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  • Sorry, maar wat nu?

    IN GESPREK MET ROSEMARIE BUIKEMA Dit essay verscheen eerder in de Gids. Sorry zeggen dient vaak alleen het belang van de dader. Toch is het als erkenning van wat fout is een cruciale eerste stap in het herstelproces. Vervolgens moet de hele samenleving écht aan de slag met het slavernijverleden. ‘Awe mi ta pidi diskulpa.’ Daar waren ze dan op 19 december 2022: de langverwachte excuses voor het slavernijverleden van…

  • The Revolt of Language, Forms and Images in Manon Uphoff’s Falling Is Like Flying

    The Revolt of Language, Forms and Images in Manon Uphoff’s Falling Is Like Flying

    In Conversation with Manon Uphoff and Rosemarie Buikema To try the accepted forms, to discard the unfit, to create others which are more fitting, is a task that must be accomplished before there is freedom or achievement. (Virginia Woolf, Books and Portraits (1977:30)   If anything becomes clear in Falling Is Like Flying (Pushkin Press 2021) , it is the fact that the horror that took place behind the closed…

  • Corruption on Earth: on the Iranian Revolution, Art as Activism, and Fear/lessness/

    IN COVERSATION WITH OMID MIRNOUR AND DIANA HELMICH In January 2023, roughly four months after the start of the Iranian protests after the murder of activist Mahsa Amini, German-Iranian filmmaker Omid Mirnour published his short film ‘Corruption on Earth’ on Youtube. Originally published in German, Mirnour uploaded the film dubbed in Farsi and English (with Spanish subtitles) as well in order to reach a broad as possible audience. The film,…

  • Diamond without an r: Maria Barnas in Conversation with Rosemarie Buikema

    In conversation with Maria Barnas In 2011, Annet Gelink Gallery started a series called Conversation Pieces: video recordings of several artists in conversation with Dutch art historian and former director of the Stedelijk Museum Rudi Fuchs. Now, the series has been extended to artist talks between our artists and various inspiring sparring partners. On July 15th 2022, Rosemarie Buikema sat down with Maria Barnas at the Annet Gelink gallery in honour…

  • Oppositional Perspectives in the Provincial White Cube: Kara Walker’s archive on display at Museum de Pont in Tilburg

    IN CONVERSATION WITH PAUL VAN DE WATERLAAT A recent exhibition centered around the work from the New York-based black woman artist Kara Walker (1969) sent shockwaves through my hometown of Tilburg. Content warnings, trigger warnings, some said it was ‘unsuitable for children’, my friends called it ‘rough stuff’, and a local newspaper headline read ‘Brace Yourself’. The exhibition at the contemporary art museum De Pont was titled ‘A Black Hole…

  • Colonialist Relations, A Symptom of Social Ill-health

    Arahmaiani’s Memory of Nature and Flag Performance in conversation with The Golden Coach For the exhibition The Golden Coach at the Amsterdam Museum, the pioneering Indonesian artist Arahmaiani -amongst several other artists- was invited to respond to the colonial past represented on the carriage’s side panel ‘Tribute from the Colonies’ and to engage with the question ‘What to do with this colonial past of The Netherlands?’ posed by the exhibition’s…

  • Copyright: J. Van de Voorde © MRAC, Tervuren

    The AfricaMuseum of Belgium: Toward a Radical Decolonial Approach to the Museum

    IN CONVERSATION WITH EL MEHDI AIT OUKHZAME This article attends to the question of decolonizing the museum by taking the AfricaMuseum[1] of Belgium as a case study to look into issues where the museum and art become a means of reparable justice in the post-colonial era. The article provides a critical appraisal of the ‘decolonial’ approach adopted by the administration of the AfricaMuseum, with a focus upon its five-year project…

  • Thérèse Schwartze, Vrouw met zonnebloemen, 1885.

    Ode aan de Vrouwelijke Kunstenaar rond 1900

    IN GESPREK MET ANNEMIEK RENS EN MARIEKE MAATHUIS Alleen mannen stonden tot nu toe centraal in de reeks van 26 monografische tentoonstellingen en publicaties die het Drents Museum sinds de jaren tachtig van de vorige eeuw over kunstenaars rond 1900 organiseerde. Natuurlijk kwamen hun vrouwelijke collega’s zo nu en dan zeker aan bod bij alles wat er nog meer rondom de belangrijke collectie Kunst 1885-1935 van het museum gebeurde, maar…

  • Photo by Benning & Gladkova

    Quake: Een voorstelling over de schokgolven uit het verleden, de toekomst, en alles ertussenin

    IN CONVERSATION WITH CASPER VANDEPUTTE EN DANIEL KOLF De voorstelling Quake, een coproductie van Theater Utrecht en DOX, draait om hoe ons verleden in ons doorleeft en wat we daarmee moeten. Het is een voorstelling over levensverhalen: hoe verhalen en gebeurtenissen samenhangen met ons verleden, onze toekomst, en wat dit betekent voor hoe we ons ten opzichte van elkaar verhouden. “Als iedereen elkaars quake zou begrijpen, of er überhaupt open…

  • Mierle Laderman Ukeles

    What Comes Next: Reflections on Social Reproduction and the Art World

    IN CONVERSATION WITH GIORGIA CACCIATORE Last April, a group called NYC Art Workers started an online petition urging museums to retain their staff amid the current crisis. “[A] collection of objects alone”, they stated, “does not make a museum. Museums are made, maintained, and brought to life by workers”.[1] However precisely the workers that assure museums to perform their function, i.e. display artworks and receive audiences, are being the most…