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| Dear reader,
In this academic newsletter we share some of our latest publications to start off the new year. Whether you are interested in accesing academic research, taking a peek behind-the-scenes of the museum, or buying our latest books from the museum shop… we have you covered! |
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| Hipólito Ocalia, Seroe grandi, Curaçao, 1967, oil on plywood, 62 × [removed] cm. Collection Stedelijk Museum Amsterdam. |
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| Stedelijk Studies #14 was published last November, and it explores transnational stories that have a close relationship to Amsterdam’s cultural landscape from the 1950s onward. In an effort to expand art history narratives, our contributors reflect on various exhibitions and histories originating in Curaçao, Indonesia, Brazil, Uruguay, Argentina, and Chile which unfolded in the city and the Stedelijk Museum.
Have a read and discover new art history perspectives. |
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| After over a year of collaboration, we proudly present To Spring From Salted Earth edited by fellow Wanini Kimemiah. This project dives into the Kenyan context and the complex legacies of colonial histories that shape our shared existence. Kimemiah brings together eight contributors in various media forms such as poetry, essays, visual art, storytelling, and sound. The fellowship aims to address and reflect on new ways of belonging to the natural world.
What’s next: the second editorial fellowship will research themes of generative production in Asia. It will be a collaboration between the Stedelijk Museum Amsterdam and National Museum of Modern and Contemporary Art Korea. |
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| Curator Karen Archey and curator-in-training Mela Miekus spoke with the performer Jia-Yu Chang Corti before and after the twelve consecutive days and nights of fasting, being silent and showering three times daily. |
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| Through a decolonial analysis, former intern Paula Carcamo digs deeper into the value of three textile works which center stories of women and Indigenous people in Latin American (art) history. |
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| Former intern Tijmen Ter Keurs reviews the evolution in curatorial practices by comparing the former outdoor sculpture garden with the indoor sculpture hall that opened last November. |
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| The exploitation of natural resources and the accumulation of spiritual, cultural, and human practices leads to simultaneous global crises such as environmental disasters and inequality. Post-extractivism culture acts as a response to these challenges. Our new issue of Szine reflects on the the complexities and contradictions of applying post-extractivism practices in cultural organisations.
This issue is available in the museum shop in English, and online for free in English and Dutch. |
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| Graphic design by Sandra Kassenaar and Bart de Baets |
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| The publication offers insights into how artists engage with contemporary visual culture and photography. Plus, two in-depth essays by the curators offers insight ìnto the discourses behind the making of the exhibition.
Available in the museumshop as a bilingual Dutch-English edition. |
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| Graphic design by Atelier Dyakova |
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UNRAVEL
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THE POWER AND POLITICS OF TEXTILES IN ART
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The publication shines a light on 50 contemporary artists who – drawn to the tactile processes of stitching, weaving, brading, beading and knotting – have experienced the transformative and subversive potential of fibre and [removed];
Last copies available at an exclusive price in the museum shop in English. |
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STEDELIJK STUDIES MASTERS
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NEW GENERATION RESEARCH
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ANSELM KIEFER
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SAG MIR WO DIE BLUMEN SIND
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CIRCULATE
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MIRELVA BERGHOUT AND VINCENT VAN VELSEN
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FORMAFANTASMA
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OLTRE TERRA
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STEDELIJK STUDIES #15
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AUDIENCES FOR CONTEMPORARY ART MUSEUMS
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STEDELIJK x MMCA KOREA
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GENERATIVE PRODUCTION
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CREDITS
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Image 1: Courtesy of Tom Polleau.
Image 2: Anselm Kiefer, Innenraum, 1981, oil, acrylic and paper on canvas, [removed] × 311 cm. Collection Stedelijk Museum Amsterdam.
Image 3: Kwabena Sekyi Appiah-nti, Golden boy Randy, 2024, image transfer on glass. Courtesy of the artist.
Image 4: Formafantasma, manual selection of wool fabrics at Francioni, 2022, Prato, Italy. © Formafantasma. Photo: Alessandro Celli.
Image 5: Michele Rizzo, HIGHER xtn., 2018, performance. Collection Stedelijk Museum Amsterdam. Photo: Maarten Nauw |
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