“Behind this mask another mask, I will never finish lifting up all these faces” – on Claude Cahun’s intangible identity

Maia Kenney

Even armed with our 21st-century arsenal of terminology, French activist, artist and writer Claude Cahun’s identity flux remains uncapturable. The exhibition Under the Skin – Claude Cahun at the Cobra Museum unfolds as a dive into the carnival mirror hall where Cahun is both strongman and meditating Buddha, life-sized doll discarded in a wardrobe and Unknown Soldier standing on his own grave.

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On the representation of violence: in conversation with curator Natasha Marie Llorens 

Nesli Gül Durukan

​The current exhibition From what will we reassemble ourselves at Framer Framed centers on the representation of the genocide that occurred in Srebrenica and its surroundings in Bosnia and Herzegovina 25 years ago, but also focuses on the more structural question of the representation of graphic violence. We spoke with curator Natasha Marie Llorens.

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Play and Fight: Iriée Zamblé and the importance of taking up your space  

Alyxandra Westwood

Iriée Zamblé declares her entry in the art-world with confidence:‘kicking in doors’ and smashing through glass ceilings, she “takes up space” as “a form of protest”. All the while she wonders: what will pushing against the grain now mean for Afro-Dutch artists in the future? Alyxandra Westwood visits her at Museum Het Rembrandthuis, where she is currently on residency.

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An impression of the past – artist Semâ Bekirović on the making of 'Übersetzungen' (translations)

Semâ Bekirović

During a residency program in Chemnitz artist Semâ Bekirović dives into the GDR-history of the town. A relief depicting the revolution of the German working class by Johann Belz catches her eye: for weeks she is occupied with making a silicone impression of it, ‘an unfilled mold as a monument to the maker, that could (potentially) be filled with anything’.(ENGLISH VERSION HERE)


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'I'm interested in all forms of object theatre as a way to lend artifacts agency’ – in conversation with artist Agnes Scherer 

Lena van Tijen

In 1646 The New Testament has become an underwater operetta. Artist Agnes Scherer elaborates: ‘the religious realm that Christ has to offer is literally a submerged state. That's why I thought his followers had to be a group of divers who follow him so far that it gets dangerous.'  

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Jury report | 17 November 2020   It is with pleasure that the jury of the Leoprijs 2020 announces that this years' prize... read more
Gwangju Biennial (artistic directors Defne Ayas and Natasha Ginwala) announces participating artists. read more
NRC onthult in een schokkend verhaal dat Juliaan Andeweg al jaren wordt beschuldigd van aanranding en verkrachting. Hij zou... read more
Art Fair Liste 2020 in Basel is cancelled. read more
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In reference to the central theme of Metropolis M No 5- PALEO a review of Anselm Franke & Hila Peleg's exhibition and book Ape... read more
Yes, But is it Edible is a unique book, presenting the scores of two operas of the American composer Robert Ashley. read more
Where is play in art? Fucking Good Art talks about it with Tijs Goldschmidt, Evelyne Reeves, Joris Luyendijk and Zoë Gray. read more
A new magazine by the Mexican artist Mariana Castillo Deball examines the way objects and artifacts work in our understanding of... read more
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Slideshows | Video’s

Het zoete leven - feestelijke seizoensopening Amsterdamse galeries

Ook bij de Amsterdamse galeries is het nieuwe culturele seizoen van start gegaan. Er is opvallend veel fotografie en schilderkunst dit jaar – met een flinke portie levenslust en oog voor detail. In Annet Gelink Gallery, Galerie Bart,... read more

Graduation Shows 2019: Gerrit Rietveld Academie

Een contemplatieve, naar binnen gekeerde eindejaarsshow bij Rietveld dit jaar. De Graduation Show van de Rietveld is weer open voor het publiek. Dit jaar studeren maar liefst 165 studenten af. Resultaat is een enigszins overvol gebouw, of... read more

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Metropolis M Magazine for contemporary art No 5 — 2020