Skip to content

Issues
Articles
News
Advertise
Shop
Subscription
Kunstlicht
0 items€ 0,00

Home
Article
35 Auga – ‘A View of the Seine Through the Windows behind Them’ – Pamela A. Ivinski

35 Auga – ‘A View of the Seine Through the Windows behind Them’ – Pamela A. Ivinski

20 August 2017

Auga_Ivinski_A view of the Seine through the windows behing them

Post navigation

35 Auga – Windows for Abstract and Representational Devotion – Carol Herselle Krinsky

35 Auga – Artist Contribution – Mirjam Kuitenbrouwer

Related Post

Stijn Terpstra, GEOLOGIES OF VIOLENCE: SENSING THE AESTHETIC TEMPORALITIES OF ECOCIDE IN GAZA , Kunstlicht Vol. 46 no. 3/4

11 June 2026

Olivera Bucalović & Fleur van Suijdam, Traces of Solidarity in the Archive: Mapping Collaboration Between Palestine and Yugoslavia in the Non-Aligned News Agencies’ Pool, Kunstlicht Vol. 46 no. 3/4

14 January 2026

Jelena Micić, VISUALISING FRIENDSHIP: LEDA, LABOUR, AND THE MATERIAL POLITICS OF THE NON-ALIGNED WORLD, Kunstlicht Vol. 46, no. 3/4

17 December 2025

Trial subscription!

Article Articles -- 2025

Stijn Terpstra, GEOLOGIES OF VIOLENCE: SENSING THE AESTHETIC TEMPORALITIES OF ECOCIDE IN GAZA , Kunstlicht Vol. 46 no. 3/4

...

Article Articles -- 2025

Olivera Bucalović & Fleur van Suijdam, Traces of Solidarity in the Archive: Mapping Collaboration Between Palestine and Yugoslavia in the Non-Aligned News Agencies’ Pool, Kunstlicht Vol. 46 no. 3/4

...

Article Articles -- 2025

Jelena Micić, VISUALISING FRIENDSHIP: LEDA, LABOUR, AND THE MATERIAL POLITICS OF THE NON-ALIGNED WORLD, Kunstlicht Vol. 46, no. 3/4

...

Article Articles -- 2025

Denise Thwaites, FULL STACK FABULATOR (OR THE PROMETHEAN CURATOR), Kunstlicht VOL. 46 1/2

...

Article Articles -- 2025

Lisa Marie Sneijder, The Disruptive Labour of the Designed Interactions of an Exhibition on the Web, Kunstlicht Vol. 46, no. 1/2

...

tijdschriftkunstlicht

APPLY AS A GUEST EDITOR!🔊
📖 (PRE)ORDER (outer) space(s) now! 🔗
💭 Explore Kunstlicht, an academic journal for visual culture.

Art in the Dutch Caribbean. [working title] For

Art in the Dutch Caribbean. [working title] For our first issue of 2027 we are looking for a guest editor to co-curate the issue with us! This issue will be dedicated to visual arts and cultures in the Dutch Caribbean. We are looking for an artist, writer, or scholar, preferably having a strong connection to the Dutch Caribbean region, who: -Has dedicated their practice (either artistic or academic) to arts and visual cultures in the Dutch Caribbean region (or one of the islands specifically); -Is part of an extensive network of artists, writers, and scholars that relate their practice to the Dutch Caribbean region (or one of the islands specifically); -Has a unique idea/scope/context for the theme of the journal; -Wants to co-curate the journal as guest editor with our editorial team. Are you the artist, writer, or scholar we are looking for? Since Kunstlicht wants to add to the cultural, artistic and academic field of the Dutch Caribbean in the form of co-collaboration/co-curation, applicants from the Caribbean islands–Bonaire, Sint Eustasius, Saba, Curaçao, Aruba, Sint Maarten– and its diaspora, will be given priority in the selection process. Send your application to redactie@tijdschriftkunstlicht.nl before Wednesday, 2 September. Make sure to include: Your CV, portfolio or anything else that gives us insight into who you are; Motivation/ proposal of max 1 A4, describing why you want to collaborate with Kunstlicht as a guest editor, include possible perspectives/scopes for the theme, propose visual artists or writers within your own network. Applicants will receive notification of our decision around 9 September 2026 by mail. Read more information on our website! #opencall #dutchcarribean #applynow #magazine #guesteditor

