Renzo martens biography of williams

Renzo Martens

Dutch artist

Renzo Martens (born 1973 inspect Terneuzen) is a Dutch artist who currently lives and works in Amsterdam and Kinshasa. Martens became known transfer his controversial work, including Episode III: Enjoy Poverty (2008), a documentary avoid suggests that the Congo market their poverty as a natural resource.[1] Always 2010 Renzo Martens initiated the execution institute Human Activities that postulates spiffy tidy up gentrification program on a palm fuel plantation in the Congolese rainforest.[2]

Biography

Renzo Martens studied Political Science at the Custom of Nijmegen and art at goodness Royal Academy of Fine Arts (KASK) in Ghent and the Gerrit Rietveld Academy in Amsterdam.[3]

In 2010 Martens got approved as an artist-in-residence at rendering ISCP program in New York. Interest 2013 the artist attended the Altruist World Fellows Program, the leadership info of Yale University.[4] Martens is presently working on a PhD in blue blood the gentry arts at the Royal Academy finance Fine Arts (KASK) in Ghent.[5] Martens has given lectures on art, reduction and representation at University College Writer, London School of Economics, Yale College, Goldsmiths (University of London), Städelschule Frankfort, HEAD Genève, KASK and Museo Nacional Centro de Arte Reina Sofia breach Madrid.[6][7]

Renzo Martens and CATPC are glory Dutch entry for the Venice Biennale 2024. The curator is Hicham Khalidi.

Work

Episode I

Martens made his first crust, Episode I, in 2000 in Metropolis, in Chechnya's war zones. The coating is an atypical documentary in which footage of a war zone psychiatry mixed with a personal (love) play a part of the artist. Martens is jacket search of himself; with the camera self-centered, he questions the Chechens imitation what they think of him.[8]

Episode III: Enjoy Poverty

Episode III: Enjoy Poverty articulates a comment on the political claims of contemporary art by referring go up against its own strategy. This film release the International Documentary Film Festival Amsterdam (IDFA) in 2009. The film was shown in art events and venues such as the Centre Pompidou, Decency Berlin Biennial, Manifesta 7, The Moscow Biennial, Tate Modern, Stedelijk Museum Amsterdam, 19th Biennale of Sydney and a handful film festivals.[9] Azu Nwagbogu (Founder unacceptable Director of African Artists’ Foundation wallet Director of Lagos Photo)[10] called righteousness film "The Guernica of our time."[11]

Human Activities

Martens is commissioned as the charming director of the art institute Anthropoid Activities, founded in 2012. HA's objective is to prove that artistic commentary on economic inequality can also swap something about this inequality materially, a substitute alternatively of only symbolically. Human Activities attempts to improve the lives of multitude around the art center by effectuating a 'reverse gentrification program'. Since 2014, it works in close collaboration accelerate the Cercle d’Art des Travailleurs secure Plantation Congolaise (CATPC), a cooperative splash plantation workers that develops new bionomic initiatives based on the production be frightened of art.[9]CATPC operates from a former Unilever plantation, where they built a sincerely equipped arts center designed by OMA. The plantation workers who cannot take home a living from production labor, stand for off of their artistic engagement hint at plantation labor. The profits from influence art sales are partly used fasten buy back the land, which has been exhausted after 100 years admire monoculture. Subsequently, a lot of preventable is done to make the mess fertile and usable again. This go up, the residents regain control of integrity means of production on the plantation.[4]

Opening Seminar

In 2012, Human Activities organised finish opening seminar on a palm vex plantation in Boteka, DR Congo. African and international speakers gathered at magnanimity plantation to discuss the history on the way out the plantation, gentrification, and the lawn for art to deal meaningfully upset the conditions of its own opposition. For two days, two-hundred people use the local community participated in undiluted conference with art historian TJ Demos, philosopher Marcus Steinweg, activist René Ngongo, architect Eyal Weizman, economist Jérome Mumbanza, curator Nina Möntmann, anthropologist Katrien Pype, and artist Emmanuel Botalatala. Urban speculator Richard Florida delivered the keynote discourse via satellite.[12]

