PhotoLexicon, Volume 11, nr. 24 (November 1994) (en)

Teun Hocks

Lotte Menkman


Teun Hocks’ oeuvre falls somewhere between photography and painting, holding a place all its own. Since the late 1970s, Hocks has developed a narrative style. By creating painted photos—what he refers to as ‘fotoschilderijen’ (‘photo paintings’)—Hocks toys with photography’s pretensions to capturing reality. Utilising stage decors, humour, and melancholy, Hocks suggests there is actually more happening in reality than what we think we see. A breakthrough in the recognition of Hocks’ work occurred in the second half of the 1980s, initially abroad and only thereafter in the Netherlands.




Teun Hocks is born in Leiden. He learns about photography and printing at an early age from his father, an educator and enthused amateur photographer.


Hocks begins studying at the St. Joost Art Academy in Breda. In his first year he follows instruction in the academy’s department of ‘publicity’, which includes photography as part of its programme. After one year, he switches to ‘monumental and graphic art’, a freer study discipline.

During this academic period, Hock meets Pieter Laurens Mol and the later performance artists Moniek Toebosch and Harrie de Kroon, among others.


Teun Hocks graduates based on pop-art-like paintings and silk screens. He establishes himself as a visual artist in Breda.


In search of his own working method, Hocks experiments with different media, including Super-8 films, drawings, silk screens, and photography.


Hocks makes his first ‘fotoschilderijen’ (‘painted photos’) in a technique he later continues to develop further.

Hocks’ first exhibition is held at the Lóa Gallery in Amsterdam.


Hocks appears in performances such as Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest (‘The Saws Sing Eternally from the Dark Chamber Orchestra’) and participates in various theatre activities, as well as a guest of Moniek Toebosch and Michel Waisvisz.

1980 to Present

From 1980 onward, Hocks is employed as a drawing instructor (visualisation/presentation) at the Akademie voor Industriële Vormgeving (‘Academy of Industrial Design’) in Eindhoven.


Hocks participates in the exhibition Geconstrueerd voor foto’s (‘Constructed for Photos’), organised by the NKS (Nederlandse Kunststichting, ‘Netherlands Art Foundation’), as well as an exhibition at De Beyerd in Breda (together with his friend Mathieu Meijers).


Hocks’ work is included in a group exhibition at the Torch Gallery in Amsterdam. He participates in exhibitions such as Fotografia Buffa, which opens at the Groninger Museum and subsequently travels abroad.

From this point forward, Hocks is represented by the Torch Gallery.


Hocks participates in a number of group exhibitions, including La Photographie Hollandaise (‘Dutch Photography) at the Institut Néerlandais in Paris. The presentation at the Cologne Art Fair and his participation in Fotografia Buffa—also seen in Bonn, Cologne, and Edinburgh—signal the start of Hocks’ recognition as an artist.


Hocks participates in L’invention d’un Art (‘The Invention of an Art’) at the Centre Pompidou in Paris, as well as the exhibition Das konstruierte Bild (‘The Constructed Image’), which travels around Germany.


Hocks receives a commission to produce eight photographs for the 1990 Annual Report 1990 of the Prince Bernhard Foundation.


Art Unlimited publishes the monograph Teun Hocks.


Teun Hocks receives the Capi-Lux Alblas Prize. In commemoration of this event, a video documentary is made about him.

The Prince Bernhard Foundation commissions Hocks to take eight photographs for its 1992 Annual Report.

Hocks moves from Breda to Breukelen. Towards the end of this year, he finds a horse stable in Nieuwer Ter Aa, which he converts into a studio.


For the Dutch company PTT-Telecom, Hocks designs the calling card for December 1993. Hocks photographs textiles for the monthly magazine Avenue.

1993 to Present

Hocks is an instructor in the departments of photography and ‘textiele werkvormen’ (‘textile working forms’) at the Rietveld Academy in Amsterdam.


Teun Hocks’ ‘fotoschilderijen’ (‘painted photos’) are narrative in character, arising from the evocative manner in which he assumes the leading role himself in self-created environments, accompanied by attributes. The experience of reality in these photographed images is substantial, but a closer inspection reveals that one or more elements are ‘inaccurate’. This raises the suspicion that something else is being told than what is depicted. The associations that Hocks evokes are not one-dimensional: the meaning is not to be understood through only one explanation. The observer is able to fill in his own interpretation— his own caption—in thoughts.

Teun Hocks’ father was a passionate amateur photographer. He photographed with a plate camera, built his own enlarging device, and relied on his own formulas. Teun had therefore been raised on photography. After his father’s death, he came across a photo depicting his father aiming a pistol at ‘himself’, i.e. a double exposure with his hands held high. Teun Hocks took this double portrait and had it converted to a silk-screen print as a tribute to his father and as proof of recognition of the path he would be taking himself.

