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Figure 5. Contact sheet with views of the fair “Europe Against the Current” at Beurs van Berlage and the public on the Beursplein, 1989. Photo: Pieter Boersma.
Stedelijk Studies Journal Issue #14 Editorial
by Elize Mazadiego and Daniel Ricardo Quiles
Transnational Curatorial Practice: Amsterdam
Transnational Curatorial Practice: Amsterdam from 1970s
An Online Conversation
Figure 4. Hipólito Ocalia, Seroe grandi, Curçao, 1967, oil on plywood, 62 × 122.5 cm. Collection Stedelijk Museum Amsterdam.
Willem Sandberg, Chris Engels, and the Midcentury “Birth” of Modern Art in Curaçao
by Stephanie Lebas Huber
Figure 13. Joseph Zaritsky, Composition, 1946, watercolor on paper, 37 × 55 cm. Collection Stedelijk Museum Amsterdam.
Zaritsky/Rusli: A Multidirectional Approach to Curating International Modern Art
by Kerstin Winking
Figure 3. Roberto Matta, Vietnam, 1965, oil on canvas, 205 × 298. Gift from Foundation Vincent Van Gogh, 1969. Collection Stedelijk Museum Amsterdam.
"A loving interest": U-ABC: Paintings, sculptures, photos from Uruguay, Argentina, Brazil, Chile
by Madelon van Schie
Jan Mlčoch, Slapen II – Free Dormitory II, 1980. Installation shots. de Appel, Amsterdam. From de Appel Archive, Amsterdam. Courtesy of Jan Mlčoch.
Against the Current: Negotiating European Identities in a Still Divided World
by Juliane Debeusscher
Fig. 5. Hoepla #2, 1967, black and white tape recording, 56 min 24 sec. Collection Stedelijk Museum Amsterdam.
"Een merkwaardig misverstand": Postcolonial reflections on Hoepla
by Janna Schoenberger
Claudio Goulart and His Artistic Critique of the Ideology of Multiculturalism
Claudio Goulart and His Artistic Critique of the Ideology of Multiculturalism
by Pablo Santa Olalla
Figure 2. Renzo Martens, Enjoy Poverty, remade neon sign from Episode 3 roaming an Amsterdam canal around the premiere of the film, November 2008. Photo: Jelle Bouwhuis.
Fail Better: SMBA (1993–2016) and the Limits of Institutional Critique
by Jelle Bouwhuis
Kader Attia at the Stedelijk Museum Amsterdam’s Badkuip (Bathtub) Lecture series, given on 21 October 2023. Photo's by Maarten Nauw.
The Museum Reinvents Attention
by Kader Attia
“Looking Through the Lens of Support”: Museum-ing Within and Between Institutions
Looking Through the Lens of Support: Museum-ing Within and Between Institutions
by Alison Burstein
Figure 11 - Museum guards’ winning shooting team, The Metropolitan Museum of Art, 1930. Museum reference #: MM2930. Photographer: not recorded
I Came to the Museum...
by Vid Ingelevics
Figure 9. Installation view of the drawing machines in A Commonplace Book (2018) at House for Contemporary Art, Z33. Photo: Studio Chloki.
From Museum-going to Museum-ing: Visitors as Creative Agents within the Museum
by Jon Stam
Installation parts from the acclaimed Yayoi Kusama: A Retrospective exhibition at the Tel Aviv Museum of Art, turned into building waste on the day after its closing. Photo credit: Oded Bajayo.
The “Co-llection” – Attempting to Introduce a (Truly) Public Art Collection
by Or Tshuva and Karni Barzilay
Figure 2. The Outsiders Union and the Travelling Farm Museum of Forgotten Skills. Photo by Merel Zwarts.
Forgotten Worlds: Cultivating Museums Otherwise
by Colin Sterling and Asia Komarova
Figure 2. Ferdinand Ahm Krag, Hall of Psychopomps, 2022. Installation view, Museum for fremtiden, Kunsthal Aarhus & Sort/Hvid (2022). Photo by Emilia Therese.
