{"title":"Stedelijk Museum Amsterdam at 125 Years – Editorial","authors":"Yvette Mutumba, Maurice Rummens","doi":"10.54533/stedstud.vol011.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol011.art01","url":null,"abstract":"“Museums are processes,” suggested the Brazilian ICOM delegation as part of their proposal for a new museum definition in 2019.[1] This might sound to some like the complete opposite of what, at least in Europe, museums seemingly represent: preservation and permanence. However, processes, in the sense of changes and shifts, have to increasingly define the dynamics of museums in the twenty-first century. The debate around the “new museum” or the “museum of the future” is not a phenomenon of this century, as Nora Sternfeld points out, but rather has again become a major concern.[2] Sternfeld quotes Alfred Lichtwark, who in 1904 argued “Solange die Museen nicht versteinern, werden sie sich wandeln müssen. (As long as museums do not petrify, they will have to change.)”[3] Lichtwark’s statement came at the height of European colonialism. Today “Western”[4] museums cannot plan their future without acknowledging their history of legitimizing racist and colonial violence.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130600357","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Invisible Mazes—Visible Perceptions","authors":"P. Bianchi","doi":"10.54533/stedstud.vol007.art04","DOIUrl":"https://doi.org/10.54533/stedstud.vol007.art04","url":null,"abstract":"Oh king of time and substance, and cipher of the century! In Babylon didst thou attempt to make me lose my way in a labyrinth of brass with many stairways, doors and walls. Now the Powerful One has seen fit to allow me to show thee mine, which has no stairways to climb, no doors to force, nor wearying galleries to wander through, nor walls to impede thy passage.” Then he untied the bonds of the king of Babylonia and abandoned him in the middle of the desert, where he died of hunger and thirst.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"84 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115181821","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Politics of Display","authors":"Michael Neumeister","doi":"10.54533/stedstud.vol005.art10","DOIUrl":"https://doi.org/10.54533/stedstud.vol005.art10","url":null,"abstract":"What role should curators play in shaping and guiding political discourse? This article examines the consequences of political activism in museum display by investigating the Whitney Museum of American Art’s exhibition America is Hard to See (May 1 – September 27, 2015). The show asked visitors to reconsider American art as a reflection of a profoundly diverse nation, while effectively retelling the modern history of the country by use of juxtaposition and contextualization. The large-scale exhibition employed specific curatorial pronouncements that seemed to serve a political agenda, provoking a reconsideration of curatorial boundaries. This was most evident in the museum’s politically charged placement of Elizabeth Peyton’s portrait, Barack and Michelle (2008–13, fig. 1), which uncritically celebrated the 44th President of the United States and his wife. It is not the intention of the author to question the validity, importance, or artistic merit of Peyton’s contribution. It is understood that the unique charge of an artist allows for and encourages subjective responses. Yet for this reason curators are confronted with a difficult task when faced with the installation of politically oriented art. Depending on the associated text and display tactics employed, an artwork’s subjective appeal might preclude an extended consideration of relevant social issues. While it is generally standard practice for the art world to reflect Leftist ideals, this essay proposes a tempered approach in the curatorial treatment of political subjects. Such a method could foster a more nuanced and meaningful dialogue among museum patrons, as well result in greater inclusivity for the public.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"41 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114060018","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Changing the Game: Museum Research and the Politics of Inclusivity","authors":"M. Schavemaker","doi":"10.54533/stedstud.vol008.art03","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art03","url":null,"abstract":"Over the past two decades, the notion of a “discursive turn” has been shaping museum research all over the world. Instead of focusing on exhibitions as key “output,” museums now seem bent upon transforming themselves into networked organizations, which entails (co-)conducting research of all possible shapes and forms. In the theoretical discourse surrounding the aforementioned discursive turn, one finds a strong focus on institutional critique and antagonism, bringing counter-voices inside the museum. The museum criticizing itself from within has been a familiar description of the changes that were taking place. However, one might also argue that despite their potential for criticality and depth, these practices ultimately remained somewhat unchallenging and homogenous when it comes to both audience and outreach. Currently, a more radical turn towards diversity and inclusivity seems to be shaping our field. Not only in museums but across all of our institutions and social interactions, new and suppressed voices are demanding access, fundamental research, a rewriting of conventional narratives, and the deconstruction of the hegemonic powers that be. Is now the time when museums will actually begin to open up and museum research will finally liberate itself from the constraints of “preaching to the choir”? In this essay, I will discuss some core programs and programmatic trajectories that have been developed by the Stedelijk Museum Amsterdam, firstly in order to bridge the gap between the museum and the academic world (including peers and professionals), and secondly to implement a more radical and self-critical opening up of the museum in order to counter social inequity and broaden accessibility. It will become clear that fundamental changes on many levels in the organization are still necessary, and we must prepare ourselves for some fundamental shifts as well. Or, to put it more strongly, the move from a discursive to an inclusive turn may appear to be a foundational game changer.