I have the habit of carrying a notepad with me at all times and writing down references whenever I encounter something interesting, so I decided I can develop a digital version of my messy notes. Excuse my banal title but a sketchbook is the best format of what I want to think  about: exhibitions that are worth remembering and paying attention to: shows that have changed the way we look at and experience art. Having a background in history of art and currently studying curating contemporary art, I find exhibition history fascinating: it helps me think about art in a different way rather than just looking at works individually or within the overall oeuvre of the artist (as Jens Hoffmann has noted). I plan on writing about  different shows without necessarily situating them in a chronological or thematic order, and thus, developing my personal interests as I am trying to figure out my curatorial values. 

 

 

bram bogart, building beyond mass and colour

If one is unaware of the exhibition’s layout (and title), he or she would probably expect to walk into a space bursting with vivid colours, perhaps Bogart’s most characteristic (and recognisable) feature as an artist. Indeed, I assumed the same when I heard that there’s a Bogart show in SALON. That is why "Witte de Wittesurprises and delights: it makes us see another aspect of Bogart’s work; the monochrome colours exaggerate the tactility and materiality of the pieces, and it becomes easier to appreciate his role in modern art history

 

sigrid holmwood challenges our contemporary vision in 'the peasants are revolting!'

Sigrid Holmwood's exhibition The Peasants Are Revolting!  at Annely Juda Fine Art is a form of revolution in itself. It’s a cultural protest against the industrialized modern life, the general expectations of the 21st-century viewer, and the contemporary belief that the alternative futures are detached and distanced from the past and the historical baggage which it carries. Influenced by the class-distinction ideas of the sociologist Norbert Elias, the artist re-introduces the figure of the peasant (not just as the antonym of the bourgeois subject) to the present-day public. 

 
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