The international jury of the Prix de Rome has selected four visual artists for the shortlist of the Prix de Rome 2019. The Prix de Rome is the oldest and most generous Dutch award for visual artists below the age of 40.
Tom Lanoye's adaptation of Shakespeare's King Lear won in Cape Town in all categories she had been nominated for.
The Fries Museum in Leeuwarden has bought a drawing by Alma-Tadema that was found at a flea market.
Why our we still fascinated with a commemorative work like the St Matthew Passion that was written almost three hundred years ago?
The ART Curator Prize for the best exhibition of 2018 in Austria goes to the curators of the world's first major monographic exhibition on Pieter Bruegel the Elder in the Kunsthistorisches Museum of Vienna.
The exhibition Van Gogh and Britain reveals how he was inspired by Britain and how he inspired British artists.
At least five Dutch museums acquired precious work at the world's leading fine art and antiques fair in Maastricht.
As a result of the efforts of the collaborative project Never Grow Up!, five Dutch groups find their way to Washington, USA, for a season-long focus.
Museum de Fundatie in Zwolle presents the fifty leading works that have been produced in the Netherlands over the past half century.
In the exhibition The House of the Explorer, the Flanders Architecture Institute offers a unique view into the universe of the Antwerp architectural firm Bovenbouw Architectuur.
The year 2019 marks the 350th anniversary of Rembrandt’s death. Large-scale exhibitions are planned throughout the year.
In Amsterdam, the Flemish Jan Raes leads the Royal Concertgebouw Orchestra (RCO), now widely praised as one of the best orchestras in the world.
Welcome to the surreal worlds of the Antwerp-based artist with Portuguese roots, whose characters’ hair blows with the wind.
In Brussels you can visit a beautiful retrospective of the versatile, successful and innovative Renaissance artist Bernard van Orley (c. 1488-1541) until 26 May. He worked for clients such as Charles V and Margaret of Austria.
How can we make large, complex issues more manageable? Dutch artist Lieke van der Made discovered that by editing footage, her videos could achieve these ends.
Pop music sung in dialect is on the march in the Netherlands. Why?
A portrait of Klaus Verscheure, known as director of many Flemish television series and lately making a name for himself as a visual artist.
A new and younger generation in Belgian music is taking over the torch from the established order.
Discover the parallels between Vincent van Gogh and David Hockney's paintings at the Van Gogh Museum in Amsterdam.
Looking for a medieval mockery song or a twentieth-century love song from the Netherlands and Flanders? Check the Meertens Tune Collections.
The Rijksmuseum shows the rise of amateur photography in the Netherlands.
Review of Mienke Simon-Thomas, Dutch Design. A History. London: Reaktion Books, 2008.
With his creations Mark Manders constructs a universe of his own within the world in which he finds himself. In doing so he makes use of images and language. The archetypical artist is absent in his spaces – and when he's not lying under the table, he's looking down from above at the dioramas that are his own creations. Mark Manders keeps his distance.
More than anyone the Flemish conductor and musician Paul Van Nevel finds himself caught between these two extremes. His career, which now spans almost forty years, is an exciting tight-rope dance between the faithful and the wayward, watched by many and regularly greeted with cries of astonishment and admiration.
Alize Zandwijk, since 2006 artistic director of the Ro Theatre in Rotterdam, is one of the most interesting theatre directors in the Dutch-speaking world. Her work has by now been seen in many other parts of Europe, yet in her own country it hardly receives the acclaim it deserves. This will probably change now that she also has a foothold in Belgium as a regular guest director at the Royal Flemish Theatre. The odds are, though, that she will move to Germany, following in the footsteps of Luk Perceval and Johan Simons.
With Cut Loose (Los), based on the novel by Tom Naegels, Jan Verheyen to some extent distances himself from the broadest conceivable audience and takes on a more social, and therefore less popular, topic. Not long after Cut Loose came the release of Erik Van Looy's long-awaited film Loft. The actualisation and finish of Loft is extremely meticulous, undertaken with great professionalism and with a high production value.
In recent years a renaissance in the genre of the short animated film seems to have been taking place in the Netherlands. Never before have there been so many active producers of animation films. This is all to do with the digitisation of the image culture, which is radically changing the way films are produced, distributed and screened. The equipment and techniques for making animated films are becoming more and more user-friendly and also cheaper. Moreover, digitisation allows the makers of animated films to bring the various aspects of film-making increasingly under their own control. Animation is no longer a marginal phenomenon; it is shifting – as Minister of Education, Culture and Science Ronald Plasterk writes in his memorandum on animated film – towards the centre of image culture.
Review of Herman van Bergeijk (ed.), Amerikaanse dromen: Frank Lloyd Wright en Nederland. Rotterdam: Uitgeverij 010, 2008, 192 pp.
Photography appears to be Viviane Sassen's way of confronting the friction between reality and truth. She goes to great lengths to compose the dream-like reality in the image, using clear cues to direct what she cannot control. She takes risks as she plays the aesthetic game. With unfailing intuition, she explores the unknowable potential, using her instinct to lend proportion to the inevitable absurdity and imperfection as to direct the credibility of the image.
Artists are not lone wolves, nor have they been brought up in total isolation, as Kaspar Hauser claimed to have been. Quite apart from training or personal interests, every creator is affected or stamped by his or her own time, as well as by the (cultural) history preceding his or her practice. Even Cobra artists realised that it was impossible to return to a purely instinctive creative point zero. In that respect it does not matter whether artists do or do not use conscious allusions to the art of bygone eras in their work. Since the postmodern age, linear (Western) art history is only one of the many paths to the truth. Artists do not slavishly copy, they reference and collage, developing their own signature by mixing, freely and sometimes wildly, visual references and indirect allusions to artworks from various periods of the history of art and style.