2001-2002
Concepts on the move

2000
Staged Situations (Aernout Mik)
Exploding Aesthetics
Questioning the Social: The Aesthetics of Current Art
The Persistence of Painting
Screen-Based Arts

1999
That Media Thing
Filmic Images
Transnihilistic Propositions
Territorial Investigations
The Smooth Space
La survivance du passé project

1998
The Archive of Development

1997
Reushering in Sacrality
Still The Museum
Mental Slides.(Liza May Post)
The Photographic Paradigm

1996
The Intellectual Conscience of Art

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2000 
Publication. Staged Situations (Aernout Mik). Catalogue Still/Moving, 
Contemporary Photography, Film and Video from the Netherlands, (ed. 
Shinji Kohmoto), The National Museum of Modern Art, Kyoto, pp. 86-87 
(Japanese), pp.149-150 (English) 

2000 Publication. PICAF (Pusan International Contemporary Art Festival, 
Korea): Curatorial Statement 2 pages in catalogue (Dutch Presentation, 
Wineke Gartz).

Symposium and publication. Exploding Aesthetics. (An initial impetus 
to a topical Philosophy of Visual Culture). 3 Tuesday evening symposia. 
(Experience& Economy; Brand & Styling; Image & Decision), De Appel. 
Center for Contemporary Art. Amsterdam. (October). Publication in: 
Lier en Boog, 16 (2001) Keynote authors: Friedrich Kittler, Martin Jay, 
Mieke Bal, Nicholas Mirzoeff, Remko Scha, Richard Shusterman, Wolfgang 
Welsch. 

Presentation on symposium Questioning the Social: The Aesthetics of 
Current Art. Conference with Scandinivian aestheticians (Filosofisk 
Projektsenter, University of Oslo) in the context of the Scandinavian 
Biennial of Contemporary Art (Momentum Festival, Moss, Norway. 
www.kunst.no/questioning). 

Symposium and Publication. The Persistence of Painting. 
Discussion on painting and its meaning in the current visual culture. 
Participants: Carel Blotkamp, Benoît Hermans, Frank Reijnders, Jeroen 
Stumpel and Luc Tuymans. In co-operation with Rijksakademie van Beeldende 
Kunsten/Research in Visual Art, Amsterdam. (Published in Fourth Int. 
Ass. Aesthetics Yearbook (davinci.ntu.ac.uk/iaa/iaa4/index.htm) 
(editor: Richard Woodfield).

Publication. Screen-Based Arts - L&B (Lier en Boog), Series of 
Philosophy of Art and Art Theory, volume 15. 
In the 21st century, the screen - the Internet screen, the television 
screen, the video screen and all sorts of combinations thereof - will 
be booming in our visual and infotechno culture. Screen-based art, 
already a prominent and topical part of visual culture in the 1990s, 
will expand even more. In this volume, digital art - the new media - 
as well as its connectedness to cinema will be the subject of 
investigation. The starting point is a two-day symposium organized 
by the Netherlands Media Art Institute Montevideo/TBA, in collaboration 
with the L&B (Lier en Boog) series and the Amster-dam School of 
Cultural Analysis (ASCA).
Issues which emerged during the course of investigation deal with 
questions such as: How could screen-based art be distinguished from 
other art forms? Could screen-based art theoretically be understood 
in one definite model or should one search for various possibilities 
and/or models? Could screen-based art be canonized? What are the physical 
and theoretical forms of representation for screen-based art? What are 
the idiosyncratic concepts geared towards screen-based art? This volume 
includes various arguments, positions, and statements by artists, 
curators, philosophers, and theorists. The participants are Marie-Luise 
Angerer, Annette W. Balkema, René Beekman, Raymond Bellour, Peter Bogers, 
Joost Bolten, Noël Carroll, Sean Cubitt, Cãlin Dan, Chris Dercon, 
Honoré d'O, Anne-Marie Duguet, Ken Fein-gold, Ursula Frohne, hARTware 
curators, Heiner Holtappels, Aernout Mik, Patricia Pisters, Nicolaus 
Schafhausen, Jeffrey Shaw, Peter Sloterdijk, Ed S. Tan, Barbara Visser 
and Siegfried Zielinski. 

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1999
Symposium. The publication Screen-based Arts departs from That Media 
Thing, a two day symposium (May 28 and October 8) organized by The 
Netherlands Media Art Institute Montevideo/TBA in collaboration with 
ASCA (Amsterdam School of Cultural Analysis) and the L&B (Lier en Boog) 
Series. 

Exhibition and Symposium Filmic Images. Galerie d'Eendt/ University 
of Amsterdam. Artists: David Claerbout, Harun Farocki, Wineke Gartz, 
Jean-Luc Godard, Douglas Gordon and Pipilotti Rist. Theorists: Chris 
Dercon, Patricia Pisters and Ed Tan. Article and report in: Lier en 
Boog 15, pp. 95-122. 

