For some time now, as an artist, I have been striving for a transitive space, an open area where potential connections are made between various disciplines, objects, units of time, and ideas.

I have studied the shifts in positions concerning abstraction and figuration, the sign and its meaning, and the idea and its visual translation. To me, these shifts and the place and moment within which they occur represent a political situation.

And somewhere in or around that, I suspect there is an idea of space or a viewpoint that might be worthwhile.

Media in the broadest sense of the word holds my interest. I try to pose questions about how our lives are historically interpreted and trapped in a predetermined web of signs and meanings, sometimes referred to as an event.

These events seem (more often than not) to be an end in themselves. For various reasons, they often cause only a fleeting effect. These forms of effect represent a reality I struggle with.

After previously turning my back on visual art, I resumed my visual practice around 2010 with the significant difference that I am now a painter. So that is the starting point. Yet, through the exhibitions I create, I attempt to extend my perspective on painting beyond the classical interpretation of the medium. Starting from a stance of nonchalance in handling materials, I explore different possibilities of expression. Not in search of an essence or purity, but rather a certain objectivity.

with the kind support of Mondriaanfonds

Future
2025 for Sea Foundation at Oda Park
2025 duo show at R.S.O.L. with Vincent Verhoef

Past
Solo and Duo Exhibitions

2023 Media Sails at Former Office, Eindhoven, solo
2021 Studio de Gruyter, Tilburg, window exhibition, solo
2020 Art Rotterdam with Sarah & Charles, CINNNAMON, NL duo
2020 Overschilderschilderij Rotterdam, NL
2019 Ook, ik, ben dood, CINNNAMON, Rotterdam, NL solo
2019 ‘allo ‘allo, with Roeland Tweelinckx, Barbé Urbain, Ghent, BE duo
2019 I want you, with Clary Stolte, de Bouwput, Amsterdam, NL duo
2017 Pla Lino, did you see that lonny pie, CINNNAMON, Rotterdam, NL solo
2016 0, with Giorgos Kontis, Fan, Vienna, AUT duo
2015 A Cat Under The Blankets, with Micha Patiniott, Whatspace presents,Tilburg, NL duo
2014 Rene Joffe, Juliette Jongma, Amsterdam, NL solo
2013 There is Nothing There to Save the Organisers, K.I. Beyoncé, Amsterdam, NL
2013 Galerie Arti Capelli, Den Bosch, NL duo
2013 Deschilderhetwerkhetatelier, ruimte Caesuur, Middelburg, NL solo
2012 Back and Forth, Kunst Rotterdam Noord, Rotterdam, NL solo
2012 Re:Rotterdam, Rotterdam, NL solo
2011 Kunstpodium-T, Tilburg, NL solo

Group Exhibitions
2021 After Daan van Golden at Parts Projects Den Haag, curated by Robbin Heyker and Niek Hendrix
2020 Superweakness curated by Machteld Rullens Superweakness Den Haag, NL
2020 STAY CAT ION Barbe Urbain Gent, B
2019 Copy Machine, Printroom Rotterdam NL
2018 Hazenstraat Biennale, Galerie Martin van Zomeren, Amsterdam, NL
2018 Boarding galleries, Antwerp Art Weekend, B
2017 OFF THE WALL, CAR-DRDE, Bologna, IT
2016 Thinking Sense, Witteveen Art Center, Amsterdam, NL curated by Saskia Monshouwer
2016 Neighbours vol.5, CARdrde gallery Bologna, IT curated by Manor Grunewald
2015 SURROUNDED by SAGACITY, Pictura, Dordrecht, NL
2015 Touchy Feely, Juliette Jongma galerie, Amsterdam, NL

2015 Middenweg at Postkamer, Amsterdam, NL
 curated by Mitch Thar
2015 Art Rotterdam with Juliette Jongma, Rotterdam, NL
2014 Hijacking Karma#2, Nest nestruimte, Den Haag, NL curated by Daniel van Straalen
2014 Fool Disclosure, Last Resort Gallery Copenhagen, Kopenhagen, DK curated by Mikkel Carl
2014 Art Brussels with Juliette Jongma, Brussel, BE
2013 Nieuwe Vide, Haarlem, NL
2013 Hijacking Karma (in a positive way), Oude Kerk, Amsterdam, NL curated by Daniel van Straalen
2013 Zomertentoonstelling, ruimte Caesuur ‘Het Atelier’, Middelburg, NL
2013 Reason & Romance, 6b-gallery, Elingen, BE curated by Alain Biltereyst
2013 Slow is Smooth is Fast, Boetzelaer|Nispen, Amsterdam, NL
2013 De schilder, Het werk, Het atelier, Grote Kerk, Veere, NL
2012 HOT DAMN/HOT YOGA, Whatspace & Yogacentrum Tilburg, Tilburg, NL
2012 Incubate festival, Tilburg, NL
2012 Summertime, Museum Le Secet, Koudekerke, NL
2011 Incubate Festival, Tilburg, NL

Curatorial projects

2020 The Balustrade, Mitchell Thar, Tilburg NL
2020 The Balustrade, Thomas Rameckers, Tilburg NL
2019 The Balustrade, Robin Heyker, Tilburg NL
2015 The WRONG Biennale, Sliversurfer pavilion co-curated with Koen Delaere, online
2015 A Cat Under The Blankets, duo exhibition with Micha Patiniott, Whatspace presents, Tilburg, NL
2014 LET GOOOOO, Ruimte Caesuur, Middelburg, NL
2012 GRADUS, Oliver Rafferty, Tilburg, NL
2012 The Ultimate Harmony show by the HARD CORE, Upominki, with Rosa Sijben and Roos Wijma, Rotterdam, NL

