Paradise is in the Mind

Anouk Kruithof

RAAM gallery Amsterdam

Anouk Kruithof’s project sharp, brittle, gentle: a turbulent journey focuses on glass as both a material and a symbol in relation to environmental issues. Since 2024, she has been collecting and experimenting with recycled and secondhand glass, aiming to make her artistic practice more sustainable. Because glass can be endlessly recycled, it represents ideas of renewal, transformation, and responsibility. The project combines hands-on experimentation with broader ideas about ecology and society. Kruithof draws on hydrofeminism, a perspective that connects environmental concerns with feminist thinking and highlights how all life is interconnected through water. This framework helps her explore the relationship between glass, water, and systems of waste and overconsumption. Her work brings together research from science, literature, and online sources, which she turns into image and text collages printed onto glass. She also creates “fake seaglass” by simulating the natural process of glass being worn down by the sea, transforming sharp waste into smooth fragments that symbolize healing and change. The solo exhibition at Raam will combine sculptural and flat glass installation works in a space filled with light, projections and color. It invites viewers to think about vulnerability, transformation, and our connection to the environment.

Wi Sranan - Surinaamse kunst in beweging

Cobra Museum, March 2026, Amstelveen, NL

Alphons Freijmuth - Coltrane

Meredith Joeroeja - Watra Mama

Sarojini Lewis - Stilte van de Zee: Een spoor van Soerdie

Sri Irodikromo - Map of Suriname

Kurt Nahar - The Nene Rituals

Angel-Rose Oedit Doebé - Untitled II, III, VII, VIII, IC, X, XI

Iris Kensmil - In Mijn Vaders Huis

Remy Jungerman - Posu YAW

Tessa Leuwsha - Mama Sranan / Moeder Suriname

Maikel Deekman - Digital Patchwork Framed Mamjo Installation

Neil Fortune - Colorful Ribs and Guts of Adam (From The Sea to The Island)

Reilly do Rosario - Transition 2.0

Taste of Home - photography project by Ioana Enescu at Elevate Coffee Lab

"Taste of Home Away from Home is a photographic project about memory, migration, and the quiet rituals of cooking. It follows six foreigners that live in Amsterdam as they recreate the dishes they grew up with. In small kitchens, they search for familiar tastes using unfamiliar ingredients, each meal a quiet attempt to feel a little closer to home.

For me, this project is about more than food. It’s about how we carry the places we come from, how scent and texture can hold a whole life, and how photography can witness what happens between where we are and where we’ve been.

It’s the same ache, the same pull, only now it’s attached to the sights and smells of a place that is no longer quite yours, yet never quite absent."

Silvio Lorusso

A CV of Microwork

56 Broken Kindle Screens

First Things First

Networked Optimization - Silvio Lorusso

Crowdsourced versions of popular self-help books, with Sebastian Schmieg, Artist's Book, Installation, 2013

“Our behavior is a function of our decisions, not our conditions” The Seven Habits of Highly Effective People, Pos. 952

Networked Optimization is a series of three crowdsourced versions of popular self-help books. Each book contains the full text, which is however invisible, appearing as white text on a white background. The only text that remains readable is the so-called popular highlights – the passages that were underlined by many Kindle users – together with the amount of highlighters. Each time a passage is underlined, it is automatically stored in Amazon’s data centers.

Paisajes de lo invisible: un encuentro con los desechos tecnológicos - María Jimena Herrera

"Paisajes de lo invisible se configura como un ejercicio donde la experimentación con materiales desechados revela nuevas formas de mirar y reflexionar acerca de los Residuos de Aparatos Eléctricos y Electrónicos (RAEE).

La propuesta, liderada por la artista María Jimena Herrera, invita a la ciudadanía a explorar la materialidad de la basura electrónica mediante una nutrida programación, transformando el espacio de El Parqueadero en un lugar de indagación sobre el impacto de estos residuos en la sociedad. Con esta residencia, la artista no solo exhibe su obra sino que abre un proceso de experimentación colectiva para repensar nuestra relación con los objetos desechados.

Uno de los ejes del proyecto es indagar sobre la arqueología de los medios y transformar los RAEE en signos vivos que oscilan entre lo bello, lo grotesco, lo absurdo y lo incómodo."

The Bureau of Osseous Investigation - Charlie Mai

SKETCH gallery, Bogotá, Colombia

Returning to the classic image of the duel in the Old West, this piece reconfigures violence not as spectacle, but as evidence. There are no gunshots: only weapons abandoned in the sand and smoke suspended in the air. The archetypal Western gunmen are reinterpreted as Chinese railroad workers, indispensable figures in the construction of the Transcontinental Railroad between 1864 and 1869, yet historically excluded from the mythic narratives of the cinematic genre.

