Eijkelboom’s works have included managing to insinuate himself into the background of every photograph that accompanied the main story in his local paper for 10 consecutive days; convincing wives whose husbands had gone to work to pose for a family photograph with Eijkelboom taking the place of the absent father; posing for self-portraits wearing entire outfits he’d bought for €10 or less. ''One of the most remarkable people I have come to know during the last few years is the Dutch artist and photographer Hans Eijkelboom. People might know his work from the 2007 Aperture book Paris–New York–Shanghai, which contains numerous typologies of people that Eijkelboom photographed in these cities. But there’s much more to Eijkelboom’s work. Since the 1970s he has used photography as a vehicle for his conceptual art. One of my favorite series involves photographs Eijkelboom took in different people’s houses. He rang doorbells in the afternoon, while husbands and fathers were likely absent, still at work. Together with the wife and the children that answered the door, Eijkelboom photographed himself with them, as if he was the head of the household. He did this with several families, and there is no occasion in which he looks out of place. Eijkelboom is a master at exploring and questioning identity. A similar project from this period is called In de Krant, which translates to Being in the Newspaper. For 10 consecutive days Eijkelboom contrived a way to get a picture of himself in the same newspaper. The artist tracked a local press photographer and snuck into the frame whenever he would photograph. We see images of demonstrations, accidents, shop openings, and other locally “interesting” events. Eijkelboom succeeded at his self-appointed task; for this period, you could always find the artist in the background of some newspaper image. It was a performance that was recorded, daily and accidentally, by someone who did... (http://kdibb1.workflow.arts.ac.uk/hans-eijkelboom) undefined

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