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+++Eelco van der Lingen [ed.]+++

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With text contributions by Robin van den Akker, Kris Callens, Tarek El-Ariss, Telco van der Lingen, Ugochukwu-Smooth C. Nzewi, Timotheus Vermeulen.

 Éric Van Hove (Algeria, 1975) researches the relevance of local crafts in a highly globalised world economy. He does this by reproducing industrial products together with craftsmen.

In Van Hove’s work, the local and the global come together and handicrafts are placed in a contemporary context. His oeuvre stimulates a re-evaluation of handiwork and craftsmanship and links tradition to innovation.

This publication is published by Jap Sam Books in cooperation the Fries Museum to accompany the exhibition 'Éric Van Hove - Fenduq', February 2019 - January 2020. 

‘Éric Van Hove has developed a cosmopolitan consciousness that is markedly evidenced in his artistic practice. He works in multiple genres and with a range of media including installation, performance, writing, photography, video and sculpture. He has visited more than 150 countries and has created challenging works in situ in over 100 of them. His creative practice, intellectual pursuits, and deep engagement with some of the compelling issues of today - such as climate change, social inequality, capitalism, political dogma, and intolerance - reflects a socially conscious artist who has his fingers on the pulse of our contemporary times.’ - Ugochukwu-Smooth C. Nzewi

‘The Fries Museum will house artist Éric Van Hove’s exhibition ‘Fenduq’ for one year. The impact of this magnificent project will continue to be felt for a  long time in the province of Friesland. Van Hove offers us a look at the world that seem far away, worlds full of traditional crafts. At the same time, his work also engages with the here and now. It speaks of how we relate to the world and how our identity is shaped and influenced. This book is the lasting memory of this key moment.’ - Kris Callens, director Fries Museum

‘Van Hove’s work invites us to consider a model of development that refuses to be interpolated by the binaries of backward/advanced, tradition/modernity, heart/engine, pre-industrial/industrial, and the bricoleur/engineer. His Fenduq is a startup building of modern production and craftsmanship at the same time, erasing the ideological boundaries constitutive of the narrative of progress imagined by colonial and neoliberal discourse.’ - Tarek El-Ariss