Project and publication  Transnihilistic Propositions.  (Discussion 
in De Rode Hoed, Amsterdam. Participants: Thierry de Duve, Gijs Frieling, 
Manfred Stumpf and Hent de Vries).ASCA Yearbook 1999 "Privacies": 
pp.131-152.

Publication. Territorial Investigations, L&B (Lier en Boog), Series 
of Philosophy of Art and Art Theory, volume 14. 
Subject: Nowadays there are many spaces of fascination in visual art. 
Of course, installative space and contextual space have been on the art 
scene for awhile. However, they are now accompanied by other spaces 
such as urban space, architectural space and cyberspace. In this volume, 
architects, artists, theorists, three symposia and four exhibitions 
attempt to find answers to questions such as: Could the architectonic 
study and/or decon-struction of space play a decisive role in the shift 
of atten-tion to space? Which theoretical factors structure the current 
experience and meaning of space?
Participants: Jean Attali, Annette W. Balkema, Andrew Benjamin, Ole 
Bouman, Bernard Cache, Paul Crowther, Christoph Fink, Hugo Heyrman, 
Hou Hanru, Rem Koolhaas, Geert Lovink, Karlheinz Lüdeking, Bartomeu 
Mari, Kas Oosterhuis, Jan van de Pavert, Keiko Sato, Eran Schaerf, 
Lara Schnitger, Roger Scruton, Martin Seel, Nasrine Seraji, Henk Slager, 
Sjoerd Soeters, Lars Spuybroek, Ann van Sevant, Peter Weibel and 
Mark Wigley.

Exhibition and Symposium. The Smooth Space exhibition and symposium 
in the VCC (Flemish Cultural Center) de Brakke Grond, Amsterdam is a 
project at the heart of the publication Territorial Investigations. 
Spatial interests range from how the concept of space is redefined and 
exploited in our current visual culture to how the digital world 
influences our spatial concepts. 

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1998/99
A Series of four Exhibitions and one Symposium. La survivance du 
passé project. This project is a series of four exhibitions 
(participating artists: William Engelen, Voebe de Gruyter, A.C. 
Kiesewetter, Suchan Kinoshita, Wineke van Muiswinkel and Henk Visch) 
exploring the shift in meaning of the concepts of space and time in 
contemporary visual art.
The first exhibition in the series was located in a gallery space 
(d'Eendt, Amsterdam, february 1998) and concentrated on the experience 
of the ephemeral both in the work of art and space itself. In conjunction 
with the gallery exhibition a symposium entitled "The Artistic Experience 
of Time" was organized at the University of Amsterdam. Debaters: Lex 
Ter Braak, Herman Parret and Camiel van Winkel (cf. review in L&B 
(Lier en Boog) Series, Volume 13, pp.115-126). 
The second exhibition ("The Direction of Time") took place during an 
art fair (Art Basel, Statements, June 1998). It consisted of an 
installation by Suchan Kinoshita which forces the viewer-visitor to 
be locked temporarily into the corridors of one's own thought and 
to contemplate the compelling boundaries which (art) institutions 
impose on perception. (Statement in Catalogue Art Basel 29'98, p.14)
The third exhibition of the project ("Temporal Dislocations") lasted 
the time of a congress (the XIVth International Congress of Aesthetics, 
Cankarjev Dom, Ljubljana, Slovenia, September 1998) and was geared 
toward the investigation of duration and space as a public event of 
interaction.
The fourth and final exhibition ("Dislocating space") in an artists' 
space (Kunstruimte, Berlin, January 1999) focused on the investigation 
of the characteristics of the (art) space itself as well as the space 
in the work of art. These issues were prominent both in the exhibition 
and in a parallel debate (together with the German Association of 
Aesthetics/Free University Berlin: Karlheinz Lüdeking, Martin Seel) 
in the laboratory setting which a (non-institutional) artists' space is. 

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1998 
Publication. The Archive of Development, L&B (Lier en Boog), Series 
of Philosophy of Art and Art Theory, volume 13. 
Subject: In the current debate on art, thought on time has commanded 
a prominent position. Do we live in a posthistorical time? Has 
objective art historical time and belief in a continual progress 
shifted to a more subjective experience of the ephemeral? Has (art) 
history fallen away and, if so, what does this mean for the future 
of art? How does a visual archive relate to artistic memory?
This volume investigates positions, arguments and comments regarding
the stated theme. Philosophers and theorists explore the subject 
matter theoretically. Curators articulate the practice of art. 
Participants are: Hans Belting, Jan Bor, Peter Bürger, Bart Cassiman, 
Leontine Coelewij, Hubert Da-misch, Arthur C. Danto, Bart de Baere, 
Okwui Enwezor, Kasper König, Sven Lutticken, Manifesta (Barbara 
Vanderlinden), Hans Ulrich Obrist, Herman Parret, Donald Preziosi, 
Lex Ter Braak, Ernst van Alphen, Camiel van Winkel, Kirk Varnedoe, 
and Gianni Vattimo.

