Jana Euler: High In Amsterdam. The Sky Of Amsterdam (The Stedelijk Museum- Amsterdam)

Hi everyone!

Thanks for checking out CanvasAndCrumpets.  As you may know, I just got back from my Euro Trip and I’ve been posting about the exhibits I saw in order. I recently posted about three different exhibitions I saw in England. You can check them out here, here, and here. After a week of museuming and eating bangers and mash with my English cousins, I flew to the Netherlands.  On my flight I was seated in the middle of a large bachelor party, next to the groom-to-be-himself. If you have the chance to travel with a very drunk bachelor party you absolutely must take it because it was the best flight I’ve ever had. There was also a large party of middle-aged-women wearing shirts that said “F*** off, I’m with the birthday boy” and a rather emo looking high school student wearing a shirt that said “F*** off, I’m the birthday boy.” All of the women were screaming.

And so, I arrived in Amsterdam slightly tipsy and very excited. The city did not disappoint (as always!) At the absolute top of my list was a trip to the Stedelijk Museum. The Stedelijk is where I fell in love with Dutch art, and where I did much of my research for my senior thesis. I’m obsessed with the art, the building, the library, and the now deceased museum director Willem Sandberg. (I’m currently reading a compilation of Sandberg interviews).

On view at the Stedelijk right now is the exhibition, “Jana Euler: High in Amsterdam. The Sky of Amsterdam.” While it is difficult to read that sentence without immediately thinking of Dutch drug policy, it would be remiss to read off the German artists’ trippy canvases as mere mushroom-inspired dreamscapes. Euler’s works are explorations of different genres. She takes the concepts and strategies associates with each and plays with them, bending them inside-out. The Stedelijk describes Euler’s work as being “recognizable not by how it looks, but by its effect.” Let’s take a look at my favorite work from this show and see Euler’s process in action.

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Here is the ethereal Understanding Doubts and Logic (2017):


For this work Euler airbrushed acrylic paint onto the surface of the canvas and then used oil paint on top. The two layers operate as separate paintings as well as aspects of a finished whole. The airbrushed layer features a multi-limbed and multi-breasted female figure resting in a garden filled with flowers. The oil layer features shoes, nail polish, and fake eyelashes. If you look closely, you’ll also see that there are tiny pictures of men sitting at a table with a bottle of wine painted in thin brushstrokes of oil paint. Stranger yet is the fact that white breastmilk from each of the figure’s many breasts pours into the bottles at the men’s tables. Oil is also used to spell the phrase “understanding doubts and logic” and to connect this phrase to a yellow sun by way of a thin yellow line.

Now, I have a lot of thoughts about this painting and what it might “mean.” So I’ll begin by saying that Jana Euler’s work is not explicitly symbolic. It does not fit into an allegorical box that matches icon with signification. Rather, it suggests a multiplicity of signification for various images across the canvas. It points to potential interpretations without maintaining that it must be read a specific way. And so, my reading should be seen as one angle of many that fit Euler’s multifaceted work.

I see Understanding Doubts and Logic as a blend of two genres: the female nude, and the sort of impressionistic cafe paintings that were popular in late 19th-century Parisian art. The airbrushed painting is the nude, as the naked figure takes up the majority of the canvas. Her head heads several inches below the top of the canvas, and her many feet end slightly before it, or have their toes chopped off by the bottom of the canvas. Because she fills the canvas, the focus of the painting is on her. The viewer’s eyes are free to travel across the surface of the painting, consuming different parts of her body at every turn. We as viewers fill the role of the voyeur in the relationship between viewer and subject in this genre. Euler is keenly aware of this dynamic and playfully mocks it by multiplying the subject’s breasts. Euler seems to be saying, “I know you’re going to look at this woman, so why don’t I give you a lot more to look at!” The artist has also multiplied the amount of feet in the painting. I find this very amusing, as it is clear to all that feet were never the focus of the viewer’s gaze.

Another way that Euler plays into this genre is through the figure’s gaze. In classic female nudes like this and this the female figure looks away from the viewer, allowing him to consume her without confrontation. Making eye contact would break the illusion that she wants to be consumed and is there for male consumption. She would be individualized. No longer staring at an anonymous doll, the viewer would feel confronted by the figure and embarrassed by his blatant ogling. And so, restricting eye contact allows the viewer to consume the figure in peace. Like the academic nudes do, Euler’s figure looks away demurely, allowing the viewer to get lost in her multitude of breasts and legs.

However, the longer we stare at the figure, the more we begin to feel that we are being made fun of. Not only has Euler multiplied the significance of the figure’s gender through the multiplication of breasts, but she has also aggressively emphasized other aspects of femininity. The long, curling eyelashes added over the airbrushed layer of paint are so ludicrously long it would be difficult for the figure to open her eyes. There are many kiss imprints haphazardly stamped on the surface of the painting. The figure’s red fingernails are half the size of her fingers themselves. Her breasts are many different colors, as if the figure is somehow able to be many ethnicities at once and therefore satisfy the male viewer’s many racial fantasies. Euler has created a woman who screams “WOMAN” so loudly that she becomes a parody of what the voyeuristic male wants– and expects– women to be.

This interpretation is supported by the second layer of the painting that I find resembles the cafe scenes in impressionistic France. Men outlined in black paint sit around a table drinking from proportionally enormous bottles of wine. I am reminded of 19th century cafe scenes because of the leisurely, gendered nature of each tableau. I find it comical that the female figure has been so artfully constructed with layers of paint and bright, vibrant colors, while the males are designated to mere outlines of form. While painterly attention to the female body is often objectifying, Euler’s self-conscious multiplication of gendered body parts is actually empowering. Thus, the contrast between the colorful female figure and the haphazard outlines of teeny male figures renders the male characters inferior. Euler further emasculates them by unknowingly serving them wine bottles filled with breastmilk. Droplets of white paint spill from each nipple into a bottle on each table. This is perhaps the most amusing aspect of this painting. Euler has taken the sexist notion that a woman’s role is as a wife and mother alone and used it to turn the power dynamic between men and women on its head. The men are infantilized by their small size, simplistic depiction, and the hysterical fact that they are drinking a woman’s breastmilk.

Here are Lara (my travel pal) and I, very amused at this:


So what do we take away from Understanding Doubts and Logic? I quite like the interpretation I just presented, though I am not sure how the title fits in. Perhaps the female creature, whose forehead bears this phrase, is somehow all-knowing in her female genius. She can understand both the understandable and what we doubt we can comprehend. I come away from this painting feeling empowered and amused. Euler has turned gender dynamics on their head with a coy smile. Her belittling depiction of men is not a statement that women are actually superior, but a commentary on the way the reverse is so prevalent in our society.

I recently read Malcolm Gladwell’s David and Goliath. The point of this book is that the so-called weaknesses attributed to underdogs are actually qualities that give them an advantage against their opponent. Euler has taken the “weaknesses” of women that the patriarchy attributes to the “fairer gender” and turned them into symbols of power. Breastmilk and long eyelashes signify greatness and strength.

Until next time!


Chloe ❤

Leo Gestel, (Stedelijk Museum- Amsterdam)

Hi everyone!

As you may know, I usually write exhibition reviews on temporary exhibitions. When I was abroad in Amsterdam last spring, I wrote an average of one post per week, usually on an exhibit that would close within a few months. I always perused the permanent collection of whatever space I was in, but it never occurred to me to devote a post to any assortment of permanently-owned works.

My thesis research brought me to Amsterdam again this past January. I was on the hunt for works by the Dutch Cobra artists (you can read about my trip here). 1/3 of my trip entailed viewing works by these artists in the modern art wing of the Stedelijk Museum. As I walked through the chronological galleries, I was fascinated by the way Dutch painters encapsulated the progression of European modern art. And so, today I am going to take a closer look at one of these painters in particular: Leo Gestel.

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Leo Gestel was one of the leaders of the Dutch modernist movement. His painting style ranged over the years, though he was especially influenced by cubism and post-impressionism. Take a look at the following painting entitled Reclining Nude (1910).


This painting was made in 1910. Some of the most famous post-impressionists- Vincent van Gogh, Georges Seurat, and Paul Cézanne- died in 1890, 1891, and 1906, respectively. Yet their influence is unmistakable. Note the geometric treatment of each brushstroke:


One of the defining characteristics of post-impressionism was the mathematical attention paid to the brushstroke. Seurat was famous for ordering his brushstrokes so that certain patterns of closely painted colors would trick the eye into mixing the colors together, and perceiving a different shade entirely. Such was the magnificence of a work like A Sunday on la Grande Jatte (1984). Note how different the colors of the figure’s hair look in the zoomed-in image vs. the whole painting. Up close we can see blue, green, orange, yellow and red bits of color sitting next to each other within the confines of her hair. From far away, the eye doesn’t completely blend the colors as it does with a Seurat, but there is a fair degree of optical mixing. I feel a sense of blue, green, and brown when I look at the figure’s hair from far away, which supports the notion that Gestel was interested in scientific, painterly tricks.

But if he was interested in optics, why not devote his attention entirely to this process, as Seurat had, and Gestel’s contemporary- Paul Signac- was doing? Perhaps there was something to accomplish in failing slightly. In other words, there can be great significance in the act of failure to represent, or to fall short of representation. Paul Cézanne’s landscapes often oscillate between two and three dimensionality. His Mont Sainte-Victoire Seen from Bibemus Quarry (1897) illustrates this phenomenon. Notice the flattening effect of the rectangular brushstrokes. Try to make sense of the orange space in the middle ground; are these cliffs dividing a lower and a higher plane? They seem to be collapsing in space, allowing these two planes to fold in on each other.

I believe that the partial optical mixing that Gestel employs was inspired by a Cézanne-esque failure to fully represent a scene. The genius of Cézanne (and Gestel, in my humble opinion), is the ambiguity of space that this failure creates. Both artists’ paintings leave questions for the viewer about the significance of this ambiguity.

In Reclining Nude, Gestel places colors tightly together, but fails to mix them completely. The background is a vibrant splash of pink, green, and blue. The bedding is composed of rich gold and yellow with bits of pink and green. These colors hint at sumptuous fabrics and gaudy wallpaper. Are we supposed to infer that she is a courtesan, because she exists within a sumptuous and gaudy world? Or do these ambiguous spaces reflect her beauty? Are we meant to envision this woman as existing within an Eden of lovely colors and patterns that reflect the color of her spirit? These are the questions that ambiguity leave behind.

Also note how Gestel uses color to draw attention to her gender:


Like the hair on her head, the hair on this figure’s body is painted with ‘unnaturalistic’ colors- purple, yellow, and green. It is already marvelous that a work in 1910 featured a woman with pubic hair. Doing so contradicted the Hellenistic ideals of beauty that characterized female nudes for thousands of years. On this figure, her gender and its natural accouterments are viewed as vibrant and colorful- just like the rest of her body.

Now, it is impossible to ignore the positioning of the figure. She lays on the bed, naked, with her entire body visible for the viewer to consume. And yet, she hides her face in her arm. And so, she remains anonymous to us. What is the purpose of this positioning? First, it is important to look back on all of the early modern nudes that Gestel would have been well aware of. Perhaps the most famous, Manet’s Olympia (1865), challenged the traditional depictions of the courtesan as a Venus figure, averting eye contact with the viewer and allowing him to take in her idealized body. Olympia was extremely controversial at the time, as her piercing gaze confronted the viewer for his voyeurism. Her unidealized form blatantly revealed her occupation as a courtesan without shielding her behind the moral legitimacy of Greek myth. She appeared as an actual prostitute in 1865 would, and she did not pretend to enjoy the encounter.

Olympia paved the way for more honest depictions of prostitution and less idealized images of the female form. So where does Leo Gestel fit into this, and how can we understand the Netherlands within this narrative?

The Netherlands, though famous for legal prostitution today, was extremely conservative in 1910. Society was divided into distinct pillars- the Liberals, Catholics, Protestants, and Social Democrats- and people kept within their pillar. Paris was the land of courtesans, Moulin Rouge, and debauchery, not Amsterdam. Keep that in mind as we analyze the significance of this figure’s nudity.

There is celebration in the colors utilized here, and in the pleasure Gestel takes in filling in the contours of the figure’s body with paint. And yet, her hidden face is anything but celebratory. She is either extremely distressed or fast asleep.The alertness in her leg tendons suggest to me that she is awake and in a state of distress. Were she asleep, her legs would relax, and her muscles would not appear so engaged. Pre-Manet nudes depicted hollow-eyed Venuses who graciously accepted voyeurism. Manet and his contemporaries put forth confrontational nudes, in charge of their own sexuality.

It is here that I am faced with a dilemma. It seems  unlikely that Gestel, especially given his interest in post-impressionism, would turn back the clock 100 years and paint an idealized, nude, Venus. And yet, the way he blatantly positions her gender forward while hiding her face seems strikingly old-fashioned.

And yet, there is no power or confrontation in this figure’s body language to suggest her agency. She hides her breasts and burrows her head in the pillow. This is clearly not a work after Manet.

So what, then, are the implications of Reclining Nude? Is she a Venus or an Olympia? I’d love to hear your thoughts in the comments below.

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I hope you enjoyed this sampling of Dutch modern art. The Netherlands is a truly fascinating place, and its journey from Rembrandt to van Gogh to Gestel is absolutely fascinating. I can’t wait to share more.

Until next time!


xoxo, Chloe ❤


Seth Siegelaub: Beyond Conceptual Art (Stedelijk Museum-Amsterdam)

Hey everyone!

Today I’d like to discuss a unique exhibit I recently saw at the Stedelijk Museum, a modern art museum in Amsterdam. “Seth Siegelaub: Beyond Conceptual Art” is a retrospective of the work of Seth Siegelaub, famous New York curator, author, collector, and bibliographer. He was a contemporary Renaissance man whose impact on the art world cannot be overstated. What I find most important about Siegelaub was his multi-disciplinary approach to art. He did not view art in a vacuum, but in the context of physics, media, history, globalization, politics, and english. Furthermore, his definition of art reached from abstract conceptual art to the study of headdresses and textiles. In “Seth Siegelaub: Beyond Conceptual Art,” the Stedelijk Museum introduces a new generation to the legacy of Siegelaub. What is this legacy? That the interconnectedness of everything can be felt through the practice, collection, and study, of art.

This is what one sees when one first enters the exhibit:


Transferred. To transfer is, by definition, to cause to pass from one to another. It can refer to a tangible transfer, such as the passing of goods from one person to the next. It can also be used to explain non-tangible exchanges, such as the transfer of ideas into words. So why focus on this idea of transference in Siegelaub’s retrospective? I think that Siegelaub’s multi-disciplinary approach to art is actually a web of transferred ideas, manifested in words, motifs, and abstract concepts. In order to understand what I mean, I’ll take you through the exhibit as I saw it. At the end, I’ll show how underlying themes are transferred in Siegelaub’s understanding of the world.

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The first part of the exhibit that I explored was Siegelaub’s large collection of headdresses.  Siegelaub started collecting headdresses in the early 1980s, and continued until his death. His collection spans the whole globe, with pieces from six continents. They represent a range of cultures, materials, and techniques. And yet, together, they form a beautifully coherent whole. Take a look.

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These headdresses, all arranged on thin white pedestals of varying heights, form a unit. But upon closer inspection, it is clear that these ornate works are very distinct from one another. This first headdress is made from banana fiber, cane marrow, bark, leaves, pigment, and feathers. It is called a “Rom Kon” mask and was made on Ambrym Island, Vanuatu, in the mid-20th century.


This second headdress was made at the same time by the Kuba People of the Democratic Republic of the Congo. It is composed of wood, vegetal fiber, shells, and glass.


By displaying these headdresses together, Seigelaub indicates that people all over the world have intrinsic similarities and interests, simply due to the fact that we are all human. Cultures that are oceans from one another independently chose to wear headdresses, whether for protection from the elements, for spiritual reasons, or for stylistic choice. It is a fascinating and beautiful thing to think that people from different places have similar desires, fears, and solutions to their problems. Taken together, this collection is both a celebration of humanity’s similarities and an exposé of cultural individuality.

I am curious here about the relevance of transference in this aspect of the exhibit. The transference of human emotion to creation is clear.  The fear of the elements and the need to protect oneself, as well as religious sentiment and the creation of spiritual garment, are apparent precursors to the use of headdresses in various cultures. But what kind of exchanges may have occurred that allowed ideas to bounce between existing groups? Do trade and tourism impact the resources available to the creators of these headdresses, influencing how they construct them? And do these activities expose them to different styles and intellectual concepts that affect their approach to making headdresses? These are questions I would like to find an answer to in Siegelaub’s writings, and in literature on anthropology/textiles in general. I am not a student of globalization, but perhaps, as Siegelaub suggests, we all ought to be. After all, art is a reflection of globalization, and the two are intrinsically tied.

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Siegelhub was also an avid collector of textiles. His collection was just as global as his compilation of headdresses, and it indicates his fascination with woven and stitched art. The majority of these textiles are non-western, and feature complex patterns and motifs like the one featured below. These textiles are displayed in horizontal glass cases throughout the exhibit. The light in the room is kept low to preserve the pigments of these fragile works, but their beauty radiates through the dim glass.

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Many of the textiles, despite being from different cultures, share similar motifs. Geometric shapes, symmetrical patterns, and motifs within larger shapes are abundant. I wonder if, like the global popularity of the headdress, these similarities can be attributed to some extent to human nature. If there is something, perhaps, psychologically pleasing about a repetition and straight lines, or a perfect circle. Does the human mind find pleasure in symmetry? Is there a transference of human desire into the methodical design of a textile?

I also believe that the transference of ideas and materials between cultures is an important element of Siegelaub’s study of textiles. The same logic can be applied here that I explained in relation to headdresses, but more so, I believe, because textiles are a more portable medium of art. They form the basis of clothing, blankets, tapestries, scarves, prayer shawls, rugs, and any other fabric-based item. One can trace the pattern of human movement by mapping the transference of motifs and ideas between cultures. For instance, it is easy to see when Europeans began trading with and colonizing the East, because they brought back with them notions of the “Orient” that manifested themselves in European textiles. The appearance of Japanese, or mock-Japanese fans and parasols became prominent in female quarters, as well as layers of velvet and silk shawls shading the windows and covering wooden furniture. Mens’ smoking rooms saw increasingly padded upholstery in vivid colors. Oriental rugs became commonplace in western Europe. Such trends of global movement can be seen on a smaller scale as well, as cultures diffused information through local interactions.

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After examining Siegelaub’s collections of headdresses and textiles, I moved on to the area of the exhibit examining his work as a curator. Siegelaub is often referred to as the Father of Conceptual Art. His early years were spent curating in New York City. The ideas he fostered during this busy time would influence his later endeavors.

One of Siegelaub’s most famous projects was the exhibit, January Show, which he curated in 1969. Up until then, conceptual art was popular, but people were unsure how to package it to the public. Siegelaub presented conceptual art in a way that was digestible and purchasable, by expanding its definition to encompass things that were tangible, and others that were arrangeable. What I mean is, a book or a poster could inhabit a wealth of meanings that made it conceptual. An entire space could be arranged to convey a meaning, and that in itself was conceptual art. In reference to January Show, Siegelaub said, “The exhibit consists of (the ideas communicated in) the catalogue; the physical presence (of the work) is supplementary to the catalogue.” The artists whose work was represented in January Show were Robert Barry, Douglas Huebler, Joseph Kosuth, and Lawrence Weiner.

You can view the catalogue here. 

Congratulations. You are now in possession of conceptual art.

Because the concepts outlined in the catalogue are the art itself, the physical representations of these ideas in the show are supplementary. As Lawrence Weiner indicates in the catalogue, “the piece need not be built.” And so, the fact that we do see the piece built is merely by chance. Had it not been built, the concept would have remained.

Here are some photographs of the physical representations of January Show. 

“Art as Idea as Idea,” by Joseph Kosuth (1968).



This concept, as explained in the catalogue, is composed of the artist creating nine dictionary definitions. Each time one of the definitions is exhibited, he instructs that it be enlarged to different, specific, dimensions. In this way, the work has no constant shape. It doesn’t even have a constant form, because there are nine different definitions that can be printed to follow the directions of “Art as Idea as Idea.” Here I have shown ‘Painting’ and ‘Definition,’ but there are seven other options. Both the small version printed in the book and the larger canvas version represent “Art as Idea as Idea.”

The photo below is of Lawrence Weiner’s “AN AMOUNT OF BLEACH POURED UPON A RUG AND ALLOWED TO BLEACH” (1968).


In this work, Weiner emptied a can of bleach on the carpet of the exhibition the day before it opened. What makes this work a fine example of conceptual art is that it is not about the final image of the bleach on the rug. While it is visually arresting, it is supplementary to the statement, “an amount of bleach poured upon a rug and allowed to bleach.” This statement is the act of art-making. It represents the control the artist has on the space around him. The rug is not bleached; it is ALLOWED to bleach. In this way, Weiner shifts the focus of the work to the act of making, and what this says about individual will and power, rather than the aftermath of this power.

I think of it a bit like physics (which becomes even more relevant later in this post). In physics there is a concept of kinetic energy vs. potential energy. Kinetic energy is the energy one has from moving, such as the flow of a river. Potential energy is the energy one has from positioning in space, such as the water right at the brink of a waterfall. In AN AMOUNT OF BLEACH,  the potential energy of the artist, instructed to bleach the carpet, is the focus. His position in the world allows him to yield force to create a lasting impact.

It seems to me that Siegelaub deliberately chose to curate works that revolved around the idea of transference. The ideas present in the catalogue of January Show could only be seen if they were transferred into something physical, but the original idea, written down in the catalogue, was purest in the minds of visitors. Transference is what allowed these ideas to be seen by more and more people. Reprints of “Art As Idea As Idea” hung in various countries may be secondary to the concept, but they transfer its meaning to new audiences.

I linked you with the exhibit catalogue. You are now a PART of this transfer.

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Siegelaub’s intellectual publications are also a central aspect of this exhibit. After Siegelaub moved from New York to Paris, he became interested in mass-media and left-wing politics. He created the International Mass Media Research Center and started writing bibliographies, one of which was titled Marxism and the Mass Media. Towards a Basic Bibliography. Before the internet made it easy to do research, bibliographies like Siegelaub’s were immensely important for researchers.

This exhibit focuses on the influence of mass media and leftism on Siegelaub’s personal ideology and publications. Siegelaub was inspired to create a radical daily newspaper that would combine his passion for conceptual art with its natural ties to journalism, mass media, and politics. The following is an excerpt from a draft of this paper.


One can see the influence of conceptualism in the layout and design of this page. It is handwritten, and squeezed for space at the top. The focus is clearly on the message of the work, rather than its aesthetics, a key characteristic of conceptual art. It is also a sly yet direct attack on censorship. It is easy for the reader to decode this page for the censored words, yet it does not technically break any rules. This loophole underlines the absurdity of censorship. The content of the page also shows Siegelaub’s opinion that censorship is a direct attack on the First Amendment. Such a stance reveals his radical political leanings. He believes in free expression, which was associated with a leftist political mindset at the time.

We can also see how political views translated (or transferred, if you aren’t completely sick of that word yet) into a visual, almost artistic, work.

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Lastly, the exhibit ends with a video installation entitled, “The Causality of Hesitance.” It was created posthumously to explore Seigelaub’s ideas about time and causality in physics in a visual way. Although the curator and researcher died before he could finish exploring these theories, he left behind a wealth of bibliographic information about the relationship between and time and causality. Furthermore, his interest in these ideas stems (transfers!!) from his early involvement with conceptual art. One cannot separate the two, as conceptual art in the 60s often dealt with questions of time . And so, “The Causality of Hesitance” takes Seigelaub’s theories and builds off of them, creating a work that is both thought-provoking and chilling. Here is a still of the video:


In “The Causality of Hesitance,” a man in a turtleneck monologues his ideas about time, all the while acting out these ideas. It sounds confusing, but let me give you a few examples:

  • He says, “Hesitation carves time…” [he hesitates] “…out of time.”

The very act of hesitating is a demonstration of what he is saying.

  • And then he starts talking about radio broadcasting, and its relationship to time. He wonders how long it takes for words to bounce from one person’s mouth, through the radio, and into another’s living room.

“How… long… does… it… take?” He pauses between each word, emphasizing the delay of broadcasting, and how that warps our perception of time.

  • The man then begins to talk about time in relation to art.

“Can an artwork hesitate itself?” he asks. “Can we make an exhibit about not saying?”

If art is about saying something to a viewer, what happens when it says nothing? Is this still art? He says yes, that “unvoiced ambivalence can be an artwork.” It is a poetic utterance, to hesitate. Choosing to not speak, choosing to not represent, elongates time.

  • “Am I talking now?” he hesitates. “How about now?

Does the act of talking cease when he pauses?

  • “Is anyone else listening?”

(Are you still reading?)

  • “Let us make time itself lose its patience. Let us remain. Let us dwell.”

He goes on with this point for a while, dwelling eternally on the concept of dwelling.

  • At this point, I wonder if this man has said anything substantial. I realize that this whole speech is one longgggg hesitation. A deliberate choice to not say anything but to leave us on the verge. He stretches time by explaining time. After all-
  • “Time is material.”

How long did it take you to read this portion of this post? One minute? Five? Did you reread any of it? Was anything that I wrote down actually substantial? Are you very confused?

Can you argue, now, that time is NOT material?

^This is the state of mind I was left in after watching this film. My friend and I had watched this together, and upon leaving, decided we could not see the rest of the Stedelijk that day. We were too emotionally drained from wondering whether we were wasting time or if time was dragging and we needed to sit somewhere and have a sandwich.

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“Seth Siegelaub: Beyond Conceptual Art” has been one of the most interesting exhibits for me to review. I enjoyed focusing on a curator, rather than an artist, and looking at art from many different disciplines. I found myself drawing scientific parallels and investigating the evolution of politics. (How does physics relate to conceptual art? How has leftist ideology regarding censorship changed since the 1950s?) I think that this is the main takeaway of this exhibit. I hope that you take it upon yourself to view the world from many perspectives. It is not enough to look at art from a purely artistic lens. It is also not enough to view science or politics or communications in a vacuum.

Start small. I purchased a book at the Stedelijk called “How to Read Donald Duck: Imperialist Ideology in the Disney Comic.” Grow your frame of references and you will be able to draw more interesting and complex conclusions from any discipline you study.

Until next time!


xoxo, Chloe ❤