Katinka de Jonge has an investigative practice that focuses on artistic reflection and definition. She is interested in what happens 'between the lines', and makes connections between brief conversations, archive material and unobtrusive processes in- and outside art organizations and individual art practices. She makes (often absurd) attempts to make something 'measurable' (‘AMP’ 2016-2019; ‘On the Shoulders of Giants’, 2016; ‘Nagele Door Nagele’, 2015; ‘Dudas’, 2019) and thus reveals hidden relationships.
Collecting and selecting informal information (text, spoken word and image) is an important part of the work process and by editing this material de Jonge generates a feedback loop in which the work ultimately holds a mirror to the context in which it is presented, but at the same time transcends this. This recently resulted in two audio tours, one in deSingel (‘We zijn naar hier gekomen’, 2018) and one in collaboration with Vooruit (‘Behold the Keyholders’, 2019). The projects attempt to break with the idea of the artwork as unique piece and explore the possibilities of 'publishing' in the broad sense, often working in multiples and series (see, amongst others, ‘Wellness Centre Future Proof’, 2017- ; ‘Tijdelijke Ontmoetings Zone’, 2019).
De Jonge has worked in various collaborative ventures (a.o. Sorry, as a duo with Liesje De Laet, Tina Cake Line) and has a broad interest in how a collective artistic practice organizes itself.