• Journal
    • Journal Issues
      • Current Issue – Issue #14
      • Issue #13
      • Issue #12
      • Archive
    • About the Journal
      • Aims and Scope
      • Author Guidelines
      • People
      • Ethics
    • Journal Search
      • Search all Journal Articles
  • Projects
    • Research Projects
      • Stedelijk Studies Masters
      • Mortality as Matter
      • Here for Now, Then and There
      • Sketches For The Future
      • Lines of Sight
      • Staff Shares
      • Rakurs
    • Fellowships
      • MMCA Studies x Stedelijk Studies Editorial Fellowship
      • Stedelijk x C& Editorial Fellowship
      • Editorial & Research Fellowships & Fellows
    • Exhibitions
      • MODERN — Van Gogh, Rietveld, Léger and others
      • Exhibition Felix de Rooy — Apocalypse
      • IT’S OUR F***ING BACKYARD
      • Surinamese School
    • Szine
      • Szine is an irregularly published zine that shares pressing research on the subjectivity of the museum in the cultural landscape
    • All projects
      • Ranging from brisk exhibitions to long-term research initiatives, encompassing Szine and Stedelijk Museum Fellowships
  • Research Logs
  • Essays
  • Conversations
  • About
    • About Stedelijk Studies
    • Collaborations
    • People
    • Contact
  • Search
  • Menu Menu
  • Link to Instagram Link to Instagram Link to Instagram

Adriek Westenek, Harrania, 1963. Stedelijk Museum Amsterdam Collection.

Made in Harrania?
Search Search

Exhibition Research

Made in Harrania?

acquired at the Fodor Museum

by Amanda Pinatih

Harrania pot by the ceramist Adriek Westenenk

Every so often during research, you discover something just that little too late for definitive answers, with deadlines looming. And so it was with the Harrania pot by the ceramist Adriek Westenenk. We were researching the Stedelijk collection when we happened upon it. Suddenly, there it was, Harrania, made in 1963. Its title stood out to us immediately as the location of the Ramses Wissa Wassef Art Center. Could this be coincidental?

Westenenk trained at the Institute for Applied Arts Education in Amsterdam and at the Keramische Fachschule in Höhr. In September 1957, she joined the Experimental Department of the Porceleyne Fles in Delft, where she worked closely with Lies Cosijn, creating objects to which Cosijn added decoration. In 1963, the year this pot was made, she took over the ceramics studio of Louise Rubbens and Rijk van Scherpenzeel (Pottenbakkerij De Stenen Kater) in Amsterdam.

The pot is beige in color with black decoration. Squinting at the illustration, and allowing our imagination some artistic license, we can just about make out what appears to be children weaving on vertical looms. Could it be that Westenenk, too, visited the Ramses Wissa Wassef Art Center, and perhaps even made the pot there? After all, Wissa Wassef also taught pottery at the Center. We had to get in touch with Adriek Westenenk immediately to find out. But we were sadly informed that the ceramist had passed away in January 2021.

We contacted the Porceleyne Fles to see if they knew more about the pot and if Westenenk had ever visited Harrania. They were eager to help but unfortunately had no further information about the piece. We’d reached an impasse, and had run out of time to look for further leads. So, the research continues but, armed only with assumptions, we had to leave the work out of the exhibition. To be continued…

Adriek Westenek, Harrania, 1963. Stedelijk Museum Amsterdam Collection.

Made in Harrania?

Adriek Westenek, Harrania, 1963. Stedelijk Museum Amsterdam Collection.