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIG

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIGNMENT Before joining the event, revisit the contributions by our speakers Fleur van Suijdam, Deniz Buga, and Stijn Terpstra! Read all the articles for free by clicking the link in our bio! Watch the documentary by scanning the QR code in this post. Event information: Date: 09 July, 2026 Duration: 18:00-walk-in 18:30- start of the conversation 19:30- end of the conversation 20:00- end of the event Location: @san.serriffe San Serriffe bookstore (Sint Annenstraat 30, 1012 HE Amsterdam) Language: English FREE ETRANCE. +Drinks and snacks provided! About the issue: The publication is dedicated to non-alignment: both as a movement that was formed at a specific historical moment and whose legacies—including its artistic and cultural ones—are still alive to this day, and as an aspirational and aesthetic concept that possibly exceeds the Non-Aligned Movement of the early 1960s and still speaks to the contemporary state of affairs. To purchase this issue, click the link in our bio! #🍉 #magazine #conversation #event #joinus

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIG

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIGNMENT Get to know the contributors! Event information: Date: 09 July, 2026 Duration: 18:00-walk-in 18:30- start of the conversation 19:30- end of the conversation 20:00- end of the event Location: @san.serriffe San Serriffe bookstore (Sint Annenstraat 30, 1012 HE Amsterdam) Language: English FREE ENTRANCE +Drinks and snacks provided! About the issue: The publication is dedicated to non-alignment: both as a movement that was formed at a specific historical moment and whose legacies—including its artistic and cultural ones—are still alive to this day, and as an aspirational and aesthetic concept that possibly exceeds the Non-Aligned Movement of the early 1960s and still speaks to the contemporary state of affairs. You can read the articles for free on our website: https://tijdschriftkunstlicht.nl/ To purchase the issue click the link in the bio!📌 #🍉 #artevent #conversation #joinus #magazine

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIG

KUNSTLICHT IN CONVERSATION: AESTHETICS OF NON-ALIGNMENT Join us for an evening of conversation with the contributors featured in our latest edition, “Aesthetics of Non-Alignment”! Fleur van Suijdam, Deniz Buga, and Stijn Terpstra are coming together to explore a common thread within their work- the connection between non-alignment and Palestine. Date: 09 July, 2026 Duration: 18:00-walk-in 18:30- start of the conversation 19:30- end of the conversation 20:00- end of the event Location: @san.serriffe San Serriffe bookstore (Sint Annenstraat 30, 1012 HE Amsterdam) Language: English FREE ENTRANCE +Drinks and snacks provided! About the issue: The publication is dedicated to non-alignment: both as a movement that was formed at a specific historical moment and whose legacies—including its artistic and cultural ones—are still alive to this day, and as an aspirational and aesthetic concept that possibly exceeds the Non-Aligned Movement of the early 1960s and still speaks to the contemporary state of affairs. You can read the articles for free on our website: https://tijdschriftkunstlicht.nl/ To purchase our magazine click the link in our bio!📌 #event #joinus #conversation #🍉 #magazine