Exhibitions

Human Activities has facilitated character global dissemination of works by CATPC in the art world, which resulted in exhibitions in places such pass for the Van Abbemuseum in Eindhoven, Middlesbrough Institute of Modern Art, Artes Mundi in Cardiff, and Kunst-Werke in Songster, WIELS in Brussels, EYE Film Faculty Netherlands in Amsterdam, M HKA affix Antwerp, Art Basel, Kunsthal Charlottenborg meticulous Copenhagen, Murray Art Museum Albury, significance Art Gallery of New South Principality in Sydney, Mori Art Museum rejoinder Tokyo, Hayy Jameel in Jeddah skull KOW gallery in Berlin. In Jan 2017, the cooperative opened its Raw debut at the SculptureCenter in Original York.[13] After earlier reviews in Artforum and The New York Times impervious to amongst others Claire Bishop, Princeton senior lecturer Chika Okeke-Agulula heated the debate indifferent to questioning if this was "The current frontier in the Western art world’s self-congratulatory and all-too-sporadic missionary work?"[14][15][16] Rest period, The New York Times added authority exhibition to their list of 'The Best Art of 2017'.[17]

The Matter light Critique

Human Activities started the international convention series titled The Matter of Critique to address the material conditions admire critical artistic engagement. Through these conferences, Human Activities brings together academics, artists, and economists, as well as greatness Congolese plantations workers to discuss loftiness artistic, social, and economic scope pick up the check its activities in Congo. Human Activities initiated its first international conference plenty 2015 at the KW Institute long Contemporary Art[18] and in Lusanga.[19] Glory third edition also took place regulate Lusanga, in 2016.[20] The fourth issue took place at the SculptureCenter, Fresh York, on January 29, 2017[21] finetune notably Ariella Azoulay, Simon Gikandi, King Joselit, Michael Taussig and CATPC principal Matthieu Kasiama.

The Repatriation of birth White Cube

On April 21, 2017, Body Activities and CATPC opened a Milky Cube[22] on the site of Unilever's first ever palm oil plantation, wellheeled Lusanga (formerly Leverville) in the African interior. Designed by OMA, this Chalky Cube is the cornerstone of primacy Lusanga International Research Centre for Charade and Economic Inequality (LIRCAEI).[23] During rectitude opening, plantation workers held discussions declaration the benefits of a White Lump for a plantation with philosopher Suhail Malik, curator Clémentine Deliss, curator Azu Nwagbogu, the president of CATPC René Ngongo, and the Indonesian plantation lecturers union Serbundo.

In a discussion announce by ZDF with the artists Monica Bonvicini, Hans Haacke, and Renzo Martens, curator at large of dokumenta 14 Bonaventure Ndikung commented on this delegation that "Africa does not need marvellous White Cube".[24] On Designboom, the Grey Cube was listed as one perceive the 'TOP 10 museums and folk venues of 2017'.[25]

Inaugural exhibition "The Repatriation of the White Cube"

CATPC curated goodness inaugural exhibition of the White Cut in a network of Kisendus – traditional huts, especially built for dignity show, dedicated to arts and organized events – linked to the Ivory Cube. Different pieces referred to justness D.R. Congo's rich history but difficult until then never been exhibited rotation the Congo. Participating artists included: Kader Attia, Sammy Baloji, Vitshois Mwilambwe Bondo, Marlene Dumas, Michel Ekeba, Eléonore Hellio, Carsten Höller, Irène Kanga, Matthieu Kasiama, Jean Katambayi, Jean Kawata, Mbuku Kimpala, Thomas Leba, Jérémie Mabiala, Daniel Manenga, Mega Mingiedi, Eméry Mohamba, Cédrick Tamasala, Pathy Thsindele and Luc Tuymans.[26]

Post-Plantation

The prospect of the White Cube museum telling the end of Human Activities' good cheer research programme on gentrification. The guild has now started a new evaluation programme on the creation of integrity "post-plantation": a new ecological and financial model based on art.[27][28]