This article is tagged with:
collection practices (23)design (30)egypt (6)industrial design (7)

More Research Logs

Fig. 5. The first to the right of the corner. Lambert Meertens and Leo Geurts, Kristalstructuren, 1972. Ink on paper, Electrologica X8 mainframe computer, ALGOL 60 programme. 65 x 65 cm each. Stedelijk Museum Amsterdam 2026. Photo: Peter Tijhuis
April 20, 2026/by Stedelijk

Rethinking the museum’s early computer art acquisitions

by Alessio Tozzi
Eileen Gray: Sensuality in Modernist Tubular Steel
March 13, 2026/by Stedelijk

Eileen Gray: Sensuality in modernist tubular steel

by Tamara Klopper
Figure 3. Ansuya Bolm, Amazing Grace, 1989, 16 mm color film, 14 min.
December 22, 2025/by Stedelijk

I’m Just a Girl

by Mela Miekus
Installation view, Pamela Rosenkranz – Liquid Body, Stedelijk Museum Amsterdam, 2025. Courtesy the artist, Karma International, Sprüth Magers and Miguel Abreu Gallery. Photo: Peter Tijhuis
July 29, 2025/by Stedelijk

On Plastic Disembodiment

by Simon Baier
Formafantasma – Oltre Terra, Stedelijk Museum Amsterdam, 2025.
May 13, 2025/by Stedelijk

Entangled with Sheep

by Victor Nieuwenhuizen
Vasily Chekrygin and the devils of avant-garde
February 24, 2025/by Stedelijk

Vasily Chekrygin and the Devils of Avant-garde

by Katerina Sidorova
Fig. 5. Dino-Lite – Corner, Stedelijk Museum Amsterdam, April 9, 2024.
January 16, 2025/by Stedelijk

Uncovering the Mysteries of the Photography Collection: Robert Lebeck

by Janne van den Bergh in collaboration with Ana Carreres Llopis
January 7, 2025/by Stedelijk

The Don Quixote Sculpture Hall

by Tijmen Ter Keurs
Anneke van der Feer, Self-portrait, oil on canvas, 73 × 60 cm. Collection Stedelijk Museum Amsterdam.
November 6, 2024/by Stedelijk

A Close Friendship: Anneke van der Feer and Antonia van den Hoogen-Berlijn

by Isabella Legebeke
Threads of Resistance
October 14, 2024/by Stedelijk

Threads of Resistance: Angela Su’s Hair Embroidery

by Chi-Chia Pao
Violeta Parra, Fresia y Caupolicán (Fresia and Caupolicán) (detail), 1964–65, dyed jute fabric with embroidery, 142 × 196 × 4.5 cm. Colección Violeta Parra, Pontificia, Universidad Católica de Chile. © Fundación Violeta Parra, courtesy of Colección Violeta Parra, Pontificia Universidad Católica de Chile.
September 5, 2024/by Stedelijk

Speaking Back to an Incomplete Archive

by Paula Carcamo
Installation view Post/No/Bills #5 — Hezin O — BHLNTTTX, Stedelijk Museum Amsterdam, 2024. Photo: Peter Tijhuis
August 9, 2024/by Stedelijk

Glitching the Museum

by Alicia Derksen
Fig. 6: Upper landing of the Stedelijk Museum. Photograph taken by Peter Tijhuis in 2024.
July 18, 2024/by Stedelijk

Rethinking collections: from a vitrine in use to a museum object

by Rosemarie Kramer
In the studio with Ana Lupas
April 25, 2024/by Stedelijk

In the studio with Ana Lupas

by Leontine Coelewij
To become an Abstraction
March 26, 2024/by Stedelijk

To become an Abstraction

by Katerina Sidorova
Tell Me a Story
March 6, 2024/by Stedelijk

Tell Me a Story

by Michelle Adler
Action Reaction Abstraction: New Primary Education Program
February 28, 2024/by Stedelijk

Action Reaction Abstraction: New Primary Education Program

by Lisa Jacobs
Michel de Klerk and Liesbeth van der Pol
December 6, 2023/by Stedelijk

Michel de Klerk and Liesbeth van der Pol

by Ingeborg de Roode
Fig. 6 . Details of the back of the Stedelijk rocking chair where now unused stitching holes can be seen.
September 27, 2023/by Stedelijk

A nineteenth-century metal rocking chair

by Ingeborg de Roode and Stedelijk conservators
Fig. 5. Fazle Shairmahomed, Goddess Coco and Paolo Yao, from Syncretism: Obia Woman/Creole Madonna. Photo: Noël Schut.
July 19, 2023/by Stedelijk