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"33 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"120862462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Yoeri Albrecht, V. Byvanck, Hedwig Fijen, Steven ten Thije, Sjoukje van der Meulen, N.S.J.F. Zonnenberg, M. Schavemaker, Esmee Schoutens
{"title":"The Borders of Europe A Roundtable Discussion","authors":"Yoeri Albrecht, V. Byvanck, Hedwig Fijen, Steven ten Thije, Sjoukje van der Meulen, N.S.J.F. Zonnenberg, M. Schavemaker, Esmee Schoutens","doi":"10.54533/stedstud.vol006.art02","DOIUrl":"https://doi.org/10.54533/stedstud.vol006.art02","url":null,"abstract":"In response to the theme, The Borders of Europe, guest editors Sjoukje van der Meulen and Nathalie Zonnenberg invited four players in the cultural field to discuss the borders of Europe and the role of art and culture within the European project since 1992. All four participants in the discussion organize cultural projects that center on or are related to Europe. In 2016 Yoeri Albrecht organized the first edition of the biannual Forum on European Culture in De Balie with DutchCulture. The forum offers thinkers and artists a platform to imagine the idea of Europe. In 2017, with Gijs Frieling and twenty artists, Valentijn Byvanck co-curated a joint artwork at Marres, The Painted Bird: Dreams and Nightmares of Europe. It involved painting 750 square meters of the historic building’s surface area, and was accompanied by a soundtrack. Hedwig Fijen is director of the European Biennial of Contemporary Art, Manifesta, which she founded in 1996; an exhibition that explores the changing DNA of the European climate, together with the underlying geopolitical and sociopolitical agenda, from the perspective of art and culture. Every two years the roving biennial takes place in a different location in Europe: from Rotterdam in 1996 to Zurich in 2016. Manifesta opens in Palermo in June 2018. Finally, Steven ten Thije is the project leader of the platform The Uses of Art – The Legacy of 1848 and 1989 (2013–2018), initiated by L’Internationale, a confederation of six European museums for modern and contemporary art. L’Internationale proposes a space for art within a non-hierarchical and decentralized internationalism, based on the values of difference and horizontal exchange among a constellation of cultural agents. With exhibitions, symposia, publications, education programs, and staff exchanges, L’Internationale seeks to foster a substantive, long-term partnership in the museum world.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122762228","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"From São Paulo to Paris and Back Again: Tarsila do Amaral","authors":"Camila Maroja","doi":"10.54533/stedstud.vol009.art07","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art07","url":null,"abstract":"At the closure of Tarsila do Amaral’s retrospective exhibition at the Museum of Art of São Paulo Assis Chateaubriand (MASP) at the end of July 2019, a total of 402,850 visitors had viewed the exhibition (fig. 1). Tarsila Popular thus fittingly became the most visited show in the museum’s history, displacing a 1997 Monet blockbuster.[1] The show had followed shortly upon the well-received Tarsila do Amaral: Inventing Modern Art in Brazil, the first monographic exhibition of the painter in the United States, which was co-organized by the Chicago Art Institute (October 8, 2017–January 7, 2018) and the Museum of Modern Art in New York (February 11–June 3, 2018). This recent spotlight on the Brazilian artist joins a series of institutional efforts to make modernism more global by emphasizing previously overlooked geographies and artists’ mobility between different parts of the globe.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"125456535","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"A New Woman’s Exile in Buenos Aires: Grete Stern’s Photomontages between Feminism and Popular Culture","authors":"Christina Wieder","doi":"10.54533/stedstud.vol009.art05","DOIUrl":"https://doi.org/10.54533/stedstud.vol009.art05","url":null,"abstract":"The focus of this article will rely on the work of the photographer Grete Stern, who had to flee Germany in 1933 due to her Jewish background, and later emigrated to Argentina. Special attention will be given to her photomontage series Sueños (Dreams) for the women’s magazine Idilio, which the artist produced between 1948 and 1951, and which played an essential role in the modernization of Argentinean photography. Moreover, today these photomontages are known for having had a fundamental influence on the dissemination of psychoanalysis in Argentina, as well as on feminist art in general. As these photomontages were published together with the psychoanalytic column “El psicoanálisis te ayudará” and negotiated different aspects of psychoanalytic theory, they were often interpreted within the tradition of surrealist photography.