Categorie archief: Politics

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: 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?

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.

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.

TURBULENCE / Biennale Odessa, Ukraine

De Belgische kunstenaar Peter Puype is een virtuoos criticus van de moderne kapitalistische samenleving en zijn ondeugd: consumentisme, propaganda, media zijn slechts enkele van zijn vaste doelen.

Бельгийский художник Peter Puype – скандальный критик современного капиталистического общества и его пороков: консьюмеризм, пропаганда, власть медиа – вот лишь некоторые из его постоянных мишеней. 


LICENSE: advertisement campaign

Establishing the brand, raising brand awareness, aggrandizing the rate of conversions/sales.

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Research: first step is to do a market research for the product to be advertised. One needs to find out the product demand, competitors, etc.
Know the target audience: one need to know who are going to buy the product and who should be targeted.
Setting the budget: the next step is to set the budget keeping in mind all the factors like media, presentations, paper works, etc which have a role in the process of advertising and the places where there is a need of funds.
Deciding a proper theme: the theme for the campaign has to be decided as in the colors to be used, the graphics should be similar or almost similar in all ads, the music and the voices to be used, the designing of the ads, the way the message will be delivered, the language to be used, jingles, etc.
Selection of media: the media or number of Medias selected should be the one which will reach the target customers.
Media scheduling: the scheduling has to be done accurately so that the ad will be visible or be read or be audible to the targeted customers at the right time.
Executing the campaign: finally the campaign has to be executed and then the feedback has to be noted.


LICENSE: creating fear as a brand.

The art project LICENSE® is questioning marketing and how the brain gets manipulated by commercials and product branding strategy.
There’s no such a big thing as FEAR in this contemporary society. Smart marketing campaings responding on the political, social and economical environment in which we are surrounded with.
The LICENSE® messages doesn’t bring a sparcle of hope. This is for most of the population difficult to swallow. All commercials we are confronted with are bringing us a ‘happy’ message, they fulfill our desires, to consume.
LICENSE® is itchy, irritating and crawles under your skin in it’s rawness. That makes LICENSE® unique. Since there is no such a thing on ‘the market’ nowadays.
The concept LICENSE® is an art project created by artist Peter Puype and is totally settled in his other art work.

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LICENSE® is using the biggest issue of this time: fear
LICENSE® is criticising the (art)market
LICENSE® is usuing Puype’s own slogans (see
LICENSE® is playing with the market, while it’s inside the market


Letterpress on blueprint paper

6 prints with wooden letterpress blocks on blueprint papers from Poland (Communist era).

  • Democracy In The West, Violence For The Rest. (30/45cm)
  • Consume And Kill. (42/60cm)
  • Show No Mercy. Dehumanisation (30/90m)
  • Dissident. (30/65cm)
  • Nature Is A Cruel Beast. (60/50cm)
  • It’s The Final Count Down. (30/45cm)

Editions: 6/6

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Propaganda Project – MKH Biennale – Halberstadt – Germany – Aug ’16.

2 Posters made for the MKH Biennale – Halberstadt – Germany

“Ich bin, was Du vergessen hast”

“Wenn Du Deine Ambitionen hinter Dir läßt, wirst Du ein Heiler sein für alle”

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New exhibitions: Dresden, Halberstadt, Poznan.

ERROR X – Dresden – Germany:  1.7. – 25.9.2016

Seit der Künstler Peter Puype schrieb: „Democracy for the West, Violence for the rest“/„Demokratie für den Westen, Gewalt für den Rest”,  fragen wir nach Alternativen der Art und Weise unseres Daseins,  aber solange wir funktionieren in unseren Systemen, vergessen wir die Konsequenzen unseres Konsums und unserer heutigen Werte. Wir alle wissen, dass diesem System ein Fehler vorliegt – error:x.



MKH Biennale – Halberstadt – Germany: 26.8. – 30.9. 2016

Dr. Peter Funken kuratiert die MHK-Biennale Halberstadt, die dort vom 26. August bis zum 30. September 2016 ausgerichtet wird. Unter dem Motto „Was wird sein?“ findet sie dort während des Monats der Kunst mit 12 eingeladenen Künstlern statt. „John Cage steht mit auf der Liste, denn seine Orgelmusik ‘Organ2/ASLSP’ (zu spielen für 639 Jahre!) in der St. Burchardi Kirche Halberstadt gab Anstoß für Idee und Titel der II. Biennale. Es geht um Zukünfte, die stets im heute beginnen.“ Künstlerliste: Alexander Kluge, Juliane Duda, Erich Reusch Gerd Rohling, Lisa Tiemann, Peter Pilz (zeigt Silvia Lorenz), Peter Puype, Mariana Vassileva, Georg Zey, Roland Eckelt und Tobias Hauser.



Mediations Biennale – Poznan – Poland: 01. – 30.10. 2016

Fundamental bezieht sich auf die Grundlage von Freiheit, Identität und Integrität jeder Gesellschaft und ihrer Kultur. Angesichts der heutigen Konflikte wie Massenmigration von Menschen und dadurch entstehende neue Ideen in der Welt, werden wir den Dialog in Polen mit 50 Künstlern aus Afrika (Kenia, Ghana, Kongo, Senegal, Simbabwe), Indonesien, Israel, Japan, Kuba, Russland und mit 20 Künstlern aus Polen initiieren. Die junge Generation der polnischen Künstler ist aufgerufen, sich an einem Wettbewerb zu beteiligen, wobei für die 5. Mediations Biennale 10 Gewinner für “Grundlagen der Freiheit” ausgewählt werden. Das Konzept der Ausstellung und deren Anordnung wird ein internationales Kuratorenteam mit Bezug auf die Zusammenhänge von 9 Standorten in Poznań auswählen und positionieren. Die Ausstellungen werden von einer Publikation begleitet, die eine Dokumentation der Kunstwerke beinhaltet, sowie kritische Texte zu den Arbeiten und Ihren globalen Gedanken bezüglich der Thematik Fundamental enthält.