Teun Hocks studied in the ‘publicity’ department at the St. Joost Art Academy in Breda. Photographic technique was an area already familiar to him, but working with a technical camera was new. After his first year, he switched to the department of ‘monumental and graphic art’. During his studies at the art academy, Hocks came into contact with people like Harrie de Kroon and Moniek Toebosch, who were later to become performance artists, and Pieter Laurens Mol. To this day, these and other friendships have probably been more influential than the academy, where Hocks never really felt quite at home. After graduating, he was involved in various theatrical activities with friends from his days at the academy.

In search of his own style, Hocks began experimenting with a variety of techniques such as silk-screen printing, illustration, Super-8 films, performances, and photography in 1970. In films and performances, he played various roles in a staged environment. In these theatrical sketches, he was able to apply many of his ideas. Hocks liked the possibility of combining visual discoveries with movement, sound, and music. He performed at various locations with his astonishing programme Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest (‘The Saws Sing Eternally from the Dark Chamber Orchestra’), including the Leiden University Print Room during the presentation of the loose-leaf lexicon Geschiedenis van de Nederlandse fotografie (‘History of Dutch Photography’) on 24 November 1984. In his rendition of Eeuwig Zingen de Zagen, Hocks devised a stage performance by introducing the shadows of animals and objects, ranging from a banjo to a car. The shadow, as a partner or counterpart, is a regularly recurring theme, as well in his later painted photos, which is used to visualise various meanings. A staged environment, attributes, and the audience—ingredients relevant to film and performances—provided Hocks with the opportunity to experiment with images, effects, and reactions. These experiences were then incorporated in his photographic works. Hocks developed a style with a narrative character, in which he himself plays the leading role in a staged environment. This staging in his painted photos is surprising, because it appears to oppose the documentary, ostensibly true-to-life element that has always been such an important aspect of photography.

Teun Hocks’ photos arise from the drawings and sketches he makes practically on a daily basis. They reflect odd situations, visual quips, or striking illustrations of a given feeling. The books in which he makes these sketches and drawings serve as a reservoir of visual ideas. Occasionally he finds an image he likes, which he then converts into a photo. Some of these visual ideas continue to intrigue him and recur in various drawings, always reworked in another form.

Based on a drawing or sketch, Hocks builds up a three-dimensional situation. He typically paints the background decor himself: meters high and meters wide. Searching for the right attributes takes a great deal time and often fails to produce the desired result. Hocks therefore usually ends up making the attributes himself. He paints them in colour—despite the black-and-white shots—in order to create a situation that matches the final painted photo. Hocks makes himself the central figure in this totality: clothing, makeup, and all kinds of details are chosen in order to underscore his role. Test shots are first made with a polaroid camera. Next, Hocks takes a series of eight photos with an automatic shutter. From these, he chooses one he likes. Even when a single detail is not to his liking, he takes the shots over again. The approved photo is printed on baryta photographic paper, which produces subtle nuances in the tonal greys and deep blacks. He then colours this black-and-white print with sepia toner, because this runs through the transparent paint layers, while preserving the colours’ clarity. The still moist underground is subsequently mounted on prepared wood with acid-free glue. Such technical preparations are carried out by an assistant, but closely monitored. After drying, Hocks paints the photo with transparent oil paint: the photo remains visible through the paint layers applied over it. The colours are adapted as they are painted, according to the image he has in mind.

Three prints are usually made from the selected negatives. In principle, only one is to be painted. The remaining two prints are painted later and sometimes diverge in colour from the first version. Not a single detail of the representation is changed during the painting process, in order to maintain its documentary nature. Hocks’ working method is extremely labour intensive. Sometimes it takes a week to construct the situation to be photographed, but it can take up to a month or more before Hocks is satisfied with the end result. Consequently, his annual production is limited to but a few photos.

The background decor’s paintings and attributes are archetypical in character: a ‘true Dutch landscape’ with channels and pollarded willows, such as in Mathematische notatie (‘Mathematical Notation’), or an unmistakable Dutch interior in which a chair is ‘the’ chair. Attributes—a spinning wheel, lampshade, suitcase, umbrella, flyswatter or desk—are chosen to highlight the character of the main figure or the situation. These archetypical images find their origins in the Dutch visual tradition and are—as it were—’explained’ by Hocks. He uses them to create a story in a recognisable and comprehensible visual idiom. In the best of cases, however, Hocks photographic works allow observers so much freedom that they are able to provide their own titles, captions, or interpretations. One example of this is a work in which the main figure stands on a loose rope held in the air by a flying owl. The image resembles a nightmare. Is it a sleepwalker balancing on a tightrope? Or is the main figure trying to capture the owl, the symbol of wisdom? In the introduction of the monograph on Teun Hocks (Amsterdam, 1991), his photographic works are described as ’emblems’ and ’emblems without words’, because they speak entirely for themselves. Hocks’ response is that he would like to find new emblems, preferably in his own thoughts.

