Manchester, U.K.

from series

Ongoing observations of human behavior and
the environment we create.

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Rio de Janeiro, Brazil.

from series

Ongoing observations of human behavior and
the environment we create.

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from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Entrada

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Jan Broekema (Set Production Assistant)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Sabrina Carli (Lighting Trainee) & Taco Regtien (Set Dresser / Weed Specialist)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Cloverleaf interchange for A6-A9 junction near Amstelveen, including two sand embankments.
(traces of cloverleaf have been cleared, embankments have been redeveloped as residential areas)

A straight connection between Amsterdam and Rotterdam was envisioned in the 1932 National Motorway Plan for The Netherlands, which would cut right through the present day ‘Groene Hart’. The plan was to create the A3 motorway to connect to the A9, but protests from environmentalists and the coming-into-existence of alternative routes halted construction.

However, in Amstelveen preparations to accommodate the connection from A3 to A9 were already underway. Spacious overpasses, collector and distributor bends, ponds and other landscape elements were constructed and, until a few years ago, remained as signs of the initial plans.

Recently, the national planning department eradicated most of the infrastructure and sand embankments – leaving only the ponds as a silent reminder of the envisioned motorway junction ‘Amstelplein’. Streets in nearby neighbourhoods still show signs of this unrealised plan, with names such as ‘Rotterdamsepad’ and ‘Spangenhof’.

from series

Boondoggles exist in almost every city.

boondoggle is considered to be an unnecessary and wasteful object, continued because the politics and money involved in its demolition are placed in greater weight than its usefulness.

Boondoggles are often visualised as bridges to nowhere, motorway exits that end in mid-air and abandoned interchanges. Usually they are state-funded initiatives that for political and/or economical reasons stray from their original use. More often than not, local and national governments and clever individuals have redefined the spaces by finding a new use for them.

Together with urban historian Tim Verlaan, I started an inventory of Amsterdam’s boondoggles. Our aim is to map out their occurrences further afield as well.

All the pictures are shot on instant film, a well known process originated in the 1920’s and made popular by Polariod during the 1960’s and 1970’s. Instant film is still being used today by both professional and amateur photographers around the world because of its unique characteristics. After pulling the trigger and standing on the street for a few minutes holding the film in the dark corners of your coat, looking like your about to pull out a gun, you wait for a chemical process to develop the instant camera’s interpretation of what you captured. The outcome of instant film is never quite the same. Its chemical properties make it react and alter to its surroundings. This will determine the way it will look over the years. So what you see in the first instance isn’t necessarily what you’ll see years later.

 

*Boondoggles in De Volkskrant, 06/10/2010.

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Kim van Kooten (Actress)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Detroit, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Berlin, Germany.

from series

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New York, USA.

from series

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Paraiso de Bebe

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Five Stars

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Lizelotte. Amsterdam, NL.

from series

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Le Royale

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Tim. Amstelveen, NL.

from series

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Detroit, USA.

from series

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Sterre. Nijkerk, NL.

from series

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Uwe Kuipers (Gaffer) & Peter van den Begin (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Amsterdam, NL.

from series

Ongoing observations of human behavior and
the environment we create.

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Secrets

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Thailand.

from series

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Hollands Hope

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Playboy

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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INFO

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Uwe Kuipers (Gaffer)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Jesse. Amsterdam, NL.

from series

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Glasgow, U.K.

 

from series

Ongoing observations of human behavior and
the environment we create.

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Karysma

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Nikola Djuricko (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Justus Engelbracht (Clapper/Loader)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Style

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Alter do Chão, Brazil.

from series

Ongoing observations of human behavior and
the environment we create.

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Phae. Rotterdam, NL.

from series

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Martijn Lakemeier as Pepijn Augustinus

from series

For the second season of the Dutch television hit-series
‘Hollands Hoop’, I portrayed the main cast members in
character and in their fictional habitat.

hollandshoop.ntr.nl

Hollands Hoop on IMDB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Encontros

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Marcel Hensema (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Detroit, USA.

 

from series

Ongoing observations of human behavior and
the environment we create.

