Inspired by anti-racist discourse and feminist critique, Draw Me Nearer is a discursive formation of art and politics in which the collective highlights issues of race and gender and the politics of representation particularly in relation to race and the wider media (inclusive of fashion, popular culture, music, street art and film).
- Opening November 25
Spirits of the Soil
This autumn, the Stedelijk Museum dedicates six galleries to the exhibition ‘Spirits of the Soil’ by Raquel van Haver. Especially for this exhibition Van Haver will produce a new series of monumental paintings. The exhibition at the Stedelijk is Van Haver's first solo exhibition at an Amsterdam museum.
From November 25th 2018 until April 7th 2019
(fashion aficionado, photographer, social modality agitator)
Suggests on her website that “I identify myself with the transforming abilities of a chameleon. ….I like to become somebody else every now and then.” The shifting persona, the trickster is a survivor, an archetype that she scratches into the alchemy that makes a photograph, revealing the cosmopolitan consciousness of fine suspension of insoluble light-sensitive crystals in a colloid soul.
(graffiti artist, graphic designer,
“I like to pick at the brain of Western society. Excavating and illuminating the historical visual structure, which is at the base of the Western conception of the world.” In his work seminal western tropes and historical misdemeanours mutate, imagining foreignness in the everyday, everywhere.
(poet, musician, storyteller, visual artist)
Imparts “I for one am not afraid of sharing my own vulnerabilities and my own stories of redemption cou-rage or even regret” Often using salt and black ink to draw nearer the rhizomic spaces of translation, the artist fortifies Edouard Glissant’s realisation that “The West is not in the West. It is a project, not a place.”
(traveller, avid reader, art worldly)
Her virtuoso painting “work is raw and masculine, at times monumental and energetic, at others dark and ominous. Negotiations between ‘self’ and ‘other’ appear as recurring themes.” The somber tones in thick impasto of shebeens’ joie de vivre spills out onto the urban enclosures of Amsterdam, providing an energetic vision of a world in transformation, enunciating and self-defining the past and the future.