[1] In this article, however, I would like to propose an alternative, perhaps complementary reading of these images and embed Stern’s Dreams in a broader context—the context of her experience as an exile in Argentina, the context of the magazine, and the context of Peronist visual culture. As I will argue, this allows these photomontages to be read as multilayered aesthetic, political, and feminist interventions in a time when more and more restrictions dominated artistic practices in Argentina. In the following, I will provide an insight into Stern’s formation and work in Germany, and the ideas of femininity that influenced her art before and after emigration. After that, I will discuss the politically enforced changes in the field of Argentinean visual culture. And finally, I will analyze Stern’s photomontages in the context of the magazine and their impact beyond, on the modernization of photography in Argentina.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121556113","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Vasiliki (Vasso) Belia, R. Buikema, M. Schavemaker, Emilie Sitzia, R. Wevers
{"title":"Towards a Museum of Mutuality – Editorial","authors":"Vasiliki (Vasso) Belia, R. Buikema, M. Schavemaker, Emilie Sitzia, R. Wevers","doi":"10.54533/stedstud.vol008.art01","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art01","url":null,"abstract":"Engendering integration while acknowledging differences is one of the biggest challenges facing museums globally today. Institutions must reconceptualize the relationship between their collections and the engagement with (new and diverse) audiences at all levels. In response, there has been a shift in the museum model, both theoretically and on the level of institutional arrangements, from the museum as a site of authority to the post-museum as a site of mutuality.[1] The act of curating at its most basic is about connecting different concepts and cultures, and bringing their elements into proximity with each other in order to create innovative ways of seeing that counter social injustice and promote equity on all possible levels. Beyond the museum as “contact zone,”[2] and following Terry Smith, the curatorial turn is interested in exploring new contexts and relationships, and working with an artifact’s ability to reveal hidden knowledge.[3] Museums have become spaces for knowledge creation as well as agents of social regeneration and vehicles of broad social change.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"92 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114411430","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Photography and Museums of Mutuality: A Metaphor","authors":"Elisavet Kalpaxi","doi":"10.54533/stedstud.vol008.art04","DOIUrl":"https://doi.org/10.54533/stedstud.vol008.art04","url":null,"abstract":"This article employs photography as a vehicle to explore museums and their increasing attempts to gain an open, discursive, democratic, and inclusive character. It suggests that drawing a parallel between photography and museums, at a time when globalizing technologies, aesthetics, and politics demand the radical redefinition of both, can provide a useful ground from which to examine the role of photography in the development of museums and vice versa, as well as notions of engagement, participation, and inclusion. In the last 150 years photography has performed a number of unique roles—evidentiary, artistic, commercial, and vernacular—that have all had a great impact on the history of representation, as well as the way in which photographs communicate inside museums (i.e., as artworks/artifacts, as evidence of objects and phenomena found outside the museum, as a record of objects contained in the museum, and as a marketing tool). All of these functions also have an impact on how photography is understood within and outside museums. However, within museums—this applies both to museums of art and other kinds of museums, including anthropological, archaeological, and history museums—photography was originally conceived and still operates predominately as a document; that is to say, as evidence of some kind, whether of an object, culture, or an artist’s work. The definition of a document is here taken from Suzanne Briet’s seminal 1951 work, What is Documentation.[1]","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129131593","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"The Iwalewahaus: Displaying Works of African Modernism","authors":"N. Siegert","doi":"10.54533/stedstud.vol005.art06","DOIUrl":"https://doi.org/10.54533/stedstud.vol005.art06","url":null,"abstract":"In this paper, I will focus on two distinct periods of displaying the collection of modern and contemporary art from Africa at Iwalewahaus, a museum that is part of the University of Bayreuth in southeastern Germany.[1] It was created in 1981 by Ulli Beier (1922–2011) as part of the Africa focus mission of the University of Bayreuth. Beier was a German curator, art patron, collector, and literary critic. He grew up in Pomerania, and later in exile in Palestine as the child of a Jewish father. His family background was an intellectual one; his father collected artworks of German impressionists and he was introduced to art history by visiting museums in Berlin. After having been imprisoned by the British in Palestine towards the end of World War II, Beier went to London to study phonetics. Later, he found a job announcement for the University of Ibadan in Nigeria and went to the place that would become home for him.","PeriodicalId":143043,"journal":{"name":"Stedelijk Studies Journal","volume":"27 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"1900-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129928911","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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