BEAMBIKE (beambike.art) is a nomadic public art project by German visual artist and filmmaker Jonas Denzel, transforming the act of cycling into a performative, light-based intervention in urban space. Using a custom-built e-cargo bike equipped with mobile projection technology, Denzel navigates the city after dark, projecting artworks onto façades, bridges, trees, and the reflective surfaces of water. Each projection is spontaneously mapped to its surroundings, allowing the city to shape the work in real time.

The project’s Amsterdam edition emerged from an early recognition of how naturally BEAMBIKE aligns with the city’s identity. As curator of the project Daria Kravchuk (dariakravchuk.art) has observed, the project resonates deeply with “Amsterdam’s DNA,” bringing together cycling culture, sustainability, contemporary art, and the city’s long-standing relationship with canals and heritage. Rather than functioning as a static installation, BEAMBIKE operates as a mobile intervention that, in her words, “activates the city.”

For Jonas Denzel, sustainability is not a single decision but a layered artistic position:

“Sustainability and non-intrusiveness are part of the artistic core of BEAMBIKE. From a technical perspective, they shaped how the project was built—using recycled batteries and durable, self-sufficient systems. Politically, it’s a stance toward climate responsibility and urban congestion. Artistically, it allows me to project anywhere—barrier-free, accessible to everyone, and without leaving a physical trace.”

Jonas Denzel lives and works in Karlsruhe, part of UNESCO’s Creative Cities Network. His practice spans projection mapping, video installations, and documentary film, often incorporating rhythm, sound, and performative elements influenced by his background as a musician. Having worked at institutions such as ZKM | Center for Art and Media Karlsruhe, Denzel’s work consistently engages with the environment—responding not only to architectural surfaces but also to the atmosphere and tempo of the surrounding space.

The structure of BEAMBIKE Amsterdam developed through dialogue with local institutions and the specific geography of the canal district. One of the first partners was the Grachtenmuseum, an institution closely engaged with the history and narratives of Amsterdam’s canals. Bringing light-based artworks to the canal district during the darker winter months provided a timely and context-sensitive framework for the project.

From there, collaboration expanded to the Goethe-Institut, reflecting both Jonas Denzel’s German background and the institute’s long-standing role in supporting international cultural exchange. Located just a five-minute bike ride apart along the Herengracht, the Grachtenmuseum and the Goethe-Institut became natural anchors for the project’s route—allowing proximity to shape both movement and narrative.

BEAMBIKE Amsterdam unfolded across three interconnected artworks:
– Get in touch at the Grachtenmuseum
– Let the Bird fly high, projected directly from the moving BEAMBIKE as it traveled between locations
– Blickpunkt, culminating at the Goethe-Institut

Together, these works formed what Kravchuk has described as “a moving thread through the city,” linking institutions and urban sites through light, motion, and storytelling.

On ‘activating’ the city

Describing BEAMBIKE as a way of activating, rather than occupying, urban space, Denzel points to the city as an active collaborator:

“When I move through a city with BEAMBIKE, the environment constantly shapes my decisions. It’s an intuitive process—responding to rhythm, atmosphere, and the people using the space. In Amsterdam, the canals added fluidity and unpredictability: reflections, ripples, even passing boats altered the projections. The city doesn’t just influence the work—it becomes part of it.”

Eerlier work by Jonas Denzel as part of beambike.art project

Operating across both physical and digital space, BEAMBIKE connects neighboring locations within Amsterdam while also extending its presence online at beambike.art, supported by the .ART Registry as one of the project’s sponsors. In this way, the project is linked not only through urban geography but also through its digital identity.

Sustainability and non-intrusiveness are central to BEAMBIKE’s approach. Powered by recycled batteries and green electricity, the project leaves no physical trace behind. Its hybrid format—situated between performance, mobility, and site-specific installation—offers a contemporary model of public art that is dynamic, responsive, and embedded in the rhythms of city life.