‼️DEADLINE EXTENDED & APPROACHING 📣 CALL FOR PAPER $‼️DEADLINE EXTENDED & APPROACHING 📣 CALL FOR PAPERS: The Grammar of Art— Kunstlicht Vol. 47, No. 3/4 What does it mean to read art—not as image, but as language? And what if language itself is unstable, embodied, coded, or even resistant to being read at all? For our next issue of Kunstlicht, we are looking for submissions that address the historical, situated, embodied, and fractured conditions of language in art, moving between theoretical and philosophical perspectives that situate particular linguistic and cultural ruptures, and artworks that test the limits of language as a tool. 📅 extended Deadline: May 18, 2026. 👉🏻Read more in the link in bio! —— Language shapes how we understand and give meaning to art, yet it is never neutral or fixed. In artistic practices, it can function as material, structure, or site of struggle—producing meaning as much as disrupting it. How do contemporary artists engage with language as something that can be stretched, fragmented, translated, or refused? For this issue, we invite contributions that critically approach language in art as an artistic, cultural, political, and philosophical question, exploring how it is used, challenged, and reimagined beyond dominant narratives and established systems of meaning. We are particularly interested in practices that expose the limits of communication and open up alternative ways of understanding—and in the forms of language that remain unheard, untranslatable, or deliberately unresolved. —— We invite scholars, writers, artists, and creative or cultural practitioners to submit contributions in the form of academic articles, reviews, interviews, visual works, hybrid essays, poems, and any other form that is fitting for the theme and the A5-format journal. We encourage contributors from all stages of their (research) practice to respond to the call for papers. —— Image: Martine Syms, GIRRRLGIRLLLGGGIRLGIIIRL, 2017. Installation view Tomorrow is a Different Day. Collection 1980 – Now. Photo credit: Gert Jan van Rooij.$

3 WEEKS LEFT ‼️ 📣 CALL FOR PAPERS: The Grammar of $3 WEEKS LEFT ‼️ 📣 CALL FOR PAPERS: The Grammar of Art— Kunstlicht Vol. 47, No. 3/4 What does it mean to read art—not as image, but as language? And what if language itself is unstable, embodied, coded, or even resistant to being read at all? For our next issue of Kunstlicht, we are looking for submissions that address the historical, situated, embodied, and fractured conditions of language in art, moving between theoretical and philosophical perspectives that situate particular linguistic and cultural ruptures, and artworks that test the limits of language as a tool. 📅 Deadline: May 14, 2026. 👉🏻Read more in the link in bio! —— Language shapes how we understand and give meaning to art, yet it is never neutral or fixed. In artistic practices, it can function as material, structure, or site of struggle—producing meaning as much as disrupting it. How do contemporary artists engage with language as something that can be stretched, fragmented, translated, or refused? For this issue, we invite contributions that critically approach language in art as an artistic, cultural, political, and philosophical question, exploring how it is used, challenged, and reimagined beyond dominant narratives and established systems of meaning. We are particularly interested in practices that expose the limits of communication and open up alternative ways of understanding—and in the forms of language that remain unheard, untranslatable, or deliberately unresolved. —— We invite scholars, writers, artists, and creative or cultural practitioners to submit contributions in the form of academic articles, reviews, interviews, visual works, hybrid essays, poems, and any other form that is fitting for the theme and the A5-format journal. We encourage contributors from all stages of their (research) practice to respond to the call for papers. —— Image: Augusto De Campos, Sem um numero, 1957, Silkscreen on cardboard, 39.5 x 28.5 cm.From Noigandres 4 – poesia concreta, São Paulo, 1958 [Fondazione Bonotto, Molvena (VI)].$

