A light is burning in the large window of a ground floor house, a man lays on his couch, his hand in his jogging pants, a cup of steaming tea in his other, and a blanket around his shoulders. He is watching a reality TV show, surrounded by an IKEA Billy bookcase and his posters across the walls, hiding behind a dying Monstera plant, counting on its final leaves. The man turns his head and notices you, yes, you, who told you it was okay to ogle people like that?

Through various durational performances separated from the public by mere glass, Trespassing presents: –The Living Room.
A series of performative interventions that navigates between the thresholds of the private and public, exhibitionism and voyeurism, and of social cohesion and estrangement.

The Living Room (noun) once known as the Drawing Room or Front Room, functions as a delicate bridge between the private and public sphere. For centuries it has served as a space fit for the entertainment of visitors. Yet as time passed, people began to use the living room more and more as an opportunity to withdraw from the outside world. Often, the living room is situated at the front of the house, furnished by a window that shields it from the outside world, on the condition that one draws the curtains..

Over the course of 2025 Trespassing shall explore the hypothesis of an eye as a weapon around the curious case of curtainless windows at ground floors, a remarkable phenomenon affiliated to the Dutch. The shameless exposure of living rooms on the ground floor often feels strange to tourists visiting the city: inhabitants leaving their curtains open or, often, not even owning a pair of curtains to open up, using their living rooms as a “front-stage’’ in which they (un)consciously present themselves to the external world.

Departing from this phenomenon several artists from different cultures and practices will be given a window as a stage in-and around the busy streets of the Red Light District, the place where the voyeuristic beast appears to be unleashed. Here they ponder whether glass borders can shatter by the touch of a peering eye.

By way of aesthetic disruption onlookers are invited to linger a little longer whilst they are encouraged to contemplate upon the questions posed behind our windows.