About Niels Post 3632 Articles
Niels Post is beeldend kunstenaar en actief als mede-oprichter van Trendbeheer.com. Hij is opgeleid aan de AKI in Enschede en het San Francisco Art Institute. Zijn werk is wereldwijd te zien geweest op videofestivals, tentoonstellingen en als zelfinitiatief in de openbare ruimte. Spam, computer gegenereerde tekst die niemand wil maar die overal opduikt, vormt de laatste jaren het basismateriaal van zijn beroepspraktijk. Post gebruikt het voor interventies op leegstaande winkelramen, wandsculpturen en ruimtevullende installaties.


  1. (In english: And MB, is the Young Loan huh.) : )

    Beetje raar voorbeeld MB, juist een zelfde soort tekst die jaaaren voor op het Wilde Weten heeft gehangen, vanaf 2001 als ik het goed heb, van jawel Olivier Kosta Thefaine. Met spuitverf, zwart EN zelfs druipers…Was dat niet OP je eigen atelier of all places?

    Hoe dan ook, misschien zit het hem in het gebruik van spuitverf in een kunstruimte? Typisch Marc Bijl? druipers? subversief? punk? helemaal urban? verklaar je nader, ik begrijp je copycat niet helemaal…

    maar ben wel benieuwd.

  2. “copycat”?
    funny to read that from you, if you want we can start now a tread about the TERROR piece, remember, the one you use for your own art?
    Also just for info, the first time i used a spraycan was in 1988.

  3. Het komt door al het succes en die malt biertjes natuurlijk, Marc’s geheugen brokkelt langzaam af.

  4. merry x mas!
    When I was returning from Berlin in 2001, where I did “i am too sad too kill you” piece at Bethanien, Lara croft 2001, then there where these woodpanels on my studio a few months later, beautiful work, this “No budget” work is later then a piece I did myself. I don’t even have a problem with that.
    Terror piece was 2002 on Fridericianum, 2003 inflatable letters, -same time? truth is I never heard or saw Oliviers work befor-
    spraycan I sometimes use since 2001. Its not the point.

    It’s not about the material use, or who uses spraycan first in art (certainly not Olivier and definately not me) but about what the content of the work is about, I myself refer to excisting artworks like hell, but I don’t claim to be the first or foremost original grafitti interventionist.
    It strikes me that I recognise a lot of other artists style in Oliviers work…. that could be his goal: in that case it is very well done. Personally I am more interested in the (power) structures and groupbehaviourism, in secret societies, politics, utopian ideoligies, religion and yes; art. and their use of symbols and Icons.
    In the grafitti scene there seems to be this big focus on ‘orginality’ and who was first which I found weird (if not to say contradictionous) in an enviroment where everything looks the same and everybody is influencing/copying everybody as a way of communicating.

    16 januari Fridericianum, KAssel, komt allen! kunnen jullie nog wat leren :-)

  5. about copycat: my grandmother was definilety the first who used this patterns, emerging in Oliver’s work, for the small hooked rugs on her sofa and couch. Lately she stated that she likes to refer with it to certain patterns in the daily life of my grandfather, milking cows in the morning and evening and going to church every sunday.

  6. die bijl toch, eerst beticht hij jongeleen en/of Kosta-Théfaine van copycat-heid, en vervolgens beticht hij de ‘graffiti’scene dat het zich bezig houdt met wie de copycat is?

    he nevertheless, firstly accuses of that axe jongeleen and/or Kosta-Théfaine of copycat-heid, and vervolgens accuses of he ‘ graffiti’ that they occupy itself with which the copycat are?

  7. “It strikes me that I recognise a lot of other artists style in Oliviers work…. that could be his goal: in that case it is very well done.”

    i am really sorry to read that. My main influences are the streets, this is my artschool. I dont need to waste my time trying to copy.

  8. I will not says anything else. just that you gives lessons to the others. No selfcritic and no doubts. You seems to say that others (when they exists) are copycat and you have the pretention to explain what is good and what is not.
    You dont remember me and never heard about me and my work (even if we meet twice throw jeroen jongeleen and that we were in touch for worldsigns mag).
    Please open your eyes, there is a real life outside of your bubble, and you are not the center of the world.
    This is my last post. Lets continue this discussion in the real world.

