Het op eigen initiatief bezoeken van twee galeries en/of musea s tijdens de netwerkweek

Transcription

1 Het op eigen initiatief bezoeken van twee galeries en/of musea s tijdens de netwerkweek Uit onderstaande lijst kies je minimaal 2 adressen die je op eigen gelegendheid bezoekt tijdens de netwerkweek. Dit is een verplicht onderdeel van de netwerkweek (zie daarvoor de afspraken op de netwerkweeksite). Deze bezoeken leg je af van dinsdag t/m donderdag en daarin stel je je op als professional (en dus niet als een vrijblijvende bezoeker). Dat betekent dat je je van te voren inleest over de te bezoeken instelling en tentoonstelling. Daarnaast spreek je ter plekke mensen aan die werkzaam zijn in desbetreffende galerie of museum om informatie in te winnen over instelling en tentoonstelling. Let op: als dat niet lukt, en dat is vaak zo omdat curatoren en galeriehouders drukke werkzaamheden hebben, dan kijk je of je de vragen zelf kan beantwoorden of informatie vindt door andere bronnen te raadplegen. Maar mocht je wel de galeriehouder kunnen spreken stel hem of haar dan een aantal gerichte vragen. Als je met elkaar gaat, bundel dan deze vragen zodat je ze in 1 keer kan stellen. Bij een galerie bijvoorbeeld kan je aan de volgende vragen denken: - Wie zitten er in de stal? - Hoe komt deze keuze tot stand? - Is er een maximum aantal die u kan en/of wil opnemen? - Hoe bepaald u een verkoopprijs, waar is dat op gebaseerd? - Wie is het publiek? - Hoe benaderd u die doelgroep? - Hoe wordt het contact onderhouden met de kunstenaar/fotograaf? - Wat is het percentage wat kunstenaars/fotografen afstaan bij verkoop? - Wat zijn de afspraken als kunstenaars/fotografen zelf worden benaderd voor verkoop of werk verkopen? - Hoe willen jullie door kunstenaars/fotografen benaderd worden? - Hoe bepaal je welke kunstenaar/fotograaf je een tentoonstelling geeft? - Waar ligt dat aan? - Aan welke praktische zaken moet een nieuwe kunstenaar/fotograaf aan denken bij u? - Hoe veel werken van een kunstenaar/fotograaf neemt u gemiddeld op? - Welke signatuur heeft de galerie? - Wat mag een kunstenaar/fotograaf verwachten van de galerie? - Is er een speciale focus op jonge makers? - Hoe maken die zich het beste zichtbaar bij u? - Bezoekt u eindexamententoonstellingen? - Hoe ziet volgens u een goed portfolio eruit? En bij een museum kan je aan deze volgende vragen denken: - Wat zijn de uitgangspunten van het tentoonstellingsbeleid? - Hoe komt een museum aan tentoonstellingen? - Hoe komt de besluitvorming over het tonen van een expositie tot stand? - Een museum is een plek waar werken worden verzameld in een collectie. Wat is het beleid rondom de collectie? - Wie doet het aankoopbeleid en hoe komt deze tot stand? - Wat zijn de praktische zaken rondom een tentoonstelling; denk aan verzekering, inrichting, vormgeving, contracten, evt hanggeld etc.. - In hoeverre heeft een fotograaf zeggenschap over de vorm van de tentoonstelling? - Wat zijn de afspraken rondom publiciteit en het aanleveren van persfoto s? - Hoe willen jullie benaderd worden door (toekomstige)fotografen, hoe spelen zij zichzelf het beste in the picture? - Wie verzorgd de prints voor de tentoonstelling; doet de fotograaf dat of de instelling/museum En zo zijn er voor alle podia nog veel meer vragen te bedenken: wees nieuwsgierig en bedenk er zelf ook veel! Kijk ook, naast de inhoud, naar hoe de tentoonstellingen vormgegeven zijn; klopt de inhoud bij de vorm denk je? Voorzie je bevindingen in het verslag van een eigen mening en visie. 1

2 Al je bevindingen noteer je in een inhoudelijk verslag die je opneemt in de documentatie en die je toont bij de collectieve beoordeling in januari Musea- en galerielijst (op alfabetische volgorde) (check voor openingstijden de desbetreffende website!) De Pont Wilhelminapark EA Tilburg Philip-Lorca dicorcia Photographs Untill19 January 2014 Philip-Lorca dicorcia first came to prominence in the 1970s with photographs that defied definition, existing in the space between documentary fact and movie-style fiction. The meticulous staging of quotidian scenes of family and friends lent the images an unparalleled sense of heightened drama and ambiguity. In the 1990s dicorcia turned his focus from scenes of domesticity to the American tradition of street photography exemplified by photographers such as Robert Frank and Gary Winogrand. In a seminal series that was retrospectively entitled 'Hustlers', dicorcia photographed men who had moved to Hollywood seeking their fortune, only to find themselves working the Sunset Strip as male prostitutes saw the publication of 'Thousand' with Steidl Dangin, a compilation of 1,000 actual-size reproductions of dicorcia's Polaroids that instantly brought a new element of dicorcia's artistic practice into relief. Throughout dicorcia s work he has used the Polaroid format to augment his photographic projects and