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New York, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Stall keeper. Manaus, Brazil.

from series

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Kim van Kooten as Machteld Augustinus

from series

For the second season of the Dutch television hit-series
‘Hollands Hoop’, I portrayed the main cast members in
character and in their fictional habitat.

hollandshoop.ntr.nl

Hollands Hoop on IMDB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Richt Martens (2nd Assistant Director / Script Continuity)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Unfinished metro station underneath Weesperplein junction.
(in use as a fallout shelter during the Cold War)

In 1968, plans for Amsterdam’s metro network included four metro lines: a ring line, a north-south line, two south-east lines, an east-west line and the Singelgracht line.
The east-west line and Singelgracht lines were never finished. Because of wet Dutch soil, it was necessary to tear down thousands of houses to accommodate the metro tunnels for these lines. In the mid 1970s, protests against this demolition led to the city council closing any plans for the other lines, although new construction techniques led to the decision to push ahead with the north-south line some fifteen years ago.
Some of the works had already started for the unfinished lines, leading to a transfer station linking the south-east and Singelgracht lines – just underneath Weesperplein. At this crossroad, the concrete casting of the transfer station was eventually given the function of a fallout shelter during the Cold War. It included fresh air filters, power turbines and sanitary fittings.
There are still signs of what was meant before. Today, you can see ‘tiles’ attached to the ceiling of Weesperplein station’s main hall. These are not decorative elements – they are tables that can be dismantled to be used in case of a nuclear attack.
Several proposals were made to repurpose the fallout shelter, including a parking garage and towards the more extreme scale – a theme park. There has been activity from then untill now in the concrete ‘no man’s land’, some plays and the occasional rave but nothing fixed.

from series

Boondoggles exist in almost every city.

boondoggle is considered to be an unnecessary and wasteful object, continued because the politics and money involved in its demolition are placed in greater weight than its usefulness.

Boondoggles are often visualised as bridges to nowhere, motorway exits that end in mid-air and abandoned interchanges. Usually they are state-funded initiatives that for political and/or economical reasons stray from their original use. More often than not, local and national governments and clever individuals have redefined the spaces by finding a new use for them.

Together with urban historian Tim Verlaan, I started an inventory of Amsterdam’s boondoggles. Our aim is to map out their occurrences further afield as well.

All the pictures are shot on instant film, a well known process originated in the 1920’s and made popular by Polariod during the 1960’s and 1970’s. Instant film is still being used today by both professional and amateur photographers around the world because of its unique characteristics. After pulling the trigger and standing on the street for a few minutes holding the film in the dark corners of your coat, looking like your about to pull out a gun, you wait for a chemical process to develop the instant camera’s interpretation of what you captured. The outcome of instant film is never quite the same. Its chemical properties make it react and alter to its surroundings. This will determine the way it will look over the years. So what you see in the first instance isn’t necessarily what you’ll see years later.

 

*Boondoggles in De Volkskrant, 06/10/2010.

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Marcel Hensema (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Soccer Pitch. Amazon, Brazil.

from series

Ongoing observations of human behavior and
the environment we create.

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Antoin Cox (Sound Mixer) Bert Pot (Director of Photography) Ari Hemelaar (1st AD)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Mark du Plessis (1st Assistant Camera)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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New York, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Rotterdam, NL.

from series

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Peter Paul Muller (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Eternity

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Salvador, Brazil.

from series

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Sabrina Carli (Lighting Trainee)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Manchester, U.K.

from series

Ongoing observations of human behavior and
the environment we create.

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Belém, Brazil.

from series

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Chicago, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Butcher. Manaus, Brazil.

from series

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Glasgow, NL.

from series

Ongoing observations of human behavior and
the environment we create.

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Alfa

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Uwe Kuipers

from series

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Edinburgh, UK.

from series

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Glasgow, Schotland.

from series

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Uwe Kuipers (Gaffer)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Happy End

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Ian & Neeltje (Catering)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Novo Plano

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Carinhoso

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Martijn Lakemeier (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Detroit, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Lumini

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Alter do Chão, Brazil.

from series

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Ring road overpass for the Schiphol line in the direction of Museumplein.
(never been put to use)

In the 1970s, the Dutch National Railways sought to establish a high-speed link between Amsterdam’s inner city and Schipol airport via Museumplein. The idea was to construct a tunnel to accommodate an underground railway station, serving the southern part of the old city. In 1978, Station Zuid WTC was opened – Amsterdam’s second largest station today, but at the time only considered as a temporary solution to the plans at large.