The recognisability of the situation, the background decor, and the attributes enhance the experience of reality in the painted photo. Thanks to the use of a clear visual idiom, there are essentially no riddles or misconceptions. It is obvious that what has happened is not real, even though it has been photographed. When observing the painted photo Het late uur (‘The Late Hour’), no one would think that the devils and angels taunting the main figure are real. The reality to which this allegory alludes, however, is open to anyone’s interpretation. Another example is a painted photo of a room in a seemingly middle-class home in which a tent has been raised. The chairs, the painting, the throw rug, the lamp, and the placement of the various elements in the space exude a tedious boredom. In the middle of the room, a tent has been raised. In it lies the main figure, dressed in pyjamas, in a sleeping bag, supporting himself on his elbows, staring into the non-existent distance. That which is factually unreal in the absurd, dramatic scenes that Hocks depicts is replaced by the illusion of reality. In doing so, he creates a new link between fiction and reality.

Hocks utilises the direct legibility of these photographic works and the absurdity of the situation to create the suggestion of a story. That story concerns a reality other than what one sees. They are stories about human experiences, courage, cowardice, and doubt. The leading figure plays his role in a tragedy, whether it be an internal struggle or a melodrama, in which he opposes an undesirable situation. He is neither brave nor bad, nor rock-solid, but someone who has fallen victim to uncertainties or conflicts. They appear to be allegories of humanity: always busy, but not knowing what with, or without knowing what choice to make. These ’emblems of life’ contain no moralistic sermons, but raise questions for the observer to answer himself.

Teun Hocks’ sources of inspiration are diverse, related to his interest in the imagery of popular culture, slapsticks of the 1930s, film animation, and comic book stories. Theatre decors and theatrical B-films are also subjects close to his heart. Music—especially music made for animation films and in which timing is an important aspect—inspires him during his work. In addition, Hocks is inspired by a variety of drawn from art history, such as the Flemish Primitives, with their glazed painting style. Caravaggio is admired for the interaction of light and dark; Dutch painters of the seventeenth century for their rich gradations in colour. With art of the twentieth century, he favours painters having a narrative approach, such as Magritte and James Ensor. Hocks’ love of narrative drawings is reflected in his appreciation for the Belgian animator Hergé. Jacques Tati and Buster Keaton, stars of the movie screen, also inspire his fantasy.

Hocks recognises a similar mentality in the coloured etchings and drawings of Pieter Holstein, whose work also often conveys a double meaning. An obvious parallel exists with the early work of Pieter Laurens Mol, Ger van Elk, and Sigurdur Gudmundsson, artists who apply photography in a conceptual manner. In numerous exhibitions and publications, Hocks’ work is associated with staged photography. While painting takes up the greatest amount of time in his working process—first the background decor is painted, followed by the attributes, and lastly the photo itself—the use of photography is an indispensible ingredient.

Photography is of critical importance to the painted photo in its finished form. The level of truth in photography and the idea of illusion or fiction in painting are brought together in a new relationship: ‘The painting is real, the photo is just as if it’s real’, as Hocks observes. He sees himself neither as a photographer nor a painter. In his own modest words: ‘I can do everything a little, nothing really well, and in my case, this works to my advantage.’

Teun Hocks’ work has been garnering appreciation since 1987 both in the Netherlands and abroad, as affirmed by numerous exhibitions and publications. By toying with reality, Hocks manages to develop an ever-astonishing but clearly identifiable personal style, filled with humour, quips, and drama. His purely artificial images—as packaging for the ‘truths of life—serve as emblems without words. In this way, Hocks continues a visual tradition along the lines of Ger van Elk, Pieter Holstein, Sigi Gudmundsson, and Pieter Laurens Mol, in which associative and narrative elements elevate the content to a higher level.


Primary bibliography

Stoomboot, Breda (Galerie de Luxe) 1977.

Serie van 25 ansichtkaarten, Amsterdam (Art Unlimited) 1982-1994.

Affiche, Amsterdam (Prins Bernhardfonds en Anjerfondsen) 1990.

Antje von Graevenitz (inl.), Teun Hocks, Amsterdam (Art Unlimited Books) 1991, (met foto’s en schetsen).

Serie ansichtkaarten, Amsterdam (Prins Bernhardfonds en Anjerfondsen) 1993.

Affiches, Amsterdam (Prins Bernhardfonds en de Anjerfondsen) 1993.

Telefoonkaart, Den Haag (PTTTelecom) december 1993.

Hoes CD SoftBomb, The Chills, Slash/Reprise, Warner Bros Records, zj.

Hoes Casette Boomslang, Lathe of Heaven Music, Seattle, The Shepard Company, 1994.


images in:

De Appel (1981-1982) 1-4.

Perspektief (september 1986) 25, p. 42.

NRC Handelsblad 19 februari 1988, Cultureel Supplement, p. 9.