with this publication he was able to showcase this technique for the first time. Whilst some of the images were taken as test shots to check lighting and composition, other scenes were conceived specifically to be taken only in Polaroid format, as an entirely separate endeavour. The exhibition, which has been organised together with Schirn Kunsthalle in Frankfurt, shows work from dicorcia's most recognised series - Hustlers, Streetwork, Heads, A Storybook Life, Lucky Thirteen, and images from his ongoing series East of Eden Foam Keizersgracht DS Amsterdam Expo s: Framed in Print Untill 11 December 2013 This exhibition presents an overview of forty years of photography from leading Dutch magazines as reflected by the work of five photographers: C. Barton van Flymen, Bart van Leeuwen, Boudewijn Neuteboom, Bart Nieuwenhuijs and Peter van der Velde. They determined for a significant part the look of lifestyle magazines from the last 40 years. Their work, commissioned by magazines such as Avenue, Elegance, AvantGarde and Nieuwe Revu, had a great influence on advertising and fashion photography in the Netherlands. Without losing any of their power, the photographs will be a trip down memory lane for many. The exhibition has been produced by Hans van Blommestein and Bart Nieuwenhuijs, in collaboration with Foam. Thematically arranged, typical magazine themes are highlighted in the exhibition, such as documentary, culinary, fashion, interior design, travel, portraiture and sports - from Belize to Bhutan, from California to Korea, from Chanel to Gaultier, from André Hazes to Andy Warhol, 2

3 from Marco van Basten to Candy Dulfer, from organic chicken to king crab. The best of the work by these photographers has been brought together within these themes and an intriguing portrait of an era has been created. The work of C. Barton van Flymen, Bart van Leeuwen, Boudewijn Neuteboom, Bart Nieuwenhuijs and Peter van der Velde has had a great deal of influence on advertising photography. Along with the exhibition, a book in magazine format will appear, with more than 200 finely presented photos of each photographer's work. The five books are combined in a boxed edition: Fotofolio, 40 jaar Nederlandse Tijdschrift Fotografie [Photo Folio, 40 years of Dutch Magazine Photography], a unique publication, produced and designed by Hans van Blommestein and Bart Nieuwenhuijs. Fotofolio is published by Lecturis. Cristina De Middel - The Afronauts Untill 11 December 2013 Photographer Cristina De Middel (1975, Spain) chose as the starting point for her project The Afronauts a little-known episode from Zambia's history. This was a space programme started by an educator which suddenly entered Zambia in the space race with the United States and Russia. Its aim was to put the first African on the moon. Due to a lack of financial resources, however, the ambitious initiative was doomed to failure. Fifty years later, De Middel reconstructs this story, using her own imagination. From 13 September, Foam will be showing the outcome of this project in an exhibition that makes no reference to disappointment or defeat: instead we view fantasy-rich and colourful images full of humour, with wonderful selfcreated props, unexpected twists and unusual visitors. In The Afronauts, De Middel combines set-up photography with copies of typed letters and reproductions of vintage photos. Although The Afronauts is in fact based on a failed undertaking, the project includes nothing that refers to the failure - to the contrary. The photos have an upbeat look thanks to De Middels's fanciful space suits, playful astronaut training sessions and a Zambian flag with a smiley face. Other characters also appear against the background of the rugged landscape of Alicante, including an elephant presented as a space creature and a cat dressed in a starred costume, which according to the story also was planned to be launched into space. After a successful photojournalist career of nearly ten years, De Middel discovered that she had become disappointed in photojournalism and that her viewpoint toward the consumption of 'authentic' images and the untruths that accompany them was becoming increasingly cynical. The Afronauts is De Middels's first successful attempt to design her own ideal world. De Middel's work shows that fiction can serve as the subject of photography just as well as facts can and that our expectation that photography must always make reference to reality is flawed. The in 2012 self published book The Afronauts was sold out within two months. The publication was shortlisted for the Aperture First Photobook of Cristina De Middel has recently been nominated for the Deutsche Börse Photography Prize Lee Friedlander - America by Car Untill 11 December 2013 Foam proudly presents a solo exhibition by the American photographer Lee Friedlander (1934, US). This exhibition features the series America by Car and The New Cars The automobile has come to symbolize the American dream and the associated urge for freedom. It is therefore no surprise that cars play a central role in both series, now receiving their first showing in the Netherlands. Road Trip America by Car documents Friedlander's countless wanderings around the United States 3

