Indebt Studio

21/05/2026

RENOVATION UPDATE #19

01/05/2026

SPOTLIGHT - William Grob

(UK/CH) is a Berlin-based painter. He took part in our exhibition 2012 Never Happened (2023), where a selection of his works from his series Lost Millenials was presented.

Developed during the global outbreak of coronavirus, the series portrays a generation that is collectively present yet fundamentally isolated, navigating conditions shaped by consumer society and emotional dislocation.

Unable to express himself verbally until the age of seven, Grob developed an early reliance on visual language. The use of colour and form as a means of articulating emotional states remains central to his practice. His work often borders between reality and absurdity within everyday scenes, often depicting the loneliness of the human condition, at times underscored by a subtle sense of satire.

Working primarily in oil, his practice moves between figuration and dreamlike abstraction, shaped by an intuitive process where memory, imagination, and atmosphere converge.

Grob graduated with a BA in Photography from Falmouth University in 2014 and has since exhibited internationally, with shows in Berlin, London, Brussels, and Luxembourg, including presentations at , .london and .reding

We spoke with him over email and Instagram to reflect on his recent work and artistic process.

10/04/2026

10/02/2026

Looking back on 2012 NEVER HAPPENED (2023)

The year 2012 was marked by a heavily mediated event: the anticipated apocalypse. The exhibition draws on this cultural moment of collective anticipation, referencing Jean Baudrillard’s ‘The Gulf War Did Not Take Place’ (1991) as well as the Mayan apocalypse said to have taken place on December 21, 2012. Baudrillard’s concept of ‘hyperreality’, the blurring of lines between the real and the simulated, serves as the lens through which we question how we experience events in a media-saturated world.

Through the lens of these millennial artists, the exhibition reflects on this deeply pessimistic vision of the future: how do we navigate a world where reality is so deeply intertwined with its fictional representations?

Works highlighted in this post:
Slide 1 : Exhibition overview
Slide 2: Baratto & Mouravas, Trajan / Iterations, Laser cut MDF, 2017
Slide 3: William Grob, “Where are we, who are you, does it really matter”, Oil on linen, 2021
Slide 4: Exhibition overview
Slide 5: William Grob, The Qualifier of Hope, Oil on linen, 2021
Slide 6: Exhibition overview
Slide 7: Baratto & Mouravas , One Fathom, Two Phantoms, Self shot on 16mm, 2023
Slide 8: Tasio Bidegain, And the Eye Caught On Fire, Graphite on paper, 2021
Slide 9: William Grob, Delaying Time, Oil on linen, 2021
Slide 10: Baratto & Mouravas, L’ancien Regime, Ceramic, 2023

19/01/2026

Looking back on THIS TOO SHALL PASS (2022)

‘This Too Shall Pass’ is a deeply personal project developed by artist , our current in-house gardener at Govert Flinckstraat. The series reflects a journey of self-discovery, pursuit of peace and acceptance, and the quiet dialogue between human and landscape.

Kooyman (1992, NL) visually explores our relationship with nature through themes of temporality and impermanence. For this installation, his photographic series was expanded into a physical environment: moss, stone and over 3000kg of Ardennes Grey form a carefully composed space filled with light and stillness.

The photographs taking the French Alps document the slow, intuitive process of painting monumental boulders with natural pigments. Each session - lasting up to ten hours and spread across different seasons - marked a specific period in Kooyman’s personal life. As the colors fade, so do the moments they represent. The rocks return to their natural state, and so do we.

All photographs are 47 x 58 cm incl. frame, 2021.

17/12/2025

SPOTLIGHT - Baratto & Mouravas

Artist duo - Nicola Baratto (IT, 1989) and Yiannis Mouravas (GR, 1986) - works through a multidisciplinary practice that merges research and art. Central to their practice is ‘Archaeodreaming’: a self-developed methodology situated at the intersection of archaeology and dreamscape-fabrication.

Across ten years of collaboration, they have explored dreaming as a creative practice, moving through archaeological artefacts, mythopoetic histories, and psychedelic pathways. Their sculptures and paintings open into non-linear poetic narratives where history meets mythology, material memory merges with personal dreams, and collective imagination meets the everyday.

The duo graduated from the Dirty Art Department at in 2016, where they also worked as research fellows in 2021. The duo has since exhibited at our previous Swalmstraat space, (Düsseldorf), (Sicily), and (Athens/London). In 2024, they were also selected for the 5th edition of by

Working between Amsterdam and the Mediterranean, they continue to cultivate a visual and sculptural language shaped by this ongoing dialogue.

Next October, they will present a new installation at the Biennale.

Slide 3: Nicola (left) & Yiannis (right)
Slide 4: Yiannis’ answer
Slide 5: Nicola’s answer

21/11/2025

Looking back on TWIN VESSELS (2024) by artist duo

In Twin Vessels, .baratto & reimagined the story of the mythical twin brothers Hypnos and Thanatos, respectively Sleep and Death, born of Nix, the Night. At our Swalmstraat exhibition space, this tale unfolded through two central sculptures: a bed and a sarcophagus, echoing the twins’ parallel states of rest and stillness.

