The Dokkaebi, Korean goblins who have soft spots for pretty girls and hedonistic feasts, thrive in folktales and as gargoyle-like ornamental totems. Throughout Korean history, they have been interpreted as evil spirits, bogeymen or ghosts of the dead, but always phantoms that bewitch, play tricks on, and make fun of human beings with their grim, uncommon powers and strange talents. Some are said to look very much like humans, some like fantastic animals, and some like dragon-esque hybrids. Here, source photographs of traditional representations accompany stark, strikingly tattoo-like black-and-white designs based on them, which are interleaved on glossy pages.
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Henk Schiffmacher
Good Luck
Good Luck tattoos are frequently worn by those who really need them: people you would not always call winners. Dices, eight-balls clover leaves, playing-cards, horse shoes: we use all of these symbols to appeal to lucky forces. And if they don't help, at least you can say: you can't win if you don't play. This is the second volume in a series of publications dealing with major themes in tattoo art. They feature a superb selection of images covering the art and history of Western electric tattooing that are hand picked from the Schiffmacher Collection. These high quality, collectible publications elaborate on themes that can be admired, will inspire and educate, and be a source of tattoo motifs and designs.kunst

Princely Patrons
This art collection became dispersed long ago, but a comprehensive selection of its finest works has been brought together in 'Princely Patrons'. It describes and displays one of the finest and most extensive collections of seventeenth-century art in the Netherlands. Between 1625 and 1637, stadholder and prince of Orange Frederick Henry and his wife Amalia of Solms built up a collection of paintings, figures, and countless other subjects, fashioned from the most precious and exotic of material, such as gold, silver, porcelain, lacquetwork, mother-of-pearl and rock-crystal. Frederick and Amalia were inspired by their love of art, but the royal ambitions which they cherished for the future of the still young House of Orange also played a major role in their efforts. These were expressed most strikingly in the decor that they commissioned for the imposing residences in and around The Hague.kunst

Riksa Afiaty
Power & Other Things
The project takes its name from the demand for the transfer of power and other things to the newly independent Indonesia in 1945. It travels through time, from European colonial occupation through the development of the republican state to the trans-national contemporary cultures of today. It looks at the various international exchanges that happened in the territories of contemporary Indonesia, through the images and ideas of artists. These exchanges were of different kinds: trade, culture, religion, ideology and war. They produced a variety of results: violence, oppression, racism, creativity, spiritual awakening, and other things. The ideologies and challenges of modernity are common ways in which Indonesia has been depicted by others and has defined itself over the period. As this modern period recedes into history, the project will seek ways to remember how it has influenced contemporary understanding and ask the current generation of artists to look back in order to rewrite the past and potentially create the conditions for a different future. The catalogue and the exhibition will follow a broad chronological narrative, allowing readers and visitors to learn more about how this huge archipelago has changed over the past two centuries and to observe how it has responded and adapted to influences originating from both inside and outside the islands. The influence of the imperial Dutch and Japanese occupations naturally form a significant element in the narrative of the exhibition as does the constant struggle for different forms of independence or equal treatment by the Javanese and other Indonesian cultures. The importance of Chinese and Arab influence on Indonesia's cultural history will also feature as the exhibition tries to look for alternative ways, alongside the post-colonial, for understanding the present. The presentations will include work made during the residencies as well as new commissions.kunst
