Kim Bouvy




EXHIBITION Made in Europe 10 Oct 2015 - 17 January 2016 / Bureau Europa, Maastricht

In the context of RECIPROCITY design liège 2015, Bureau Europa commissioned photographer Kim Bouvy to research the specific reciprocity between the (post-)industrial identities of Liège and Maastricht.

Both cities, as part of the Meuse-Rhine Euroregion, are of considerable importance to the footnotes of European history: in 1817, the Dutch King, William 1st, sold the Prince-Bishop of Liège’s summer castle in Seraing to the sons of William Cockerill, an English industrial entrepreneur and skilled engineer. They then laid the foundations for the first coke blast furnace in Belgium in 1823, thus introducing the mass-production of iron and steel and sparking the Industrial Revolution on the European continent. These events were paralleled in Maastricht by Petrus Regout, who started his family-run steam-powered glassworks in the Boschstraat in 1834 that would extend rapidly into factories for glass, earthenware, nails and rifles. Both families consisted of pioneering industrialists and capitalists, both consolidating cross-border relations for the sake of their businesses.

Bouvy’s photographic ‘travelogue’ takes the river Meuse as her guide, looking at the successive landscapes that have emerged along the riverbanks from the time of the industrial revolution to the present. Starting at the Cockerill Castle in Seraing, where the now redundant furnaces owned by Indian steel giant ArcelorMittal stand silently next to worker communities, a new masterplan is being implemented. Between Herstal and Visé one can find off-highway shopping malls, waste incinerators and logistic hubs in development, followed by the picturesque landscape of the Plateau of Caestert and the ENCI limestone quarry and nature reserve in Maastricht. The route ends at Bureau Europa, a villa in the ‘Timber factory’ that was once part of the Sphinx empire of Regout and Sons and now part of a future ‘Factory of Culture’.

From this sequence of fragmented cross-border industrial and post-industrial landscapes, one can read the struggle of a society in flux, one that needs to constantly adapt to its rapidly changing economic and social conditions. Here the river Meuse acts as a timeless connector of ‘décors’ that are both generic and informed by local histories. The contemporary face of Europe emerges: an area in a state of industrial stagnation and disengagement. The once prominent industrial role of this region has been largely played out through an endless process of mergers. Operating within the international flows of capital, cheap resources, migrant worker populations and global economics, multinational companies no longer limit themselves to the local context of available resources and labour. Under these ‘liquid’ conditions, how can this part of the Meuse-Rhine Euregion – once closely connected by religion, culture and trade – shape, or rather reinvent, its post-industrial identity?

This project is commissioned by Bureau Europa and is part of the extra muros programme of RECIPROCITY design liège, International Triennial of Design & Social Innovation, initiated by The Province of Liege / Culture and OPMA.






In the exhibition, Kim Bouvy shows a selection of her photos and a digital slide projection with images taken between April and September 2015 in the area between Liège and Maastricht, following the river Meuse.
Designer Hannah Hiecke was invited by Bouvy to make a satellite map of the same area that is presented as an inkjet print on a size of 4 by 2 meters. In conjunction, a leporello designed by Hiecke is available at Bureau Europa that presents the satellite map and 10 images and texts by Bouvy that gives insight into the context of the depicted locations. The poster can be downloaded



RECIPROCITY/Design Liège at Bureau Europa, Maastricht Oct 2015



Bureau Europa will contribute to the extra muros program of RECIPROCITY 2015 with a project entitled Made in Europe. Departing from ideas relating to an ‘anonymous history’ and ‘hidden integration’ in Europe, Bureau Europa aims to expose some of the European networks that connect different actors and events.

As a part of Made in Europe, I have been commissioned by Bureau Europa to investigate the specific reciprocity between the industrial history and identity of the cities Liège and Maastricht.
Both form important footnotes in the history of Europe: Liège where more than 200 years ago Cockerill founded the first textile and steel factories, establishing the forefront of the industrial revolution on the mainland of Europe, and Maastricht as the site where the Maastricht Treaty was signed in 1992 that consolidated further European integration.
The contemporary face of Europe emerges in the disconnection between these localities and their once prominent industrialists: companies are no longer connected to their local context of resources and worker populations but now move with the international flows of capital and global economics. Under these conditions, how can these two cities in the Euregio still shape or rather reinvent their social and economic identities?

EXHIBITION Rotterdam in the Picture at Netherlands Fotomuseum, Rotterdam / 24 January 2015 - 17 May 2015


A new HD digital version of the installation ‘Phantom City’ is now on view at the Nfm.
The exhibition is accompanied by a magnificent catalogue with the same title.

Exhibition Rotterdam in the Picture | 175 Years of Photography in Rotterdam
Since the invention of the medium of photography, there has never been an exhibition on Rotterdam that has given such a broad representation of the city and of the photography used to produce this representation. Rotterdam in the Picture displays a tough city, a multicultural, constructive and dynamic city, a city that is always under development. The built environment receives great attention, as does the harbour, the striking architecture and the people that make the city what it is.

Either independently or on assignment, photographers from Rotterdam, the Netherlands and abroad have been partly responsible for forming the image of the city. Photographers have developed a vision of the city and given it a countenance. This has helped determine how the city is regarded by external observers, which, in turn, has had an effect upon the way in which Rotterdammers themselves view their city. The image of the city and the city as an image converge here in renowned photographic highlights and unknown material.