Terminus ‘Amsterdam Museumplein’ was never realised. During the 1980s, the city’s planning department changed their trajectory and in 1986 decided to create a fast connection to Schipol by extending the existing railway network. The first segment of the tunnel had already been built at this point. Situated under the southern part of the ring road, it was used ad hoc for raves. A few years ago, concrete blocks were placed at the entrances to block this kind of activity in the space.

from series

Boondoggles exist in almost every city.

boondoggle is considered to be an unnecessary and wasteful object, continued because the politics and money involved in its demolition are placed in greater weight than its usefulness.

Boondoggles are often visualised as bridges to nowhere, motorway exits that end in mid-air and abandoned interchanges. Usually they are state-funded initiatives that for political and/or economical reasons stray from their original use. More often than not, local and national governments and clever individuals have redefined the spaces by finding a new use for them.

Together with urban historian Tim Verlaan, I started an inventory of Amsterdam’s boondoggles. Our aim is to map out their occurrences further afield as well.

All the pictures are shot on instant film, a well known process originated in the 1920’s and made popular by Polariod during the 1960’s and 1970’s. Instant film is still being used today by both professional and amateur photographers around the world because of its unique characteristics. After pulling the trigger and standing on the street for a few minutes holding the film in the dark corners of your coat, looking like your about to pull out a gun, you wait for a chemical process to develop the instant camera’s interpretation of what you captured. The outcome of instant film is never quite the same. Its chemical properties make it react and alter to its surroundings. This will determine the way it will look over the years. So what you see in the first instance isn’t necessarily what you’ll see years later.

 

*Boondoggles in De Volkskrant, 06/10/2010.

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Megan de Kruijf as Lara Augustinus

from series

For the second season of the Dutch television hit-series
‘Hollands Hoop’, I portrayed the main cast members in
character and in their fictional habitat.

hollandshoop.ntr.nl

Hollands Hoop on IMDB

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

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Jur Oster & Giel Born (Best Boy)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Peter van den Begin (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Barreirinhas, Brazil.

from series

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New York, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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My Dream

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Loves Day

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Detroit, USA.

from series

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Martijn Lakemeier (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Executive

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Manchester, U.K.

from series

Ongoing observations of human behavior and
the environment we create.

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Rio de Janeiro, Brazil.

from series

Ongoing observations of human behavior and
the environment we create.

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New York, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Status

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Simply Red

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Pai, Thailand.

from series

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Oasis

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Belo Horizonte, Brazil.

from series

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New York, USA.

from series

Ongoing observations of human behavior and
the environment we create.

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Palmeiras, Brazil.

from series

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De Jeugd van Tegenwoordig. Paradiso, Amsterdam. NL.

from series

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IJmuiden, NL.

from series

Ongoing observations of human behavior and
the environment we create.

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Sabrina Carli (Lighting Trainee) & Giel Born (Best Boy)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Casual

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Santarém, Brazil.

from series

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Salim. Amsterdam, NL.

from series

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Liselotte Bredero (Hair & Make Up), Sjors op den Kelder (Line Producer) & Kim Oomen (Executive Producer)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Salvador, Brazil.

from series

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Rotterdam, NL.

from series

Ongoing observations of human behavior and
the environment we create.

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Martijn Lakemeier (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Berlin, Germany.

from series

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Marzahn, Berlin. DE.

from series

Social housing with Marquis Hawkes

“People think it’s a no-go zone,” says our guide while he drives us around Marzahn, a district on the north-eastern border of Berlin. It’s a sunny August afternoon and we’re about 15 kilometres from Alexanderplatz, being driven around in the Volkswagen Polo of a 40-year-old Mohawk-sporting Englishman, who is showing us around the area in which he lives. It’s an incredibly green and spacious scene, people are walking their dogs, and we hear the excited shouts of the many kids playing outside. And no matter where we look, there’s always a concrete Plattenbau high-rise in the backdrop. There are dozens and dozens of them, many of which have recently been renovated, dressed in fresh colours and looking crisp in the lush summer landscape.

