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Catherine the Greatest
Self-polished Diamond of the Hermitage
€ 29,90 € 9,90
The name of Catherine the Great has always been surrounded with stories and superlatives, often about her private life and court intrigues. Some of these stories belong to the realm of myth, but others are perfectly true. At the age of fourteen, Catherine the Great (1729-1796) was a German princess married off to the Russian tsar. She later overthrew her husband, Peter III, and claimed the throne for herself. Catherine would become the greatest tsarina of all times. She had ambitious plans to reform the whole empire and acted with great foresight. Although she encountered setbacks, her achievements were astounding. This book gives us a closer look at her life.
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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
Carl Van de Velde
De geboorte van Rubens
Sinds de zeventiende eeuw werd aangenomen dat Pieter Paul Rubens in 1577 geboren is, en wel op 28 juni. Over zijn geboortestad was men het niet eens. Daarvoor werden beurtelings Antwerpen en Keulen genoemd. Pas in de negentiende eeuw werden de aanspraken van beide steden onjuist verklaard en vervangen door een nieuw voorstel: Siegen. Het jaartal 1577 is recent ook in vraag gesteld. 'De Geboorte van Rubens' verzamelt en interpreteert de beschikbare bronnen en komt tot de vaststelling dat Rubens wel degelijk in Siegen geboren is op 28 juni 1577. 'De Geboorte van Rubens' werpt ook een nieuw licht op de omstandigheden van de terugkeer naar Antwerpen van Maria Pijpelinckx en haar kinderen. Since the seventeenth century there has been a consensus that Peter Paul Rubens was born in 1577, on the 28th of June. There was no agreement, however, about his place of birth. Two cities, Antwerp and Cologne, were named. Not until the nineteenth century were the claims of both found to be unjustified and a new proposal was made: Siegen. Recently, the year 1577 has also been questioned. 'The Birth of Rubens' brings together and discusses the available sources and comes to the conclusion that Rubens was indeed born in Siegen on 28 June 1577. The book also throws new light on the return to Antwerp of Maria Pijpelinckx and her children.kunst
Ahn Sang-Soo. Dokkaebi.
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.kunst
