REVIEWS

/ Amsterdam
Stefan Tcherepnin’s “The Mad Masters”

STEDELIJK MUSEUM, Amsterdam

View of Stefan Tcherepnin's "The Mad Masters," Stedelijk Museum, Amsterdam, 2018.
by

Tom Morton

It’s hard to think of another Muppet, or any other fictional character, with so streamlined a motivation as the Cookie Monster. Debuting in the kids’ TV show Sesame Street in 1969, this bug-eyed, blue-furred humanoid has spent almost five decades in the relentless pursuit of sugary biscuits, to the exclusion... continue reading
“Where do we go from here?”

NIEUW AMSTERDAMS PEIL, Amsterdam

Cristina Lucas, Surplus Value, 2014.
by

Vivian Ziherl

As 2017 opens there is a sense that all bets are off—that it is time to roll the dice and keep a hand open to all possibilities. Perhaps this is all the more so in the Netherlands—in many ways the closest of the EU countries to Britain and perhaps facing... continue reading
View of Renzo Martens and the Institute for Human Activities, “A New Settlement,” Galerie Fons Welters, Amsterdam, 2015.
by

Vivian Ziherl

“The missionary went on to talk about the Holy Trinity. At the end of it Okonkwo was fully convinced that the man was mad. He shrugged his shoulders and went away to tap his afternoon palm-wine.” So begins the tragic encounter between the fictional Igbo Chief Okonkwo and the religious... continue reading
Amalia Pica’s “One Thing after Another”

STIGTER VAN DOESBURG, Amsterdam

Amalia Pica, A∩B∩C∩A∩B∩C, 2014.
by

Judith Vrancken

Twenty-first century communication has dramatically changed the way information reaches us. Popular interpretations of knowledge and history seem to do so without historical consciousness and self-reflexivity. Rather than playing with the structure of history, Amalia Pica, in her solo show at Stigter van Doesburg, “One Thing after Another,” concerns herself with... continue reading
“Semiotics of the Kitchen. What Happened After”

STIGTER VAN DOESBURG, Amsterdam

View of “Semiotics of the Kitchen. What Happened After,” Stigter van Doesburg, Amsterdam, 2014.
by

Stefan Heidenreich

When a speech act contradicts what is said, this is called a performative contradiction. In the mid-1970s, the fight for women’s rights found itself in an inconsistency of this kind, when the general logic of gender construction was cast into doubt. By mapping a useless alphabetical order onto kitchen tools,... continue reading
Gabriel Lester’s “The Secret Life of Cities”

GALERIE FONS WELTERS, Amsterdam

Gabriel Lester, The Secret Life of Cities (detail), 2013.
by

Judith Vrancken

The lust to be a “totalizing eye” immediately sprung to mind when walking into Gabriel Lester’s “The Secret Life of Cities.” It’s one of the key notions expressed in Michel de Certeau’s chapter “Walking in the City” that “the fiction of knowledge is related to [the] lust to be a... continue reading

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