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-A

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE🐅 The Elephant in Tito’s Menagerie: Animal Diplomacy, Hunting, Exchange, and the Non-Aligned Movement, visual essay By Olja Triaška Stefanović "This visual essay focuses on the role of hunting as a sport and the exchange of live animals as a form of cultural diplomacy during the Cold War period between Josip Broz Tito’s Yugoslavia and their Global South partners in the Non-Aligned Movement (NAM) throughout its existence. To foster and strengthen new affiliations and reciprocities amongst its members, Tito’s enthusiasm for animals via game-hunting and collecting was harnessed in the service of the larger geo-political project. On state visits to partners, Tito received many gifts of live ʻexotic’ animals for his zoo in the Brioni archipelago as well as invitations to take part in game-hunts facilitated by his hosts, such as India. Departing from traditional historiographies focused on trade, education, or industrial collaboration, this research proposes an alternative reading of the NAM’s legacy and Yugoslavia’s role in it through the lens of animality, leisure, and spectacle. It further examines Tito’s fascination with animals, both dead and alive. Using a visual research methodology, the essay draws on archival materials—including photographic and film sources—alongside contemporary representations and images to create montages and juxtapositions. These montages explore the legacies of the NAM in its ambition and idealism to build an “alternative mundialisation,” while also examining its contradictions and failures to reframe it as a productive counter-imaginary to current geopolitical arrangements.This visual research is part of a larger interdisciplinary artistic project tracing and examining the legacies and remnants of the NAM in the contemporary former Yugoslavia." To access the full article you can purchase your copy of our issue "The Aesthetics of Non-Alignment" on our website via the link in our bio!📌

📣 CALL FOR PAPERS: The Grammar of Art— Kunstlicht $📣 CALL FOR PAPERS: The Grammar of Art— Kunstlicht Vol. 47, No. 3/4 What does it mean to read art—not as image, but as language? And what if language itself is unstable, embodied, coded, or even resistant to being read at all? For our next issue of Kunstlicht, we are looking for submissions that address the historical, situated, embodied, and fractured conditions of language in art, moving between theoretical and philosophical perspectives that situate particular linguistic and cultural ruptures, and artworks that test the limits of language as a tool. 📅 Deadline: May 14, 2026. 👉🏻Read more in the link in bio! —— Language shapes how we understand and give meaning to art, yet it is never neutral or fixed. In artistic practices, it can function as material, structure, or site of struggle—producing meaning as much as disrupting it. How do contemporary artists engage with language as something that can be stretched, fragmented, translated, or refused? For this issue, we invite contributions that critically approach language in art as an artistic, cultural, political, and philosophical question, exploring how it is used, challenged, and reimagined beyond dominant narratives and established systems of meaning. We are particularly interested in practices that expose the limits of communication and open up alternative ways of understanding—and in the forms of language that remain unheard, untranslatable, or deliberately unresolved. —— We invite scholars, writers, artists, and creative or cultural practitioners to submit contributions in the form of academic articles, reviews, interviews, visual works, hybrid essays, poems, and any other form that is fitting for the theme and the A5-format journal. We encourage contributors from all stages of their (research) practice to respond to the call for papers. —— Image 1: Guido de Boer, Reading Looking, 2020, calligraphic mural painted as a performance for the exhibition ‘Not In So Many Words’ at the Kröller-Müller Museum 02/2020. Photo credit: Marjon Gemmeke.$

Spotted Kunstlicht at bookshop Buchhandlung Walthe

Spotted Kunstlicht at bookshop Buchhandlung Walther König in Stedelijk Museum Amsterdam👀📖 Get our latest issue "Aesthetics of Non-Alignment" via link in our bio now!📌

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-A

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE🍛☀️ The Aesthetics of Naan-Aligned Cooking: A Senegalese-Indian Chickpea Curry for Hungry Activists By Kevin Kenjar "This meal, a velvety chickpea curry with crispy plantain fritters, was first served in 2024 at the Island School of Autonomy (ISSA), on the Adriatic island of Vis, to a gathering of well over one hundred artists, activists, public intellectuals, and cultural workers who had come together to explore new ways of “being, living, and learning together beyond the ruins of capitalism.” The event, titled “To Live Together,” was the second annual event organised by ISSA and included lectures, performances, discussions, guided tours, readings, physical work, and other collective activities. Among other things, this event also served as the public debut of what I call the “Naan-Aligned Movement,” which is simultaneously an homage to the Non-Aligned Movement (NAM) and a contemporary exploration of various culinary combinations from its numerous member states." To access the full article you can purchase your copy of our issue "The Aesthetics of Non-Alignment" on our website via the link in our bio!📌 __________________ Fig 1. Kevin Kenjar introducing the Naan-Aligned Movement at the Island School of Social Autonomy. Photo credit: CC 4.0 by ISSA School/BONK productions. Fig 2. Plantain bhajis, inspired by Indian and Senegalese fritters. Photo credit: Kevin Kenjar.

