Paul Devens Wiki,Biography, Net Worth

Paul Devens is a 56-years-old Dutch Artist from the Netherlands. his estimated net worth is $1 Million to $5 Million Approx. Jump into read his life Facts, Wikipedia and biographies Details

Paul Devens Biography – Wiki

According to the wiki and biography of Paul Devens was born on 10 October 1965 in Netherlands. let’s check out the Paul’s personal and public life facts, Wikipedia, bio, spouse, net worth, and career details.

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Paul Devens is currently preparing a major solo show at the Bonnefantenmuseum in Maastricht (NL), planned to open in 2020. In autumn 2019, he will be undertaking a residency at the Instituto Buena Bista in Curaçao (CW) as a continuation of his residency period in 2018.


Previous solo exhibitions include Les Brasseurs (Liège, 2019); bb15 (Linz, 2016); The Museum of Fine Art (Split, 2015); Z33, Z-out (Hasselt, 2012); Diapason Gallery (New York, 2011); OCA/ISP (Oslo, 2004).

Early 2019, Devens presented his newest work ‘Dock / Ancien Palais de Justice’ at Les Brasseurs in Liège. For this work, the floor plan of the old Palais of justice in Dakar was used as a point of reference, and thereupon scaled down to fit the exhibition space of Les Brasseurs. This floor plan was drawn by aluminum sections carried by microphone tripods, providing rails through which audio tape was running. A tape-recorder interrupting the running tape meanwhile recorded the sounds produced by visitors in the space. The sound was simultaneously given back to the space, making the original sound increasingly obscure, mimicking the Alvin Lucier effect, as in the work ‘I’m sitting in a room’. The timespan of the delayed sound equaled the timespan of the tape to go around the floor plan once.


Paul Devens’s work stems from a longstanding investigation into how the historical, political and social layers of a specific context can be processed through sound in relation to the role of architecture within that given landscape. His field research results in sound installations that show the social situation of the place in a way that integrates the voice of political minorities, consequently amplifying an amendment to what is considered ‘reality’.

His most notable body of work is the series ‘Folly’, made in respectively 2015 and 2016. Both works use architecture as a metaphor to showcase a shift in history. The first installation of the series is a wooden scale model of an abandoned store in the inaccessible UN-controlled buffer zone of the divided city of Lefkoşa / Lefkosia in Cyprus. As the mock-up decreases, a composition of sounds that were recorded in the area is played, touching upon the political conflict that characterizes the city. The original building this work is based on, is inaccessible since a long time. Devens revitalizes the building by projecting a composition of sounds from both North and South Cyrus in a 1:8 scale maquette, in a way that mimics the acoustic quality of the original building.

In sequel, Paul Devens created ‘Folly 2 / Igman Hotel’ as a result of his visit in Sarajevo. Following ‘Folly’, this installation consists of a wooden mock-up of the original hotel, which was built for the Sarajevo Olympics of 1984. After the Bosnian war the hotel was found to be in ruin – abandoned after the destructive assault of the area. The architectural model of the original hotel deconstructs over a period of ten minutes, reminiscing of the collapsing political system in former Bosnia Herzegovina during the war. This work builds upon Paul Virilio’s theory of the ‘integral accident’, in which he argues that the construction of a building simultaneously creates the condition for its collapse.

In this work, Devens refers to what Armando called ‘schuldig landschap’ (guilty landscape). With this phrase, Armando typified the landscape as a witness of what has happened at that location before. In this case, an abandoned hotel as a result of the Bosnian war. The landscape can be considered guilty because it facilitated the tragic. Nowadays it carries a loaded past; the landscape is not a neutral circumstance, but colors the events that happen in it. Devens deals with the landscape as a myth, carrying stories and remembrances, sometimes explicitly, at other times implicitly. Therefore, he makes audible the correlation between sound and contested happenings from the past.

The work ‘City Chase’, made in 2011-2012, consists of four rails with four speakers attached, each slowly moving from side to side along the rails. Each time this work has been exhibited, Devens conducted field recordings in the local area. All recordings for this work were made while cycling, making the recorded sounds of a transient nature, which recurs in the movement of the four speakers playing the sound recordings. In this way, the work reconstructs the movements of a city in sound, evoking a cinematographic experience. Yet, ‘City Chase’ is about movement in multiple dimensions: the movement of the sounds of the city, the movement of the speakers playing the sound composition, as well as the movement of the work itself, since the work has been traveling to multiple countries. In each city the sound library of the work grows. ‘City Chase’ offers the visitor a new way of experiencing sounds of their environment, enabling the environment to gain new meaning.

The work brings together various elements that initially don’t belong together: the reference to the architecture of the original Palais of justice as well as the dimensioning of the floor plan serving as a stage for sound. Wanting to project the past onto the present day, ‘Dock / Ancien Palais de Justice’ delivers critique onto colonial history through highlighting and displacing the modernist architectural influence, and makes this audible in sound. Sounds of today are projected onto a framework of the past. Next to the spatial sound installation, Devens worked as a curator in collaboration with Cedrik Fermont and developed a listening space revolving around the theme of ‘habitat’. Sound artists from all over the world were asked to contribute with a sound piece around the potentiality and lack of having a habitat.

Devens has performed internationally at venues such as The Pipefactory, GI (Glasgow, 2018), Dani Performansa (Varazdin, 2016), Al Ma’mal Foundation for Contemporary Art, with darbuka player Raed Saeed (Jerusalem, 2014), Extrapool (Nijmegen, 2011), Radiaator, Radio Art Festival Tallinn (2011) and Phill Niblock’s EI festival (New York, 2006, 2009). These concerts and performances were based upon improvisations with home made electronics, laptop, synthesizers and occasionally percussion instruments. In 2016 Devens co-founded the band Otomax. This collective can be defined as an improvisational non-pop band and is characterized by its use of circuit-bent instruments, analogue synthesizers, voice and Gameboy. Otomax profiles itself also as an artists group at art spaces. Other, more incidental projects and cooperations are electro-noise / impro band Kendo Bahn Orchestra (with drummer Roy Moonen) and the Buena Bista Bare Bone Band, a student band with homemade instruments (IBB, Curaçao, 2018).


His work has also been performed, screened and featured in group exhibitions in Ctrl_Alt_Del (Istanbul, 2003, 2005, 2007); Kunsthal Charlottenborg (Copenhagen, 2010); D-0 ARK Biennial of Bosnia-Herzegovina (Sarajevo, 2013); Jerusalem show (Jerusalem, 2014); Stimulating Synapse, EMAA (Nicosia, 2015); Hacking Habitat (Utrecht, 2016) among others.


Paul Devens (born 1965 in Maastricht, the Netherlands) is a Dutch contemporary artist. He lives and works in Maastricht.

BirthName, Nickname, and Profession

So first, let’s take a look at some personal details of Paul, like name, nickname, and profession.

Real NamePaul Devens

Age, Birthdate, Religion, and BirthPlace

Age (2021)56 Years
Date Of Birth10 October 1965
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Paul Devens Personal Life, Spouse, Wife

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Paul Devens Net Worth

The Paul Devens Estimated Net worth is $80K – USD $85k.

Monthly Income/Salary (approx.)$80K – $85k USD
Net Worth (approx.)$4 million- $6 million USD

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