Clichés (april 1988) 45, p. 40-47.

Holland Herald 24 (september 1989) 9, p. 20.

Jaarverslag Prins Bernhard Fonds en Anjerfondsen 1990, Amsterdam 1991.

19NU27 (september 1991) 5, p. 10-11.

Man 19 (oktober 1991) 10, omslag, p. 7.

Le Monde 6 december 1991, p. 12.

Avenue 28 (oktober 1993) 10, p. 42-48.

Jaarverslag Prins Bernhard Fonds en Anjerfondsen 1992, Amsterdam 1993.

19NU29 (maart 1993) 2, p. 30-31.

Integral (Esp.) 7 (juni 1993) 162, p. 34.

Holland Herald 29 (maart 1994) 3, p. 48.

Secondary bibliography

Auteur onbekend, Teun Hocks, in Vis a Vis International. Revue trimestrielle d ‘art photographique, z.j., no. 11, p. 61-63 (met foto’s).

Truus de Ruiter, (rubriek Beeldende kunst), in De Volkskrant 9 november 1979.

Erik Terlouw, Teun Hocks. Fotografie in dienst van de schilderkunst, in Trouw 10 november 1979, Kwartet, p. 4.

Catalogus tent. Teun Hocks, fotowerken en tekeningen; Adrie Manten, installaties, Utrecht (‘t Hoogt) 1981.

Catalogus tent. Geconstrueerd voor foto’s, Rotterdam (Centrum Beeldende Kunst) 1983.

(Brochure tent.) Verlichte fotografie. Geconstrueerd voor foto’s, Rotterdam (Perspektief/Centrum Beeldende Kunst), 1984.

Linda Roodenburg en Hripsimé Visser, Fotografie is “net echt”: Teun Hocks’ tragikomische spel met een geënsceneerde werkelijkheid, in Perspektief (juni 1985) 21, p. 16-17 (met foto’s en schetsen).

Catalogus tent. Fotografia Buffa. Geënsceneerde fotografie in Nederland, Groningen (Groninger Museum) 1986, p. 10-11, 16-21,30-31 (met foto’s).

Catalogus Foto Biennale Enschede, Enschede 1986, p. 48, 70.

Hripsimé Visser, Fotowerken uit Holland, in Camera Austria (1986) 21, p. 62-63 (met foto).

Nancy Stoop, Teun Hocks: regisseur tragi-komische momenten, in Leidsch Dagblad 13 mei 1986.

Mariëtte Haveman, Teun Hocks: ‘een soort meneertje in je eigen theater’, in Twee N. Personeelsblad Nationale Nederlanden juni/juli 1986, p. 25-26, 35.

Klaus Honnef, Die Imagination als Welt, in Kunstforum (juni/juli/augustus 1986) 84, p. 174-175.

Ellen Kok, Teun Hocks. “Alles in mijn hoofd kan ik fotograferen”, in Foto 41 (september 1986) 9, p. 66-71 (met foto’s en schetsen).

Bas Roodnat, Fantasieën op de grens van fotografie. Confrontatie Nederlanders en Westduitsers op Tweede Biennale van Enschede, in NRC Handelsblad 9 september 1886.

Paul Steenhuis, ‘Plotseling ben ik hier koning van de avant-garde’. De Engelse theaterfotograaf Angus McBean, in Vrij Nederland. Bijvoegsel (18 oktober 1986) 42, p. 26-29.

Paul Steenhuis, Fotografia Buffa. ‘Gewoon rock ‘n’ roll met het fototoestel: click-a-go-go’, in Vrij Nederland. Bijvoegsel (15 november 1986) 46, p. 14-18.

Louwrien Wijers, ‘Fotografia Buffa’ in Groningen, in Het Financieele Dagblad 15 november 1986, p. 14.

Catalogus tent. Kunst over de vloer. Foto-video-installaties, Amsterdam (Stichting Kunst over de vloer) 1987.

Bas Roodnat, Melancholie van vergeefs wachten. Virtuose schilderingen met een fotografisch uitgangspunt, in NRC Handelsblad 21 februari 1987.

Christine Vuegen, Fijne foto’s, in De Streekkrant (Brusselse editie) 15 april 1987, p. 8.

Mariëtte Haveman, Ongerijmde zaken, in De Volkskrant 23 oktober 1987.

Rob Klinkenberg, Teun Hocks. Vroeger mocht kunst niet verhalend zijn, in Avenue 22 (december 1987) 12, p. 186-189 (met foto’s).

(Brochure tent.) Teun Hocks, Parijs (Institut Néerlandais), 1988.

Paul Evers, Teun Hocks. Geniale Rommel, in Oor (16 juli 1988) 14/15, p. 54-59 (met foto’s).

Michael Köhler (red.), Das konstruierte Bild. Fotografie -arrangiert und inszeniert, Schaffhausen etc. (Stemmle) 1989, p. 56-58, 149-150 (met foto’s).