Grounded in their method called ‘archeodreaming’, a research-based practice at the intersection of archaeology, dreaming, and mythology, the works encapsulated drops of dew, mirroring dreams and death.

What emerged was a quiet dialogue of form and motion: vessels in flux, echoing one another across time, material, and space. The works explored how knowledge is transmitted across cultures and centuries, and how ancient practices remain relevant in writing meaningful tales for the future.

Slide 1: Ο ζών νεκρός της μνήμης μας, μια πτήση στον αιθέρα, στο χάος και στο όνειρο, απελπισία χορτάτος, ceramic, wood, 2023

Slide 2: Details of the sarcophagus

Slide 3-4: Details of Psicopompi - Ψυχοπομποί (2), ceramic, 2024

Slide 5: Veglia al di là del Tempo, terracotta, wood, textile, 2022

Slide 6: Detail of ‘Veglia al di là del Tempo’

Slide 7: Hypnos & Thanatos, pencil on paper and ceramics, 2021-2024

Slide 8: Detail of ‘Hypnos & Thanatos’

Slide 9-10: ‘Dew Catchers’ - a Gesture created in collaboration with Indebt. The pair of glass vessels are intended for dew harvesting- an ancient practice shared across cultures, religions, and eras. Made with Murano glass, 2024.

12/11/2025

LOST & FOUND

During the reconstruction process of our new cultural hub at Govert Flinckstraat, we’ve uncovered small traces of the building’s layered past: once an elementary school, later a Turkish mosque. What we’ve found are fragments of those histories of which some deliberately hidden, others simply lost.

Slide 3: a pack of Barclay ci******es, priced ƒ3.35 (Dutch guilder), now worth only €1.52. Estimated production circa 1988.

Slides 4 & 5: a 5 cent coin (stuivertje, 1948) and a 25 cent coin (kwartje, 1980), both found between the plinths.

Slide 6: Pokémon Lickitung card from 1995, discovered hidden behind the wall panelling (someone’s secret stash…?).

Slide 7: A kid’s doodle carved onto the back of a school desk, born from a kind of boredom thats somewhat nostalgic to us all. The three Andreas crosses imply this used to be a former municipal school chair design of which its production year can be dated back to the early 70’s.

Slide 8: A misbaha (prayer necklace) made of 99 purple beads. Found in between some floorboards, most likely dropped by its previous owner.

Slide 9: Fragments of ceramic and lime-rich tiles, red terrazzo and natural stone, materials emblematic of the Amsterdamse School architectural era.

03/11/2025

An integral part of our new cultural hub is the development of an ecological sculptural garden created by , whose practice moves between landscape gardening and visual art. This larger-than-life artwork is both a site of research and a social sanctuary — an ecological oasis in the heart of De Pijp, offering a moment of refuge for city dwellers: from artists and creatives to children, elders, and neighbors.

The garden can be seen as an extension of Rein’s earlier series Navigating the Unseen (2021), where natural materials such as stone and moss became installations. Here, his focus turns to the classic Dutch concrete paving tile (stoeptegel), an emblem of post-war modernism and functionality. By reshaping this square, concrete unit into flowing, circular movements, the design reimagines something rigid as something organic, open, and alive.

The garden is both enduring and always in flux, shaped by the cycles of the Dutch seasons. Built with organic rest materials, it forms a living tension between letting things grow and intervening — between what is natural and what is made. A garden, after all, is not a piece of untouched nature, but a cultivated in-between space where human design and natural growth meet, clash, and sometimes merge.

For us, it is also a workspace for research and material exploration, while contributing to the biodiversity of Amsterdam.

The garden is currently under construction and will be completed by spring.
It’s opening will be celebrated on June 21, 2026.

Big thanks to
& Abe Wientjes

Supported by

31/10/2025

.knezovic (HR/NL, 1990) is a visual artist, researcher, and writer based in Amsterdam. With a background in visual arts and a Research Master’s from the University of Amsterdam, her practice navigates the psycho-cultural politics embedded in institutional and socio-political frameworks.

Working across installation, language, and speculative infrastructures, Knezović explores how bodies move through liminal spaces shaped by chronopolitics, cognitive capitalism, and systems of care. Through a conceptual and auto-ethnographic approach, she reimagines failure, resilience, and power — proposing new forms of structural and affective care.

Her work has been presented internationally at institutions including MUZA Museum, the Museum of Modern and Contemporary Art Ljubljana, BAK-basis voor actuele kunst, and the Venice Biennale (in collaboration with Vlatka Horvat). She co-founded MARC Amsterdam and served as Chair of the Board at Salwa Foundation. Alongside her artistic practice, Knezović is active as an educator and advisor.

In her 2024 solo show “The Games We Play” at INDEBT, Knezović turned these questions into a life-size game of care and critique. Through play, she invited viewers to reimagine how power, empathy, and collective resilience move across bodies and institutions.

From November 1st to December 7th, Knezović will be exhibiting her work in collaboration with at curated by which will later travel to in Istanbul, co-curated by

Swipe through to explore her current research into speculative infrastructures and collective tactics of resilience.