Dramatizing the Museum
by Anders Thrue Djurslev
Figure 3. Installation view of Who I Am, Who We Are at the Nairobi National Museum. Photograph courtesy of Xavier Verhoest, 2015.
Decolonizing the National Museums of Kenya
by Kristina Dziedzic Wright
Figure 5. The Book of the Ten Thousand Things. Photo © the author.
Can museum be a spring, a forest?
by Yiou Penelope Peng
AnnaMaria Pinaka, “untitled” (part of series Thirsty Pig), 2022. Ink and watercolors. Photo by AnnaMaria Pinaka.
Stedelijk Studies Journal Issue #13 Editorial
roundtable with Meredith North, Kitty Zijlmans, Anna Maria Pinaka and Charl Landvreugd
Stedelijk Studies Issue #12 Roundtable - Soeki Irodikromo 01
Stedelijk Studies Journal Issue #12 Editorial Roundtable
with Charl Landvreugd, Yvette Mutumba, Quinsy Gario and Meredith North
Dreams are made of porcelain (Really, Really)
Dreams are made of porcelain (Really, Really)
by Katherina Gorodynska
Museum for the Displaced Interview Transcript
Museum for the Displaced Interview Transcript
conversation between Yvette Mutumba, Ana Sophie Salazar, Mohammad Golabi, and Leong Min Yu Samantha
Fig. 7. Part of the Casa do Povo’s Yiddish book collection. Installation Voz ativa: Biblioteca Social by Mariana Lanari, 2018.
Here-and-nowness: Diaspora Tactics as Institutional Strategy at Casa do Povo
by micro-histórias (Pedro Beresin, Mariana Lanari, Marília Loureiro, Alice Noujaim, Pedro Zylbersztajn)
Figure 1. Akram Zaatari, Faces to Faces, 2017. 6 pigment inkjet prints on backlit UV cloth, 100 x 150 x 10 cm. 39 3/8 x 59 1/8 x 4 in. © Akram Zaatari. Courtesy of the artist, MACBA and Thomas Dane Gallery, London. Photo: Mahmoud Merjan
Unlearning Imperialism in the Gallery
by Maria Walsh
Fig. 1. Hélio Oiticica and the members of Estação Primeira de Mangueira at the opening of the Opinião 65 exhibition at MAM Rio in 1965. Photo: Desdémone Bardin
Common Grounds
by Filipe Lippe
Fig. 2 Alexander Ugay, part of the series Memory Objects, 2012–2013. Photographs from family archives of the artist, C-print on Dibond, 25 x 25 cm. Courtesy of the artist.
An Unknown Return
a conversation with Alexander Ugay by Elsbeth Dekker & Robbie Schweiger
Manthia Diawara, An Opera of the World, 2017, Manthia Diawara on the island of Lesbos. © Manthia Diawara. Courtesy of the artist and Maumaus/Lumiar Cité.
A Chorus of Relations: Manthia Diawara’s An Opera of the World
by Anja Isabel Schneider
Fig. 1 Rosácea proposition originally realized by Lygia Clark in 1974/75 as part of her Relaxation series interpreted by Gina Ferreira and carried out in collaboration by Ana Vitória Freire with the participation of Márcia Proença, Instituto Municipal Nise da Silveira, Rio de Janeiro, October 5th, 2017. Photo: Denise Adams.
How to Care for an Act?
by Jessica Gogan
Soul Consoling Tower in the Simonian Farm, Fresno, California, 2019. Photographer and image rights: Marianna Hovhannisyan.
The Aghed and its Displacement Paths as Collecting Practices
by Marianna Hovhannisyan
The author had hoped to use the above images of works of art in museum collections under the exception to copyright law that allows use for the purpose of criticism. The publishers were unable to facilitate this request.
Can A Museum Be A Dreamtime?
by Ashley Gallant