As an observer, I see the tension between the street and the institution. Must street art or diasporic art always fulfill a social duty to be legitimate, or can it exist autonomously? From the raw walls of Basquiat and JR to today's Dutch art scene: rigid frameworks are being challenged on different fronts—both autonomously on the streets and in the market, and from within the museums. A personal reflection on letting go of structures and the power of the younger generation.
This blog centers on the search for the meaning of identity. By looking at Black culture and art, I discover that identity cannot be caught in a single framework, and that thinkers and makers do not always agree among themselves. While one warns against superficial consumption, another shows that successful streetwear and artistic expressions are actually ways to claim independence and recognition. The most important conclusion is that these different, sometimes contradictory forms of expression are all allowed to exist at the same time.
Art is a mirror, but the real decolonization happens inside my own head. As a white baby boomer, I struggle with my automatic, Western frameworks. I look for guidance from African thinkers and find in Kenyan activist Binyavanga Wainaina an ice-cold shower that thoroughly shakes up my ingrained thinking patterns.
How do you learn to look at non-Western art without prejudice within a system historically dominated by white men? In this blog post, I explore my own ingrained mindsets through Taiye Selasi’s concept of the 'Afropolitan' and the active evolution of thought in the work of Achille Mbembe. A profound exploration of the 'intellectual labor' required to achieve a truly open, hybrid gaze.
After my visit to gallery Noir Noir, I felt a deep urge to dig further into the world of Surinamese art. Armed with Charl Landvreugd’s challenging academic book, I am attempting to unpack the theory behind ‘hybrid looking’ on my own terms. Why does the era we live in push our thoughts in a specific direction, and what does this mean for the way we look at art? A personal quest to broaden my horizon.
A critical look at my own discomfort and the unconscious consumption of another's decolonial art history. Why good intentions are not enough, and how the threshold of Galerie Noir Noir changed my perspective for good.
A portrait of Anja Niedringhaus, her courageous work in conflict zones, and her deeply human perspective on war, captured with remarkable proximity and dedication.
Carolyn Cole, featured in 'Women at the Frontline', began her career as a war photographer in conflict zones around the world. She later documented natural disasters and now focuses on the environmental crisis, highlighting the impact of pollution on people and nature. Her work encourages awareness, engagement, and reflection.
This blog provides an in-depth exploration of Susan Meiselas's work, ranging from her documentary photography in conflict zones to her educational projects. These projects focus on engagement, collaboration and ethics to give a voice to marginalized people.
Christine Spengler developed a visual language focusing primarily on how women and children survive war. She explored the ways in which they cope, provide care, mourn and persevere.