4 over the past decade. In this he follows a trail laid down by numerous photographers, film makers and writers like Robert Frank, Stephen Shore and Jack Kerouac. Friedlander nevertheless succeeds in giving the theme of the American road trip his own very original twist, using the cars' windscreens and dashboards to frame the familiar American landscape, as well as exploiting the reflections found in their wing and rear view mirrors. It is a simple starting point which results in complex and layered images that are typical for Friedlander's visual language. He also has a sharp eye for the ironic detail. He makes free use of text on billboards and symbols on store signs to add further meaning to his work. His images are so layered that new information continues to surface with every glance, making America by Car a unique evocation of contemporary America. Car portraits The New Cars 1964 is a much older series. Friedlander had been commissioned by Harper's Bazaar to photograph all the new models of automobile introduced in Rather than placing them centrally and showing them to best advantage, Friedlander decided to set the cars in the most banal of locations, in front of a furniture store or in a scrap yard for instance. Exploiting reflections, available light and unusual perspectives, his cars are almost completely absorbed into the street scene. Although they were rejected at the time by the magazine's editorial board on the grounds that the images were not attractive enough, the pictures were put away in a drawer and since forgotten. Friedlander however recently rediscovered this series. The New Cars 1964 has since become a special historical and social document and has in its own right become part of Friedlander's impressive oeuvre. Fifty-year career Lee Friedlander was born in the US in In a career extending across 5 decades Friedlander has maintained an obsessive focus on the portrayal of the American social landscape. His breakthrough in the eyes of the wider public came with the New Documents exhibition at the MoMA in 1967, where his work was presented alongside that of Diane Arbus and Garry Winogrand. Friedlander accumulated numerous awards during his career, including the MacArthur Foundation Award and three Guggenheim Fellowships. He also published more than twenty books. His work has been shown at many venues around the world, including the Whitney Museum of American Art and the MoMA in New York, San Francisco's SFMOMA, the MAMM in Moscow and the National Museum of Photography in Copenhagen Fotomuseum Antwerpen Waalse Kaai Antwerpen Belgie Expo s: Germaine Van Parys & Odette Dereze Untill Germaine Van Parys ( ) was a pioneer in Belgian photo journalism. Together with her godchild Odette Dereze (DOB 1932), Van Parys accomplished an impressive oeuvre. Their work offers a unique insight into the history of Belgium from 1918 until the end of the last century. Van Parys made a substantial contribution to the development of professional photography in Belgium. Her field of interest was broad, seeing that she recorded historical milestones as well as everyday scenes. Moreover, she managed to build a relationship of trust with the Belgian royal family, which culminated in legendary portraits. The work of Odette Dereze, too, reflects a broad interest in politics, culture, business and events. Her photography betrays a skilled eye, one that is trained on the human being. The exhibited photographs tell a powerful, visual story in which universal themes, such as 4

5 sorrow, joy and dreams are woven into the journalistic assignments. We see Belgium through the lens of two master photographers. By way of exception, the archives of these photographers were open to the general public thanks to the support of the Germaine Van Parys Foundation and the efforts by Prof. Johan Swinnen who is also fellow-curator of this exhibition. This exhibition is accompanied by a catalogue: 'De aanraking van de tijd. Germaine Van Parys en Odette Dereze', [The touch of time. Germaine Van Parys and Odette Dereze] Johan Swinnen (Publ. Luster) and a children's book 'Kijken met Germaine', [Looking with Germaine] Johan Swinnen (Publ. Luster). The Sochi Project: An Atlas of War and Tourism in the Caucasus Rob Hornstra en Arnold Van Bruggen Untill The Winter Olympics in 2014 will be held in the South Russian Sochi. It will be the most expensive Games ever, in a subtropical resort and near the very brutal North Caucasus. Since 2009, photographer