Ava and Gabriel: An Exegesis

by Edward Akintola Hubbard
Война [War]: futurist publishing as a reflection on wartime reality
June 27, 2023/by Stedelijk

Война [War]: futurist publishing as a reflection on wartime reality

by Katerina Sidorova
Fallen Leaves as a literary style and research methodology in the work of Vasily Rozanov
June 21, 2023/by Stedelijk

Fallen Leaves

as a literary style and research methodology in the work of Vasily Rozanov by Katerina Sidorova
Keith Haring drawing Amsterdam Notes in the Stedelijk Museum Amsterdam, March 1986. Photo: Rob Bogaerts, Nationaal Archief / Anefo. Amsterdam Notes © Keith Haring Foundation.
June 6, 2023/by Stedelijk

Keith Haring: Notes on Paper

by India Jeffes
Fig. 1. Eduard Cuypers, ink set, design 1905 or earlier, copper, brass, glass, made by Het Huis, Atelier voor Decoratieve Kunst, Amsterdam. Coll. Stedelijk Museum, Amsterdam, gift of D.J. Veltman en C.M. Veltman-Sonnenberg, Ouderkerk aan de Amstel
May 19, 2023/by Stedelijk

Expressive Decoration and Rational Rivets: An Ink Set by Eduard Cuypers

by Kylièn Bergh and Ingeborg de Roode
Geometry Turning Into “Modernity”? by Ginger van den Akker
May 16, 2023/by Stedelijk

Geometry Turning Into “Modernity”?

by Ginger van den Akker
Video still from Cauleen Smith, Space is the Place (A March for Sun Ra) (2011). Courtesy of the artist and Morán Morán.
May 2, 2023/by Stedelijk

Video Club: Social Dance

by Loulou Oudshoorn
Lines of Sight #1: Almaty, Kazakhstan
December 1, 2022/by Stedelijk

Lines of Sight #1: Almaty, Kazakhstan

by Robbie Schweiger
Yto Barrada: The Mothership in Tangier
October 14, 2022/by Stedelijk

Yto Barrada: The Mothership in Tangier

by Leontine Coelewij
(fig.1) Video Still from Ant Farm, Media Burn, 1975. Courtesy of Electronic Arts Intermix.
August 25, 2022/by Stedelijk

Video Club: Glued to the Tube: Picturing Violence in Mass Media

by Janneke Schrage
How to Inspire Sustainable Practices
August 24, 2022/by Stedelijk

How to Inspire Sustainable Practices

by Ab Stevels
Disassembly session by students during ‘Applied EcoDesign’ classes by Ab Stevels at TU Delft from 1997 to 2008.
August 24, 2022/by Stedelijk

A Step-by-Step Guide to Applied Environmental Design

by Ab Stevels
Designing for the Circular Economy
August 24, 2022/by Stedelijk

Designing for the Circular Economy

by Ab Stevels
Sustainable or greenwashing? How to evaluate brands as a consumer.
August 22, 2022/by Stedelijk

Sustainable or greenwashing?

by Ab Stevels
Exploring Our Backyard - An investigation of the Stedelijk’s environmentally sustainable building operations
May 20, 2022/by Stedelijk

Exploring Our Backyard

By Veronica León
Ekow Eshun interviewed by Amanda Pinatih
May 18, 2022/by Stedelijk

Race, Colonialism, and the Climate Crisis

What Artists and Designers Can Do. Ekow Eshun interviewed by Amanda Pinatih
In a get-together recorded as a podcast (with video) in the new collection presentation of the Stedelijk Museum Amsterdam, renowned cultural theorist Mieke Bal took part in a conversation about interdisciplinary research on the basis of the concepts of narratology, migratory aesthetics, and politics versus the political.
March 9, 2022/by Stedelijk

Looking at Art through Cultural Analysis: Mieke Bal

by Britte Sloothaak
Made in Harrania?
February 18, 2022/by Stedelijk Studies

Made in Harrania?

