The Sudanese Revolution

Perspectives from Khartoum, March-April 2022

I have come to Khartoum for a cultural mapping. The European Union has decided to expand its support of the Sudanese cultural sector. The EU, wired to support the state of Sudan, has no partner to work with since the military coup of Oct 25, five months ago: it does not recognize the military government. After several months of efforts to help reconstitute a civilian government, the EU delegation in Sudan has decided to increase its assistance program towards the support of civil society. One of the components of civil society is the cultural sector, supported over the past years through EUNIC. I am glad that sometimes the European Union does use its money wisely. My goal is to help them invest strategically into the cultural sector, in a way that builds it up instead of making it dependent on external funding.

As a result I’m in an intense round of consultations with all kinds of actors in this sector. Artists, directors of private organizations, commercial or non-benefit, institutions, researchers… everybody is speaking about the political and economic crisis, and are thinking about what the cultural sector can do to contribute to an outcome. In the following I will present some of their views on the double failure of the state and the economy, and how they are reacting to this crisis now. But first an explanation about the current situation in Sudan.

El Mek Nimr avenue, Khartoum. Photo by author
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What I would do if I became director of De Appel in Amsterdam

De Appel is the intellectual powerhouse of Amsterdam’s art world – or maybe it isn’t anymore, but it still has that reputation. It’s a non-commercial art space that offers a high-level (and world-renown) curatorial program, as well as a study program for gallery staff, it is the place to present contemporary art prizes and projects, and it organizes about 4-5 exhibitions a year.

De Appel is now looking for a director. This is my open application.

logo De Appel

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So-called ‘terrorists’ finally receive a democratic platform – as an art project

The setting for the New World Summit in Berlin’s Sophiensaele. The flags are all of organizations on the ‘designated terrorist lists’. Showing one of them might be a crime, but as a whole they qualify as an artwork. All photos courtesy of Jonas Staal and his team

I chaired a summit and helped curate a project designed by the Dutch artist Jonas Staal in Berlin on 4 and 5 May, as part of the Berlin Biennial. Continue reading

The final chapter of the modernist dream

Why the art sector cannot justify its continued existence

The idea that societies could be reformed (modernized) through general access to culture, also high culture, was part of the modernist project for Western societies. These ideals were stated most forcefully in the 1920s and 30s by the avant-garde. They became mainstream in the post-war era, when the leaders of the Western world were looking for social-political models that could prevent the recurrence of the devastating world wars while avoiding a communist insurrection of the masses. Continue reading

The fear of Big Brother

The fear of Big Brother is justified as long as political power sits on top of us and has the means to lock us into a subordinate relationship of control. In the 1920s and 30s we saw how dictatorial regimes came into power in democracies through elections, so the sole fact that a political system is democratic is not sufficient to guarantee that civil liberties will be protected. In theory the Netherlands or any other democratic country could become a dictatorship after the next elections (and step out of the European Union and other binding international agreements if necessary). Continue reading

City Branding vs Artistic Freedom

The prospect of having performance artists dressed up like Disney’s Snow White parading with toy guns in the city hall caused quite a stir in The Hague over the last weeks. It is not that the Dutch are easily scandalized – they are rather hardened in matters of artistic provocation – but the consistency in the branding of a city such as the The Hague is becoming a more important principle than artistic freedom. The Hague likes to present itself as the international capital of peace and justice, and to start with, the officials in charge of city marketing didn’t like the theme chosen by Todaysart festival 2009, “The Hague City of Conflict”. Continue reading