Rob Hornstra and author Arnold van Bruggen have worked without interruption on a comprehensive documentary about this controversial conflict area. The Sochi Project wishes to inform as many people as possible of the people, the country and the turbulent history of this small, but complex region. Topics including corruption, violence, terrorism and tourism are the common themes throughout the project. At regular intervals, finished stories have been released in the form of publications and presentations. This exhibition is the sum total of five years of in-depth, slow-journalism research. Right from the start in 2009, the funding of The Sochi Project relied on donations from private donors. While Crowdfunding was then unique in Europe, it has since been much imitated. The Sochi Project does not only receive international attention on account of the unique funding model, it is also amassing numerous international awards. Accordingly, the first annual publication Sanatorium received the New York Photo Book Award in early This was followed by the Dutch Canon Prize, the World Press Photo Award, the Sony World Photography Award and the Magnum Expression Award. The closing publication The Sochi Project: An Atlas of War and Tourism in the Caucasus, published by Aperture, will be presented during the first major retrospective of The Sochi Project at FoMu in the autumn of The exhibition runs until the Winter Olympics in February 2014 and will also stop at the Winzavod Museum for Contemporary Art in Moscow and the DePaul Art Museum in Chicago. Nieuws? Untill The news that ends up in the newspapers at our breakfast tables has been subjected to endless filters. Just as well. Every day, thousands of photographs are posted to editorial offices, while only a few make it to the finish. With the exhibition Nieuws?, FoMu questions these selection rounds. Who decides what is newsworthy? Why is one image chosen over another? What image do we get of the world? Through whose lenses are we looking anyway? Fotomuseum Den Haag Stadhouderslaan HV Den Haag Koos Breukel 5

6 Me We - The Circle of Life Untill 01/12/2014 Koos Breukel is among the best-known Dutch portrait photographers. He photographs everyone from children and students to writers, yachtsmen and transsexuals. This year he created the first official portrait photographs of King Willem-Alexander and Queen Máxima of the Netherlands. In this forthcoming retrospective, Me We The Circle of Life, he will tell a universal but at the same time highly personal life story based on approximately 200 of his portrait photographs. The exhibition will include a selection of portraits made over the last 30 years, many of which have never previously been on show to the public. Every aspect of life from birth and joy, to sickness and death will be given equal prominence, making the exhibition a kind of alternative, universal family photo album. In this respect, Me We The Circle of Life will be a perfect companion piece to the Netherlands first national Photo Week, entitled Look! My Family and taking place from 20 to 29 September Koos Breukel (b. The Hague, 1962) is the "other" Dutch portrait photographer. Just like his colleague and friend Rineke Dijkstra, his portraits are never superficial. They are not mercilessly revelatory images, but unprejudiced portraits that do justice to the individual, the traces left by his or her life and above all, his or her personal dignity. In Me We The Circle of Life, pictures of unknown people and celebrities will be shown side by side. Breukel will also exhibit personal objects, such as secret family photos of his mother and his own drum kit. The studio in his living room, an inextricable part of his daily life, will now be transported to the museum and visitors will be able to have their portraits taken in it by Breukel on the third Sunday of every month. The exhibition is accompanied by Me We, a photo book, containing essays by Erwin Mortier and Hedy van Erp. Koos Breukel s Me We The Circle of Life is a Paradox production curated by Bas Vroege Galerie van Kranendonk Westeinde GS Den Haag The Coast Untill 16 November 2013 The Hague, the only big city in The Netherlands located close to the sea, has been the home of our gallery for 30 years now. Time to celebrate this unique location with an exhibition about the coast with work of photographers: Wout Berger, João Grama, Jan Koster, Hans van der Meer and Dolph Kessler. The coast itself is a phenomenon in the geography of each country that has a connection to the sea. The coast is a natural barrier between water and land. Sitting on the shore, or walking on the beach, all our senses are stimulated. The eye can wander around, absorbing the shades of blue, green and grey of the sea, the blue of the sky and the variety of colours from other surroundings. The eye can travel in the distance, seeing the horizon as a long strip where the orange sun sets, sometimes giving the sky a beautifull red dotted pattern. At the same time the feet and toes feel the softness of the sand or the harshness of rocky stones. 6

