective tools for controlling people and entire societies. Fear of the facts. In becoming fact, it causes real actions, or lack of them, that push people into activity, or paralyze them physically and mentally.

* Work: ‘Communcation As Violece’ Video

Covid19 Face Mask

Kriya Art Foundation (The Netherlands & India) book project Life in Covid19 times and after Book project and online display 2020.

Proposed publication partner: Notionpress.com The book will available on Amazon hard copy & PDF form.

The aim of the project is to bring 360 creative minds together to express and document global concerns about COVID-19. The initiative will facilitate a view of great artworks and good ideas from around the world at one platform and a memory of the time and a tribute to the people who lost their lives in these crises. This project is non-commercial and initiated through humanitarian motivation. How does Art and creative expression matter in times when the World is being affected by COVID-19? http://www.kriyaartfoundation.org

My contribution to this book:

Manipulation is a main topics in my artwork. Therefor I invented the fake brand LICENSE – ‘creating fear as a brand’. Fear is the best selling product of this time. Just because LICENSE is questioning indoctrination, we can immediately refer to propaganda. Propaganda is the concept used by totalitarian systems to proclaim an ideology. The mechanisms used in propaganda are similar to the techniques in advertising. Both want to manipulate our thinking, your believe. During this COVID19 lock down, everyone was talking about protection. One of the main tools is the mouth mask. Since no one was prepared for such an epidemic, there was a big shortage on masks. So, a lot of people started to make masks themselves. I was thinking how much time and labor is needed to make just one mask by hand. It’s incredible how many steps are required: Buying fabric and standing in line in front of the shop, buying plastic zipper bags, buying stretchers on the internet, cutting patches, measuring, pleating and ironing, cutting the stretchers, sewing the masks and putting them in a plastic zipper bag. This type of manual labor is priceless in Western-Europe, because the wages are too high. Do we consider here a limitation of the Western wealth? To protect us against this limitation ‘we created’ low wage countries. Where people are working in sweat shops for less than a minimal wage and suffering from bad conditions in which they have to work. I made 50 LICENSE face masks with the slogan ‘Fear is a funny thing’ and sold them for €20. Due to the added ‘certificate’ (with number and signature), all the masks where sold out in no time. The customer was involved in this project and had the feeling of buying an artwork.

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Not For Sale / LICENSE / Hannover

‘Not For Sale’ is a part of LICENSE, Creating Fear As A Brand. This work is a critical remark on NGO’s as World Food Programme.

Kenyan economist James Shikwati says in an interview with Der Spiegel: “aid to Africa does more harm than good”.^* According to him, the food aid increases corruption as local politicians have the opportunity to steal some of the aid to bribe voters or to sell the aid in the black markets killing the local agriculture.^** He claims that the WFP people as an organization “are in the absurd situation of, on the one hand, being dedicated to the fight against hunger while, on the other hand, being faced with unemployment were hunger actually eliminated”. He suggests that WFP answers too easily to the calls of the corrupted governments, and supplies too much of food aid leading to reduction of the production of local farmers as “no one can compete with the UN’s World Food Programme”.  

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* SPIEGEL ONLINE; Hamburg; Germany (3 July 2005). “SPIEGEL Interview with African Economics Expert: “For God’s Sake, Please Stop the Aid!““. SPIEGEL ONLINE. Retrieved 17 May 2016.

** “Removed: news agency feed article”. the Guardian. Retrieved 17 May 2016.