Klaus Honnef, Ongewone kunst in een verschoven wereld, in Kunst & Museumjournaal 1 (1989) 2/3, p.12-19.

Catalogus tent. “Door het oog van de camera”, Oirschot (Nieuwe Brabantse Kunststichting) 1990.

Cristian Eigner, Das konstruierte Bild. Fotografie arrangiert und inszeniert, in Camera Austria (1990) 33/34, p. 94.

Henk Egbers, Teun Hocks op reizende tentoonstelling NKS: “Mensen nemen kunst te serieus”, in De Stem 13 februari 1990.

Vera Illès, Intens alleen. De verbeeldende werkelijkheid van Teun Hocks, in Elsevier 46 (2 juni 1990), p. 84-85.

Paul Steenhuis, Galerie, in NRC Handelsblad 8 juni 1990.

Auteur onbekend, Teun Hocks, in Photojournal Asahicamera (augustus 1990) 8, p. 33.

Maandblad o 11 (oktober 1990) 1, p. 70-77 (met foto’s).

Renée Steenbergen, Teun Hocks: ‘Humor maakt achterdochtig”, in NRC Handelsblad 16 oktober 1990.

Catalogus tent. Metamorfose, Den Haag (H.C.A.K.), 1991.

Catalogus tent. Op het eerste gezicht, Oss (Jan Cunencentrum) 1991.

Catalogus tent. Narcissism and Photography, Antwerpen (Galerie Campo) 1991.

Brochure tent. Teun Hocks. Recent Werk, Vlissingen (Bellamy 19) 1991.

Catalogus L’invitation au Voyage, Brussel (E.E.G.-Gebouw) 1991.

Ingeborg Leijerzapf e.a. (tekst), Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw, Amsterdam (BIS) 1991, p. 137, 193.

Catalogus tent. Fantastische foto’s uit de collectie van het Groninger museum, Groningen (Groninger Museum) 1991.

Brochure tent. Eigen collectie, Apeldoorn (Gemeentelijk van Reekum Museum) 1991.

Catalogus Gemeentecollectie, Breda (De Beyerd) 1991.

Anne Wauters, Théatres du moi, in Art & Culture januari 1991, p. 15.

Robert Lefèvre, Theun Hocks, in La semaine d’Anvers 18 januari 1991.

Robbert Roos, Teun Hocks: “Ik wil het liefst alles in een beeld vatten”, in Beelding (februari 1991) 1, p. 4-5.

Brochure tent. DEBEELDENDEFOTO, Librije Hedendaagse Kunst Zwolle 9 (maart 1991), p. 13-15.

IJsbrand van Veelen, Winkelen in het universum, in Het Parool 9 maart 1991.

Ellen Kok, “Zachte krachten” van De Harde kern. Hocks: zelfs de schaduwen zijn van mijzelf, in Het Utrechts Nieuwsblad 23 maart 1991.

Carly Broekhuis, Teun Hocks, in Focus 76 (juli/augustus 1991) 7/8, p. 17.

Mark Peeters, Gelaten beeld van een verwend ettertje. Serie exposities van Nederlandse kunstenaars in Museum Jan Cunen in Oss, in NRC Handelsblad 31 oktober 1991.

Eddie Marsman, Das konstruierte Bild, in Foto 46 (november 1991) 11, p. 28.

Auteur onbekend, Teun Hocks in Bellamy 19, in De Faam/De Vlissinger 6 november 1991.

Nico Out, Een andere kijk op de werkelijkheid, in P.Z.C. 15 november 1991.

Linda Roodenburg (samenstelling), Fotowerk. Fotografie in opdracht 1986-1992, Rotterdam (Uitgeverij 010) 1992.

Catalogus tent. Double Dutch. Il realismo nell’ arte contemporanea Olandese, Rome (Sala 1) 1992.

Catalogus tent. Dutch Manners (Houston Fotofest 1992), Houston 1992.

Brochure tent. Capi-Lux Alblas prijs, Rotterdam (Perspektief) 1992.

Catalogus tent. Meesterlijk gedekt, Oss (Jan Cunencentrum) 1992.

Catalogus 2. Internationale Foto-Triënnale Esslingen 1992, Esslingen 1992.

Catalogus tent. Dubbel spoor, Heerlen (Stadsgallerij) 1992.

Catalogus tent. Real-ities, Madrid (Circulo Belles Artes) 1992.

Leo Delfgaauw, Teun Hocks, in Perspektief (februari 1992) 43, p. 67.

Christopher Hume, Galleries, in The Toronto Star 5 maart 1992.

Kate Taylor, Art About, in The Globe and Mail 13 maart 1992.

Ella Reitsma, Te leuk mag niet. Balanceren tussen raak en mis, in Vrij Nederland (21 maart 1992) 12, p. 58-61 (met foto’s).

