Curatorial Statement

28 artists, 280 fingers, countless pies.

A Finger in Every Pie presents the graduating class from the Bachelor in Fine Arts from the Royal Academy of Art, The Hague. The group exhibition takes place in three cherry-picked locations with a sugar-coated online spin-off.

The exhibition is handcrafted by The Balcony, Arthur Cordier & Valentino Russo. Brought to you with the support of the Royal Academy of Art, The Municipality of The Hague, and the warm-hearted donors of the crowd-funding.


The young artist has fingers in many pies.
Nowadays, the freshly Graduated must be everywhere, taking odd jobs, performing on the street, dumpster diving or seducing the bank teller. Art, as a work of passion and dedication, falls into the strange limbo of belonging both everywhere and nowhere. Socially the artist performs a living, supports an art practice, sustains a studio space, and many more.

In the ocean of precarity, how do artists paddle above the waterline?

The artist drifts between the public figure and the private investigator. Artists are fast and curious, facing battles and multitasking. Overworked is married to underpaid.
Artists are soft and tender, gentle and critical, blunt and diligent.

Like strays, A Finger in Every Pie explores the intertwined relationship of the artist within society: in the context of turbo-capitalism scenarios, and noteworthy 2020.

“We are not a collection of individuals, but a macro-organism living as an ecosystem. We are completely outside ourselves, and the world is completely inside us.”
Extreme Love, Holly Herndon

From the world within ourselves to the world outside us, from the search for identity to complete alienation, in need for a human scale in time and space, life itself appears increasingly out of our hands.

In how many pies do we have to stick our fingers, before we can finally taste a slice?

Starting from these reflections the exhibition unfolds in three locations.
Each lays open the wider scope of human-life in relation to our inner-selves. Rather than disconnected, the locations present a continuum of artistic practices blending into each other. Overlapping, arguing, contaminating. Like a razor sharp blade with too many sides.

Through the open wounds of society, navigate the disguised parasite. The artist camouflages in workspaces, interrogation rooms, dirty dishes, witchcraft, headaches, archeology, painting and handcrafting.

A Finger in Every Pie leads you from the larger-scope to the micro-organism, from the macrocosm of creation to the specificity of individual practices. Instead of shared-walls, the works display knowledge, experiences and friendships. Introduction to the locations.

Since the late 1980’s and the preference of reconvertion of factories into museums of contemporary art, instead of erecting "purpose-built machines-to-exhibit-art-works-in" 1, artists are increasingly invited to reflect on formerly used spaces reassigned to a new usage. The paradigm of neutrality is thrown to pieces. The artifices of the mise-en-scène are laid bare. The creature inside is facing the headlights. The human figure turns beast.DogTown is the first location you are invited to visit.

By the time we have a second to look inward we see the mutants, the hybrids, and the cyborgs that we have become. The artist, as many daily performers in society, takes oddly-specific jobs, develops overly-regulated ecosystems in office spaces, or displays incongruous adaptations to hierarchy. How do artists subvert the ordinary formats of labor?
Troopers Delight will lead you to the ironical edge of high-speed self-employment.

To conclude with your peregrination, you are invited to dive into the basement at Laan van Nieuwe Oost-Indie, 125, where cold sweats and shivers dialogue with introspection archeology. Interrogation rooms discourse with newborns. Parasite Castle truly is the deepest from within ourselves, a field of microcosms and speculative wonders.

Sweet Cherry Pie - Dogtown

In the garage at the Binckhorstlaan we are confronted with a wild, brutal space populated by hybrid figures. The city is falling apart, it’s the law of the jungle. Humans become animals, wandering alienated in the promised land of advertising where the Sun never shines, where the music never stops. It’s the flash before the seizure.
Keywords: strays, witchcraft, urban-planning, animal city, real-estate headlessness, alienation, personification, tourism, construction.

Grape Jelly Pie - Troopers Delight

The space of Jupiterkade is a domestic, familiar, everyday life setting. The spaces we live in, that we inhabit for work or for pleasure, are often shaped in our own image and likeness, but at the same time infiltrated with objects and stories that do not entirely belong to us. From the house to the office, from A to B and back again. The venomous comfort of a contained life. Is there even an alternative?
A still, floating bee is moving faster than it can think.
Forever overhead,
David Foster Wallace
Keywords: domestic life, office poetics, kitch & routine, inertia, subverted hierarchy, venomous, poetic porosity, talk shows.

Strawberry Cream Pie - Parasite Castle

The basement at Laan van Nieuwe Oost-Indie is an intimate, reflective, almost meditative space in which the human condition finds roots in imaginative realms. In the age of hyperreality, the interior dimension is often neglected, unexplored. If we listen carefully… the deeper we go, the closer we get.
... we can hear these little roars in our guts.
[...] and carry something of us as a parasite to the future.
Extreme Love, Holly Herndon
Keywords: darkness cave, inner-life, birth and death, digestion, parasites, guts and feelings, intimate archeology

"ART SKOOL SUCKS" is a potpourri of Instagram comments and extracts from the press release of the exhibition. It also features the song 'Extreme Love' by Holly Herndon and 'Dj tiesto - Titanic remix (Dj Titanic)'.

1 Triple Bond. Essays on Art, Architecture, and Museums. Wouter Davidts