7 One can hear the sea, the rolling of the waves, the tidal rhythm of high and low, a dark and heavy sound sometimes cut through with the shrill cries of seagulls, circling as white kites against the sky. And our nose smells the sea, smells the fishy air at the coast when there are harbours with fishing sheds. Our taste will be tested later on when eating some fish from the sea in a nice beach restaurant. According to the images in this exhibition, the artists must have experienced a similar sensation of the senses. The images are evocative, they bring to you the atmosphere of the coast, so you can hear the sound of the sea again, or smell the fish and watch the birds Huis Marseille / Museum voor Fotografie Keizersgracht EK Amsterdam The Rediscovery of the World / Large inaugural exhibition in a double-sized Huis Marseille Untill December 8, 2013 What does photography mean today beyond the fact that it is an image-carrying medium? This question is not as odd as it sounds in an age entirely dominated by visual culture. Armed with digital cameras, smartphones, ipads and internet, these days anyone can make a photo and immediately distribute it worldwide. Analogue applications are increasingly being marginalised by a digital climate in which images are everywhere and belong to everyone. What can possibly remain of the artistic value of photography in this context? Surprisingly enough a large group of Dutch photographers is devoting itself to this very question, with work directed specifically at the nature of photography itself. Renewed emphasis is being given to purely photographic aspects such as disclosure, light, colour, reflection and experiment. The core of the photographic medium itself forms the foundation of this impassioned artistic exploration, and it is the rediscovery of the world through photography that forms the fascinating subject of this celebratory opening exhibition. What better location to celebrate The rediscovery of the world than in the newly doubled space of Huis Marseille? On 7 September 2013 this exhibition of new Dutch photography will be the first to fully occupy both buildings. In recent months the adjacent canal houses at Keizersgracht 399 and 401 have been linked together by new doorways on three floors. From September 2013 these two historic buildings with parallel period rooms and large galleries, a new educational space and a double terrace will provide no fewer than ten exhibition galleries. This large opening exhibition will also be accompanied by an extensive programme of activities developed in collaboration with the participating photographers. With many new works by Popel Coumou, Elspeth Diederix, Eddo Hartmann, Scarlett Hooft Graafland, Juul Kraijer, Tanya Long, Katja Mater, Hellen van Meene, Awoiska van der Molen, Ilona Plaum, Emma van der Put, Viviane Sassen, Scheltens & Abbenes and Simon van Til Melkweg Gallery Lijnbaansgracht 234 a Amsterdam 7

8 Holland op zijn ADE Playground - Dennis Duijnhouwer, Ryan Cookson, Erik Smits Untill 17/11/13 Deze expositie is een hommage aan de intrigerende gabbersubcultuur met foto s van Dennis Duijnhouwer, Ryan Cookson, Erik Smits en Esteban Gonzalez. Zij nemen je mee in de ietwat intimiderende, maar op tweede gezicht toch vriendelijke, wereld van de gabber vanaf de opkomst in de jaren negentig tot nu. In de jaren negentig leek er geen ontsnappen aan het muziekgenre gabber. Op een bepaald moment leek iedereen gekleurde trainingspakken en Nike Air Max te dragen en met een strak geschoren hoofd rond te lopen. Maar na de periode waarin het mainstream werd, kreeg het genre het zwaar te verduren. Toch is het nooit volledig vergaan; het ging simpelweg ondergronds en werd gekoesterd door een toegewijde scene van jonge mensen die een passie deelden voor de hardste vorm electronische muziek ooit. Gabber is nu zelfs een ware exportknaller geworden. De Nederlandse termen gabber en hakken worden aan de andere kant van de wereld veelvuldig gebruikt. Zo bleek bijvoorbeeld de Australische stad Melbourne vruchtbare grond te zijn voor het genre. Niet alleen voor de muziek, maar ook voor de gehele subcultuur Museum voor Moderne Kunst Arnhem Utrechtseweg AA Arnhem, Uniform yet unique School uniforms. New photo series by Annie van Gemert Untill 24 November 2013 School uniforms are common in elementary and middle schools in many countries. They symbolize class equality, quality, and structure. Photographer Annie van Gemert visited Belgium, where pupils still wear uniforms in many schools. From 2009 to 2013 she created probing (group) portraits of boys and girls in school uniforms. These photos led to a new publication, School