Henrico Prins, Gemaskerd mannetje steelt halve maan, in De Volkskrant 27 maart 1992.

Renée Steenbergen, De lachwekkende en poëtische ernst van Teun Hocks, in De Volkskrant 31 maart 1992.

Chris Reinewald, De zonderlinge heerschappen van Teun Hocks, in De Journalist 43 (10 april 1992) 7, p. 32-33.

Rob Vermeulen, Teun Hocks, acteur van de kromme werkelijkheid, in Haagsche Courant 29 mei 1992 (met foto).

Christopher French en Terrie Sultan, Report from the Netherlands. A New Internationalism, in Art in America juli 1992, p. 43-50 (met foto’s).

Mariëtte Haveman, Intensieve kunst rond een misverstand, in De Volkskrant 22 juli 1992.

Catalogus tent. Vrij Spel. Hedendaagse Nederlandse fotografie 1970-1990, Nijmegen (Nijmeegs Museum Commanderie van Sint-Jan) 1993, p. 116-117 (met foto).

Catalogus tent. Teun Hocks. Recent werk, Parijs (Galerie 15) 1993.

Catalogus tent. Recent Werk, Brussel (Art Fair/Galerie 121) 1993.

Catalogus tent. Photovision, Montpellier (Musée Fabre) 1993.

Brochure tent. Galerie Torch presenteert Edition Beckers Amsterdam (Galerie Torch) 1993.

Catalogus tent. Urgent Nostalgia, Seattle/USA (Center on Contemporary Art) 1993.

Catalogus tent. Uit de Collectie van Het Nederlands Fotomuseum, Sittard (Het Nederlands Fotomuseum) 1993.

Jukka Kemppinen, Teun Hocks. Kadessa Nalli, in Image (januari 1993) 29, p. 62-63.

Charles Hagen, Teun Hocks, in The New York Times 8 juni 1993.

Auteur onbekend, Teun Hocks, in Aperture (november 1993) 130, p. 32-37 (met foto’s).

Catalogus tent. Niet alleen voor de sier, Leeuwarden (Keunstwurk) 1994.

Catalogus tent. Zuge, Zuge, Esslingen (Galerie der Stadt Esslingen) 1994.

Catalogus tent. Kus me, Kus me, Zeeman, Haarlem (De Vishal) 1994.

Catalogus tent. Hedendaagse Nederlandse Kunst, Wroclaw (Polen) (Museum Naradowe) 1994.

Catalogus tent. Teun Hocks. Recent Werk, Boulder/USA (Boulder Art Center) 1994.

Jonathan Turner, Double Dutch: Realism & Visual Fraud from the Netherlands, in Art and Text (januari 1994) 47, p. 18-21.

Marius de Beer, Kunstenaars uit het grensgebied, in Kunstschrift 38 (maart/april 1994) 2, p. 29-41.


1992 Capi-Lux Alblas prijs 1991.


1979 (e) Amsterdam, Galerie Lóa.

1980 (g) Den Bosch, Brabant Biennale.

1982 (g) Utrecht, Cultureel Centrum ‘t Hoogt.

1982 (g) Dordrecht, Teekengenootschap Pictura.

1983 (g) Den Bosch, Hedendaagse Kunst uit Noord-Brabant.

1984 (g) Rotterdam, Centrum Beeldende Kunst, Geconstrueerd voor foto’s.

1984 (g) Breda, De Beyerd, (Teun Hocks en Mathieu Meijers).

1985 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, (deel van in 1984 met subsidie van het Rijk verworven aanwinsten op het gebied van fotografie).

1985 (e) Eindhoven, Technische Hogeschool, Teun Hocks. Studies 1977-1985.

1985 (g) Zaragoza, Vanguardia ’85.

1986 (e) Amsterdam, Galerie Torch, Teun Hocks fotowerken en tekeningen.

1986 (e) Leiden, Galerie Fotomania, Teun Hocks.

1986 (g) Amsterdam, Galerie Torch.

1986 (g) Enschede, Rijksmuseum Twenthe, Foto Biennale.

1986 (g) Graz, Fotogalerie im Forum Stadtpark, Fotowerken aus Holland.

1986 (g) Groningen, Groninger Museum, Fotografia Buffa.

1986 (g) Londen, Air Gallery, The Self Imagined.

1986 (g) Charleroi, Photographie Ouverte, Chassecroise Photographie/Bande Dessinée.

1986 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, Grafiek, tekeningen, fotografie uit de eigen collectie.

1987 (g) Bonn, Rheinisches Landesmuseum, Fotografia Buffa.

1987 (g) Helmond, Gemeentemuseum ‘t Meyhuis, Fotografia Buffa.

1987 (g) Keulen, Galerie Gugu Ernesto, Fotografia Buffa.

1987 (g) Leiden, Stedelijk Museum De Lakenhal, Aanwinsten Moderne kunst van Museum De Lakenhal.