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-A

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE🎭 Choosing a Side is a Losing Game: On Gender Non-Alignment By Senka Milutinović "This illustrated paper examines third gender practices that exist(ed) across Non-Aligned member states in order to explore how they might inspire our political imaginary and understanding of gender today. Through recollection of Yugoslav/Balkan specific cases of both third gender and transgender/intersex history, it elucidates how imperialist and colonialist repression erases gender differences in favour of a gender binary system. Through both writing and illustration, this work posits an understanding of gender which has its core in non-alignment principles, specifically the right to self-determine and decolonise. Drawing serves as a language which transmits what cannot be encompassed in words. The paper ends with an offering—a linguistic proposal for obfuscating pronouns and the verb endings that display gender in BCSM (Bosnian-Croatian-Serbian-Montenegrin)—as a way to link back to a past in which third gender practices were more widely accepted." To access the full article you can purchase your copy of our issue 'The Aesthetics of Non-Alignment' on our website via the link in our bio! 📌

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-A

A VISUAL CONTRIBUTION FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE🍉🇵🇸 A Tale of Complicity and Resilience By Aylin Kuryel, Firat Yücel, Deniz Buga "In 2024, Amsterdam became one of the cities where people rallied against the systematic destruction of Palestinian lives and livelihoods by the state of Israel. Numerous actions emerged in solidarity with Palestine, calling for the university to sever ties with Israeli institutions and entities, all while a genocide unfolded in Palestine. "A Tale of Complicity and Resilience” is a collective video diary capturing everyday moments of resistance, solidarity, and clashes, following the student encampments in Amsterdam during May 2024 and the various subsequent actions. The video explores a landscape filled with bodies, slogans, cobblestones, and dreams, while engaging with questions such as: How do we link ‘here’ and ‘there’? How do we create a sense of shared space and time when remaining silent is not an option? How do we archive and mobilise images for ongoing collective action? How can we see non-aligning not as neutrality, but as active involvement in worldmaking through the creation of an international anti-fascist alliance?" To access the full documentary you can purchase your copy of our issue 'The Aesthetics of Non-Alignment' on our website via the link in our bio! 📌 _____ Images by Mateo Steen & Pamfletten

FREE ARTICLE FROM OUR AESTHETICS OF NON-ALIGNMENT

FREE ARTICLE FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE 📖 Traces of Solidarity in the Archive: Mapping Collaboration Between Palestine and Yugoslavia in the Non-Aligned News Agencies' Pool. By Olivera Bucalović & Fleur van Suijdam. "In this paper, we explore the international and alternative representational structure of the NANAP in general, and particularly, we follow two different trajectories within the NANAP: that of the Yugoslav news agency Tanjug on one hand, and the Palestinian news agency WAFA on the other. In this way, we juxtapose how these agencies operated differently within the framework of NANAP and trace intersections between two news agencies: one that was the main proponent of the NANAP, operated from the heart of a founding member of the NAM, and was an established media institution; and a news agency that was established shortly before NANAP and operated between 1972-1994 as a news agency in exile." Read more of this article on our website! And shop our new issue via the link in our bio. 📌