Talks and teaching

2021 After Daan van Golden talk with Carel Blotkamp, Mirthe Klück, Niek Hendrix
2019 Guest tutor KABK Den Hague, painting & printmaking, NL
2019 Book presentation/ talk with Bas van den Hurk, CINNNAMON Rotterdam, NL
2018 Guest tutor, Frank Mohr Institute, Groningen, NL invited by Isabel Cordeiro
2018 Guest lecturer, Bcadamie, Rotterdam, NL
2017 Guest tutor, In Het Midden AKV St.Joost TAC Eindhoven, NL
2016 Artist talk, AKV St.Joost Breda, NL
2015 SAVE THE LOOM, talk with Bas van den Hurk and Just Quist, moderator: Artur d'Ansembourg at AGA Amsterdam, NL
2013 Conversation with Harmen Eijzenga and Hans Overvliet, Caesuur, Middelburg, NL

Publications

2023 Media Sails on Jegens & Tevens
2021 After Daan van Golden Contemporary Art Daily
2022 21 Biennale internationale Petit Format de Papier with R.S.O.L (Ton Kruse)
2020 Art Rotterdam - Art Tribune , Lost Painters , Trendbeheer
2019 Ook, ik, ben dood - Art Viewer, Trendbeheer, Jegens Tevens
2019 'allo 'allo - Hart Magazine
2019 In The Blink Of An Eye/ In Een Oogopslag, Book, privately published
2017 Pla Lino, did you see that lonny pie - Art Viewer,
Daily Lazy
2017 OFF THE WALL - CARdrde
2016 Whatspace 2008 - 2016 (catalogue), A Whatspace Production
2016 Thinking Sense - Monshouwer editions
2016 Save the Loom - Monshouwer editions
2016 0 Giorgos Kontis | Just Quist Wiener Art Foundation - Daily Lazy
2016 Neighbours Vol.V - Mousse Magazine
2016 The Wrong Bienale - Metropolis M
2015 A Cat Under the Blankets - Lost Painters
2014 Hijacking Karma #2 - Trendbeheer
2014 Rene Joffe - Art map
2013 Caesuur - Lost Painters
2012 ><, Gradus - Lost Painters
2012 Back and Forth - Lost Painters

Grants, funding
2018-2022 'Established artist' Mondriaan Fund
2015 Whatspace

justque at xs4all dot nl

Link to: Instagram

With the support of
Mondriaan Fund

Design/code by
Chino Chano

L.O. lichamelijke oefening, 2025

The installation L.O. lichamelijke opvoeding 2025, was part of the exhibition Imprints & Breadcrumbs organized by Sea Foundation in cooperation with ODA Park. The exhibition was curated by Julia Fidder who also wrote the following text about my work.

The visitor in relation to the artwork: how do they position themselves, and what is the viewer seeking in the (art)work? How does the work, or the viewer, relate to the world? Do we see ourselves in the work, or through the work, or do we seek something inside ourselves that
is reflected or facilitated by the work? In the pieces presented, Just Quist focuses on the physical relationship between the visitor and the work. The situated, performative act performed simply by the visitor’s presence becomes part of the work, forging a tangible connection between viewer, art- work, and artist.

In This Way, located in the garden of Odapark, we find two metal flags. One stands upright, while the other is positioned at a slight angle. Additionally, they differ in color and material. The artist deliberately chose to present them as a ‘pair’. The human-scale flags stand a short distance apart, what they point at remains ambiguous. Do they together approximate a location, or was the spot they indicate once more precise? Alongside the first ‘designated place,’ a second is added; to the one certain spot, another, equally certain place, is added. The existence of the two flags, or markers, together now creates an uncertain place. Could this deliberate incongruence offer an entry point for the viewer to engage with the work? The sense of doubt, embodied by a vacant gaze characteristic of our response to the attention economy, recurs in Quist’s works displayed in Odapark’s gallery. Quist observes that in today’s society, our gaze is often directed or diverted, frequently with a less-than-innocent intent. Mirror (So You’re Friends With Camels) invites the audience to look into a mirror. This active act comes with a certain purpose or expectation on the part of the viewer. However, the reflection in this work is not what one would typically expect from a mirror. The distorted image offers a proposal to see differently and prompts the viewer with a question: what do you actually want to see in the mirror?
In LO (Physical Education), we also encounter a somewhat vacant gaze in the facial expressions of the depicted individuals. Simultaneously, we can see something more intentional in the image: a friendship. The tenderness of physical touch here serves as an indicator of the closeness shared between the three figures. The work captures a moment the trio experienced together, sitting on a bench in the countryside. A real bench is also included in the exhibition space, inviting the visitors to take a seat. This piece of furniture was designed by Just Quist’s father, Wim Quist. The object, which is closely tied to Quist’s memory, shows an intergenerational thread, marked by a physical artifact passed down through time. Yet beyond the personal memory, Just Quist notes: “At the same time, the bench was designed as a museum bench, and in that sense, it refers to the institutional setting in which art continuously engages with its canonical construction
of memories. But, of course, the image is also just Très drôle.” The last work presented by Quist is a pile of sand. The artist considers time as a sign of spatiality and corporeality in Monocle. The time that is hidden within the work is revealed through the few grains of sand, rolling of the heap - that is, if you look long enough.
The three works playfully propose an incomplete encounter between artwork and viewer, avoiding any attempt at a closed feedback loop. The experience the viewer takes away from the exhibition might become a memory. That is, if in some way, the viewer is open to it. The encounter between object and viewer, confined to the timeframe of the visit, becomes a potential memory—one of which neither the work, the site, nor the artist will ever be aware.

ODA Park

Photos by Peter Cox