1987 (g) Brussel, Galerie Plus-kern.

1987 (g) Brugge, Galerie de Lege Ruimte.

1987 (g) München, Dany Keiler Galerie.

1987 (g) Zwolle/Emmen, Geënsceneerde Fotografie (Project Kunstlijn).

1987 (g) Amsterdam, Entrepotdok, Kunst over de vloer.

1987 (g) Groningen, Groninger Museum, Zomer op stelling.

1987 (g) Stuttgart, Architecturmuseum.

1987 (g) Metz, La Photographie Hollandaise (Metz pour la Photographie).

1987 (g) Metz, (Anja de Jong, Teun Hocks).

1987 (g) Parijs, Institut Néerlandais, La Photographie Hollandaise.

1988 (e) Brussel, Beursschouwburg.

1988 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, Vluchtwegen van de werkelijkheid.

1988 (g) Stuttgart, Galerie der Stadt, Gruppen-Ausstellung Atlantis.

1988 (g) Frankfurt, Architecturmuseum, Gruppen-Ausstellung Atlantis.

1988 (g) Glasgow, Collins Gallery, Fotografia Buffa.

1988 (g) Edinburgh, Stills Gallery, Fotografia Buffa.

1988 (g) Cardiff, Photo Gallery, Fotografia Buffa.

1989 (e) Antwerpen, Galerie 121.

1989 (e) München, Danny Keiler Gallery.

1989 (e) Stuttgart, Hansjürgen Muller, Atlantis.

1989 (g) Stuttgart, Galerie Kaess-Weiss, Meeresbilder.

1989 (g) Milaan, Galerie Murnik, Meeresbilder.

1989 (g) Parijs, Centre Pompidou, L’Invention d’un Art.

1989 (g) München, Kunstverein, Das konstruierte Bild.

1989 (g) Nürnberg, Kunsthalle, Das konstruierte Bild.

1989 (g) Bremen, Forum Böttcherstrasse, Das konstruierte Bild.

1989 (g) Karlsruhe, Badischer Kunstverein, Das konstruierte Bild.

1990 (e) Amsterdam, Galerie Torch, Teun Hocks. Recent Werk.

1990 (g) Eindhoven, Stedelijk Van Abbemuseum, Door het Oog van de Camera (rondreizende tentoonstelling NES).

1990 (g) Antwerpen, MUHKA, Beeldenstorm (Zuid-Nederlandse ontmoetingen).

1990 (g) Rotterdam, Brutto Gusto (Nieuwe Binnenweg 162b), Tulpen.

1990 (g) Amsterdam, Artis, Landschap.

1990 (g) Den Haag, H.C.A.K., Metamorfoses.

1990 (g) Antwerpen, Galerie Campo, Narcissism and Photography.

1990 (g) Rotterdam, Galerie Snoei.

1991 (g) Zwolle, Librije, DEBEELDENDEFOTO.

1991 (g) Groningen, Tentoonstellingszaal Harmoniegebouw, Fantastische Foto ‘s.

1991 (g) Turijn, Galerie NOVA.

1991 (e) Antwerpen, Galerie 121.

1991 (e) New York, P.P.O.W. Gallery.

1991 (g) Chicago, Chicago Art Fair/P.P.O.W. Gallery.

1991 (e) Vlissingen, Bellamy 19, Teun Hocks

1991 (g) Oss, Jan Cunencentrum, Op het eerste gezicht.

1991 (g) Breda, De Beyerd, Gemeentecollectie.

1991 (g) Rotterdam, Galerie Fotomania, Fotosalon (overzichtstentoonstelling t.g.v. het eerste lustrum van Fotomania).

1991 (g) Apeldoorn, Gemeentelijk Van Reekum Museum, (eigen collectie).

1991 (g) Den Haag, Rijksdienst Beeldende Kunst.

1991 (g) Brussel, E.E.G.-Gebouw, L ‘invitation au Voyage.

1991 (g) Amsterdam, Nieuwe kerk, Het beslissende beeld. Hoogtepunten uit de Nederlandse fotografie van de 20e eeuw (Collectie Dutch Photography).

1992 (e) Toronto, Cold City Gallery.

1992 (g) Houston, Dutch Manners (Houston Fotofest).

1992 (e) Rotterdam, Perspektief, Teun Hocks, fotowerken 1982-1992 (Capi-Lux Alblas prijs 1991).

1992 (e) Rome, Galerie NOVA.

1992 (g) Chicago, Chicago Art Fair/ P.P.O.W. Gallery.

1992 (e) Amsterdam, RAI, KunstRAI (Torch-presentatie).

1992 (e) Antwerpen, Galerie 121.

1992 (g) Oss, Jan Cunencentrum, Meesterlijk Gedekt.

1992 (g) New York, P.P.O.W. Gallery.

