Hot Brine

Hot Brine is an ongoing speculative research into so-called sustainable technologies such as using geothermal-energy for producing both carbon neutral electricity and lithium hydroxide, or injecting carbonated water into underground basalt for permanent carbon sequestration. We are interested in the way that imaginaries for these technologies are visualised, materialised and circulated. During a summer residency in Atelier Mondial, hosted by the Critical Media Lab program at IXDM in Basel, we made two publications and a series of posters.

Two opposite pages from a zine, showing rubbings of name tags of companies

Für Kundeliste bitte Milchkasten öffnen (For client list, please open the milk cabinet) is a report from a daytrip to Zug, a small city that houses many major companies active in crypto currencies and blockchain. In a series of drawings and frottages, we traced the banal presence of nested letterbox companies in this self declared Crypto Valley capital.

Here’s a pdf to print separate pages
Here’s a pdf to print a 24 page A5 brochure.

Potential Removal collects a series of images and diagrams gleaned from scientific and commercial publications that visualize “mineral carbonization”. They were emptied from texts and values to reveal the bare graphic templates through which carbon removal schemes are made imaginable.
Here’s a pdf to print a 24 page A4 brochure.

A fragment of a poster, with altered pictures of rock and minerals, alternated by the words: zero, not, net, zero, is, not etcetera.

Rows of natural carbon look-alikes magically blow holes in sequestration formulas. The poster series Net Zero Not Zero reclaims visualisation of the mineral underground as a means to make the capitalist extractivist logics behind ‘Net Zero’ carbon neutral practices tremble.

2023, Peter Westenberg and Femke Snelting / The Institute for Technology in the Public Interest (TITiPI).

Atelier Mondial and the Critical Media Lab, Institute for Experimental Design and Media Cultures (IXDM) Basel Academy of Art and Design/University of Applied Sciences and Arts Northwestern Switzerland (FHNW)


This wiki explains a specific type of perfora-lithic anti-capitalist practice. The Capitalithothèque is a collection of stones which are sourced from capital-buildings. It contains descriptions of the stones, the method of harvesting and the buildings from which the Capitalithos were sourced..
By bringing together texts and images of this example, this wiki is also an invitation to continue the work and put into practice copy-pastes, versions, variations in different situations, places and circumstances.

Sanary Parade

Sanary parade is an installation with photo-collages that are based on unsold photographs that were taken in the 60s by a street photographer who worked in Sanary-Sur-Mer on the Mediterranean coast in France.

The photographs are superimposed and stitched together on shared landmarks that feature in the background; the harbour, the theater square, the city center. This way specific places in Sanary are reconstructed. In the foreground a parade appears of superimposed people who have occupied the same space at various points in time. Their common context creates similarities in terms of body language, attitude and dress code. A visual probing of collective habits of strolling on one’s own along the harbor.

Social moiré


‘Social Moiré’ consists of a series of graphic collage experiments based on a dozen of found footage glass negatives: Professional photos of classes at a boys’ school. Origin, place and date are unknown, but judging by the clothes they were made somewhere in the forties. The boys are lined up in formation, flanked by teachers and priests. Long exposure times, poses are rigid and formal.


Modular Hangout

Mobile installation, each module 240 x 120 x 200, 2011

The work consists of a modular construction serving as a mobile hangout place for youngsters in Overpelt. The wooden structures are set on wheels and can be moved around the city. They can be put together in such a way that they create a stage, a cabin, a shelter. The outsides are covered with mirrors, the inside is sprayed with graffiti.
A group of 15 teenagers actively participated in shaping the work. The resulting structures serve as a tool with which they can demonstrate their need for a more permanent place in the city that allows them to gather and meet.

A collaboration with industrial designer Mathieu Gabiot for Future Formers, a project of Eeland in Genk.

Goed jaar / Slecht jaar


Good year / bad year

Production Martine Nederend and Femke Snelting, photo’s Otto Snoek, commisioned by CBK Rotterdam en Het Nieuwe Huren, 2006

Good year / bad year is a diary work for one person. During exactly one year, he or she notes daily her best and worst moment of that day, and by doing so, compiles future memories of the year.

The daily memories are written on two calenders that are mounted side by side, one for the good moments, the other for the worst moments. At the end of the year the two blocks are bound as a calendar that can be used the following year. Each day of that following year, the user encounters a good or bad memory to exactly one year earlier.

Eco Loop


performance and 3 channel video installation, 2004

Eco loop started as a performance, on the occassion of the PING festival in Mallorca. I collected litter along the heavily polluted road between Andratx and S’Arraco. Cleaned everything metticulously and put it back exactly where I found it. (more…)

Drapeau uni-communautaire Vlag


Production: PleinOPENair and Constant, Brussels, 2004

The logo hybridises lion and rooster, icons of the Dutch- and French speaking communities in Belgium. The flag was made as a hommage to the inter-communal city of Brussels; a city where cultures meet, swap, join and evolve.

Kuratorische Ergänzung


Intervention, Generali foundation, Vienna, 2002

A critical intervention on the exhibition Violence is at the margin of all things curated by Andreas Siekmann and Alice Creischer. (more…)

Twin picts


with Robin van’t Haar, Performance, Las Palmas, Rotterdam, 2001

While attending a concert, actors play the role of members of an audience attending a concert. They follow instructions given to them by the artists, by means of cue cards which are projected on the walls of the concert hall.

Vrijwillig verblijf

Voluntary stay
Multi media installation, CBK, Rotterdam, 1998

cbk1 cbk2

Memories of my parental home and curiosity for the construction of personal identity formed the startingpoint for a layered and spatially collaged exhibition and visual research project.
As part of this project I worked for two years under the pseudonym Peter Soneta; after the cheap and popular orange juice in the local Aldi supermarket.


Peter Soneta: Individual in complex circles
by Fred Balvert

(…) Personal memories of his parental home and abstract models of the ‘ideal surroundings’ are the formal extremes that meet in the installation Voluntary Residency by Peter Soneta. Starting with the notion of ‘self’ as the center of experiences, the artist is looking for the meaning of relationships in a society that is becoming more complex day by day.
The artist researches the relation between the individual and his social surroundings. This analyses starts with the display of the individual in need for protection in ever extending surrounding circles: the body, clothes, cities and nations. While these circles are broadening, the complexity of relationships increases.
Our need for protection and communication are, according to Soneta, reason for the creation of artificial situations that we can rely on and accept as normal after a while. There’s reason to believe that while we control the situations that we have deliberately created, we are also under control by their unforseen side effects.
His investigation begins at home. By cutting, modelling and collaging he visualises a tour through memories of his parental home. A deliberate confusion is introduced to question individual human uniqueness by alterating auto biographical material with generic images. Abstract schemes presented in the same exhbition space pretend to organise and structure this sensetive reverie by an objective approach of the subject matter. Identity thus looses specificity, the schemes serve merely as a model for an ideal living environment, but meanwhile prove the impossibility of mapping out future details. Details that in the long run will turn out to be the obstructors of evolution. (…)
(source: Kunstkrant, Centrum Beeldende Kunst Rotterdam, May 1998)

Taalpolitie / The Language Police


Contribution to groupshow:
Satelite of love, Witte de With, 2006
, and workshop collaboration with Grafisch Lyceum, Rotterdam

The Language Police is a project conceived by Peter Westenberg for Satellite of Love. The format is a vlog (video weblog) about the word “allochtoon” (used in Dutch to mean “non-Dutch”). In this weblog, videos are collected and annotated ? provided with commentary, background information and context.