Uniforms: Education in Flanders. A selection from the series of photos will be displayed at the Museum voor Moderne Kunst Arnhem for the first time starting 27 September, Changed function The new series indirectly reveals the changes that have taken place in Flemish education over the last twenty years. In 1997, Van Gemert s book of photographs, Uniformity: Girls boarding schools in Flanders, was published. A world on the brink of disappearing. By 1998, almost all schools were co-educational. Schools which had a reputation as elite institutions for either boys or girls exclusively were giving way to the co-ed model. More than in the past, pupils come from different social demographics and bring with them a larger diversity of cultural backgrounds. Van Gemert s photo series records these developments, particularly the changed function of the classic school uniform in a modern multicultural society. Everyone is equal, regardless of their culture, religion, or origin. Because education is becoming more international and racially mixed, the standardization of the uniform takes on a different meaning. Schools use it to promote equality between cultures. The school uniform becomes a symbol of the way in which we, as a society, strive for equal rights and opportunities for everyone. In an engaging and penetrating manner the photo series School Uniforms: Education in Flanders focuses on the tension between uniformity and diversity, assimilation and distinctiveness, and groups and individuals. Behind closed doors Since 1990, Ann ie van Gemert (1958, Vught) has become known as a photographer with a predilection for worlds that are on the brink of disappearing or, as in the case of this new series, changing. Driven by 8

9 her curiosity about lives that play out, to a large extent, behind closed doors, she has created photo series about girls schools, teenagers rooms, monasteries, and large families. Typically, she follows and observes these closed worlds for years. The identity and relationship of the subject of the portrait with his or her environment are central. The children look intently into the camera, and the background and composition are of equal importance. The stately architecture of the historic school buildings, the classrooms, gym, cafeteria, chapel, corridors, staircases or enclosed schoolyards forms the backgrounds against which boys and girls from different cultures come together. The big question this new series raises is how wearing a school uniform group identity is related to the development of individual identity. Equally, the series asks how the school uniform can bridge different social and cultural backgrounds. Photo book The photo book School Uniforms: Education in Flanders will be presented at the exhibition s opening. It features different schools: from public to private, from Montessori schools to a fishery school to boarding schools. In the accompanying text, teachers, school directors, and children give their opinions on school uniforms, and school directors share their experiences with co-educational and multicultural education. Specialization Annie van Gemert specializes in interiors, portraits, and staged documentary photography. She graduated with a degree in photography from AKI in Enschede in Portraits and interiors play an important role in the photos. Her photography publications include: Uniformity Girls Boarding Schools in Flanders (1997); Many Children Large Families in the Netherlands and Flanders (2002); A Summer at Sea (2003); Monks (2006) and Boys and Girls (2009). For this last book, she won second place in the World Press Photo competition in the portrait category Nederlands Fotomuseum Wilhelminakade 332 Rotterdam WHITE PHOTOGRAPHY, ART, DESIGN, FASHION, FILM Untill 5 January 2014 The Nederlands Fotomuseum will present the exhibition WHITE PHOTOGRAPHY, ART, DESIGN, FASHION, FILM. This exhibition displays existing and new work by national and international talent, by established and promising artists such as Laurens Aaij, Marijn Akkermans, Eve Arnold, Sandra Backlund, David Batchelor, Aziz Bekkaoui, Mattijs van Bergen, Dinie Besems, Blommers / Schumm, Erwin Blumenfeld, Irma Boom, Guy Bourdin, Jan des Bouvrie, Joost van den Broek, Frank Bruggeman, Comme des Garçons, Anton Corbijn, Ellen Deckwitz & Ingmar Heytze, Jackie Dewe Mathews, Elspeth Diederix, Cheryl Donegan, Charlotte Dumas, Marlene Dumas, Lidewij Edelkoort, Olafur Eliasson, Ed van der Elsken, Fleur Goedendorp, Philippe Grandrieux, Carli Hermès, Iris van Herpen and Isaïe Bloch, Claudy Jongstra, Seydou Keïta, Ellsworth Kelly, Geert van Kesteren, Fransje Killaars, Aart Klein, Robin Kolleman, Katrin Korfmann, Anouk Kruithof, Katinka Lampe, Inez van Lamsweerde, Ola Lanko, Joep van Lieshout, Nanine Linning & Les Deux Garçons, Marsel Loermans Anton Spruit, Loesje, Evelien Lohbeck, Kadir van Lohuizen, Petra Lunenburg, Maison Martin Margiela, Piero Manzoni, Raquel Maulwurf, Paul McCarthy, Richard Meier, Christien Meindertsma, Vincent Mentzel, Lana Mesic, Krijn van Noordwijk, Erwin Olaf, Cas Oorthuys, Lonneke van der Palen, Christopher Payne, Pierre et Gilles, Bertjan Pot, Carla van de Puttelaar, Raw Color, Leni Riefenstahl, Karin Sander, Jaap Scheeren, Scheltens & Abbenes, Roland Schimmel, Michael Schnabel, Scholten & Baijings, Jan Schoonhoven, Marleen Sleeuwits, Berndnaut Smilde, Berend Strik, Studio Drift, Cornelie Tollens, Oliviero Toscani, Luc Tuymans, Bibi van der Velden, Dirk van Weelden, Isabelle 9