1992 (e) Parijs, Galerie 15.

1992 (g) Esslingen, 2. Internationale Foto-Triënnale Esslingen.

1992 (g) Haarlem, Frans Hals Museum.

1992 (g) Heerlen, Stadsgalerij, Dubbel spoor.

1992 (g) Madrid, Circulo Belles Artes Madrid, Real-ities.

1992 (g) Rome, Sala Uno, Doublé Dutch.

1992 (g) Amsterdam, Galerie Torch, Discount Show.

1992 (g) Haarlem, Frans Hals Museum.

1993 (e) New York, P.P.O.W. Gallery.

1993 (g) Amsterdam, Arti et Amicitiae, Real-ities.

1993 (e) Parijs, Galerie 15, Recent Werk.

1993 (g) Brussel, Galerie 121/ArtFair, Recent Werk.

1993 (e) Montpellier, Musée Fabre, Photovision.

1993 (g) Almeria (Spanje), Photovision.

1993 (g) Amsterdam, Galerie Torch, Torch presenteert Edition Beckers.

1993 (e) Antwerpen, Galerie 121.

1993 (g) Seattle, Center on Contemporary Art, Urgent Nostalgia.

1994 (g) Brussel, Galerie Coppens.

1994 (e) Brussel, Galerie Coppens.

1994 (g) Esslingen, Galerie der Stadt Esslingen, Züge, Züge.

1994 (g) Göppingen, Stadtische Galerie, Züge, Züge.

1994 (g) Rotterdam, Brutto Gusto (Nieuwe Binnenweg 162b).

1994 (g) Haarlem, De Vishal, Kus me, kus me, Zeeman.

1994 (g) Wroclaw, Museum Naradowe.

1994 (g) Parijs, Galerie 15.

1994 (e) Amiens, Maison de la Culture d’Amiens, Teun Hocks.

1994 (g) Basel, Galerie Torch/Art fair, 20:20 Vision.

1994 (e) Boulder, Boulder Art Center, Teun Hocks.

1994 (e) Amsterdam, Galerie Torch, Teun Hocks, Recent Werk.

Theater activities, performances

1979 Gastoptreden in de Moniek [Toebosch] & Michel [Waisvisz] Show, Meervaart, Amsterdam.

1980 Optreden in Aanvallen van Uitersten, Lantaarn, Rotterdam.

1981 Optreden in Kijk Pompoenen, Hotel Britannie, Vlissingen.

1982 Optreden in De Slungels van Michel Waisvisz, Holland Festival.

1983 Eeuwig Zingen de Zagen, Perfotijd, Lantaarn, Rotterdam.

1984 Het Donkere-Kamerorkest [bij Verlichte Fotografie], Centrum Beeldende Kunst, Rotterdam.

1984 Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest, Melkweg, Amsterdam.

1984 Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest, Prentenkabinet Leiden.

1985 Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest, Arnhem.

1985 Eeuwig Zingen de Zagen Uit Het Donkere-Kamerorkest, Rotterdam.

1985 Optreden in Talking Back to the Media met Eeuwig Zingen de Zagen II, Shaffy-theater/Kabel T.V. Amsterdam (videoband).

Super-8 films

(alle films kleur/geluid, m.u.v. * = zwart-wit/stom)

1977 Op een ochtend … (circa 3 minuten).

1977 Atlas (circa 3 minuten).

1979 Fragmenten en korte schetsen. Spoel met zeven korte films, o.a. Rainbow cleaning service.

1980-’81 Nieuwe avonturen. Spoel met vijftien korte films, waarvan de eerste zes uit 1980, de anderen uit 1981, o.a. Scenario, Concerto Introverto, Etude en Surfer on the beach.

1984 En hoe het verder ging (narcissen voor een spiegel). Spoel met twaalf films, o.a. Pluto, Saturnus, Vrienden en kennissen*, Just another pair of shoes en Protest.


1992 Teun Hocks. Documentaire van Joop de Jong n.a.v. zijn onderscheiding met de Capi-Lux Alblas prijs 1991 (uitgezonden op 7 juli 1994 door de NOS).


Amsterdam, Galerie Torch.

Breukelen, Teun Hocks.

Leiden, Prentenkabinet, bibliotheek en documentatiebestand.

Rotterdam, Nederlands Foto Instituut (nu Nederlands Fotomuseum), bibliotheek en documentatiebestand.


Amsterdam, Stichting Dunhill Dutch Photography.

Apeldoorn, Gemeentelijk Van Reekum Museum.

Breda, De Beyerd.

Den Haag, Rijksdienst Beeldende Kunst.

Groningen, Groninger Museum.

Leiden, Stedelijk Museum De Lakenhal.

Rotterdam, Artotheek Rijnmond.

Rotterdam, Rotterdamse Kunststichting.

Sittard, Het Nederlands Fotomuseum.

Zwolle, Nederlandse Spoorwegen.