ROSA MAAS
born 2002, Helmond, Netherlands 

Rosa Maas is a visual artist with a deep fascination for the internet: the approximately 3.2 billion photos uploaded every day, the endless media landscape and its images that keep circling around and get intensified in a sea of real and fake
It is in this paradox where Rosa places herself as an artist. Rosa’s work often begins with an image that she finds online and stays with her: the photograph of our Earth taken from the Apollo 8, a selfie in front of the Mona Lisa, the image of a beach with a palm tree, two chairs in the middle and the sea in the distance in a holiday brochure. In her projects, Rosa adopts an investigative approach. She combines a humorous with a critical tone by engaging with these images in an often ironic manner. In doing so, she touches on geopolitical themes such as tourism, cartography and social power structures, posing questions about life in our current society, how we navigate it, how we shape it and who decides how it gets shaped.


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10 0002024-2025in collaboration with Julian Jaffé







10 000 exhibited at the Offener Prozess | NSU-     Dokumentationszentrum Chemnitz, Germany
The so-called “10 000 death list” of the neo nazi terrorist organisation NSU (National Socialist Underground / Nationalsozialistischer Untergrund), is an extensive collection of names, addresses and phone numbers of (10 000) potential victims. Taking this number as a starting point, the project ‘10 000’ tries to illustrate the sheer size and incomprehensibility of this list. It raises questions about the background and support networks of the NSU, stating that such an in-depth data collection could not have been created by just the core trio of the NSU that were held accountable. 

Through the visual representation of a 70-meter-long fax roll with censored data, the threat potential of such lists becomes tangible. The fax machine as a source suggests an incessant, bureaucratic recording of names – a symbol of the cold, structured terror behind such lists.

To not only make this number visible, but to also put this to action, 10 000 postcards were produced. Visitors are encouraged to take a postcard from the pile and send it to politicians, mayors, ministries, police headquarters or other institutional bodies. What are they doing to remember the victims? What are they doing to make sure this does not happen again?


- installation, postcards


















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