10 Wenzel, Guido van der Werve, Johannes Wiebel, Peter de Wit, Mark van der Zouw and Corné van der Stelt, Piet Zwart and many others. The WHITE exhibition is a total experience with photography as its leitmotiv. White stands for a fresh start, a blank page. This colour forms the point of departure for a multi-faceted exhibition in which the public is brought into contact with the various significances of white. WHITE is a multidisciplinary event, presenting documentary, portrait and landscape photography, as well as art, fashion, design, architecture, film, video and more. WHITE is all about our society, about diverse cultures, religion and politics. WHITE is historical and contemporary. It is a voyage of discovery along narratives and experiences full of contrasts between light and dark, open and closed, life and death. WHITE shows the relationship between photography as an art form and current social themes, as well as the interaction between the museum s own collection, extraordinary works on loan, and unique works realized through commissions. WHITE has been compiled by Anne van der Zwaag, curator and publicist in the domain of art, design, fashion, photography and colour! The WHITE exhibition is part of the long-term programme entitled BLACK&WHITE, which has been made possible by a generous contribution from the Wertheimer Fund. With a fascinating total concept that will be rolled out in the course of several years, the museum is positioning itself as the Netherlands top Museum of Photography in the field of historical and contemporary photography with societal relevance and a border-breaking character. Nowadays, as the boundaries between the various art disciplines are blurring, the Nederlands Fotomuseum is looking beyond its own particular medium and is placing photography in a broad creative context. For more information, please see Rijksmuseum Amsterdam Museumstraat XX Amsterdam Our daily bread Henk Wildschut Untill 7 January 2014 On behalf of the Rijksmuseum and NRC Handelsblad, Henk Wildschut photographed, for one year, the production of fruit, vegetables, meat, milk, fish and eggs in the Netherlands for the exhibition Document Nederland: Ons dagelijks brood [Documenting the Netherlands: Our Daily Bread]. For this purpose, he visited largescale and organic pig and chicken farmers, a fish farm, a dairy certifying agency, greenhouse farms, various laboratories, a seed improvement company and a chips producer. The exhibition Document Nederland: Ons dagelijks brood paints a highly diverse and even surprising picture of how our food is produced. Photographer Henk Wildschut set off with a great deal of scepticism, but in the end he found that Dutch food production also has its benefits. 'Organic' Ons dagelijks brood shows that how our food is produced is a far cry from the romantic notion of life in the countryside, even when it comes to organic food that is so popular nowadays. With consumers demanding good and safe food and less use of antibiotics, the production process becomes ever more technical and clinical. But this also means that non-organic food is increasingly becoming just as organic as organic food. Wildschut says, Our food production process is all about economy, efficiency and profit. This ultimately widens the gap between humans and animals. I found out that I didn t actually know where my food comes from. I started this assignment with a notion that many people probably have: that our food production system has all kinds of failings. I ve changed my mind 10

11 about that. Large-scale production also means innovation, energy savings, better food quality control and even better animal welfare. Henk Wildschut Henk Wildschut (1967) studied at the Royal Academy of Art in The Hague ( ). His photographs have been on display in the Netherlands and abroad, and he has published various books of photography. His work has won a number of rewards, including the Dutch Doc Award The Rijksmuseum and NRC Handelsblad are organising the 15th edition of the exhibition Document Nederland, for which they ask a photographer to highlight a current social phenomenon. For the first time since the start of the renovation in 2003, the exhibition Document Nederland is again held in the Rijksmuseum. 11