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.
This blog is about Françoise Demulder, whose photographs were on display at the 'Women on the Front Line' exhibition in The Hague. She became the first woman to win the World Press Photo Award in 1977.
‘If you focus solely on the explosion, you photograph gunpowder. If you focus twenty seconds earlier, however, you photograph humanity.’ Catherine Leroy refused to view war from a safe distance. With her camera, she sought out the place where fear, concern and duty converge. Not to dramatize violence, but to show its impact on people. This blog follows her radical choice to get close to the action — and the images that resulted from it.
Lee Miller's world was turned upside down by World War II, changing her creative, cultural and rich existence among artists, journalists and writers. Yet she chose to use her talent as a photographer to give a voice to the voiceless victims of the war.