FREE ARTICLE FROM OUR AESTHETICS OF NON-ALIGNMENT

FREE ARTICLE FROM OUR AESTHETICS OF NON-ALIGNMENT ISSUE 📖 Visualising Friendship: Leda, labour, and the material politics of the non-aligned world. By Jelena Micić. “Countless Yugoslav families carry the material memory of the Non-Aligned World through preserved objects and inherited stories, including my own family members who worked at the Leda shoe factory. Yet the factory’s history, deeply entwined with NAM networks, remains largely invisible in scholarship, revealing gaps in analyses of the material, labour and visual dimensions of the Movement. The family archive persists in a dispersed, fragmentary state-scattered across attics, suitcases, and drawers-emerging less through deliberate collection than the contingent afterlife or everyday work. Incomplete and provisional, it exemplifies a non-archival logic: only photographs, occasionally grouped in envelopes, gesture towards intentional ordering. Today, it comprises over 200 items, including photographs, promotional ceramics and textiles, printed matter, notes, and leather and plastic shoes, with materials ranging from cow, goat, and calf leather to aligator, lizard, and snake skins in vibrant hues.” Read more of this article on our website! And shop our new issue via the link in our bio. 📌 ____ ____ Image 1 Jelena Micić, Sala Uzoraka/Sample Hall (Exhibition Detail): 30th Anniversary Leda catalogue, 1991/2022, digital photography, Museum of Yugoslavia, Belgrade, photo: Ivan Zupanc. Image 2 Micić Archive, Vojislav Micić and the Trade Partners, 1980, analog photography, 9 x 13.2 cm.

LAST REMINDER: LESS THAN 1 WEEK UNTILL THE DEADLIN

LAST REMINDER: LESS THAN 1 WEEK UNTILL THE DEADLINE ‼️ 7 DECEMBER 👀 Are you ready to venture to outer space? 🚀Join Kunstlicht’s odyssey to outer space, and contribute to the first issue of 2026: (OUTER) SPACE(S), VOL. 47 1/2. 🪐 We invite contributions in the form of academic articles, reviews, interviews, visual essays, poems, and any other form that is fitting for the theme and the journal-form. We encourage contributors from all stages of their (research) practice to respond to the call for papers. 📅 Deadline: December 7, 2025. 👉🏻Read more in the link in bio! —- Both history and mainstream science fiction have formed our perspective on outer space. In a time where space travel and space tourism have become increasingly viable, how do contemporary artists imagine and engage with the concept of outer space? How does outer space function as an alternative solution for terrestrial issues? For this issue, we invite contributions that critically engage with the notion of outer space as an artistic, cultural, political, speculative and philosophical notion. We are interested in how outer space – in all its facets – is addressed, debated, and imagined outside and beyond the dominant narratives and hegemonic histories of science fiction, space travel, and other space-related entities. We are curious about how outer space, including viewing ourselves from the outside in, the longing for escape and the actualisation of alternative futures on other planets, and contemporary science fiction, has produced genres, tropes, artistic strategies and other forms of critical engagement with our earthly existence. And perhaps more importantly: what stories have been untold, unimagined, or even hidden away? —- Image Stanley Kubrick, 2001: A Space Odyssey, 1968, film still

NEW NEW ISSUE! 👀🪩 A different size, an upgraded d

NEW NEW ISSUE! 👀🪩 A different size, an upgraded design, our newest issue ‘Aesthetics of Non-Alignment’ has arrived freshly from the printer, just in time for the holiday season. Grab your copy now from our shop! 👉🏻Link in bio. This issue is dedicated to non-alignment: both as a movement that was formed at a specific historical moment and whose legacies—including its artistic and cultural ones—are still alive to this day, and as an aspirational and aesthetic concept that possibly exceeds the Non-Aligned Movement of the early 1960s and still speaks to the contemporary state of affairs. In this time of global political, social, and economic unrest, characterised by ongoing war, genocide, increasing social and environmental injustice, and escalating geopolitical tensions in which many of our nation-states and societal institutions are directly or indirectly implicated, we deemed it of utmost urgence to critically engage with the present by starting with revisiting historical alternatives to the long-standing divisions and global power relations, ones which proposed and enacted more solidary and emancipatory political, social, and economic structures. The first edition in a while curated by the editorial collective rather than together with a guest editor, as we are accustomed to. You will also notice that the journal is dressed in a different outfit than usual, with the riso-printed poster having made way to a printed cover featuring a visual contribution by Olja Triaška Stefanović. This marks another divergence from the usual order of the day: our first collaboration with Alix Chauvet, who takes over from Corine van der Wal as Kunstlicht’s graphic designer. @alix.chauvet @olja_triaska_stefanovic @alyciadanckaarts @stijnterpstra @fleura_ @okie_dokie_oki @jelena.ljubomir.micic @giulio3001 @p.8ein @vervoz @megan.hoetger @senka.exe @aylinkuryel @firatyucels Deniz Buga Kevin Kenjar @gabisownworld Luka Svajda Ana Luisa Cubas

