Rachel Whiteread (1963) has been casting the “negative spaces” – the inside of from something as small a water bottle to an entire house – for three decades. She was the first woman ever to win the Turner Prize in … Continue reading casting the negative since 1988

When I went to the Whitney this summer, I wondered why it was showing a retrospective of the Brazilian artist Helio Oiticica (1937—1980). Of course, I’m all for diversity but the Whitney Museum of American Art “presents a full range of … Continue reading organized delirium?

If the final meaning of Felix Gonzalez-Torres’ work is constructed by the viewer, the exact opposite can be said of Laure Prouvost’s work.  Laure Prouvost (1978) is a French artist who studied film at Central Saint Martins and attended Goldsmiths and … Continue reading bossed by prouvost

“Look at me and know that to destroy me is to destroy yourself” –  Gordon Parks, “A Harlem Family,” 1968 I Am You. Only after seeing, thinking, reflecting, Gordon Parks’ exhibition at the FOAM, I can kind of figure out what … Continue reading try to understand his struggle against our racism

It is 2027. When we look back, what would be emblematic of art anno 2017? What do we experience as recurrent themes and concepts in contemporary art nowadays? What is going to be its legacy? Two thoughts occur to me … Continue reading epitome of trends in contemporary art

 “Oh so beautiful,” I heard an elderly man say as I was walking through the galleries of The Stedelijk Museum looking at the photographs of Rineke Dijkstra. I noticed myself thinking: oh, ol’ gramps, beauty has no place within contemporary art. … Continue reading beautiful contemporary art – impossible? 

Not as much advertised as the other current exhibitions at the Stedelijk Museum Amsterdam but very much worthwhile to pay a visit: Nalini Malani: Transgressions. The main feature is video/shadow play installation Transgressions, which is magnificent and astonishing. I’m unable … Continue reading astonishing visualization of oppression

Waiting in line to enter the first room of Martin Creed’s exhibition “Say Cheese” felt like an experience I usually encounter while waiting for a rollercoaster ride. Laughter and exiting tension and instructions – yes indeed instructions– how to properly enter the first exhibition room. Continue reading accessible art in diverse forms