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1997
Exhibition, Symposium and 2 Publications. Reushering in Sacrality/
De actualiteit van het sacrale (Global Vernunft,96p) A manifestation 
as a result of the publication of the book 
In de schaduw van het sacrale. Aanzetten tot een actuele filosofie van 
de kunst. (An impetus to a topical philosoophy of art by Hubert Dethier
and Henk Slager, VUB(Free University) Press, Brussels, 1997, 437 pp.) 
Exhibition (Galerie d'Eendt, Amsterdam) and parallel symposium (VCC De 
Brakke Grond, Amsterdam) based on questions such as: Is it art's task 
to demonstrate that the primary violence of signification consciously 
excludes each form of sacral experience and original interaction with 
objects? Does a ritual suspension of profane time enable a demarcation 
of a sacred space? Participants: Tiong Ang, Willem Elias, Jan Fabre, 
Ger Groot, Dianne Hagen, Arnold Heumakers, Anne Veroni-ca Janssens, 
Joseph Semah, Joëlle Tuerlinckx, Patrick van Caeckenbergh, Frank Van 
de Veire, Daan van Golden, Anne-Mie van Kerckhoven, and Bart Verschaffel.

Publication. Still The Museum (Museum Boijmans van Beuningen). An 
anti-alphabetical exploration of the museological viewing track for 
the sake of the debate. Participants: Annette W. Balkema, Theo Beckers, 
Norman Bryson, Dan Cameron, Gilles Deleuze, Nelson Goodman, Rosalind Krauss, 
Henk Oosterling, Annemieke Roobeek, Arno van Roosmalen, Q.S. Serafijn 
and Henk Slager. 

Publication (article). Mental Slides.(Liza May Post) Catalogue 
Los Angeles (W139/Claremont University: Booster Up Dutch Courage), pp.16-17. 

Publication. The Photographic Paradigm. L&B (Lier en Boog), Series 
of Philosophy of Art and Art Theory, volume 12.
This issue investigates the meaning of the photographic image for 
contemporary art. In Malraux's dream, photography offers the ultimate 
guarantee for a coherent presentation of art. However, as Douglas 
Crimp has stated, the appearance and enhancement of photography as 
a form of art among other art forms disrupted the center of the art 
world. What does this mean for art and philosophy in our time? Various 
artists and theorists will delve into that question: Christian Boltanski, 
Benjamin H.D. Buchloh, Jean-François Chevrier, Douglas Crimp, Jos de Mul,
Mirjam de Zeeuw, Rineke Dijkstra, Michael Gibbs, Rodney Graham, 
Gerald van der Kaap, Karen Knorr, Zoe Leonard, Ken Lum, Hermann Pitz, 
Liza-May Post, John Roberts, Allan Sekula, Andres Serrano, Jan Simons, 
Beat Streuli, Johan M. Swinnen, Renée van de Vall, Hilde van Gelder, 
Hripsimé Visser, Jeff Wall, Ian Wallace and Herta Wolf. This issue was 
presented during the symposium "Photography and Philosophy" (May 1997) 
organized by the Free University, Brussels. 

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1996 
Publication and Presentation. The Intellectual Conscience of Art. 
L&B (Lier en Boog), Series of Philosophy of Art and Art Theory, 
volume 11. 
Subject: At the core of this issue is the question of the concept of 
art. Can the intellectual task of art be transferred to philosophy as 
Arthur Danto maintains? Or is there still a moral assignment for art 
inherent to modernism? 
Participants: J.C. Ammann, Art in Ruins, Ole Bouman, Victor Burgin, 
Guillaume Bijl, Dan Cameron, Arthur Danto, Hanne Darboven, Catherine 
David, Thomas Demand, Chris Dercon, Marle-ne Dumas, Willem Elias, Ger 
van Elk, Fortuyn O'Brien, Paul Groot, Noritoshi Hirakawa, Jan Hoet, 
Christine and Irene Hohenbuchler, Thomas Huber, Niek Kemps, Joseph Kosuth, 
Mark Kremer, Donald Kuspit, Les Levine, Arno van der Mark, Pieter 
Laurens Mol, Maarten van Nierop, A.B. Oliva, Kars Persoon, Philip Peters, 
Hermann Pitz, Frank Reijnders, Rob Scholte, Lydia Schouten, Thomas Schütte, 
Q.S. Serafijn, Haim Steinbach, Peter Struycken, JCJ Vanderheyden, Bart 
Verschaffel, Liliane Vertessen, and Remy Zaugg. This issue was presented 
in Printed Matter/Dia Center, New York, September-October 1996.