Pierre Verger and Diana Blok in Cobra, curatorial contrasts

We visited the Cobra Museum on the second-to-last day of photographer Diana Blok‘s exhibition “I challenge you to love me.” This was September 30th, and I only found my notes back today.
We came for Blok, but most of the exhibition on the second floor of the Cobra Museum is devoted to the work of photographer Pierre Verger. The exhibition on Verger is called “The One That I Am Not.”

In the name of Verger’s exhibition, each word begins with a capital. For Blok’s, it doesn’t. And that says a lot.
The exhibition of Verger’s work is, above all, much.

Pierre Verger was an anthropologist who traveled extensively, taking photographs. His images led visitors around the world. He made a lot of images. Some are monumental, but many are primarily ethnographic documentary. And many they are. A tighter selection would have been better, as far as I’m concerned.

We walk on to the exhibition on Diana Blok in the corner of the room—or so it seems. Unlike the exhibition on Verger, Blok’s work is tightly curated, leading to a very interesting tentative exhibition.


Diana Blok has created work around different concepts. Strong images have always been selected based on the themes. Blok’s work is fresh and surprising, sometimes uncomfortable. I find a family portrait of naked sons lifting their naked mothers uncomfortable but wonderfully well-made.


Diana Blok walks around and films the exhibition on her iPhone. I look straight into the camera. Imperturbably, she continues filming, as she should.

Freek de Jonge in de Stadsschouwburg van Haarlem

Het is bijna 55 jaar gelden dat Freek en Hella elkaar hier ontmoetten, vertelt Freek tijdens de voorstelling.

De show start haperend. Dat ligt niet aan Freek. Binnen vijf minuten klinken drie keer telefoonpingeltjes op uit de zaal. Freek moet zich zichtbaar beheersen. Ooit in Carre zag ik hem woedend een rollator-rekwisiet stukgooien op het toneel toen een groepje meiden in de zaal onophoudelijk zaten te giechelen. Hij moest de dames de zaal uit sturen. Nu loopt het beter af en volstaan een paar snerende opmerkingen.

Hella moet Freek van achter uit de zaal af en toe helpen als hij een scene vergeet.

“Start nu het liedje nu maar in.” zegt Freek.

“Eerst nog even over Starbucks.” zegt Hella.

Freek mengt mooie verhalen met goede grappen.

“Hoe ziet ik er uit?” vraagt Caroline van der Plas trots in de schminkkamer van een tv-programma waarin ze beide zullen optreden.

“Vet!” zegt Freek.

Een incompetente loods vindt zichzelf aan het stuur van een schip met kernafval. Als minister-president Schoof aan het hoofd van zijn kabinet.

Een mooi mini-liedje “Vrede op aarde” sluit de show af, en Freek nodigt de zaal uit mee te zingen. Ik ben niet van het meezingen, maar het is ontroerend.

De show is opgenomen en het internet vertelt me dat deze op eerste kerstdag bij de VPRO op NPO 2 te zien is. Hopelijk is het kabinet Schoof met zijn incompetente ploeg dan al gevallen. Vrede op aarde.

Na afloop verkopen Freek en Hella (zelf) in de foyer Freek’s nieuwe boek De Zeeuwse Jaren.
Ik koop een exemplaar. Hella hanteert de pinautomaat en Freek signeert het boek. Ik dank Freek voor het boek en vergeet hem te bedanken voor de mooie intieme show.

Freek de Jonge in de Stadsschouwburg van Haarlem
Gesigneerd boek van Freek de Jonge

Birds, Brancusi and Starling

Some days ago, I wrote about ‘Bird,’ Brancusi’s artwork, which I stumbled upon in Bucharest’s National Gallery. Steichen bought it and paid a premium to import it into the US.
Yesterday, I watched a video about Simon Starling, a conceptual artist and photographer from the UK. Starling created a work in 2004 with the exuberant name Two Birds, No Birds — A Mirrored Displacement (Proposal for an Inter-Institutional Exchange). This work is a diptych of two photographs of ‘Bird’ in a particular exhibition space.
A nice loop.
(Omitting pun re bird named starling)

Unrelated, I found Autoxylopyrocycloboros is an interesting conceptual work by Starling about a wooden steamboat that eats its own tail, being fueled by its own hull.

Hans Aarsmans Rattle – on Garry Winogrand

Hans Aarsman wrote about Garry Winogrand, and also created a fantastic, expressionistic monologue about the chaos he recognizes in his photographic works.

You can download the monologue on this page, in English and Dutch. The links are sort of hidden. Hoover the mouse under the text “ARCHIEF”, where you see a large faint “X”. I think the original thumbnail has disappeared. The monologue is called Ruis in Dutch and Rattle in English. Rattle, I can imagine, is the noise in the streets, but I do not understand Ruis (noise, static). The monologue reads like a train-of-thought rattle. Very much how like Winogrand talked in a very Rattly manner.

Listen to this except:

Full interview here.

Like this image.

Garry Winogrand
Garry Winogrand

Deborah Turbeville in FOAM

A few months ago, I bought Deborah Turbeville: Photocollage, which presents Turbeville’s collage work. It is probably the best photobook of 2023.

Huis Marseille has created a great exposition of her work and I had a look at it today.

Deborah Turbeville was an influential American fashion photographer known for her unconventional and avant-garde style. Turbeville’s unconventional career spanned both commercial fashion work and the art world. Her work is often dreamy, mysterious, almost surrealist, and ambiguous.

Deborah Turbeville in FOAM
Deborah Turbeville in FOAM
Deborah Turbeville in FOAM

Hand & hair

Tokyo Metro girl, 2023
Tokyo Metro girl, 2023