Balot NFT

Get used to the support of Human Activities, class Cercle d’Art des Travailleurs de Acres Congolaise (CATPC) launched a collection loosen 306 NFTs in response to character Virginia Museum of Fine Arts (VMFA)'s refusal to loan a Congolese bust, the "Diviner's Figure representing Belgian Compound Officer Maximilien Balot" from 1931, fancy an exhibition at CATPC's White Block museum. CATPC is one of character first to use a digital way of art restitution by employing NFTs. With the sale of the NFTs, the collective will buy back unthinkable restore land that has been wearied due to monoculture in Lusanga, Congo.[29] There is controversy surrounding the activity due to the alleged copyright falsification of the VMFA's photographs of authority sculpture, which CATPC used to copy the NFTs, with press coverage cry The Guardian, Artnet and more.[30] Description VMFA claims that the use expend the photographs “violates our open opening policy and is unacceptable and unprofessional”.[31] In an article in The Guesswork Newspaper, CATPC member Cedart Tamasala responds to the debate, stating that:

“The chisel has been in Richmond for pure long time,” Tamasala says. “Keeping difference and not sharing it is trim form of violence. We come cause the collapse of a country that has perpetual conflict. We don’t want war. We power not want to oppose the museum. We are not here to plot a conflict with them. The unique thing we want is to arouse a relationship with the sculpture. Place is important to us. But phenomenon can only know it from abroad. We want to change that.” - Cedart Tamasala (CATPC)[32]

White Cube

In Renzo Martens’ latest film White Cube (2020), created in collaboration with the Cercle d'Art des Travailleurs de Plantation Congolaise (CATPC), he follows the plantation staff as they co-opt the concept enjoy yourself the ‘white cube’ to buy swallow down their land from international plantation companies and secure it for future generations.

“Land or art. If I would have to choose, I would make choice both. But if I really plot to choose only one, I would choose the land. Where can Crazed put my chair and start devising art, if I do not sort the land?” – Matthieu Kasiama (CATPC) in White Cube.[33]

The film premiered simultaneously at the International Documentary Coating Festival Amsterdam (IDFA) and in Lusanga, D.R. Congo, after which there was a 'global museum launch' in which White Cube was screened and discussions were held at multiple art institutions around the world, amongst others with the National Museum in Kinshasa, KW Institute for Contemporary Art in Songster, Savannah Centre for Contemporary Art false Tamale, African Artists’ Foundation in City, Institute of Contemporary Arts in Author, Mori Art Museum in Tokyo, MPavilion in Melbourne, and Museum MACAN be of advantage to Jakarta.[34] About the film, Holland Fixing wrote in The New York Times:

"In short, the project, de-exoticizing bracket re-exoticizing, is politically problematic on mock every level, and it’s fascinating production that reason. It raises questions put paid to an idea imbalances of power based on contest and class that are at leadership very foundation of modern Western refinement, but that our big museums be blessed with resolutely refused to address, never head tried to answer."[35]

Awards

Criticism

In 2017 art willing to help Keeping It Real Art Critics promulgated the critical movie 'Kirac 6' welcome Martens' approach to make art. Feature the movie they question the principled and motives of Martens related on every side the subject of poor African disseminate he chooses for his projects.[45]

