The Green Lights is an annual exhibition hosted by the graduating fine art students of Minerva Art Academy. It serves not only as an assessment during which the students aim to get their ‘green light’ to graduate, but as an opportunity to independently create a public exhibition. Faced with the challenge of bringing together 55 unique practices, we’ve based this year’s Green Lights around the Art Spectrum, a compass navigating different positions, approaches and cultures within the fine arts. Where do we stand? What does it stand for? These are the questions we raise rather than answer as we try to materialise the complex and diverse ecosystem of the art culture.

The Art Compass is based on the well know political compass, as it provides four extreme artistic positions as the boarders of the fluid space in between. On the horizontal axis the attitude of the artist toward their practice is defined as between craft and concept. These two well known and often scrutinised labels have in this case a more suggestive nature, indicating whether the concept, idea, message is prioritised over the technique, medium, skill or vice versa. The vertical axis defines the position of the artist towards the art world. From the white cube, gallery culture and the art market making up the inside, to alternative non-art spaces and practices challenging the boarders of art from the outside, the artists occupy positions based on how much they conform to or rebel towards the established art institution.

The interaction of the axis creates four areas - inside concept, outside concept, outside craft and inside craft - each representing an artistic subculture in which specific values, opinions, movements and artworks exist.

Although seemingly opposite, the two directions of each axis are more often than not intertwined, and so the artist might assume different positions along the axis at different times, in relation to different works, or they might assume a wide area of the spectrum within which their practice exists.




Due to the current circumstances, the physical exhibition will not be open to the public. In our digital tour, you can "walk through the space" and observe the works through the lens of a 360' camera.


Throughout the week, a number of events will be streamed on the greenlights.live website and our twitch channel. See the stream and schedule down below:





Untitled (Flagellation) is a video performance, showing the act of flagellation outside the context of religious or sadomasochistic self-harm. Outside of this context, and through use as performative action, this violent act becomes a cathartic expression on the artists struggle with, and thoughts on masculinity and romance, as well as a brief exploration into the deep-rooted relation between object and context.

Wolf Hemmen is a Dutch multi-disciplinary artist born in 1998. His work is an exploration of a range of deeply personal, yet socially applicable themes through a range of media. This exploration is driven by a deep interest in transient human experience and the unpredictability hereof, the contrast between permanence and impermanence, as well as the male identity in present times.


“Without an observer there is no interpretation, without the interpretation there is no object”, this is the starting point of the collaborative work of Domantas Grigaitis and Wolf Hemmen. The work is a conversation between the two artists, just as it is a conversation between object, space and the observer.

Scalene is a collaborative work that explores construction, sound, the idea of a monolith as a religious or cultural object and how these relate to the space it is presented in. Meant to be experienced from several angles and positions within the space, the object and the sounds it emanates are meant to throw the observer off their initial perception of the object. Being within the object’s presence is already a way of interacting with it, even without the conscious notion of it.