WOONMACHINE / Installation / 2010
LLAC: BELGIAN PAVILION VENICE / proposal for the Belgian Pavilion at the Venice Biennale / 2010
LLAC: JUVENILE DETENTION CENTER / Architecture competition / 2009
VIEWMASTER / Instalation-performance / 2007-2009
CUBE / temporary projection space on “Mont des Arts” Brussels / 2008
MULTIPLICATIONS 02 / Video-instalation at Netwerk, Aalst / 2007
BORDER SQUARE 02 / Instalation at Netwerk, Aalst / 2007
MULTIPLICATIONS 01 / Working period at Les Bains, Brussels / Video-Instalation / 2007
TSUNAMI MONUMENT / Monument for the victims of the tsunami / Architectural Competition / 2006
IMPOSSIBLE FIGURES / Scenography and Dramaturgy for a solo dance piece / 2006
ROOM WITH A VIEW / Installation in a private apartment on the 25th floor / 2005
MIRRORING THE CITY / Proposition for an urban installation / 2005
RE-AXIS / Installation at Kunsfort near Haarlem / 2005
BORDER SQUARE 01 / Story about a subversive monument / short story – graphics / 2004
MONUMENTS OF SUBVERSION / Notes on the border square story / 2004
EU is not USA / Essay on the inevitable unclarity of the European Union / 2003
MULTIPLE PORTRAITS / Portraits consisting of combined googled faces / presented as lightboxes / 2003
YEAGER AT FLIGHT / Essay on the impossibility of the nomadic position / 2001
Published in AS and in the journal of the Romanian pavilion at the Venice Biennale, 2007
'The initial idea for the square was surprisingly simple. The New York Times headline on January 10th 2019 described it as follows: ‘Europe brings its borders to its centre’. In the hearth of European politics (the EU neighbourhood in Brussels) a square was created, which was itself no longer part of the European Union. This is how the limits of this territory automatically became the new borders of Europe. To achieve this, the square was expelled from the European legal space at the very moment of its realisation. In practice this meant that the European parliament ratified a law that declared the zone ‘as not being subjected to European laws’. Thus the square became a sort of “juridical no-man’s-land” that at first sight seemed to be the materialisation of Europe’s outside; a sort of inverted façade.'