For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different meaning. (...) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022

For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different meaning. (...) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022

For his contribution (…) inspired by the novel Immortality (1990) by Milan Kundera (…) Vrancken brings into play notions of similarity and dissimilarity (…) It consists of two books on hand gestures, one Dutch, the other Japanese, which have been dovetailed into one another by interleaving the pages. (…) suggests that a gesture shared by different cultures, although formally similar, is sometimes used to convey an entirely different meaning. (...) the experience of being human carries in it more meaning than can be housed in a single body.

—Nadia de Vries, 2022

(…) bleeding from another body. Flattened on the wall, the artist cut the speck out of the wallpaper. The piece was reproduced and resized to match the artist's stature. It sounds like magical thinking: the transformation of identity through a wall, by means of the combination of blood and mosquito. By enlarging the bloodspot, Vrancken reappropriates himself. Consequentially, the lack of physical volume of the vinyl sticker barely enables us to define it as a spatial object. A conscious choice, for Vrancken, who situates this merger in an architectural context, one in which the measurements and proportions of the blood spot find new resonance.

—Machteld Leij, 2021

(…) Given such conceptual affinity, it is no wonder that Vrancken was surprised that the Stedelijk Museum Schiedam had a table (with the dimensions 3 x 7.5 x 1.5 sb-feet) made to present a work by brouwn, but had passed it down to the rental company Museumgoed as a functional object after the exhibition. The question raised by this act is where brouwn's work begins and ends. Is it conceptually justifiable to include one object in the collection as a work of art but to reduce its counterpart to utility object despite their shared conditions?

—Manus Groenen, 2021

(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021

(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021

(…) a limited edition mail-out dispatched prior to the exhibition. The project space is named as an homage to the artists and founders Tim Mathijsen and Tirza Kater's friend, Marwan, who left Amsterdam. (…) He employs the marketing and communicating tools of Marwan, and transforms the hosting initiative's narrow flyer into a concert wrist band. (…) it can twice encircle his wrist, or by extension, once around Tim's and Tirza's - the sum of Marwan - as well. (…) Once the band is unfolded, the information is undecipherable from fragments which are made only to be legible in its folded form.

—Christina Li, 2021

(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021

(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021

(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021

(…) a bone comb with two teeth sharpened to points. The work alludes to the many versions of the myth surrounding Cleopatra's alleged suicide. (…) about how leaving a snakebite on your body, real or fake, is a guarantee to a next life. The comb negates the image that the title suggests. We don't see a dew covered flower at all. (…) Vrancken is not only invested in the meanings to which he wants to refer, but also with how he wants to refer to them. Flower, dew (2021) is a complex dance in which Reinier challenges us to search for meanings in all layers of the work.

—Linda Köke, 2021

(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021

(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021

(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021

(…) is part of an ongoing work in series. The piles of clothing on the floor are on loan. Each pile carries a smell other than its owner's. Emma's smell is in the pile to the left, and her clothes are in the pile to the right. Identity shifts, but only half a place. Every outfit is passed to another individual to be washed, who in turn lends out his or hers, establishing a chain of passed-on clothing and changing smells. A relay of appropriation and expropriation. In Everybody becoming everybody else, Vrancken redefines the borders between one individual and the other. In doing so, he creates the opportunity to propose new wholes. (…) are always strangers to one another, who (…) have the silhouetted Vrancken as their common factor.

—Machteld Leij, 2021

(…) Vrancken's works are propositions to interpret the amalgamation of conceptual, semantic and poetic leaps and conceptions that are ascribed to seemingly autonomous objects and words around us. (…) The title is borrowed from the final line of Thomas James' poem Room 101 whereby the protagonist narrates how he is slowly turned to stone. Notions of preservation and transfiguration are pushed further when the title is juxtaposed with what is on display: different bottled fluids Vrancken obtained after working with a professional embalmer. (…) the look and feel of marble.

—Christina Li, 2021

(…) proposed to annotate Shimmer's website with (…) a translation between words starting at opposite ends of the alphabet. The word accessible, located on the About page on Shimmer's website, translates to züganglich. (…) We found his intervention interesting, particularly as it becomes our only permanent work that will adapt or even disappear if we remove the word that Reinier annotates.

—Eloise Sweetman and Jason Hendrik Hansma, 2020

(…) The viewer, visiting galerie Gallery, partly misses the exhibition. But only by a whisker (…) Depending on the wishes of the artist(s), Jan Huijben empties his apartment. He temporarily stores away his furniture (…) like (…) wash of the waves. When the exhibition comes to a close the apartment is restored and the furniture reinstalled. (…) The artist is under the impression that the space is once again empty and makes the false assumption of it always returning to that state. Museums and galleries indeed begin with an empty space, before installing the exhibition in question, but galerie Gallery is foremost a furnished living room. Here, the first actions regarding the exhibitions are removing, hiding, concealing and keeping secret (…) Therefore, this is no more than a repetition of all past exhibitions at galerie Gallery, only paused at a different moment.