Our guide is Mark Hawkins, better known as Marquis Hawkes, a DJ and a producer of soulful, club-ready house music. Having made music and DJ’d under different aliases since the nineties, he adopted his current pseudonym several years ago. In June, Marquis Hawkes’ debut album Social Housing dropped, an album inspired by the socialist housing estates of Marzahn, where he and his family moved four years ago. “Living in one of the poorest parts of Berlin had an effect on the sound of my album,” Hawkins says. “The backdrop of having people leading tough lives around me, alongside our own everyday struggle just to keep the bills paid and food on the table, it has that influence.” While he speeds his car through the sea of high-rises, we talk about living in Marzahn, housing policies, and how he relates to the scene in Berlin’s popular areas.

 

*Read full article by Mark Minkjan for Failed Architecture.
*Project featured on Thump.

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Manchester, U.K.

from series

Ongoing observations of human behavior and
the environment we create.

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Rotterdam, NL.

from series

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Jaap Spijkers (Actor)

from series

For over ten years now, I have been active in the film industry, working on features, commercials, shorts and corporate films. Across all of these settings, what is evident is the remarkable visual friction between the fictional world we create and the daily world that we all inhabit. In the summer, we shoot snowy Christmas scenes; during wintertime, a sunny moment in an Eastern world. What strikes me most is how fast we, as human beings, are able to adapt to situations that seem absurd to outsiders. For people working on film sets, fiction becomes a very real part of daily life, making reality interact with fiction in the most normal and therefore strangest of ways.

 

During a 76 day shoot, I decided to document the “reality” of a film set and the fiction of a drama, using only my smartphone. The idea was to capture one special moment during each shooting day and then sharing this image with the cast, crew and fans through social media. The shooting period, which entailed no less than 1,000 hours of close collaboration, offered me the opportunity to come extremely close to my objects of interest and become a true “fly on the wall.” This has resulted in a series of intimate portraits as well as bizarre snapshots, each of which blur the line between fiction and reality.

 

*Hollands Hoop on IMDB.
*Hollands Hoop exposition in De Balie.
*Hollands Hoop in (local newspaper) De Eemsbode.
*Hollands Hoop on LensCulture.
‘Shot with the cinéma vérité-style of a smartphone, this daily series of “candid” photos pierces the slick facade of film-making while causing us to question the distinction between reality and performance in our own lives.’ -LensCulture-

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Yara. Amsterdam, NL.

from series

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Scala

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Endless Love

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Grand Prix

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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Between shots at Honkemöller shoot.

from series

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Granville

from series

Brazilians are passionate people. They’re not afraid to show their bodies or express their sensuality publicly, as evidenced by their exuberant celebrations of Carnival each February. Infidelity is commonly thought about, if not openly practiced. Paradoxically, having multiple partners, homosexuality and other nonconventional relationships, remain in conflict with the more dominant, conservative values that run deep beneath the country’s carnal reputation.

Large families often live together in small, cramped houses, where it’s difficult to find privacy. Young Brazilians, who tend to live at home until they marry, cannot bring their partners back home for sex. And regardless of their sexual proclivities, most Brazilians prefer to avoid a personal reputation for promiscuity, and hence, a desire to express the full range of their sexuality, discreetly and in private.

Brazilian love motels are everywhere; in urban and rural areas, even in the jungle. These tantalizing (if somewhat cheesy) “romantic escapes” offer an exciting alternative to having sex outdoors (a common practice in Brazil). They’re usually surrounded by high walls but are still easily recognized by evocative names, like “Red Love”, “Stop Time”, “Tropicál” and “Álibi”, flashing in colorful neon at the gate. Driven by a shared fascination with Brazil’s culture of love, Vera van de Sandt (art director) and myself documented the authentic interiors of Brazilian Love Motels over a two-year period, just as the 2014 World Cup and 2016 Olympics threatened to transform them into soulless tourist facilities. With the resulting photographic series “Love Land Stop Time” they capture a fascinating and provocative cultural phenomenon in paradox.

 

Limited C-prints mounted on aluminium are available
in sizes 30x30cm / 60x60cm, in edition of 8. The project also features a publication including 4 full-color prints [16x23cm], a poster and a 8 page leparello. For additional info about options and prizes please contact us at: lovelandstoptime@gmail.com

 

*Love Land Stop Time Facebook page.

 

*Love Land Stop Time in the media:
The Huffington Post
Vice
Dezeen
New Dawn Newspaper
GUP Magazine
Failed Architecture
Life Framer
CityLab
Hyperallergic
Baunetzwoche
Fastcodesign

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