Rotterdam in the Picture | 175 Years of Photography in Rotterdam is based on a study that the Nederlands Fotomuseum commissioned Joop de Jong to perform. This exhibition presents many photos from the Museum’s own collection, supplemented by loans from the Rotterdam City Archives, the Royal Archives, the Railway Museum, the Maria Austria Institute, Rotterdam Museum, and the Extraordinary Collections of the University of Leiden.

Photographers in the exhibition
Freek van Arkel, J.Baer, Andor von Barsy, Gabriele Basilico, Henri Berssenbrugge, Henri Alphonse van Besten, Eva Besnyö, W. Bleuzé, A. Boeseken, Boudewijn Bollmann, Marrie Bot, Kim Bouvy, Gaston Braun, George Breitner, Ger Burg, Wouter Cool, John Davies, Cornelis Deltenre, François van Dijk, Adrienne van Eekelen, Bernard F. Eilers, Wally Elenbaas, Franz von Erckens, Gilbert Fastenaekens, Francis Frith, W. Ganter, J. Van Gorkum, Johann Hameter, Robert de Hartogh, Carel van Hees, Walter Herfst, Jacob van der Hoeven, Alphons Hustinx, Andries Jager, Marijn de Jong, Rince de Jong, Henk Jonker, Jan Kamman, Bart Kemps, Gebr. Klumpes, Jan Koelinga, Helena van der Kraan, Carel Kramer, Susanne Kriemann, Germaine Krull, J. Kuiper, W.J. Kuipers, Gustave Larauza, C.A.G. Leyenaar, Jannes Linders, Jan van Maanen, Paul Martens, Peter Martens, Vincent Mentzel, Carl-Emil Mögle, Kees Molkenboer, Munnich & Ermerins, Cornelis Nieuwland, Evert van Ojen, Cas Oorthuys, Pieter Oosterhuis, Julius Perger, Hayo Piebenga, Gebr. Pieterman, Frans von Pöppinghausen, Bas Princen, E. Radermacher, Joop Reijngoud, J. van Rhijn, P.W. Roemer, Jan Roovers, Frits J. Rotgans, Gerco de Ruijter, Daria Scagliola, Eric van der Schalie, Jan Schaper, J. Schotel, Janine Schrijver, Paul Schuitema, Harry Sengers, John Sherrington, Ruud Sies, Otto Snoek, Sara Lydia Stahl-Van Hoboken, Richard Strauss, H.J. Tollens, Robert F. Turing, Uyttenbroek & Versluis, Pieter Vandermeer, Daniël van de Ven, C. Vreedenburgh, Jan Vrijhof, Hans Werlemann, Gerard Wessel, Ed van Wijk, Hans Wilschut, L. van de Winkel, Peter Wotke, Steef Zoetmulder.

Catalogue Rotterdam in the Picture
Autors: Joop de Jonge en Frits Gierstberg
Contributors: Wilfried de Jong en Jules Deelder
Publisher: Hannibal
Pages: 240
ISBN: 9789492081179
Language: Dutch

CEDRIC PRICE: The Dynamics of Time

Bureau Europa, Maastricht, NL / 13 December 2014 – 22 March 2015

Within the context of the exhibition about Cedric Price, my latest work ‘PARK / STAD’ is shown.


The work PARK/STAD (PARK/CITY) examines our presumptions about the often highly constructed ’natural’ landscapes. In the photographic series, presented here as a slideshow projected onto the wall of slowly crossfading lush and idyllic landscapes that can be found in the Parkstad area, an undercurrent of tension exists. In many places, the green ground covers and conceals traces of the mining history that characterises the landscape of Central Limburg.

As part of my research I consulted the Limburg Regional Historical Centre archives and old DSM calendars to gain an insight into what once was when the earth was still black. This translated into a visual analysis where I zoomed out from the Winselerhof estate in Landgraaf to its immediate vicinity. Within a 2 km radius only, a range of typologies of constructed landscapes can be found: from an overgrown fishing pond, a botanical garden, to large-scale scenic recreational areas, such as Snow World, Gaia Zoo, Megaland, and the Mondo Verde World Gardens. Parks all seemingly imbued with a particular history, but in terms of meaning and design they appear to completely ignore their industrial past and identity. The remains of what was once a landscape of production are transformed into carriers of a new, generic ‘arcadian’ identity, becoming what could be described as style rooms of the new nature. As such, I put our perceptions about nature under the microscope and shows, in a poetic way, the relation and contradiction between constructed, cultivated vegetation and its opaque, underlying cultural identity.

About ‘The Dynamics of Time’: Bureau Europa presents the third iteration of an exhibition of the work of architect Cedric Price and the first public appearance of some of his selected projects in the Netherlands. CEDRIC PRICE: The Dynamics of Time is an exhibition that introduces the work of Price by presenting a cross-section of the elements of his inventive and singular practice: sketches, project drawings, recorded talks, first-hand accounts by staff, colleagues and friends. A series of selected projects present his innovative models for industry, education, government, tourism, ecology and the house.

The exhibition is curated, at the invitation of Bureau Europa, by Jan Nauta and Samantha Hardingham ad is made possible with the support of the municipality of Maastricht, the province of Limburg and the Creative Industries Fund NL.

Previous Page »