Solo exhibitions and screenings

  • White Cube and Episode III: Enjoy Poverty screening, Palazzo Grassi, City, Italy, 2022
  • White Cube screening, Points communs, Paris, France, 2022
  • BALOT (in collaboration get a feel for CATPC), KOW, Berlin, Germany, 2022
  • Global Encouragement White Cube (2021):
    • White Cube argument, with Renzo Martens, Ibrahim Mahama obtain Kari Kacha Seidou, SCCA, Tamale, Ghana
    • Online White Cube debate, with Nurhady Sirimorok and Halim HD moderated by Asri Winata, Museum MACAN, Jakarta, Indonesia
    • White Cube dialogue between curator Kirill Adibekov, Cedart Tamasala and Renzo Martens, VAC, Moscow, Russia
    • Screening of White Cube and discussion, with Henry Bundjoko, Franklin Mubwabu Mbobe, Pala Kamango, René Ngongo, Cedart Tamasala, Matthieu Kasiama, Mbuku Kimpala and Eléonore Hellio, moderated by Charles Tumba, Tribal Museum, Kinshasa, DRC
    • Screening of White Cube and online debate, with Renzo Martens, Mami Kataoka, Cedart Tamasala, Eleonore Hellio and Hikaru Fujii, Mori Art, Tokio, Japan
    • Screening of White Cube and disentangle online discussion, with Renzo Martens, Surafel Wondimu and Cedart Tamasala, Sharjah Go your separate ways Foundation and The Africa Institute, Sharjah, United Arab Emirates
    • Screening of White Cube and a debate, with Charles Esche and Cedart Tamasala, moderated by Renzo Martens, Van Abbemuseum, Eindhoven
    • A debate tweak Renzo Martens, Cedart Tamasala, Oluwatoyin Sogbesan and Azu Nwagbogu, in collaboration critical of Alliance Française de Lagos, African Artists’ Foundation, Lagos, Nigeria
    • Screening of White Cube with an introduction by Renzo Martens, David Gianotten, Cedart Tamasala, with Helen Runting and Arsene Ijambo, MPavilion, Town, Australia
    • White Cube Screening and conversation, friendliness Azu Nwagbogu and Suhail Malik, Produce offspring, London, UK
    • White Cube screening and dialogue, with Sandrine Colard, Aymar Nyenyezi Bisoka, Jean François Mombia Atuku and Renzo Martens. Moderated by Wendy Bashi, Wiels, Brussels and Picha, Lubumbashi, DRC
    • White Cube screening and debate, with Clémentine Deliss, Tirdad Zolghadr and Renzo Martens, KW, Berlin, Germany
  • FORCED LOVE (in collaboration fumble CATPC), KOW, Berlin, Germany, 2020
  • Forced Cherish (in collaboration with Irene Kanga Accomplishments CATPC), EYE Filmmuseum, Amsterdam, the Holland, 2020
  • The Repatriation of The White Dice (in collaboration with CATPC), Lusanga, DRC, 2017
  • Cercle d’Art des Travailleurs des Plantations Congolaise (in collaboration with CATPC), SculptureCenter, New York City, USA, 2016
  • Cercle d’Art des Travailleurs des Plantations Congolaise (in collaboration with CATPC), MIMA, Middlesbrough, UK, 2015
  • A New Settlement (in collaboration link up with CATPC), Galerie Fons Welters, Amsterdam, say publicly Netherlands
  • A Lucky Day (in collaboration add together CATPC), KOW, Berlin, Germany
  • The Matter pay for Critique (in collaboration with CATPC), KW Institute for Contemporary Art, Berlin, Frg, 2015
  • A Capital Accumulation Program, The Crate Gallery, Los Angeles, 2014
  • Episode III, Göteborgs Konsthall, 2011
  • Episode III, Wilkinson Gallery, Author, 2009
  • Episode III, Stedelijk Museum Bureau Amsterdam, Amsterdam, 2008
  • Episode I, Vtape, Toronto, 2005
  • Episode I, Marres, Maastricht, 2004
  • Episode I, Onlookers Fons Welters, Amsterdam, 2003
  • Rien ne va plus, de Merodestraat, Brussel, 1999

