The Exhibition as Indonesian Revolutionary Weapon

Read more..

A New Big Museum of Modern Art

Recently the San Francisco Museum of Modern Art reopened after a period of renovation and expansion lasting about three years, adding almost three times as much exhibition space to its former building and making it one of the biggest museums for modern art in the USA.

Read more..

Prospect.3 – Notes for Now

‘Anything could happen here because – Because nothing’s happening here right now?’ reads the text on one of Lisa Sigal’s archival digital prints from the series Home Court Crawl (2014). The phrase, transposed over an image of a vacant house, captures the New Orleans spirit pretty well. Read more..

Project 1975 – Contemporary Art and the Postcolonial Unconscious

Project 1975 Cover

Project 1975 started as a two-year program of Stedelijk Museum Bureau Amsterdam. The project was set on exploring the relationship between contemporary art and postcoloniality, which gains more and more relevance to artists and thinkers in a context of a globalizing art world. Read more..

Global Collaborations

Together with Jelle Bouwhuis, I co-initiated and realized the Global Collaborations (2013-2015) project for the Stedelijk Museum Amsterdam.

Read more..

The Global Contemporary: Art Worlds After 1989

‘The Global Contemporary: Art Worlds After 1989’, curated by Hans Belting, Andrea Buddensieg and Peter Weibel for the ZKM Museum of Contemporary Art in Karlsruhe, gave an overview of what the curators considered to be global art. In order to disclaim the proposition that art is an exclusively Western affair, the exhibition showed that artists from all over the world now contest […]

Read more...

The Memories Are Present

022.SMBA-' the memories are present' 2012 ©ph.Gj.vanROOIJ

The group exhibition ‘The Memories Are Present’ with Artun Alaska Arasli, Pauline M’barek and Christoph Westermeier in Stedelijk Museum Bureau Amsterdam interrogates the objectives that determine institutional divisions and invites its visitors to do so as well. Read more..

Vincent Vulsma – A Sign of Autumn

By employing strategies of spatio-temporal montage, Vincent Vulsma brings together objects and patterns taken from their contexts in ethnographic collections and the canons of modernist design and photography, deliberately moving back and forth along the lines between what is classified as commodity, art or ethnographic object. Read more..