Hello! My name is Nina. My practice spans writing, curating and public speaking, tracing connections between art history and the ideas artists are exploring today.

My work ranges from essays, interviews and publications to exhibitions, lectures, live conversations and international cultural programmes. Across these different forms, I am interested in how artists give material and visual form to the conditions of their time: how they work with history, respond to technological change and reconsider established ideas about authorship, representation, value, stories, and society.

I have worked with museums, artists, publishers, educational institutions and cultural platforms in the Netherlands and internationally. These include the Rijksmuseum, Van Gogh Museum, Museum Voorlinden, Foam Magazine, Huis Marseille, Tableau magazine, LI-MA, SILK Art House, Nieuwe Instituut, Lumen, Right Click Save, Fotoacademie, Archiprix, Culture3 and Witte Rook.

Alongside my writing and curatorial work, I regularly give lectures, moderate panel discussions and conduct public interviews. I have contributed to programmes at PAN Amsterdam, Pakhuis de Zwijger, De Groote Club Amsterdam and international art and technology conferences.

My practice is grounded in the conviction that art can deepen our understanding of things. Artworks carry the circumstances in which they were made, while continuing to acquire new meanings as they enter different places or conversations. My role is often to make those relationships legible: through curatorial research, writing, tour guiding, and conversations held in front of an audience.

I studied Arts, Culture and Media before completing a master’s degree in Arts and Culture at the Rijksuniversiteit Groningen, specialising in Modern and Contemporary Art and Curatorial Studies.

Since 2022, I have worked independently across writing, curating, editorial direction, research, education and public programming. This has allowed me to collaborate closely with individual artists while also working within the larger structures of museums, galleries, publishers, and international cultural organisations.

Within the framework of art history, developments around methodology, technology, concepts, media, and artistic authorship inform my contemporary practice. I am interested in tracing the longer lines of history and in examining how earlier artistic questions return under altered technical and social conditions.

A significant part of my current research concerns digital and computational art: artistic practices involving artificial intelligence, blockchain technology, augmented reality, generative systems, virtual reality, and immersiveness, for example. My interest in technological art developed from a wider art-historical question: how do artists respond when the instruments through which images are produced, distributed and valued begin to change? Technical conditions develop, while recurring concerns around originality, ownership, perception and artistic agency remain the same. For me, understanding these continuities helps place emerging practices within art history and helps create a more precise language for discussing what is genuinely changing.