Intersective and poycentric curation of National Cultural Heritage
In this essay I use the actual installation of Isaac Julien at the Barnes Foundation Once again ...(Statues never die) 2022 to reflect on the possibilities of an interactive and polycentric approach to the exhibition of a vexed body of art
The role of Belgian private art collectors in the shaping of a contemporary art market in Belgium.
This essay briefly describes the history of Belgian collecting in relation to the governmental museum politics. It explains how a lack of governmental guidance caused a bottom-up development of the contemporary art scene in Belgium/Brussels. By outlining the generational differences between these collectors it addresses the way they were co-shaping the contemporary art market. By comparing the characteristics of a private collection and its accessibility with the didactic purpose of museum collections, it gives insight in the difficulties of the Belgian/Brussels contemporary art scene until today.