De Haan’s strategy is to intervene in a visually convincing way in normal and usual contexts, as if he were inside a large scenography. Using all the elements of the landscape and everyday life, as if they were props, the artist plays ironically with places and meanings in order to disconcert the passer-by, who finds himself involved in narrative short circuits, between the serious and the facetious.

If, with their Teatro Panico, Alejandro Jodorowsky and Fernando Arrabal decided one day to cross a country in a straight line, no matter what building they encountered, on the contrary the artist Willem De Haan creates walls, obstacles and new paths, often senseless, that make fun of passers-by and their habits.

Born in 1996, De Haan has already exhibited in numerous cities in Europe. In the central square of Logroño, Spain, he recently confronted the conflicting legacy of the monument to General Espartero, replacing the sculpture’s base with a modest-looking house: an operation that playfully questioned the role of honorary statues in public space and added a human perspective to the monumental representation of the historical oppressor.