REMINDER: LESS THAN 4 WEEKS UNTILL THE DEADLINE ‼️

REMINDER: LESS THAN 4 WEEKS UNTILL THE DEADLINE ‼️ Are you ready to venture to outer space? 🚀Join Kunstlicht’s odyssey to outer space, and contribute to the first issue of 2026: (OUTER) SPACE(S), VOL. 47 1/2. 🪐 We invite contributions in the form of academic articles, reviews, interviews, visual essays, poems, and any other form that is fitting for the theme and the journal-form. We encourage contributors from all stages of their (research) practice to respond to the call for papers. 📅 Deadline: December 7, 2025. 👉🏻Read more in the link in bio! —- Both history and mainstream science fiction have formed our perspective on outer space. In a time where space travel and space tourism have become increasingly viable, how do contemporary artists imagine and engage with the concept of outer space? How does outer space function as an alternative solution for terrestrial issues? For this issue, we invite contributions that critically engage with the notion of outer space as an artistic, cultural, political, speculative and philosophical notion. We are interested in how outer space – in all its facets – is addressed, debated, and imagined outside and beyond the dominant narratives and hegemonic histories of science fiction, space travel, and other space-related entities. We are curious about how outer space, including viewing ourselves from the outside in, the longing for escape and the actualisation of alternative futures on other planets, and contemporary science fiction, has produced genres, tropes, artistic strategies and other forms of critical engagement with our earthly existence. And perhaps more importantly: what stories have been untold, unimagined, or even hidden away? —- Image Larissa Sansour, A Space Exodus, 2008, short film. Installation view in the exhibition “While we Count our Earthquakes” at Kunsthal Extra City, Antwerp, 2025.

No Storage Help Kunstlicht’s Online Curating – s

No Storage Help Kunstlicht’s Online Curating – special online edition On 7 November, 19:00 – 20:00 CET Part of @distant.gallery festival https://distant.gallery/festival No Storage Help, foregrounds online exhibition projects and curatorial practices that engage with the instability and precarity of their environments. By exploring the potential of these digital environments processes of optimisation and commodification turn into spaces for experimentation, creativity and alternative modes of interaction. The selection of essays is based on the special issue “Online Curating” by kunstlicht journal for visual culture (ed. Annet Dekker). Taken together, these essays ask how memory can persist—and evolve—when both physical and digital realms are co-opted, collapsed, or rendered hyperreal. In an era of “no storage”, where infrastructures break down or become obsolete as quickly as they emerge, online curating becomes not only a mode of display but a practice of resistance and renewal—one that addresses how to continue to curate, care, and remember under intensifying socio-political and economic strain. At the same time, being inside fragile and interlinked worlds, these online curators “help” a move towards a more sustainable collective imagination. Expanding on the written contributions in the print journal it brings back the online curating discourse to the web. Embracing the fleeting nature of the web, excerpts of the texts are accompanied with screenshots, images, video or still functioning embedded websites. Everything is held together by the sounds of The Library by soundpocket, the background of Tara Kelton’s No Storage Search Engine (2023), first presented at Unproductive Solutions, and from which this page borrows its title. Want to know more? Check our link in bio! 🌐

