by Mark R. Westmoreland

Mark R. Westmoreland is Associate Professor of Visual Anthropology in the Institute of Cultural Anthropology and Development Sociology at Leiden University where he coordinates the Visual Ethnography specialisation and describes himself as a jack-of-many-trades with a range of skills across multiple fields.

Using helium balloons and kites, Mark Westmoreland creates cartopological interventions that embody an aerial imaginary. With feet on the ground and hands holding a line in the sky, he tries to navigate landscapes by interacting between surface anomalies and skyline perspectives. On CORRECTIONVILLE 02 he takes you with him into his practice by using the Limburg landscape as a playground.

A Letter to a Silk Road

by Marjolijn Boterenbrood

Marjolijn Boterenbrood studied at the Rietveld Academy in Amsterdam. She grew up with maps, especially sea maps. The basis of her work is always a specific place or an area: a square, a park, a valley or an island. The work arises from the phenomena of that place; through cartography she makes different layers visible.

At CORRECTIONVILLE 02, Marjolijn Boterenbrood introduces her publication of A letter to a Silk Road. This work book is an experiment and start of a collaboration. It came about after artistic research in Kyrgyzstan in 2019. Marjolijn Boterenbrood was part of an international team of botanists looking at the rich biodiversity of this republic. She studied the connections of this country, that is situated in the heart of the old silk roads along which silk and other products, animals, seeds, religions, ideas but also deadly diseases travel.

On the maps of an old Soviet atlas of Kyrgyzstan she drew images of her own experiences in the Netherlands and the encounters with the people of the Kyrgyzstan Republic during the study tour. This is the core of the publication. It is not an end product, it is also an invitation to artists and artist collectives to think about an alternative silk road, an alternative Eurasia connection. It is an open work, others can run off with it, a means of transport, an intermediate step, an invitation to react, to start a dialogue, a collaboration. 

A letter to a Silk Road consists of a letter to the artists of the Kyrgyzstan Republic, a text section of curator Binna Choi, 18 prints of the drawings made in the atlas and the stories that are at the basis of this.


by Suzanne Schaaf

Suzanne Schaaf is a theatre maker and student of visual anthropology at the University of Amsterdam.

During the summer of 2022, Suzanne Schaaf has been ‘mapping’ the loss and recovery of extreme forest fires in Oregon, USA of 2020. Her goal is to come to an understanding of how people relate to and come to an understanding of their environment after it has changed so much. At CORRECTIONVILLE 02, she will show and present her complete fieldwork. Only having returned from Oregon recently, this will be the first time that she will open up all her findings and start to reflect on them – together with the participants and visitors of CORRECTIONVILLE 02.


by Pim Lucassen

Pim Lucassen studied Landscape Architecture at Wageningen University and works for Heusschen Copier Landscape Architects. As a landscape architect, he specialises in interpreting and unravelling the landscape contexts in which his assignments are found.

Fascinated by maps, Pim owns a growing collection of old, rare, particular and/or overlooked maps. During CORRECTIONVILLE 02, Pim will exhibit (part of) his private collection but also ‘curate’ the maps brought by visitors in order to create an ever-changing exhibition on the ground floor of the former monastery.


by Ruby Hoette

Ruby Hoette is a designer and educator whose practice positions fashion as a cultural index of social and economic interactions. Negotiating existing objects, materials, and infrastructures, she unpicks and reconfigures the relationships between a garment and the systems of authorship and value that produce it. She is a Senior Lecturer in Design at Goldsmiths, University of London and co-founder of MODUS: a platform for expanded fashion practice.

Portrait by Nonzuzo Gxekwa
Image of work by Romy Finke

A Field Guide to Lines and Clothes is work-in-progress that uses garment patterns as a point of departure to explore orienting oneself physically, geographically, creatively, and politically through a set of abstract navigational devices. The project gives form to processes and materials that invoke the expansiveness of the garment industry’s varied scales and highlights complex relationships to body, place, movement, and consumption. Tracing the lines around pattern pieces and between fragments of text, cartographies merge with moving blankets, themselves made from reconstituted clothing and socks become wayfaring instruments. Together they form a spatial field guide that reveals interconnections between individual bodies and the shared geographies we move in and through. As a collage of associations spanning the anatomical, philosophical, and fictional, it situates in the tentative space between finding one’s way and getting lost. 


