The crunch of seashells breaking underfoot heightens my awareness as I navigate a labyrinth of narrow passages connecting a series of 12 elegant pavilions of varying size. These tall structures, constructed from slim wooden beams, create transparency at one moment and evoke entrapment the next. Sometimes the shells form paths; other times, entry is provided by solid, sleek black walkways. Templates have been used to spray-paint names on a pillar of each pavilion: Athina. Paramaribo. Bruxelles. Milano. Qahira. Rotterdam. Displayed inside them are videos, sculptures, photographs, and drawings. This is Movt. Nr. 10: Ososma (2019) by Charl Landvreugd. Installed in an empty office building under the premises of CBK Zuidoost, it is both an installation and an exhibition environment featuring an overview of artworks and the periods in which they were created—Landvreugd calls them “movements”—that cross his diverse work as an artist, curator, academic researcher, and leading nightclub organizer in Rotterdam in the 1990s. In the Sranan Tongo language (also known as Surinamese) ososma describes the home that is not one’s own house; a space of relational intimacy and belonging that goes beyond individual property. It suggests how the personal and the common connect in Landvreugd’s work. Each pavilion is …