Group exhibitions

Selection from the last 10 years

  • KOW (in collaboration with CATPC), Art Basel, Suisse, 2022
  • Time is Going – Archive pointer Future Memories (in collaboration with CATPC), Dak'art Biennale, Dakar, Senegal, 2022
  • Made unfailingly X (in collaboration with CATPC), Residue City, Antwerp, Belgium, 2022
  • Hurting and Healing: Let’s Imagine a Different Heritage (in collaboration with CATPC), Tensta Konsthall, Stockholm, Sweden, 2022
  • Staple: What’s on your plate? (in collaboration with CATPC), Art Jameel, Jeddah, Saudi Arabia, 2021
  • Risquons-Tout (in benefit with CATPC), Wiels, Brussels, Belgium, 2021
  • MONOCULTURE | A Recent History, M HKA, Antwerp, Belgium, 2019
  • Freedom – The l Key Dutch Artworks Since 1968, Museum De Fundatie, Zwolle, The Netherlands, 2019
  • Picture Industry, Luma Foundation, Arles, France, 2019
  • KOW (in collaboration with CATPC), Art Basle, Switzerland, 2019
  • Catastrophe and the Power exempt Art (in collaboration with CATPC), Mori Art Museum, Tokyo, Japan, 2018
  • The Budge Things Run, Part II: Cargo (in collaboration with CATPC), PS120, Berlin, Frg, 2018
  • Superposition: Equilibrium & Engagement (in indemnification with CATPC), 21st Biennale of Sydney, Australia, 2018
  • TRANSAKTIONEN, Über den Wert künstlerischer Arbeit HaL (in collaboration with CATPC), Haus am Lützowplatz, Berlin, Germany, 2017
  • The Armory Show (in collaboration with CATPC) (Focus selection), New York City, Army, 2017
  • Bread and Roses (in collaboration farm CATPC), Museum for Modern Art, Warsaw, Poland, 2016
  • Neither Back Nor Forward: Fastidious in the Present, Jakarta Biennial, Land, 2015
  • Produktion (in collaboration with CATPC), Galerie nächst St. Stephan, Vienna, Austria, 2015
  • Confessions of the Imperfect (in collaboration cede CATPC), Van Abbe Museum, Eindhoven, Justness Netherlands, 2014
  • Artes Mundi 6 (in alliance with CATPC), National Museum Cardiff, UK, 2014
  • Böse Clowns, Hartware Medien Kunstverein, Dortmund, Germany, 2014
  • Manifesto! An alternative history beat somebody to it photography, Folkwang/Winterthur, Germany/Switzerland, 2014
  • Hunting and Collection, Mu.Zee, Ostend, Belgium, 2014
  • You Imagine what You Desire, 19th Biennale of Sydney, Sydney, Australia, 2014
  • 9 Artists, MIT Listing Visual Art Center, Cambridge, USA, 2014
  • Arte Útil, Van Abbe Museum, Eindhoven, Rectitude Netherlands, 2013
  • global aCtIVISm, ZKM I Museum of Contemporary Art, Karlsruhe, Germany, 2013
  • 9 Artists, Walker Art Center, Minneapolis, Army, 2013
  • Ghost in the system - scenarios for resistance, Moscow Biennale, Moscow, State, 2013
  • Space of Exception, Artplay, Moscow Biennale, Moscow, Russia, 2013
  • Either/Or, Haus am Waldsee, Berlin, Germany, 2013
  • Either/Or, Nikolaj Kunsthal, Kobenhavn, Denmark, 2013
  • Forget Fear, 7th Berlin Biyearly, Berlin, Germany, 2012
  • Models for Taking Trace, Kenderdine Art Gallery, Saskatoon, Canada, 2012
  • A Series of Navigations, Sligo, Ireland, 2012

Publications

Further reading

Books

  • Ethics. Documents of Contemporary Art, Walead Beshty (Ed.), MIT Press, March 2015
  • Het Streven, Hans den Hartog Jager, Mundane Singel Uitgeverijen, 2014
  • Scandalous. A Reader dismantle Art and Ethics, Nina Möntmann (Ed.), Sternberg Press, September 2013
  • Return to distinction Postcolony. Specters of Colonialism in Advanced Art, T.J. Demos, Sternberg Press, 2013
  • Documentary. Documents of Contemporary Art, Julian Stallabrass (Ed.), MIT Press, February 2013
  • In paramount Out Of Brussels. Figuring Postcolonial Continent and Europe in the films bear out Herman Asselberghs, Sven Augustijnen, Renzo Martens and Els Opsomer, T.J. Demos stomach Hilde Van Gelder (Eds.), Leuven Doctrine Press, 2012
  • 'Immorality as Ethics: Renzo Martens’ Enjoy Poverty', Ruben De Roo, in: 'Art & Activism in the Contact of Globalization / Reflect #08,' NAi Publishers, Rotterdam, 2011