Jeroen van Westen (visual artist) and Thea van der Geest (professor Experience Design) represent a collective that also consists of Franziska Grossenbacher (geographer) and Curdin Tones (visual artist). Together, they developed a series of activities to enhance olfactory explorations of a landscape.

Follow your nose is a collaborative project that explores an often-neglected sensorial entry in reading a landscape. During Correctionville #2, Jeroen and Thea will take you along in a short series of exercises on how to (focus on) smell, to embark on an olfactory exploration of the grounds in/around the former monastery. Taking advantage of the expertise of the participants, you will be invited to map your olfactory experience.


by Michiel de Jaeger

Michiel de Jaeger graduated from the Royal Academy of Fine Arts in Ghent. His artistic career began in Flanders, before taking him to Germany, and then making a final stop in Liège. Fascinated by a mix of media, colours and authenticity, he has worked in the fine arts as well as in theatre and dance. In turn, as a video artist, poster artist and exhibition curator, his experiences have never ceased to assert a multi-disciplinary approach in his teaching and artistic work.

Portrait by Amandine Nandrin

Michiel defines recipients as ‘things that contain things’, a reservoir, box or bag of any size. He will bring along his large private collection of recipients and will spend two days arranging and structuring it. He will not only do this at his own workstation in the monastery, but also in dialogue: he will place part of his collection in relation to the various rooms of the monastery and the work of other participants.


by Marieke de Munck

I am trained as a visual artist (LUCA and KASK School of Arts Ghent) and also have a Master in Film & Theatre Studies (Ghent University). I work at Arts Centre 404 (the former Vooruit) in Ghent, Belgium, where I take care of the STADSATELIER, a residency program for context-based work. I also curate several festivals and take care of the reflection program..

Marieke is a visual artist and curator and uses mapping as a methodology to connect people and ideas, to make reports of meetings, but also, and mainly, to stay focused and try to organise her thoughts. At CORRECTIONVILLE 02, Marieke will explore possibilities to develop using mapping as a methodology to connect, to structure and to organize further, through –and with– her fellow participants and their works.


by Veerle Spronck & Marlies Vermeulen

Veerle Spronck is a researcher at the intersection of art, science, and technology with a great interest in innovation and the arts. Building on her interdisciplinary background in art history and science & technology studies, she conducts research that is ethnographic, experimental, and practice-based. Veerle holds a PhD on the innovation of participation in symphonic music from Maastricht University, and works as associate lector at the University of the Arts Utrecht.

Marlies Vermeulen has a background in architecture and works as a cartopologist. She aims at representing the everyday of our spatial environment by stretching existing spatial notation systems and using anthropological fieldwork techniques. Apart from running her independent practice Dear Hunter, she also teaches at several universities and works on her PhD research but mostly she started the Institute of Cartopology to expand and share cartopology with a broader public.

Veerle and Marlies developed the ‘The Very Specific Guide to Anywhere’: A surrealist travel guide that no longer requires travelling. Instead, it is one size fits anywhere. This travel guide functions as a sensory artistic research method because it will ask you to undertake a walking tour in your own surroundings, and through walking, experimenting, and documenting you generate new insights on how smartphone use and local experience are interlinked. Introduced by Veerle and Marlies and with the help of practical instructions and empirical exercises, you’ll discover the surroundings of Hoogcruts during CORRECTIONVILLE 02.


by Cao Guimarães

Brazilian artist and director Cao Guimarães works on the crossing between cinema and the visual arts. His work has been featured at major film festivals around the world and it has been exhibited and acquired by museums such as the Tate Modern in London, Guggenheim Museum in New York and Fondation Cartier in Paris. MoMA held a retrospective of his films in 2011, followed by BAFICI (Buenos Aires) and Mexico’s Cinematheque (2014). In 2017, Eye Filmmuseum Amsterdam opened a major exhibition and retrospective on his work.

