Peter Bogers

11-12-16 > 05-02-17.

As a performance artist in the 1980s, Peter Bogers (b. 1956) was part of the first generation of Dutch artists to actively make use of video. He originally employed it to record his performances but later began using it as a medium in its own right that enabled him to manipulate movement, space, sound and the perception of time. The videos and audio installations he has made in the years since, like his performances, always depict and/or aim to bring about a physical experience, either in himself or in the viewer. Bogers’ videos track the minute movements of hands and fingertips, linger on isolated, floating body parts, and use endlessly repeated and slowed-down images to create a palpable vacuum in time and space. His penetrating audio installations seem to render sound tangible.

Many of Bogers’ videos consist of images of his own body or sounds he has produced himself, but others are composed of images and sounds from the external world – either his own video footage or media content he restructures and reorders. As different as the two approaches are, they are unmistakably the work of the same artist. They always evince the same focused, near-meditative power and spring from a fascination with how inner human experience can be expressed.

In Bodyscanning, Parts Project is showing works in which Bogers uses his own body as a departure point for his investigations and in which physicality manifests itself in a pure form. Created in the focused atmosphere of the studio, they show a steady line running through Bogers’ oeuvre, from his early performance films to his recent multimedia installations.

Review on Metropolis M (in Dutch only)
Review on Villa Next Door
Review on Chmkoome’s blog (in Dutch only)
Artist’s website


Finissage / Performance
On Sunday 5 February at 15.00 hrs, we’ve closed the exhibition Peter Bogers. Bodyscanning with a live performance by the artist, “What’s Mine Has Never Failed Me Yet”. Using technology, Bogers will make a physical and visual representation of his own voice and then meticulously dismantle that representation.