With contributions by: Tom van Veen, Sjoerd Martens, David Wasch

During IDFA there will be an exhibition throughout the premises of Kriterion, from facade to backyard. Tom van Veen exhibits his paintings in the foyer and Sjoerd Martens and David Wasch present video works in the hall and in the garden.



Strongly based at the theatrical aspect of the tragedy, I am fascinated by the way how we deal and interact with contemporary icons today. My paintings simulate certain assumptions wherein nuances or even completely new images arise.

The paintings present themselves digitally as snapshots, specifically because of their relationship with transnational youth culture. But I attach importance to the paint, brush stroke, surface and believe that, when seen in real life, it is more likely to give an experience of delay, inherent in painting (you see / feel the time it took to make the image). I see them as isolated scenes, almost film stills, taken from a fictional story I wrote during a period in Turkey, Pittu.

In my most recent works, such as ‘HORSEPOWER, NO WHITEPOWER’ (2019), I break with the nuance and let the boys of the community use the same language as the extreme right or left parties. They come to claim their place in society. The symbolic training jacket becomes a uniform, the logo a common flag and everything that is available a weapon. The ideal of the extreme groups is based on a myth, causing a result which is inevitably not true or even functional.

Sjoerd Martens

hallway and garden

We are constantly leaving traces of our existence behind in our surroundings but we also have the urge to erase them as quickly as possible. They normally do not capture our attention, either because of their everydayness or perceived ugliness. The hidden beauty and purity of the human traces are what I want to immortalize so that they can be experienced differently and infinitely. Consequently, the subjects are no longer taken for granted. It is thus reminiscent of archeology, but with a different purpose and an unconventional mean.

David Wasch, Thirteen stories II (2019)

hallway – 9 min loop, multimedia installation

In traditional narrative time-based cinema the frame confines, excludes and centers. At the same time, narrative codes are invented that seem to make us forget this. When a person disappears off-frame, he doesn’t fall off the screen, but disappears in time. I am curious how the world is framed, rather than what is contained within that frame. Thirteen stories helps us think about what happens in the brain in the moment of looking and how we puzzle pieces of a reality together, to make that reality our own or to eventually create our own reality. 

The sculptural body of Thirteen Stories determines our rhythm of looking and ways of seeing. It is an invitation to construct. By imposing on the body and position of the spectator, Wasch tries to move away from the traditional one-way relationship between the audience and the screen. Instead of imposing a story, he wants to invite the spectators to create their own.


David Wasch (Amsterdam, 1987) graduated in 2013 at the Gerrit Rietveld Academy. His projects are wide-ranging and often multidisciplinary, playful, and grounded in the everyday often confounding the spectator but also demonstrating the experimentation and embrace of the process of making, creating and seeing at its core. 

Because of his graduation work at the Gerrit Rietveld Acadamy he was nominated for the Young Blood Award 2013. In 2016 he started at the Master of Film Acadamy in Amsterdam. Wasch’s research projects during the master revolved around the meaning of framing (formally and conceptually) in relation to the position of the spectator. 

What conditions shape our view? How do we construct an image or reality and when do we make it our own? When is our position changing reality, and when is reality changing our position?