(…) The viewer, visiting galerie Gallery, partly misses the exhibition. But only by a whisker (…) Depending on the wishes of the artist(s), Jan Huijben empties his apartment. He temporarily stores away his furniture (…) like (…) wash of the waves. When the exhibition comes to a close the apartment is restored and the furniture reinstalled. (…) The artist is under the impression that the space is once again empty and makes the false assumption of it always returning to that state. Museums and galleries indeed begin with an empty space, before installing the exhibition in question, but galerie Gallery is foremost a furnished living room. Here, the first actions regarding the exhibitions are removing, hiding, concealing and keeping secret (…) Therefore, this is no more than a repetition of all past exhibitions at galerie Gallery, only paused at a different moment.

(…) a stained glass window in the monumental stairwell, where the story of Saint Martin is depicted. (…) Vrancken deliberately chose not to add anything to the space, but to simply rearrange an existing element. On the handrail in the stairwell there are three attachments that used to raise the height of the railing. Vrancken's intervention brings them back to the railing's original height (…) the corrections were not only out of place in terms of aesthetics, but also disrupted the movement that the stair and railing jointly orchestrated. Because the railing suddenly jumped a decimeter in certain places, one had to adjust his or her grip and movements while walking the stairs. (…) By lowering the extension of the balustrade and placing it next to the existing one, it doubles in form without doubling it in function as well. (…) I still look up at the window, through which the sun shines on the cloak of Saint Martin, split in two.

—Linda Köke, 2019

(…) a stained glass window in the monumental stairwell, where the story of Saint Martin is depicted. (…) Vrancken deliberately chose not to add anything to the space, but to simply rearrange an existing element. On the handrail in the stairwell there are three attachments that used to raise the height of the railing. Vrancken's intervention brings them back to the railing's original height (…) the corrections were not only out of place in terms of aesthetics, but also disrupted the movement that the stair and railing jointly orchestrated. Because the railing suddenly jumped a decimeter in certain places, one had to adjust his or her grip and movements while walking the stairs. (…) By lowering the extension of the balustrade and placing it next to the existing one, it doubles in form without doubling it in function as well. (…) I still look up at the window, through which the sun shines on the cloak of Saint Martin, split in two.

—Linda Köke, 2019

(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019

(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019

(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019

(…) an adder, that uses a mountain's image as its title. Slithering along this mountain is a stretched cloud. (…) this image occupies a space usually inhabited by letters. Like a vowel can be pronounced in several ways—a, aa—, this work can be pronounced as a cloud or as an adder.

—Brenda Tempelaar, 2019

(…) steps in reverse. (…) the exhibition posters were cropped. Three contoured geometrical shapes recur on De Annex's exhibition posters. Independently these shapes hardly mean anything but as a group they suggest a (…) Cropping the exhibition posters gives shape to a new center, no longer placing the three geometrical shapes in the middle, but the absence that suggests the A.

(…) steps in reverse. (…) the exhibition posters were cropped. Three contoured geometrical shapes recur on De Annex's exhibition posters. Independently these shapes hardly mean anything but as a group they suggest a (…) Cropping the exhibition posters gives shape to a new center, no longer placing the three geometrical shapes in the middle, but the absence that suggests the A.

(…) In the work titled Participating in the exhibition as Raniero, Vrancken embraced this dilution in language and participated as Raniero in an exhibition: a name that appeared on all press releases, publications and posters (…) It is a semiotic game that Vrancken often plays to rearrange the forces at work between signified and signifier.

—Manus Groenen, 2022

(…) read one side to the other. (…), dropping. (…) Text becomes image, reading becomes seeing (…). maintain their balance on that tipping point. (…) Bas Jan (…) sipped the water beside him on each mark. The work comes to a close with the last words and an empty glass. (…) disappearing, dissolving in which giving in to gravity played an important part as weightless moments translate to vanishing points.

(…) read one side to the other. (…), dropping. (…) Text becomes image, reading becomes seeing (…). maintain their balance on that tipping point. (…) Bas Jan (…) sipped the water beside him on each mark. The work comes to a close with the last words and an empty glass. (…) disappearing, dissolving in which giving in to gravity played an important part as weightless moments translate to vanishing points.

(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018

(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018

(…) With this pictorial title, Vrancken suggests that he partially stole Bowie, who, as a consequence, comminuted to stardust. (…) A similar tissue was exhibited in the traveling exhibition David Bowie Is. But perhaps Vrancken's tissue is an atonement, more than it is a tribute. The tissue reminisces the moment that Bowie and Vrancken partially coincided in meaning, but a soul was swapped too. An eye, an eye, a tooth, a tooth, is Vrancken's motto, whose exhibition instills drama in popstars, iconic artists animals and landscapes.

—Brenda Tempelaar, 2018