by Amanda Pinatih
This still from IOU 4 USA depicts a square charcoal drawing held up by two hands. The drawing is of a frame from The Simpsons and shows an IOU note in Homer’s hands. The note reads: “DEAR USA I.O.U. LESS KANDERS SIGNED USA”.
January 12, 2022/by Stedelijk

Christine Sun Kim, IOU 4 USA, 2021

by Fabienne Chiang
Pablo Picasso giving a drawing lesson to his children Paloma and Claude, and two friends. Photograph by Rene Burri / Magnum.Rene Burri / Magnum.
January 7, 2022/by Stedelijk

Picasso and the Art of Children

by Amélie Martelle​
A square, pale yellow sheet of paper rests on a white surface. A hand appears left of the sheet, as though about to turn it over. The light brown text at the top of the sheet reads: “#2 Learn a poem by heart. Go to a place where you can look through a window and recite it to yourself at the beginning and end of your workday. Repeat for at least 5 days.”
January 5, 2022/by Stedelijk

Sander Breure & Witte van Hulzen, 12 interventions for the Stedelijk Museum Amsterdam

by Danica Pinteric
Inside an empty, patinaed building, two performers are shown on the floor. The performer lies on their back, and the performer on the right is sitting in an upright position, cradling the other performer in their arms.
December 9, 2021/by Stedelijk

Michele Rizzo, Rest, 2021

by Danica Pinteric
An interview with Ali Selim
September 14, 2021/by Stedelijk Studies

An interview with Ali Selim

Log #6 by Amélie Martelle​
Visitors of the Wissa Wassef Centre
September 1, 2021/by Stedelijk

Visitors of the Wissa Wassef Centre

Log #5 by Amélie Martelle​
Diving into the Stadsarchiefs Amsterdam
August 15, 2021/by Stedelijk

Diving into the Stadsarchief Amsterdam

Log #4 by Amélie Martelle​
Serendipity
August 1, 2021/by Stedelijk

Serendipity

Log #3 by Amanda Pinatih
Checking the tapestries in the depot
July 19, 2021/by Stedelijk

The tapestries IRL

Log #2 by Amanda Pinatih
July 5, 2021/by Stedelijk

Meeting the Collection

Log #1 by Amanda Pinatih
HITO STEYERL I WILL SURVIVE Tentoonstelling — 29 jan t/m 12 jun 2022
July 1, 2021/by Stedelijk

In the artist’s words: Barricade

by Esiri Erheriene-Essi
The dream of a 1000 shipwrecks 01
July 1, 2021/by Stedelijk

In the artist’s words: The dream of a 1000 shipwrecks

by Patricia Kaersenhout

Yayoi Kusama

YAYOI KUSAMA
PRE-SALE NOW LIVE
Exhibition — Sep 11, 2026 till Jan 17, 2027

Newsletter

Subscribe to Stedelijk Museum’s Academic Newsletter.

Share this page

  • Facebook Facebook Share on Facebook
  • Whatsapp Whatsapp Share on WhatsApp
  • Pinterest Pinterest Share on Pinterest
  • Linkedin Linkedin Share on LinkedIn

Stedelijk Studies on Instagram

Connect to Stedelijk Studies on Instagram

Subscribe to the Stedelijk Museum Academic Newsletter

Get the latest research, insights, and updates from Stedelijk Studies. Subscribe to the Stedelijk Museum’s Academic Newsletter.

© 2026 Stedelijk Studies.
  • Link to Instagram Link to Instagram Link to Instagram
  • Disclaimer
  • Colophon
  • Contact
  • Cookie Policy
  • Privacy Statement
Scroll to top Scroll to top Scroll to top
Stedelijk Studies
Manage Consent
To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behavior or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.
Functional Always active
The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.
Preferences
The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.
Statistics
The technical storage or access that is used exclusively for statistical purposes. The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.
Marketing
The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.
  • Manage options
  • Manage services
  • Manage {vendor_count} vendors
  • Read more about these purposes
View preferences
  • {title}
  • {title}
  • {title}