  9. hi guys, cool down…:-)
    I don’t accuse anybody at random and certainly not Jongeleen, I do joke around alot, sorry for that.
    it is just a given fact that the grafiti scene is communicating with each other by refering to each others work (style) maybe in the same fashion as (i do) in the artworld, I talked with Oliver about that in his ‘Worldsigns magazin” and about groupbehaviourism, just an intresting topic, but correct me if I am wrong. I actually do know some of Oliviers works, I like some of them, so don’t take it so hard. Brs jij ook niet.
    Only thing I stated was that “no budget” work of Oliver was just reminding me of “I am too sad to Kill you” of me.


    thats all
    and therefor using the forbidden nickname ‘copycat’, a blasphemic reaction ofcourse among the religious street-art-for-life-artist,
    Was that the wrong tone ? Mea culpa then, will use another nickname next time.
    And the atomic bomb of arguments: “get outside of your bubble, I am more really from the streets then you” is just…below every point we are discussing here.
    I am not judging anybody here, I was just reacting on the tread because I liked the work with the ceiling although it reminded me of a Jongeleen piece..as some of my works refer to others (although I really didnt know Olivers Terror piece of 2003, and we did have a tread about that one here actually.
    And the Lara Croft with Grafitti statement was in Bethanien, 2001
    (heb het maar even opgezocht) en jan 2002 in Parijs nota bene, daarnaast maakt het me eigenlijk geen reet uit:

    It is not where you are from…it’s where you’re at.

    Have a good and creative New Year,! Lets have a beer all together! peace!

  10. Well, my grandmother still feels a bit betrayed, but she calmed down a bit after I explained her the other ones were made with a lighter..

    Cheers and wish everybody a fearless, down to earth and non-biased 2009, servus.

  11. Well Marc, It’s all irony right?

    Strange that in your copycat-explanation you make such a big distinction between art (you) and graffiti (them). I think this simplifies your point of view to rather remarkable proportions. Moreover since you use the spraycan-“technique” in your own work, as an extra eye-catcher, to give it an extra expressive sauce, “artistic flavor”, activist seasoning, anecdotal content, or for whatever other reason.
    Inside the white cube that is.

    I agree , using spraycan in an artspace is just another technique ( and a rather overused one lately), and in a textual way should be more about what it implies than how it is used.

    I see Olivier’s work inside artspaces and look at them as works of art because of that, not graffiti. Just like your work. In that sense he is an artist, just like you. Calling him a graffiti-writer makes you sound elitist and doesn’t help you justify calling anyone a copycat.

    The big difference is the context. Yes, Olivier has a graffiti background, hence the intentional use of spraycan in a work that is actually about the use of spraypaint/graffiti-background/artbuying etc. In your case the use of spraycan raises more questions in that sense, because it seems the context is more far-fetched, more mystified. Ok, it is stated that you do “illegal outside interventions” but this seems to be a very marginal part of your work. And as far as I know you have no activist/graffiti background either. So the use of spraycan seems more of an anecdotal use, a taxidermic version of the wild original rather than just another technique, otherwise sticker-lettering would do the same.

    In that sense it is not strange you get a reaction of people that actually do have a graffiti or less-legal-background, and no it doesn’t ONLY show their narrow-minded subcultural zero-content point of view, because it doesn’t make sense to point that out. It also says something about you. And a certain art-climate in which you seem to feel quite comfortable.

    Too bad you didn’t see Olivier and other people’s work in Fundamentals at Mu. You would maybe see things a bit different.

    Coffee anyone?

  12. aha gezellig, erosie a.ka. the devils advocate responds,
    let’s see:
    “Calling him a graffiti-writer”
    -now, where did I do that, erosie?
    “inside the white cube, that is”
    -het mag ook buiten zijn, ken je mijn werk een beetje?
    “And he is an artist just like you”,
    -ofcourse Erosie, where did I suggested any otherwise?
    “And as far as I know you have no activist background”
    -indeed you don’t seem to know much about me but much more about Olivier’s, which helps you to talk in one direction only.

    What on earth makes you (erosie) react as if I am insulting the pope here?
    And who is constantly showing (off) the diference between Art and the (thug-for-life) streetart culture ? certainly not me (I am a actualy accused all the time of unlawfully mixing them together in an unethical way! which evokes the real ‘us and them’ thinkers to react in an aggressive way)
    It is (street) artist themselves (and their yes-men) who start about this sort of ‘essential’ background information before somebody even raises the question. There are more grafitti=zines then artmags, it is a world on it’s own, almost elitist by itself if you ask me, erosie. (certainly after this crazy discussion)

    Art with spraycan, refering to ‘street’, ‘activism’ or ‘political slogans’ is indeed just a marginal part of my work, thank God for that, but it is still too much for some. I really can’t see why….
    I sincerely wonder if critic, ironically or harsh is accepted at all. If not I rest my case…

    ps @ Oliver, I dont want to lecture or teach or be without selfcriticism at all, it’s just an online attitude, in reality I am much softer and sweeter.

    Afijn, geniet desondanks van de dagen en heb een mooi uiteinde daar in EIndhoven!

  13. Why do you feel victimized suddenly?
    Accused? And how come you feel like the one whose critic is not accepted? I’m lost.

    I try to find parralels by indicating the differences, and it seems we agree more than not..
    Either way, an obviously sensitive subject, and lost in translation on some parts unfortunately.

    Volgende keer in real live,ok? Biertje erbij, hopla. Milchkaffee auch bon, wahgijwil. In het echt ben ik ook veel aardiger en beter te verstaan hoor. Goei uiteinde!

Leave a Reply

Your email address will not be published.