Are you ready to venture to outer space? 🚀Join Kun

Are you ready to venture to outer space? 🚀Join Kunstlicht’s odyssey to outer space, and contribute to the first issue of 2026: (OUTER) SPACE(S), VOL. 47 1/2. 🪐 We invite contributions in the form of academic articles, reviews, interviews, visual essays, poems, and any other form that is fitting for the theme and the journal-form. We encourage contributors from all stages of their (research) practice to respond to the call for papers. 📅 Deadline: December 7, 2025. 👉🏻Read more in the link in bio! —— Both history and mainstream science fiction have formed our perspective on outer space. In a time where space travel and space tourism have become increasingly viable, how do contemporary artists imagine and engage with the concept of outer space? How does outer space function as an alternative solution for terrestrial issues? For this issue, we invite contributions that critically engage with the notion of outer space as an artistic, cultural, political, speculative and philosophical notion. We are interested in how outer space – in all its facets – is addressed, debated, and imagined outside and beyond the dominant narratives and hegemonic histories of science fiction, space travel, and other space-related entities. We are curious about how outer space, including viewing ourselves from the outside in, the longing for escape and the actualisation of alternative futures on other planets, and contemporary science fiction, has produced genres, tropes, artistic strategies and other forms of critical engagement with our earthly existence. And perhaps more importantly: what stories have been untold, unimagined, or even hidden away? —— We invite scholars, writers, artists, and creative or cultural practitioners to submit contributions in the form of academic articles, reviews, interviews, visual works, hybrid essays, poems, and any other form that is fitting for the theme and the A5-format journal. We encourage contributors from all stages of their (research) practice to respond to the call for papers. —— Image: Nonhuman Nonsense, Planetary Personhood: Mars Person, 2020, video still from artistic project, https://planetarypersonhood.com/.

ARTICLE FROM OUR ONLINE CURATING ISSUE 📖 The disr

ARTICLE FROM OUR ONLINE CURATING ISSUE 📖 The disruptive labour of the designed interactions of an exhibition on the web. By Lisa Marie Sneijder. “How can an exhibition on the web draw in the user, capture their attention and possibly change their way of thinking while also being a part of the web’s networked everyday? In this article, I will take a speculative approach through ideas applied from design to navigate this question and theorise ways in which ‘exhibitions on the web’ might be a disruptive force stimulating a lasting level of engagement. I will dissect its three designed interactions: the located physical use, the technical features and the content to question their disruptive agency towards sustained labour of its user.” —— Read more of this article on our website! And shop this issue via the link in our bio 🌐

Follow on Instagram

© Authors and Stichting Kunstlicht, Amsterdam 2026 redactie [at] tijdschriftkunstlicht.nl | Blogus by Themeansar.

Search for:

Manage Consent

To provide the best experiences, we use technologies like cookies to store and/or access device information. Consenting to these technologies will allow us to process data such as browsing behaviour or unique IDs on this site. Not consenting or withdrawing consent, may adversely affect certain features and functions.

Functional Functional Always active

The technical storage or access is strictly necessary for the legitimate purpose of enabling the use of a specific service explicitly requested by the subscriber or user, or for the sole purpose of carrying out the transmission of a communication over an electronic communications network.

Preferences Preferences

The technical storage or access is necessary for the legitimate purpose of storing preferences that are not requested by the subscriber or user.

Statistics Statistics

The technical storage or access that is used exclusively for statistical purposes. The technical storage or access that is used exclusively for anonymous statistical purposes. Without a subpoena, voluntary compliance on the part of your Internet Service Provider, or additional records from a third party, information stored or retrieved for this purpose alone cannot usually be used to identify you.

Marketing Marketing

The technical storage or access is required to create user profiles to send advertising, or to track the user on a website or across several websites for similar marketing purposes.

Manage options
Manage services
Manage {vendor_count} vendors
Read more about these purposes

View preferences

{title}
{title}
{title}