This reflection on the railroad also establishes a specific link to Bogotá, where Chinese labor and financing play a central role in the construction of the city’s metro system.

Artists in the showroom at SGR Gallery, can't find exactly who

Tahuanty Jacanamijoy

Ernesto Restrepo Morillo - El Papas

"The “Potato Harvest” project began in October 1992, during the controversial celebrations of the 500th anniversary of the discovery of America. My intention was to celebrate the American conquest that had taken over Europe and the world—a different but equally devastating conquest. Nor did I want to join the popular outrage and criticism of the conquest, which seemed anachronistic to me at the time. We were all bad back then (in today's eyes); today, evil is different, and perhaps it emerges from not seeing the truth and not seeing the lie.

The first potatoes, those from 30 years ago, were bronze and hyperrealistic, faithful portraits of the tuber, just as conquerors, kings, and important people have been represented throughout history. I placed the potato in that role.

Then I began producing the potatoes in ceramic, in the same way that the Quechua, Muisca, and other peoples of this region produced sculptural objects; and I found myself making a production run every Year after year… it was natural to conceptualize the work around the harvest. One harvest each year, and after presenting each harvest, the potatoes became part of pieces that commented on history, culture, and so on. They were agents of economic speculation through art: they began to have price lists, promotions were held, and bartering took place. "

Rafael Diaz - Superficie de Contacto

"Superficie de Contacto es una serie de pinturas donde explora la idea de sombra. Tomando como excusa el juego de hacer sombras de animales proyectando diferentes posiciones de las manos sobre una pared combinando los colores básicos del sistema aditivo (Cían, Magenta, Amarillo) para lograr que el color de la sombra sea una especie de negro compuesto además de diferentes combinaciones tonales."

Rafael Diaz - Tornasol

"Todavía me sorprende el hecho de que los colores no existan y que lo que percibimos es solo la impresión que se produce en nuestro cerebro al interpretar las longitudes de onda electromagnéticas. Quizás la razón por la que pinto es para preguntarme sobre algunos fenómenos que hemos naturalizado.

En la química el tornasol sirve para indicar de Ph de una sustancia: cambia de color dependiendo del caracter acido o básico del mismo. Esta serie de pinturas me ha ayudado entender cómo incide la luz sobre las superficies; jugando con las arrugas del papel y devolviéndole a una condición plana me hago preguntas sobre diferentes aspectos técnicos y teóricos del ejercicio pictórico."

Alex Fischer - Drainspotting

Over the past 25 years, Alex Fischer has created 500 frottages of draincovers from 135 cities, 35 countries on 6 continents. His work shows the urban traces of our industrial environment and his growing collection reflects the diversity of time and culture.

Kishio Suga - Cobra Museum, Amstelveen, NL, 2025

Mono-Ha is a Japanese art movement that emerged in response to commercial art of the USA in the 60s. Rejecting the traditional definition of a work of art, the movement embraed natural and industrial materials in a (mostly) unaltered state. Kishio Suga was one of the pioneers of this movement, and the retrospective exhibition of his career at the Cobra Museum had a wide range of his works: sketches, small pieces, full-room installations. Below are some notes I took in response to the exhibition.

similar to Arte Povera (Italian art movement using "poor" materials)

low intervention, leaving objects and presenting them as they are

mono = thing

Mono-ha = School of Things

exploring the relationship of materials to each other

when you introduce a person, it changes the relationship of the materials to the person. The interaction becomes something to perceive

expression is a form of living. finding the way objects want to express themselves

creating space for reflection, an invitation to silence

what boundaries do we impose on objects?

what happens if we just let things be? - ties into

letting materials speak in their own language

meaning is created by the situation in which the object exists, the context which we create for it

using natural materials like wood and stone was a rejection of rapid industrialization and postwar modernity

you can question if the compositions are "too simple" - does it count as art? is it too simple? what does it mean? But I personaly like the piees. They bring me a sense of calm, I find myself lost admiring their natural textures, considering how they relate to each other and flow in their compositions. Is that not enough? Does it need to have a "deeper meaning"? Is how the work makes people feel not enough?

Yunwoo Choi Studio

"What is real? Where am I living? What do I perceive is the real? Are invisible things - like my emotions, supernatural phenomena, dreams, God, Tao - real? Do they have some space of their own? Are people really living in the same plane or dimension even though they feel differently about the same situation?"

Satu Laurel