Are you interested in the concepts that MOED works with, or do you want to read more about what you’ve seen? In our library section you can find suggestions for further reading. Scroll down to explore texts suggested by our partners.
Catalogus ‘What is Left Unseen’
Buikema, Ftouni, Jouwe, Rutten, Vázquez and Wevers. What is Left Unseen. Centraal Museum, Utrecht, 2019.
Download the digital version of the catalogue What is Left Unseen, which was developed by the MOED team as part of the exhibition ‘MOED: What is Left Unseen’ at Centraal Museum, Utrecht.
Printed versions of the catalogue are available for €7,50. You can acquire them by sending an email to firstname.lastname@example.org.
- Gufstafsson, Laura and Terike Haapoja. “History according to cattle.” 2015.
- L’Internationale Online. “Decolonising museums.” 2015.
- Soon, Simon. “Rethinking curatorial colonialism.” 2016.
- Vázquez, Rolando and Walter Mignolo. “Decolonial aestheSis: colonial wounds/decolonial healings.” 2013.
Guides and initiatives
- Kennisbank beeldvorming van WOMEN Inc. aims to create awareness around stereotyping in the media and the way it influences prejudices, assumptions and associations (in Dutch).
- Mapping slavery NL portrays historical places relating to slavery on the map of the Dutch colonial empire.
- People of Color in European Art History is a blog that showcases works of art from European history that feature People of Color and that often go unseen in museums, Art history classes, online museums and other venues.
- Museum open u is a toolkit that provides museums with innovations on how to make the museum more accessible for people with (physical and intellectual) disabilities (in Dutch).
- Words matter is a research publication about possibly sensitive words in the museum sector, composed by the ‘Nationaal Museum van Wereldculturen’.
- Studio-I is s a project initiated by two modern art museums in the Netherlands, the Stedelijk Museum Amsterdam and the Van Abbemuseum in Eindhoven.
- The Black Archives is a unique historical archive for inspiring conversations, activities and literature from Black and other perspectives that are often overlooked elsewhere.
- Apesh**t, a music video by Beyoncé & Jay-Z from 2018 that was filmed in the Louvre in which they engage with the European canon housed in the museum.
- One is not enough, a video by the Guerrilla Girls from 2017 in which they argue how the representation of one female artist in exhibitions and museums (in this case the Van Gogh Museum in Amsterdam) is not enough.
- Buikema, Rosemarie L. Revoltes in de cultuurkritiek. Amsterdam: Amsterdam University Press, 2017.
- Buikema, Rosemarie L., Liedeke Plate, and Kathrin Thiele, eds. Doing gender in media, art and culture: A comprehensive guide to gender studies. London: Routledge, 2017.
- Buikema, Rosemarie and Maaijke Meijer, eds. Kunsten in beweging. Cultuur en migratie in Nederland. The Hague: SDU Uitgevers, 2003.
- Lidchie, Henrietta. “The poetics and the politics of exhibiting other cultures.” In Representation, edited by Stuart Hall, Jessica Evans and Sean Nixon, 120-211. London: Sage, 2013.
- Lorde, Audre. “Age, race, class, and sex: Women redefining difference.” In Sister outsider, edited by Audre Lorde and Cheryl Clarke. New York: Crossing Press, 1984.
- Mirzoeff, Nicholas. et al., ed. All the monuments must fall: A syllabus. New York City: New York University, 2017.
- Vázquez, Rolando. “From globalizing towards decolonizing: Art history and the politics of time – Interview with Rolando Vázquez.” Kunstlicht 29, no. 1. (2018): 98-105.
- Wekker, Gloria. White innocence. Paradoxes of colonialism and race. Durham and London: Duke University Press, 2016.
Atria, Institute on Gender Equality and Women’s History forms a national knowledge institute that focuses on collecting, managing and sharing the heritage of women. On the basis of research and facts, Atria promotes equal treatment of women and men in all diversity. Atria offers a library and archive and organizes events around these topics. Atria offers a comprehensive collection of texts on Dutch women’s suffrage. Discover below a selection of works in their archive on this subject.