The impressionistic documentary Drifter (2006) makes a connection between walking and thinking. In the countryside of the Minas Gerais province in northeastern Brazil, the film follows the individual paths of three drifters in the true sense of the word: homeless and always on the road. As they walk along asphalt roads vibrating with heat, the cars, buses and trucks fly by them, distant messengers of a world with which they have lost all contact, whether they wanted to or not. There’s no destination, no purpose for their travels, but the constant movement from one place to another is the purpose unto itself. Filmmaker and artist Cao Guimarães takes the time to not only show the emptiness, the isolation, the heat and the night, but also to make it all palpable. He’s not a storyteller, but a painter with images. In long, static shots, he studies all three men as phenomena; he doesn’t pose any questions about their personal histories, but captures the manner in which they create a relationship with a physical environment that keeps changing. Landscapes, objects, animals and people often assume picturesque forms in this subdued documentary.


by Chris Damaskis

Christian Wouters, artist and urban sketcher from Liège (Belgium), will draw at CORRECTIONVILLE 02 and guide you if you want to try it yourself, too.

The term Urban Sketching originated in 2007. The Spanish-American illustrator and journalist Gabriel Campanario called on artists to share their creations on an online forum. The creations consisted of momentum captured, such as daily life, at home or while travelling.

Urban Sketching is now practiced by tens of thousands of artists all over the world. They draw on location and record what they see and what they personally like to depict. They do this by direct observation in the places where they live and the places they visit.

So they do not draw from memory but literally from what they see on the spot. That can be a building, a street, a park with people or for example inside a public building. Most urban sketchers draw the ‘daily life’ around them; in public transport, at school, in the public transport, at school, during the break from work, on a terrace, and so on.


by Weronika Uyar

Weronika Uyar is a Polish/Turkish visual artist, graphic designer who recently graduated from the Royal Academy of Art, The Hague (KABK). She’s interested in colors, patterns and creating visuals.

Weronika Uyar will be presenting a part of her project ‘Pale Blue Dot’ which questions human perception of our planet. We will be inspecting the image of the blue marble through divergent lenses. She would like the audience to question the objectivity of the gaze through having a closer look on Earth.

Pale Blue Dot is an experiment, a lab, a search for a true mesmerising image in colour, detail, and sharpness of Earth. It is a collection that represents and speculates with a wide variety of lenses and perspectives, urged by scientific research that highlights the threats to objectivity that divergent representations of the globe introduce.


by Sammy Stasse

Sammy Stasse studied Visual anthropology at the University of Amsterdam. 

During her masters, Sammy-Lena made a short film about a tidal road in Northumbria. For two months she sat aside of this road, trying to let the world come to her. She used boredom as a method to get closer to the being of this road. A research that tries a more passive way to get to know a place, shifting attention to daydreams and unexpected encounters. 



PARA are Peter Behrbohm, Lina Brion, Jonas Fischer, Josephine Hans, Amelie Neumann, Vanessa Opoku, Philipp Röding, Anselm Schenkluhn, Bastian Sistig, Kolja Vennewald and Joy Weinberger. Together, they form an artist group from Berlin, Hamburg and Frankfurt that focuses on issues of time. The collective explores future ruins and narratives of memory politics, and questions the heritage suitability of current modes of coexistence. PARA’s work is interdisciplinary, location-specific and performative, using reconstructive and speculative techniques and operating in the space between research and fiction. 

Berge Versetzen aims at restituting the summit stone of Mount Kilimanjaro, which colonial geographer Hans Meyer took from the highest mountain range of the African continent to Germany in 1889. For this purpose, the artist group PARA invites the public to purchase replicas of the mountain peak, which will be produced at the GRASSI Museum für Völkerkunde in Leipzig and sold as part of this crowdfunding campaign.

The proceeds from the sold replicas will be used to return the summit stone. To raise the stakes, PARA has removed the top six centimeters of the Zugspitze. The Zugspitze is the hostage in the process of repatriation. Only when the summit stone of Kilimanjaro has returned to Tanzania will the top of the Zugspitze also be put back in its place.


by Christoph Gielen

Christoph Gielen specialises in video and photographic studies of urban development in relation to land use and explores the intersection of art and environmental policy. Gielen’s main concern is to engage the general public in the discourse on environmental and social sustainability. His work has been exhibited in institutions and galleries in the US and Europe and is in private and permanent collections.

CONVERSIONS XVIII (Suburban California)
Chromogenic print, 101 × 127 cm 


by the Institute of Cartopology

MAP A-WAY is a childish yet serious activity. Together we make flags by creating a line or route with 16 separate but identical square stamps. The more routes, the more flags, the more there is to celebrate.

Is it possible to explain cartopology with exercises? Here is an attempt. Cartopologists are often asked to share their knowledge, skills and experiences in words. With these exercises, the Institute of Cartopology tries to make cartopology embodied.


by Dorieke Schreurs

Dorieke Schreurs is artist, researcher and teacher. She’s constantly in search for different ways to use materials, expanding their possibilities and, in the process, creating a foundation for sustainable development in the world of color and the world of art. Her work celebrates the relationship between human and nature.

Portrait: Harry Heuts

Dorieke will be exploring the color potential of HX Hoogcruts by searching for raw materials to create natural earth pigments and waste stream pigments. To Dorieke, colors are geological, cultural and historical storytellers and provide possibilities for mapping and creating an identity for a location or a region. Visitors are invited to help finding materials, to extract color pigments and learn more about the proces of pigment hunting and creating natural color paints.


by the Institute of Cartopology

Is it possible to explain cartopology with exercises? Here is an attempt. Cartopologists are often asked to share their knowledge, skills and experiences in words. With these exercises, the Institute of Cartopology tries to make cartopology embodied.


by Dear Hunter

Drawings for sale is Dear Hunter’s attempt to distance itself from its drawings. Literally in this case. Of course, we are happy to share as many as possible with Dear Hunter. By means of additional prints, online and in presentations. But we keep the original drawings for ourselves. But why should we?


by Lisa Laperre & Maxime Vancoillie

Lisa Laperre is a graphic designer, she specialises mainly in making books. She sees her books as worlds in themselves, in which she takes the reader with her, making a journey through the pages. She often uses maps to give extra meaning to these worlds.

Maxime Vancoillie is an architect and researcher at the KU Leuven, Faculty of Architecture. At the interface of architecture and visual arts her practice focuses on the different manifestations of our environment. Attention is paid to actual spaces that surround us and the embodied experience, as well as the archetypes of spaces that we store via memory and imagination.

During the Spatial Dreaming Matrix, the focus is on dreams. The meaning of a dream is about the wider world we live in. By sharing one’s own nightdreams and associating on dreams of other participants, it is possible to explore a collective spatial memory and raise questions about the environment we live in. Maxime and Lisa reconstruct the dreamed architecture through several rounds of conversation and mapping techniques.

During CORRECTIONVILLE, Maxime and Lisa experiment with visualising the dreamed space of the participants in situ. Especially for this occasion Lisa participates in Maxime’s research and she developed a tool to systematically visualize the dreamed space. In this experiment, she lets go of the control over the final result by only providing the rough building blocks for these maps.


by Djoeke van Netten

Djoeke van Netten is assistant professor of early modern history and coordinator of the interdisciplinary Master Golden Age at the University of Amsterdam.

Lecture, t.b.a.


by Peter Peters

Peter Peters is endowed professor in the innovation of classical music and associate professor at the Faculty of Arts and Social Sciences, Maastricht University. His background is in sociology and philosophy. He holds a PhD for his dissertation on mobilities in technological cultures, in which he combined insights from social theory and science and technology studies (STS) to analyze practices of travel. Before coming to Maastricht University, he worked as a classical music journalist and critic.

At Correctionville, Peter goes back to an old fascination of his: traveling. Over fifteen years ago, he investigated cases of travel in technological cultures, car travel, air travel and cycling in Dutch towns to better understand what travel, time, and technology have to do with each other. For an even longer of period of time, Peter has been an avid traveller himself. During a conversation with Veerle Spronck he will share stories, memories, and reflections on what traveling actually is and can mean.


by Noa Jansma

Noa Jansma graduated from the Design Academy Eindhoven in 2020. As a young multi-medial designer her works are broadly themed. Most of her inspiration comes from misunderstandings or confusion. Outcomes can reach from an Instagram account, an autonomous school curriculum to a mapped out system. She often gives work-related lectures, had various international exhibitions and won the Gouden Kalf Interactive 2018 award.

