For many young creators, obscenity is a tool to signal belonging to a subculture. As 17-year-old poet Marlo van den Berg explains, “In a world where being ‘clean-cut’ is seen as fake, we use words like ‘kletsvak’ (junk) to say, ‘Here me as I am.’” Psychologists like Van Dijk caution that this can sometimes mask deeper issues, such as anxiety or alienation, behind a bravado of defiance.
The artist draws inspiration from her own experiences as a young adult, navigating the complexities of social media, peer pressure, and self-discovery. By incorporating elements of text, image, and performance, Mieke Maaike creates a dynamic and interactive experience that challenges viewers to reflect on their own relationships with technology and identity. Mieke Maaike Obscene Jeugd Tekst
MMOJT foregrounds adolescent sexual agency without moralising. The protagonist, , initiates a consensual “ experiment ” with a classmate, describing the encounter in explicit, matter‑of‑fact terms. The language eschews romanticisation, presenting desire as a physiological impulse. This approach resonates with Schippers (2023) , who notes that contemporary Dutch writers often “depict sexual acts as ordinary, not exceptional, experiences.” For many young creators, obscenity is a tool
Given the provocative nature of the phrase, I’ve interpreted it as a discussion of a controversial or explicit Dutch-language youth text (possibly a song, poem, or social media post) associated with the name “Mieke Maaike.” By incorporating elements of text, image, and performance,