- De Centrale Commissie der Rein Leven-beweging. Manifest gericht tot alle vrouwen van Nederland. Soest: Joh. H. Littooij, 1900.
- Gramberg, Rahany. “Een koloniale kermis?: De representatie van Nederlands Oost- en West Indië op de Nationale Tentoonstelling van Vrouwenarbeid in 1898.” Historica 21, no. 3 (1998): 16-18.
- Jacobs, Aletta Henriëtte. Reisbrieven uit Afrika en Azië: Bevenens enige brieven uit Zweden en Noorwegen. Almelo: W. Hilarius Wzn., 1915.
- Jansen, Ena. “De koloniale stem van Aletta Jacobs.” Translated by Mischa Hoyinck. Edited by Atria. September 13, 2018.
- Vreke, Désirée. “Vrouwenkiesrecht in Nederland.” Atria vrouwenkiesrecht (special), June 1, 2016.
- Waaldijk, Berteke. “Colonial constructions of a Dutch women’s movement: 1898.” Differenzen in der geschlechterdifferenz : Differences within gender studies. Edited by Kati Röttger and Heike Paul. Berlin: Erich Schmidt Verlag, 1999, pp. 285-299.
- Wijnaendts Francken-Dyserinck, Welmoet. Uit het zonneland: Afrikaansche reisbrieven. Haarlem: H. D. Tjeenk Willink & Zoon, 1912.
- Winters, Ria. “Vrouwenarbeid verbeeld door een man.” Feminisme 19e eeuw (blog). Edited by Annetta Willemse. Atria, March 2, 2017.
Terra Critica is an international and interdisciplinary research network in the critical humanities. The network is initiated by dr. Birgit Mara Kaiser and dr. Kathrin Thiele in 2012, with a group of core members and a wider circle of participants to the regular meetings. It aims to re-examine critical theory and practice under the conditions of the 21st century, in light of our terran existences that are globally entangled across flows of capital, people, and ideas.
Given the persistent need to decolonize knowledge and institutional practice, as well as the fact that we are living in interdependent ecological and economic systems with growing inequalities, Terra Critica beliefs that critical vocabularies and practices also have to be refined and revised.
Click here to download a .pdf document that contains Terra Critica’s library suggestions, based on four ReadingRoom series held in Utrecht, an initiative they organize in collaboration with Casco Art Institute.
What is the relation between algorithms, hypersea and zombies? They were brought together under the same cover, in the Posthuman Glossary (Bloomsbury, 2018).
The Posthuman Glossary is a multi-layered and diverse collection of both critical and creative terms selected from the contemporary debate surrounding the posthuman turn and jointly edited by prof. dr. Rosi Braidotti (Utrecht University and senior advisor to BAK basis voor actuele kunst) and Maria Hlavajova (director of BAK basis voor actuele kunst). Braidotti explains:
“Two main points of our praxis during the production of the book were that it would be a collaboration between artists and academics and that the format would be non-linear, unlike traditional academic edited volumes. In fact, the glossary is not strictly academic, and it deliberately took the risk of falling into what critics dismissively call ‘activist research’. But we both found it important to highlight how much innovative thinking has been done in these hybrid fields. Our focus was on the creativity, energy and inventiveness of on-going developments in the Humanities, which so many people describe—wrongly, as it turns out—as being in a crisis … In some ways the operative model became that of a curatorial practice. While we did exercise quality control—the pieces had to be legible, scientifically accurate and verifiable— they were also allowed to be experimental in both form and content.”
In this interview with Rosi Braidotti, conducted especially for MOED by Lauren Hoogen Stoevenbeld, Braidotti reflects on the editorial and curatorial work she shared with Hlavajova during the editing of this volume. For the MOED library, Braidotti highlights three selected entries from the glossary, which have been made available here: “The Pregnant Posthuman” by Rodante van der Waal, “The (Posthuman Icon) Pill” by Anneke Smelik and Elisa Flore, and “Placenta Politics” by Braidotti herself. Click on the link below to open the interview, in which Braidotti explains why she chose these entries for MOED:
Posthuman Glossary entries: