Eva Roefs

Link to the BJP article

‘Eva Roefs has an affinity for capturing bizarre moments in exceptionally mundane situations. The young Amsterdam-based photographer grew up in south Holland in a small town called Loosbroek, and says the monotonous surroundings spurred her search for the absurd as soon as she started photographing at age 13.’ (BJP, 2017)

Stylish, use of soft pastel colours. It’s inspirational. Her work balances on the boarder between journalism and art.


BJP (2017), At: http://www.bjp-online.com/2017/10/eva-roefs-finds-everyday-magic-on-the-flemish-coast/ (last visited 10/12/2017)

Roefs, E. (2017), At: http://cargocollective.com/evaroefs (last visited 10/12/2017)


MHKA – Museum of Contemporary Art Antwerp

‘The M HKA is a museum for contemporary art, film and visual culture in its widest sense. It is an open place of encounter for art, artists and the public. ‘ (MHKA, 2017)

Reflecting on my visit to this museum my initial disappointment turned into fascination for a couple of the artist (collectives). Some of the expositions started stimulating my mind after reading more information. In one of the opinions in a news paper article on Joseph Beuys, part of the exposition, the writer criticises, loosely translated, the inability of modern artists to bring a message across with their art. Maybe that’s my problem with a lot of contemporary photography. Looking at a picture often isn’t enough. I need to read background information to even try to understand the photographer.



Joseph Beuys – Greetings from the Eurasian. ‘The exhibition Joseph Beuys – Greetings from the Eurasian will seek simultaneously to consider Beuys’ activities in Antwerp during the 1960s and ‘70s, alongside considering his relevance to a new generation.’ (MKHA, 2017)

Fascinating!. I saw a newspaper article in the collection which basically asked the question that came up with me as well, ‘charlatan or genie’? What I saw was ridiculous, but what I read made it meaningful. I have to read more about this person. I want to understand better what he was doing. I can understand a large part of his philosophy and his explanation of what he considers art needs additional study as well.

‘Joseph Beuys was active in Antwerp during the 1960s and 1970s through his relationship with Wide White Space gallery, for whom he was a key reference. Amongst his many exhibitions, it is here that he also made his performance Eurasienstab (Eurasian Staff) in collaboration with Henning Christiansen on 9 February 1968……..

The exhibition will also consider Beuys as a figure who worked in a way that was contrary to the logic and hegemony of Modernism……….’ (MKHA, 2017)

‘Joseph Beuys was a German Fluxus, happening, and performance artist as well as a sculptor, installation artist, graphic artist, art theorist, and pedagogue. His extensive work is grounded in concepts of humanism, social philosophy and anthroposophy; it culminates in his “extended definition of art” and the idea of social sculpture as a gesamtkunstwerk, for which he claimed a creative, participatory role in shaping society and politics.’ (Wikipedia, 2017)

Some other expositions:

  • IN SITU: Lifepatch – The Tale of Tiger and Lion.
  • Jef Geys: Names.
  • Ping Pong – Philippe Van Snick
  • LODGERS #12 Art Paper Editions
  • INBOX: Lise Duclaux – L’observatoire des simples et des fous
  • Urgent Conversations: Antwerp – Athens, Part IV: Dealing with Catastrophe, The Flow of the World


MHKA (2017) At: https://www.muhka.be (last visited 10/12/2017)

Wikipedia (2017) At: https://en.wikipedia.org/wiki/Joseph_Beuys (last visited (10/12/2017)

MAS | Museum aan de Stroom

‘In the MAS | Museum aan de Stroom you’ll become acquainted with Antwerp in the world and with the world in Antwerp. Use all your senses to discover the city’s rich past, the river and the port. Enjoy breathtaking views of the city and be surprised by the many large and small details of this architectural gem.’ (MAS, 2017)

What a waste of money! The view of the city was nice, and the building architecturally a gem, but those were free of entrance.

‘The city and the world meet in the MAS. As a city on a river, Antwerp has attracted people from all over the world for centuries. Throughout the centuries, people met exchanging ideas and goods. Traces of these encounters are collected in the MAS.’ (MAS, 2017)

City Photographer. ‘The MAS asked curator Kaat Celis to make a selection from 15 (city photographer) portfolios and to create one huge, inspiring and surprising look at the city. This results in a visual love letter for Antwerp, an associative narrative on the love-hate relations with the city from a photographer’s point of view.’ (MAS, 2017) The pictures hang on the walls next to and above eight escalators going to the roof of the building. Not the best place to look at them, They just can give a feel. And I think that’s the purpose. But for me the feel on most of the escalators is not related to Antwerp. The concept and presentation are original.

Art from Pre-Columbian America. As I have noticed more often lately these kind of statements in magazines, museums, books, are interpreted without limitations and therefor sometimes misleading. One exposition was for example P. Janssen-Arts collection. This collection ‘tells us about the extraordinary relationship between man and the world of gods, ancestors and spirits in America before the conquest of Europe.’ (MAS, 2017) What’s the relation with Antwerp?. I’ve visited museums and archaeological excavation sites in Latin America and the condition of the items displayed in this expo seemed almost unreal because of the excellent state they were in.


Antwerp à la carte. Today, over half of the world’s population lives in cities. Antwerp, for instance, has more than 500,000 inhabitants. That’s half a million mouths to be fed every day. How do we manage to do this now, what will we do in the future, and does the past offer any inspiration? (MAS, 2017). Some interesting facts of the current world of food production and ongoing initiatives.

Some other exhibitions:

  • Visible storage
  • Display of Power | Prestige and symbols
  • Life & Death | Gods and mankind
  • World Port | Trade and shipping



MAS (2017), At: http://www.mas.be/en/page/mas-nutshell (last visited 10 December 2017)


Daniel Adams

Link to Daniel Adams’ project: Why is your English so good?

Racism in the United Kingdom & Ireland is a widespread problem. This series is based upon fellow Malaysians experiences with racism and ignorance who are either living or studying in the United Kingdom & Ireland. (Adams, 2017)

An inspiring series of photos. The stories of people captured in a photo. I like the pictures very much, but I’m also interested in the process behind the pictures. From a story to a punchline, from an idea to a concept and then the planning and execution. His other projects on his homepage are thought through as well. Not just beautiful pictures. In a series they tell a story, or the same story over and over with different subjects. That repetition of sensuality gives for example strenght to Daniel’s project book i.

Every aspect of why is your English so good looks thought through, not only the story the picture tells, but also composition, use of colour, use of props and models. Every picture is a piece of art in its own.

What I learn from it that a well thought through concept can add to the beauty of a series.


British Journal of Photography – Invisible World

Adams, D. (2017), At: http://danieladams.format.com/2877308-why-is-your-english-so-good (last visited 12/10/2017)

Adams, D. (2017), At: https://www.theguardian.com/artanddesign/gallery/2017/jun/07/young-malaysians-witness-racism-daniel-adams-why-is-your-english-so-good-in-pictures (last visited 12/10/2017)

Sanne De Wilde

Link to homepage: Sanne de Wilde

‘Born in Antwerp (Belgium) on the 15th of April 1987. Graduated as Master of Fine Arts, Photography at KASK (Royal Academy of Fine Arts) in Ghent with great honours, June 2012. Currently working as freelancer for ‘De Volkskrant’ and living in Amsterdam, Netherlands.’, Wilde (2017)

The Island of the Colour Blind

‘In Pingelap and Pohnpei, two islands in Micronesia, an extremely high percentage of the population suffers from the rare genetic abnormality achromatopsy, or total color blindness‘, Kannibaal (2017). Sanne experimented with black and white and infrared photography portretting the people and the islands. Some B&W pictures were hand-painted by people with achromatopsy.

Besides the book also an interactive installation has been produced by IDFA and Brakke Grond. It’s on view in the Phi Centre in Montreal . ‘The Island of the Colorblind is an interactive installation that invites the viewer to explore a shift in colour perception.’, Phi centre (2017)

What grabbed me is the concept, the research that must have gone into the project and the creativity in developing the book with its deviations from the expected. It must me amazing to fulfill such a project from idea to book for sale in a shop. It’s inspirational.

For me it’s on the border of pictures and images with definitely photography at its base.

The images become surreal, a dream world. That might be something to try in my own photography, to look beyond what I see.


British Journal of Photography – Invisible World (2017), Radlett, Herts: Media ltd

Wilde, S. de (2017), At: http://www.sannedewilde.com (last visited 14-09-2017)

Phi centre (2017), At: https://phi-centre.com/en/event/lucid-realities-en/ (last visited 14-09-2017)

Kannibaal (2017), At: http://www.uitgeverijkannibaal.be/the-island-of-the-colorblind (last visited 14-09-2017)

Malala Andrialavidrazana

Link to Malala’s homepage: Malala Andrialavidrazana

‘Born a traveller, Malala Andrialavidrazana is a visual artist with a background in architecture. Her research is interested by notion of barriers and interactions within cross-cultural contexts.’, Tempé  (2017)

Link to the images I first got attracted to: Figures

‘Malala Andrialavidrazana’s Figures employs the potential of intersecting information and transforming support material. By associating diverse elements such as regional and world atlases, bank notes, and the album covers that marked her generation, Andrialavidrazana’s compositions reframe the knowledge we think we have of the world.’, Chatap (2015)

After seeing her ongoing series Figures, constructs of cut up world maps, bank notes, pictures, etc. I started doing research on her. Malala has some other interesting (ongoing) projects. I like her way of composing and use of colour. But the pictures are much more than just beautiful shots, they tell stories. She’s original, stays away from cliches, avoids stereotyping and presents the world see sees as unbiased as possible.


Aperture #227 Platform Africa (2017), New York City: Aperture Foundation

Tempé, A. (2017), At: http://www.andrialavidrazana.com/biography/ (last visited 9-9-2017)

Chatap, Y. (2015), At: http://www.andrialavidrazana.com/figures (last visited 9-9-2017)

mimi cherono ng ́ok

Link to picture: mimi cherono ng ́ok

‘Mimi Cherono Ng’ok (b. 1983) is a young Kenyan photographer who lives and works in Nairobi. Educated from the University of Cape Town in 2006 she has a number of exhibition and projects behind her.’, Bling (2014)

‘My work now consists of collecting memory, of the places I encounter, documenting the familiar, the everyday, and the mundane. The encounters are always different, almost like new lovers. I bookmark geographical locations with landmarks of affect: I was here when my friend passed away, this is where I have a home: a family. This is the place I longed to be and couldn’t stay. The photographs are not about one country, one city or one place, but are an emotional cartography of where I have been.’, Mimi Cherono ng ́ok (2017)

Looking at her pictures I didn’t understand until I read her statement. The pictures started making sense. In my opinion her pictures are not to be seen separate, but only in series. This actually fits the project I’m currently working on myself. This project has for now the working title “The Hike”. This artist is inspirational to me not because of her pictures, but because her conceptual way of working.


Aperture #227 Platform Africa (2017), New York City: Aperture Foundation

Bling, K. (2014) At: http://africasacountry.com/2014/01/the-work-of-kenyan-photographer-mimi-cherono-ngok/ (last visited 9-9-2017)

mimi cherono ng ́ok (2017), At: http://residencyunlimited.org/residencies/mimi-cherono-ngok/ (last visited 9-9-2017)