We meet Zarina Bhimji at De Appel where she is completing the installation of the viewing room for her films Yellow Patch (2011) and Waiting (2007). She tells us she doesn’t like interviews, tries to avoid them even, yet her words are warm and the conversation inevitably moves towards her work.
De Appel is starting a training programme for gallerists, and at various universities, the art market is a separate course of study. Non-profit art schools and art dealers are developing increasingly stronger ties. Will it soon be possible to separate the two?
In his newest film, Brussels artist Sven Augustijnen uses Belgium's colonial past in Congo to demonstrate that discovering truth in an art documentary is a pointless and futile effort, albeit one well worth seeing.
In the light of the art cuts and the rise of ultra-neoconservative ideas by the Dutch government, Ann Demeester tries to assess the country that we are living in right now. And asks: can a revolution happen in reverse?
The art world is wrestling with the question of how to position itself in today’s economy. To take part or not – that is the question. An essay on the production of non-knowledge as a driving force, based on an exceptional exhibition at De Appel in Amsterdam.
The manner in which he interweaves art and life is as unique as it is exemplary. You could call it relational aesthetics avant la lettre. Yet it was not the generation of Rirkrit Tiravanija and Liam Gillick who rediscovered the work of this artist who was already active in the late Sixties. It is the young artists of today who see Marc Camille Chaimowicz as an important predecessor, a recognition that is being translated into a growing number of presentations in Europe and soon in Amsterdam too.