Buy Cloud is a research on the transformation of “natural phenomena” to “exploitable resources”. A process that carries a story that must be told in relation to the past (colonialism), the present (climate change, corporate land grabbing), and the future (extraterrestrial occupation). As a research-methodology the work copies the dominant Western processes, philosophies and theories on how ownership and exploitation are constructed, and paste them onto one of the last phenomena remaining outside of these systems. Something so fluid and beyond our monetised culture, that it questions the validity of the models themselves. 

Buy Cloud is expressed in a physical video installation with an attached virtual speculation-market in the form of a web-app and a website.


by Carolin Stapenhorst

Carolin Stapenhorst is Professor of Design Methodology, Architectural Communication and Digital Planning at the FH Aachen. She graduated as an architect and studied at RWTH Aachen, EPFL Lausanne and Politecnico di Torino.

We are making an attempt at a reconstruction of a reconstruction. During documenta 8, Swiss sociologists Annmarie and Lucius Burckhardt conducted an experiment in which they re-enacted James Cook and Georg Forster’s 1773 voyage to Tahiti on a military training ground near Kassel. By re-enacting this re-enactment, we will explore the hills around Hoogcruts to discover the exotic and unexpected and to review and expand our landscape images of Limburg.

This re-enactment actually is a re-enactment of the re-enactment that Carolin performed in 2021, during CORRECTIONVILLE 01.


by Andrea Alberto Dutto

A.A. Dutto completed his Masters in Architecture in 2010 after studying at both the Politecnico di Torino and the École Nationale Supérieure d’Architecture de Marseille. In 2017, he obtained his Ph.D. in Architecture under the joint supervision of RWTH Aachen University and the Politecnico di Torino. Currently, Dutto is a PostDoc Teaching and Research Associate in the Chair of Architecture Theory at the RWTH Aachen University. His research focuses on catalogues, handbooks, and maps oriented to architectural design.

In the past years, Andrea Dutto steadily built up an archive of hundreds and hundreds of examples of grids (see ‘Obsessed by the Grid’). In-between a talk and a lecture, Andrea Dutto will elaborate on his fascination for ‘the grid’ and its meaning for architecture and other spatial disciplines, especially from a philosophical point of view. 


by Peter Delpeut & Gerco de Ruijter

Peter Delpeut is a Dutch film maker and writer. He makes films in many genres: found footage, documentary and feature films. He writes novels, essays on art and travel stories. From 1988 to 1995 he was curator and deputy director of the Dutch Film Museum. He has written on the work of Gerco de Ruijter a number of times and has been following him for many years. 

Gerco de Ruijter is a Rotterdam-based visual artist working in the field of photography and film. In the late 1980s he started using kites, balloons and fishing poles to create images of situations far removed from our own vantage point. Since 2012 he has been mining Google Earth as a source, resulting in films like CROPS (2012) and Playground (2014).

Peter Delpeut and Gerco de Ruijter have been working together on two books questioning maps and map-making: Grid Corrections (nai-010 publishers 2019) and Footprint (fw:books 2022)

Nederland ,Amsterdam, 2017 Peter Delpeut, auteur, filmmaker, regisseur, uitgeverij Atlas Contact Foto Bob Bronshoff

As a visual artist, Gerco de Ruijter began to look at landscapes from the perspective of a kite. From above, the world he photographed usually looked like an abstract map. About ten years ago, he shifted his interest to Google Earth. The satellite images seemed to be made by a kite from outer space. Traveling across the United States, he had noticed puzzling things for which he sought answers in GE. He shared his fascinations for irrigation circles (see his film Crops) and the American grid with Peter Delpeut. Together they set out on a visual and intellectual investigation into the enigmatic sides of the satellite images collected by Google that masquerade as a map. 

In both the artist book Grid Corrections and the new publication Footprint, which will be launched during Correctionville 02, De Ruijter and Delpeut react to how the traditional idea of maps is being put under pressure by GE. They do so through visual essays and visual interventions. During Correctionville they will deal with, among other things, the alienation that the corrections within the American cadastral grid have on the perception of the landscape. And the puzzling phenomenon of the stencils photographed by GE’s satellites that aircraft de-icing leaves behind at airports during the winter months.

Their presentation will consist of examples, a conversational discussion with each other, and discussion with the attendees, focusing on wonder and amazement at the frayed edges of mapping. 

To prepare:
Text Peter Delpeut Grid Corrections (English & Dutch):
Footprint: see