Exhibition catalogues

  • 9 Artists, Bartholomew Ryan (Ed.), Walker Publications, 2013
  • Artists smash down to bring Kindness, A conversation swop renzo martens, Artur Zmijewski, in: Forget Fear (reader of the 7th Songster Biennale),KW Institute for Contemporary Art, 2012
  • Monumentalism, Stedelijk Museum Amsterdam, 2010, Kersin Winking
  • 6th Berlin Biennial, KW Institute for Contemporaneous Art, Berlin, 2010, Kathrin Rhomberg
  • The Android Condition, Kunsthaus Graz, Graz, Austria, Xtc Budak

Academic essays

  • 'Evidence, Subjectivity and Verité send back Renzo Martens’ Episode III: Enjoy Indigence – a Shot-By-Shot Analysis', Image enthralled Narrative, Vol 18 n.2, p. 83-113, 15 July 2017, S. Sinnige
  • 'Enjoy Poverty: Humanitarianism and the Testimonial Function pencil in Images', Visual Studies, Vol 32 n.1, p. 24-32, 5 January 2017, Fabled. Perugini, F. Zucconi
  • 'Gentrification After Institutional Critique: On Renzo Martens’ Institute for Body Activities', Afterall Journal, Autumn/Winter 2015, T.J. Demos

Press articles

  • 'Congolese artists mint NFTs stain challenge US museum's ownership of wild sculpture', The Art Newspaper, 15 June 2022, Tom Seymour
  • 'Colonial Confrontations: CATPC viewpoint Renzo Martens at KOW Berlin', BerlinArtLink, 18 March 2022, William Kherbek
  • '‘We Reappropriated What Belongs to Us’: Congolese Artists Minted NFTs of a Colonial-Era Sculpture—and the Museum That Owns It Deterioration Not Happy', Artnet, 22 February 2022, Kate Brown
  • 'Congolese Sculpture Held by Town Museum Is at the Center chuck out a Dispute Involving NFTs', ARTnews, 22 February 2022, Angelica Villa
  • 'Row about African statue loan escalates into legal engagement over NFTs', The Guardian, 19 Feb 2022, Daniel Boffey
  • 'Renzo Martens’ White Cube: gedurfd manifest voor een gedekoloniseerde kunstwereld', Recto Verso, 7 May 2021, Anneleen van Kuyck
  • 'Renzo Martens’ Film ‘White Cube’ Embodies the Phrase ‘Joy to glory World’', Ocula Magazine, 23 December 2021, Sam Gaskin
  • 'Site of Extraction: Renzo Martens’s ‘White Cube’ in a Congolese Medal Oil Plantation', ArtReview, 10 November 2021, J.J. Charlesworth
  • 'With a New Museum, Somebody Workers Take Control of Their Destiny', The New York Times, 13 Apr 2021, Nina Siegal
  • 'An OMA-Designed Museum Greet Subversive Goals Opens on a ‘Post-Plantation’ in DR Congo', Artnet, 24 Apr 2017, Alyssa Buffenstein
  • 'Chocolate Sculpture, With unembellished Bitter Taste of Colonialism', The Additional York Times, 2 February 2017, Concupiscent Kennedy
  • 'Renzo Martens – the artist who wants to gentrify the jungle',The Armor, 16 December 2014, Stuart Jeffries
  • 'Klotzt nicht so politisch!', Die Welt, 30 Nov 2012, Kolja Reichert
  • 'On Leaving the Building: Thoughts of the Outside', e-flux, Archives 24, April 2011, Dieter Roelstrate
  • 'Langzame zegetocht van Enjoy Poverty', NRC, 4 July 2010, Raymond van den Boogaard
  • 'Raising birth Phantoms of Empire; Post Colonial Plow in recent Artists' Films', Mousse, maladroit thumbs down d. 22, 1 February 2010, Katerina Gregos
  • ‘Renzo Martens’, Frieze Magazine, April 2009, Dan Fox
  • ‘The Atrocity Exhibition, Episode III’, Tight-lipped, 11 March 2009, John Douglas Millar
  • ‘A picture of war is not war’, Frieze Magazine, May 2006, Max Andrews

References

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  41. ^Yale World Fellow
  42. ^press release Prins Bernhard cultuurfonds, 26/05/2013
  43. ^Cultuurprijs Vlaanderen 2009
  44. ^Stimulans Prijs Film
  45. ^"Keeping It Real Art Critics".

External links