10 screen prints (10/10 numbered), made at Rietveld Academie – Amsterdam during the ‘Atelier #3’ at Brakke Grond – Amsterdam – Holland, September 2015.

The prints are part of ‘Decline’. See more / different Decline screen prints (10/10 numbered each print). 

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Fear 1 Puype Fear 3 PuypeFear 5 PuypeFear 2 PuypeFear 7 PuypeFear 8 PuypeFear 4 PuypeFear 6 Puype Fear 9 Puype Fear 10 Puype

EXILE TRAVEL (travel agency)

Peter Puype’s plastic work, which comprises installations, videos, drawings and graphic work, centre on social criticism. He tackles this theme head-on without restraint, which at times incurs some displeasure in some people, and thus takes a stance that leaves him as visual artist assailable but above all sharp and authentic. Puype likes to poke at our Achilles’ heel: we are continuously swayed by the illusion that well-being will be gained through freedom and democratic principles, whilst we are daily confronted with the power of capital, the manipulations of the media and attacks on independent and freethinking.

Even in provincial towns store chains are taking the place of small-scale and authentic businesses. Shopping streets are recognisable feasts packed with commercial codes. They offer certainties, fixed ingredients: some chains are omnipresent, their style, their shopping windows, their logos clearly recognisable. They show codes we are familiar with. They offer sameness too: ready-to-wear clothes are of their nature identical anywhere, the jobs vacancies displayed in the windows of temporary post offices are equally temporary, charter flight offer modern free individuals the false belief that they are free to choose their bearings. Every average travel agency has a trip to the Dominican Republic or Tenerife on offer, an enchanting reward for a year’s hard work. The Gaza Strip, Chernobyl, or Aleppo are not among the destinations. We prefer palm trees and sangria; wisp of smoke and roadblocks are firmly restricted to news broadcasts. We applaud globalisation and consumer goods and information. But we keep strangers, unlike minded people and conflicts at an arm’s length. Puype’s travel bureau, Exile Travel, leaves little room for easygoing ignorance. Travellers from all the corners of the world are arriving in our parts, often propelled by pressing issues, often in the hope of finding happiness and stability. Their journey has nothing to do with idyllic cruising. The dealing with a new culture and its accompanying codes rarely goes smoothly. Trips of this nature cannot be found in glossy brochures and cannot be booked with an overly

friendly consultant.


part 1  –  part2   –  part 3

(mail for more info and video’s :

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Exile Tavel in Brussels:

CATALOGUS TEKST: Peter Puype trekt in zijn plastische werk volop de kaart van maatschappijkritiek. Hij doet dat zelfs niet omfloerst of omzwachteld en neemt daarmee als kunstenaar een kwetsbare maar scherpe en authentieke plaats in. Puype nijpt graag in onze achillespees: onze blijvende waan van welstand door vrijheid en democratische principes, terwijl we dagelijks geconfronteerd worden met macht door kapitaal, mediamanipulatie en aanvallen op ons onafhankelijk vrij denken.

Winkelketens nemen zelfs in de kleinste provinciesteden grotendeels de plaats in van kleine, authentieke handelszaken. Winkelstraten zijn inwisselbare festijnen van commerciële codes. Er zijn zekerheden, vaste ingrediënten: bepaalde ketens vind je overal, duidelijk herkenbaar door hun stijl, hun vitrinekleuren, hun logo’s. Vertrouwde codes. Eenheidsworst ook: confectie is in sé overal dezelfde, de jobs in de vitrines van de interimkantoren even tijdelijk, de reizen met chartervluchten even veel illusie van eigentijdse vrije mensen om te gaan en te staan waar je maar wil. In een gemiddeld reisbureau vind je vlotjes een trip naar een Dominicaans resort of een weekje Tenerife, als lonkende beloning voor een jaartje werken. Een weekje Irakese of Syrische hel behoren niet tot het standaard aanbod. We gaan voor palmbomen en Sangria. Rookpluimen en wegversperringen laten we voor de journaals. Globalisering van consumptiewaar en informatie juichen we graag toe. Maar vreemd volk, andere mentaliteiten en conflicten houden we graag buiten de stadspoorten. In het tijdelijk reisbureau  “Exile travel” dat Puype opende in de Kortrijkstraat, is er weinig ruimte voor dat gezapige negeren. Van de vier windstreken komen reizigers aan in onze contreien, vaak op weg om heel andere en prangende redenen, in de hoop elders, ook bij ons, geluk en stabiliteit te vinden. Hun reis is allesbehalve een idyllische trip. Ook de confrontatie met een nieuwe cultuur en andere codes verloopt zelden vlekkeloos. Het zijn het soort reizen die niet geboekt worden door een breed glimlachende consulent en niet in glossy brochures belanden.

Tekst: F. Van Laere – Curator Questa

Focus TV:

Het Nieuwsblad, 22 september 2012: