Postcard from Amsterdam, Netherlands: Bold art opens window to other cultures

Above: “Revolution,” Otto Djaya (1916-2002), oil and ink on canvas, 1947

The fighters depicted in Otto Djaya’s painting ‘Revolution’ (1947) are all dressed and equipped for revolutionary action. The figures’ various styles of dress represent the great variety of local costumes worn in the different regions of the archipelago. Their makeshift equipment references the ragtag make-up of the Indonesian revolutionary army, which Otto depicted with a sense of humor…. Otto clearly aimed to break with the Dutch concept of ‘volkstypen,’ meaning ‘ethnic types:’ A koelie is always an indigenous Javanese or Chinese person, whereas an ambtenaar (official), a priester, and certainly a regent is always of Dutch descent.”

“Fighting Colonial Claims to Power,” Kerstin Winking, Stedelijk Museum website

Before the Japanese occupation during World War II, the archipelago now known as Indonesia had been a profitable colonial outpost for the Dutch for almost 350 years. Following the Allied defeat of Japan, revolutionary forces declared independence, taking advantage of the Netherlands’ weakened state after years of war and German occupation. The Netherlands balked at recognition, so a bloody four-year war ensued.

Yet, in 1947, in the midst of this revolt, the curator of the Stedelijk Museum of Modern and Contemporary Art and Design boldly mounted an exhibition focused on the work of two brothers, Agus and Otto Djaya, newly arrived in Amsterdam from their native land, the Dutch East Indies. Members of the revolutionary army, the pair harnessed the power of art as a weapon to persuade the Dutch to recognize Indonesian independence. Some of their works brazenly represented Dutch colonialism as a monster.

This, in a museum originally funded by private donors who had made their fortunes through colonial exploitation. I’ve tried, but it’s impossible for me to imagine the public outcry and political fallout caused by this exhibition. Think of Queen Wilhelmina (1880-1962), only just returned to The Hague following her wartime exile in England. Exhausted after ruling through two world wars and facing intense criticism for the potential loss of the oil-rich Dutch East Indies, the ailing Queen Wilhelmina abdicated in favor of her daughter Juliana (1909-2004) in 1948.

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Contemporary Native American artists, plus a century of Surrealism

Above: Detail of Martine Gutierrez’ “Queer Rage, Imagine Life-Size, and I’m Tyra, p66-67,” from Indigenous Woman, 2018.

Work by nine contemporary indigenous artists was assembled for “Native America: In Translation,” curated by artist Wendy Red Star and displayed at the Blanton Museum of Art.

No one was going to put me on the cover of a Paris fashion magazine, so I thought, I’m gonna make my own.”

Martine Gutierrez referring to her 2018 art magazine, Indigenous Women, Curator notes

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Postcard from Palermo, Sicily: ‘Crazy enlightenment project’ bridges centuries

Above: A contemporary overhead walkway sensuously links galleries in a recently renovated 18th-century palace, Palazzo Butera.

At first, I tried to resist, but Francesca insisted, saying, ‘You can fulfill all of your dreams here.’” 

Massimo Valsecchi, interviewed by Elaine Sciolino for an article published in The New York Times on September 26, 2024

We stayed in the Kalsa District, the old Arab quarter in Palermo, for a month in the spring of 2023. This meant we strolled upon a portion of an impressively long tiled veranda addressing the sea numerous times. However, we were clueless about the possibility of visiting the adjacent Palazzo Butera to discover the beauty contained within its walls.

Freshly renovated, the palace did not open its doors to the public as a museum until 2021 and, when we visited, still seemed the city’s best-kept secret. It certainly hadn’t made the guidebooks yet. The New York Times article quoted above nudged me to retrieve this postcard from the backlog of unmailed ones.

‘Everyone said we were mad,’ a serene Francesca Valsecchi admits with a smile as she recalls the decision she and her husband Massimo took in 2015, when they moved from an apartment in Cadogan Square in London to the colossal Palazzo Butera in Palermo…. what Massimo describes as his ‘crazy Enlightenment project.’”

Susan Moore, Apollo Magazine, August 30, 2022

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