In Context
Art, activism and the museum
The Stedelijk presents a three-part program about the complex relationship between art, activism and museums. Together with several artists, we will discuss the role art has within our society.
- Location
- Stedelijk Museum Amsterdam
- Date
- 20 October, 9 November and 15 December 2024
- Language
- Dutch (20 Oct) and English (9 Nov, 15 Dec)
- Entrance
- Book ticket
Art has always played an important role in igniting social debate. Given the rise of ultra-nationalism, xenophobia and climate crises, socially engaged art seems to be needed now more than ever. Does this mean that the museum is also a platform for protest and change? Can a museum promote social change without taking a stand itself? And to what extent should museums encourage visitors to confront and engage with social issues? Should the museum use disclaimers and trigger warnings to protect visitors, or simply let them deal with uncomfortable confrontations?
The Stedelijk explores the complex relationship between art, activism and the museum in a three-part program. Recent examples include the exhibition Reading Dust by activist artist Miriam Cahn and the turbulent developments surrounding Ahmet Öğüt's installation Bakunin's Barricade. Cahn's work confronts and provokes, breaking taboos on politically sensitive topics. Bakunin's Barricade has become a topic of discussion between the museum and activists, who are eager to use the installation as a real barricade during demonstrations.
Rather than presenting simplistic answers, this program invites us to consider the role of art in society and the museum’s responsibility in this regard.
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Ahmet Öğüt, 'Bakunin’s Barricade', 2015, Photo: Gert Jan van Rooij -
Miriam Cahn, 'o.t., 16./17.5. + 9.9. 2019', photo: Heinz Pelz. Courtesy of the artist; Meyer Riegger and Galerie Jocelyn Wolff, Paris -
Judy Chicago, 'Birth Tear/Tear', 1985 -
Marlene Dumas, 'Big Artists', 1991
Program
ANGER IS A GOOD MOTOR TO DO ART
20 October
'Anger is a good motor to do art,' says Miriam Cahn. In these grim times of ultra-nationalism, war and climate catastrophes, there is plenty to be angry about, and the need for socially engaged art seems greater than ever. How do artists create space for their activism, and how does the museum play a part in this?
During this program, several activist artists will show their work and talk about their motivations and the dilemmas they face. How far can they explore their activism within the walls of the museum or art school? What kind of pressure have they faced from both cultural institutions and activists about speaking up? How do they balance artistic freedom and ethical considerations?
With Matthijs de Bruijne (artist), Naaz (singer), Tina Farifteh (artist) and Naomi de Bruijn (artist). Moderated by Jörgen Tjon A Fong.
THE MUSEUM IS (A)POLITICAL!
9 November
An action group that threw red paint at the Stedelijk and other museums during the previous edition of Museum Night did so, declaring: ‘If museums don’t demand a ceasefire, they have blood on their hands.’
Over the last few years, museums have increasingly defined themselves as places that serve their audiences, and society as a whole. One consequence of this more public role is that museums are often asked to speak out on social and political issues. While museums seek to be spaces for interaction and social debate, the gap between art and activism is often enormous. How can a museum take a stance yet at the same time serve as a platform for multiple perspectives?
Lecture by Fatoş Üstek (author of The Art Institution of Tomorrow, Reinventing the Model), followed by a conversation with Rein Wolfs (director Stedelijk Museum).
THIS EXHIBITION COULD HURT YOUR FEELINGS
15 December
What is the role of text, disclaimers and trigger warnings in museums? Miriam Cahn's exhibition features a painting with a controversial history. Previously, this work was shown at Palais de Tokyo in Paris, where it caused quite an uproar. Critics interpreted the image as representing an underage sex act. The artist denied this and emphasized that the painting depicted the horrors of using rape as a weapon of war. A legal complaint was filed in an attempt to have the work removed from the museum, but the judge ruled that the painting could remain. According to the judge, the museum had provided sufficient context around the work and given the public adequate warning. After the ruling, however, an activist vandalized the work. The restored painting is now on display at the Stedelijk. What context should the museum provide?
Together with various speakers, we will discuss how texts influence visitors' experience of art and the choices museums make to safeguard visitors while preserving the artist's freedom of expression. Details of the speakers will be announced shortly.