Douala, het economisch en cultureel centrum van Kameroen, is een van de belangrijkste steden van Centraal-Afrika. Het stedelijk karakter van Douala wordt gekenmerkt door nederzettingen, particuliere handelsnetwerken en spontaan gebruik van de publieke ruimte. Deze snel groeiende stad is de omgeving waarin doual'art - een onderzoekcentrum voor stedelijke ontwikkeling - sinds ruim zestien jaar actief is.Medeoprichters Marilyn Douala Bell en Didier Schaub zetten vaak kunst en cultuur in bij publ...

Besides the overwhelming amount of visual information that can stand in the way of a pleasant museum visit, there’s another trivial matter: meaning. Many of us aim to understand and categorize everything we see, but what do you truly think when looking at a particular artwork? The activities on these cards help you to establish a connection with an artwork yourself, despite any given information. You can do this in each museum, anywhere in the world. Follow the activities from A-Z, choose o...

With fifty-three paintings on paper Ed van der Kooy (The Hague, 1956) reflects on the current juncture, at which a volatile pandemic, racial riots and a persistent climate crisis dominate news reports. Sometimes the pictures are dark and intense. Sometimes they just appear to be idyllic, because there is a snake in the grass, disturbing the dream. In a painterly respect, too, nothing seems to be self-evident.

At his request, his daughter Floortje van der Kooy (The Hague, 1993) writes her refl...

Depot Boijmans Van Beuningen is het eerste geheel publiek toegankelijke kunstdepot ter wereld. Het depot, ontworpen door MVRDV, staat naast Museum Boijmans Van Beuningen in het Museumpark in Rotterdam. Bezoekers zien het resultaat van ruim 170 jaar verzamelen: meer dan 151.000 objecten beeldende kunst en vormgeving zijn ondergebracht in veertien depotruimtes en gerangschikt op materiaal, formaat, en soms op chronologie of geografie. Naast de objecten zijn alle werkzaamheden die komen kijken b...

The Court for International Climate Crisis (CICC) is a more-than-human tribunal founded by writer, academic, lawyer, and activist Radha D'Souza and artist and propaganda researcher Jonas Staal in 2021. The aim of the CICC is to prosecute climate crimes committed by states and corporations, not only in the past and present, but also in the future. Central to this book is the first iteration of the project, commissioned and staged by Framer Framed in Amsterdam, during which public hearings were...

Beeldend kunstenaar Pii Daenen produceert al ruim 50 jaar sculpturen, installaties, video’s, foto’s, prints, artefacten, multiples, interieur- en meubelstukken. Hij haalt zijn inspiratie vooral uit de elementaire menselijke behoeftes en technologische ontwikkelingen en geeft met zijn kunst met humor commentaar op hoe wij hier als mens mee omgaan.

In 2012 begon Pii zijn werk te archiveren in FileMaker Pro. Zijn totale oeuvre is hierdoor een visuele encyclopedie geworden; een kunstwerk an s...

With elementary materials – wood, paper, clay, tape, paint – artist Fleur van Dodewaard creates ephemeral compositions that play with the possibilities of photography, sculpture, and painting. Situated at the intersection of these disciplines, her work uses photography to achieve the final result. ‘The Fold’ presents ten years of practice, reshaped according to the principles of book production methods such as folding, cutting, and binding. Operating like a “making-of” documentary...

This large book features an astonishing selection of Ghanaian hand-painted film posters from the collection of Mandy Elsas, a Dutch merchant dedicated to seeking out and preserving this disappearing facet of Ghana's art historical heritage. With reproductions of almost 200 posters, it also provides an in-depth look at everyday popular culture through short biographies of artists, writings by specialists in the field, and a foreword by Ablade Glover, perhaps today's most preeminent artist. The...

Situated as it is at the very turn of the century, and questioning from the outset the inflation and desubstantialisation involved in the hegemony of images, Michel Mazzoni’s photographic practice is an image factory or rather an image-thinking factory. An image which outflanks it and decompartmentalises it in multifarious ways, from its installation in situ to its editorial deployment. An image qua cultural artefact in its capacity to link us to the world in a shared sense of perpetual pre...