Amol K. Patil, Impression, 2012, henna and Fevicol. Courtesy the artist.
Article: ‘Taring Padi: Solidarity in Public Space’May 2022
Review: ‘Revolusi! Indonesia Independent’May 2022
Article: ‘The Paintings of Miko Veldkamp: Windows to a Cosmopolitan’s Memory and Imagination’February 2022
During the walk to Miko Veldkamp’s studio in New York, Kwame Anthony Appiah’s theory of cosmopolitanism came to my mind. The book seemed relevant with regard to the artist’s practice. I recalled Veldkamp’s paintings as poetic combinations with fauvist forms and intense colors with black lines and white spots. They descend visually from spaces and figures depicted in the artist’s family photo collection. Paintings like Resort (2012) and Terrace (2012) were set in tropical regions and crafted in warm green, brown, yellow and orange hues. Read more..
Interview: ‘Sawangwongse Yawnghwe’s Historical Minimalism’January 2022
Sawangwongse Yawnghwe, Protest III, 2021. Oil and acrylic on linen. 88.9 x 142.24 cm. Courtesy the artist and Jane Lombard Gallery.
Article: ‘Agung Kurniawan: Tackling Taboos’May 2021
Depicting prisoners hanging by their feet, bound with ropes but still smiling like clowns, Very Very Happy Victim (1996) reflects people’s inability to recognize the importance of free expression for their lives, instead tolerating torture. Read more..
Interview: ‘About Aasivissuit: Five Questions for Jasper Coppes’June 2020
Article: ‘Sawangwongse Yawnghwe: Painting the Unstable State’May 2020
Since 2015, Sawangwongse Yawnghwe has been producing art under the banner of Yawnghwe Office in Exile, a fictive museum he founded while searching for alternatives to the histories propagated by state institutions. Focused on unravelling suppressed traumas and recovering personal and collective identities from the neglected margins, the painter has an antagonistic relationship to hegemonic state narratives, one that is rooted in his familial past.
Review: ‘Archive Matters: Fiona Tan at the Ludwig Museum’December 2019
Looking at how women are framed in these photographs, and with Griselda Pollock’s Encounters in the Virtual Feminist Museum (2007) in mind, I have to wonder why Tan decided to retrieve the Agfa images, how they relate to her artistic practice, and what this tells us about the position of women in museums today.
Travelogue: ‘Notes on a Visit of the Haji Widayat Museum in Central Java’December 2018
Article: ‘Fighting Colonial Claims to Power’June 2018
Agus Djaya and Otto Djaya in Amsterdam 1947-1950
Article: ‘Meeting Oei Hong Djien in Magelang’November 2017
Artist Profile: ‘Yin-Ju Chen – Arcane Analyses’September 2016
Yin-Ju Chen researches the forces behind what we desire and looks for answers in astrology, science, pseudoscience, mythology and philosophy. Read more..
Artist Profile: ‘Pallavi Paul – Screen Studies’July 2016
The heat was almost paralyzing on the day I first met Pallavi Paul in the gardens of the Crafts Museum in New Delhi, about two years ago. Seemingly unaffected, she was full of energy and immediately delved into film theory, history and space travel—all passions that inform her video-art practice. Read more..
Article: ‘Het ruangrupa netwerk – Voor een sociaal, activerend en begripsvol Sonsbeek’July 2016
Enkele maanden geleden fietste Jan Willem Westendorp door Arnhem tot hij plotseling een oproep zag die hem aansprak: ‘From competition to compassion’. Read more..
Review: ‘A New Big Museum of Modern Art’May 2016
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.
Review: ‘After Party in Shanghai’January 2016
‘Do you go out a lot?’ This is one of the banal but frequently asked questions that people in their late-20s or 30s pose when we casually meet each other for the first time. Read more..
Interview with Amol K Patil: ‘About Sweep Walking’December 2015
The work Amol Kisan Patil contributed to the Kamarado exhibition finds its basis in his long-term research project about Indian middle class life. Like most of the middle class people in India, Patil grew up in a chawl; the 4-5 story houses that were built in Mumbai to host workers in the 1900s. The living conditions in the chawls are extremely tough and the stories about them reveal that a middle class income in India does not protect people from living under precarious conditions, with large numbers of people in small rooms vested with parasites, no running water, and open gutters between the houses. The people who live here are for instance employed as office clerks. Each day the clerk’s offices are cleaned by sweepers and for this part of his research project, Patil decided to become a sweeper. On first sight, Sweep Walking – which, as a work of art is grounded in the tradition of Indian performance art – looks playful and much more cheerful than one would expect.
Read more.. Review: ‘Prospect.3 – Notes for Now’December 2014
‘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.
Travelogue: ‘Road Trip to Crow’s Shadow’November 2014
It was rainy and cold the morning I went on my four-hour drive from Boise, the capital of Idaho, to the printmaking institute Crow’s Shadow on the Umatilla Reservation in Oregon. Clouds hung over the tops of the Blue Mountains and raindrops covered my windscreen with a sheet of Pacific Northwest rain. The radio was playing Mac Demarco’s Salad Days and the wipers weren’t doing their job well. Read more..
Travelogue: ‘April 2014 in India’June 2014
At the beginning of April, 2014, I went on a three-week research trip to India. On the first part of the journey, I travelled with Jelle Bouwhuis to New Delhi, Baroda and Bombay. On the second part, I went to Bengaluru, Kolkata and again to Delhi.
Book: Project 1975 – Contemporary Art and the Postcolonial UnconsciousJanuary 2014
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..
Travelogue: ‘In Indonesia with KUNCI’October 2013
Interview with Apichatpong Weerasethakul: ‘A Dream Is Like Another Life Recurring’June 2013
With his Primitive exhibition Apichatpong Weerasethakul ties into a long-standing tradition of artistic involvement with the notion of the primitive. His work is among those artists’ practices that motivate a reactivation of the discourse about the primitive in relation to contemporary art and geopolitical contexts. Read more..
Review: ‘The Global Contemporary: Art Worlds After 1989’September 2012
‘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... Review: ‘Bamako Encounters – The 8th African Photography Biennial’February 2010
For one month, between November 7 and December 7, the 8th African Photography Biennial took place in Bamako, Mali’s dusty capital. In its early editions, the Biennial mostly presented Africa’s neglected history of photography. Over the course of time, however, it also developed into a platform for artists’ views on contemporary Africa. The Bamako Encounters, […]
Read more... Article: ‘George Osodi – The Ethical Revolution’January 2010
As this year’s Bamako Biennial demonstrates, photographic practice has become established in African culture and some African artists working with photography have developed a particular idiom which enables them to advance their causes. One of them is George Osodi, an artist who has taken the relation between Europe and Africa as a point of departure. Read more..