The installation Meeting-room which Heebink created together with Shlomi Schwarzberg, was a visual indictment of the endless cycle of empty words uttered by the G7 concerning the war in the former Yugoslavia.
Seven sculptures of aluminum noses and tongues were attached to chairs, with small monitors between them showing actors in an endless meeting: a conversation in which the first sentence was also the last, and in which the discussion circled without direction or outcome. In this installation, Heebink and Schwarzberg collaborated with seven actors, writer Jacques Brooijmans, and director Gerda Pauli.
Underneath the table, designed by Albert Geertjes, hung a large monitor that reflected newsreel footage in a mirror the size of the tabletop: long lines of women and children fleeing the former Yugoslavia.
The confrontational contrast between the empty rhetoric of words and the stark reality of war and displacement resonates again in the installation Crossroads of Senses (2025). Where Meeting-room spoke of the powerlessness of language in the face of the hell of reality, the silent sculptures and empty bowls in Crossroads of Senses again point to the tension between abundance and lack, between human powerlessness and sensory truth.
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