“(…) the work brings the ethical and political concerns of the environment, consumerism and waste into view. It suggests that we pay attention to the meanings, limitations and possibilities of recycling, without being didactic and heavy-handed (…).
Yvette Greslé on ‘the wall hangings’ of El Anatsui.
“Absence, in the making of the photographs, seemed like a metaphor for presence, a way to affirm the continued relevance of the girls. By standing in place of portraits of the missing girls, the still life pictures of their possessions carry the same power of recognition that portraits would have carried.”
Emmanuel Iduma on the representation of the schoolgirls kidnapped by Boko Haram.
“In spite of the gaps, the missing opportunity’s and the uneven quality of a number of works on display. ‘Represent’ is an exhibition that is worth visiting. For visitors who are not familiar with art of black American artists it makes a good introduction , for specialists, the exhibition leads to a wider discourse on African American art.”
Rob Perrée reviews ‘Represent: 200 years of African American Art’ in Philadelphia Museum of Art.
“In order to find her reflection, culture and history Iris Kensmil followed the footsteps of fellow Dutchmen from Holland to Suriname to America to Ghana and Indonesia and back. She has given us a tangible trail of not only her but our own reflection, culture and history.”
The conclusion of Sasha Dees in her article on the Dutch/Surinamese artist Iris Kensmil.
“Isaac Julien wanted to show how the art world is functioning as a capitalist venture. So from hedge fund manager, to auction and even the cleaning lady that works for an art collector, they are all working in a way within the art world, although its mechanisms could easily be stretched to fit a more general model of society. However, the characters lack relief. Even in their enthusiasm or grief, they are stuck in their role as an archetype in the story of capitalism. That fact alone causes a distance between film and viewer. ‘Playtime’ is too much of a sketch, instead of a forceful story.”
Machteld Leij on ‘Playtime’ of Isaac Julien.