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observations of the visual

by an MA cultural anthropologist

August 28, 2017August 29, 2017

Religion as Art(ifact): Hajj in the Museum

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June 14, 2017August 14, 2017

The Body of Bruce Lee

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December 7, 2016December 7, 2016

Gender and Sexuality in Indonesia: Lesbi

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July 16, 2016July 17, 2016

Book review: Gentlemen Prefer Asians

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June 29, 2016June 30, 2016

Gender & Sexuality in Indonesia: Gay

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May 16, 2016December 6, 2016

Gender & Sexuality in Indonesia: Waria

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March 31, 2016June 29, 2016

Gender & Sexuality in Indonesia: Representations in Mass Media

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March 15, 2016April 22, 2016

Gender & Sexuality in Indonesia: A Short Introduction

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November 23, 2015July 4, 2016

Why Keith Haring’s “The Political Line” still matters

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November 15, 2015July 4, 2016

The Body as a Canvas

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#Repost @huffpost with @get_repost ・・・ Juuust a friendly reminder on "International Day Against Homophobia, Transphobia and Biphobia." 🙌 🙌 🙌 #IDAHOTB #IDAHOTB2018 #itgetsbetter #lgbtq
Today is international day against homo, trans and bi phobia. Because there are still a lot of places where it is not safe for LGBTQIA to live and be free to be who they are. As also in Indonesia. I have written several blogposts on this which you can read on my blog (link in bio). #idahot2018 #idahot #homo #lgbt #lgbtqia #inclusive #tolerance #loveislove #love #activism #indonesia #pride #queer
3% is a Brazilian @netflix series which is set in a dystopian future. The series portrays the diversity of Brazil with its cast and characters. What is different from other dystopian set stories, people choose to be infertile to be able to live in the ‘Paradise’. I wrote a review in Dutch for @delagarde.nl about season 2. And fyi if you want me to write a review about a series, exhibition, movie or something else. Feel free to contact me. #netflix #brazil #representationmatters #visualculture #review #3percent #diversity
Yayoi Kusama - Aggregation: One Thousand Boats (1962) at the @stedelijkmuseum in Amsterdam. Even the repetitive images of the boat on the wallpaper looks like phalluses. “Her ambition for supremacy over men and over sexuality is relentlessly expressed in her repetitive and aggregate use of the phallus form, which can be interpreted as an aggressive will and fantasy to defy oppressive male power by possessing it symbolically herself. Kusama’s art also relates to an archetypal memory of woman as passive prisoner, alienated from the world and resigned to monotony and anonymity.” (Alexandea Munroe, 1985) #art #stedelijkmuseum #phallus #patriarchy #boat #modernart #blackandwhite #visualculture #materialculture #yayoikusama #installation #amsterdam
#Repost @adamjk with @get_repost ・・・ b t w ☀️ let’s respect ourselves and each other. stay cool stay comfortable do your thing and please don’t make anyone’s life any harder than it needs to be ok thanks!!!! . . . when i first read these words in an unattributed screenshot on fb years ago i knew i needed to amplify in my own way. while i don’t usually write other people’s words because my whole deal is how i feel and say things, in this case i did. later i tracked them down to a text post by crutal.tumblr.com who has co-signed this graphic and that’s why i feel comfortable continuing to repost each spring. i just wanna be really transparent about the origin and respect her words!
#Repost @time with @get_repost ・・・ In 1927, a man in Alabama—the last survivor of the last known ship ever to bring enslaved humans from Africa to the U.S.—received a visitor. A young anthropologist, working on her first big assignment, wanted to hear what he remembered of freedom, of bondage and of what came before. The aspiring scholar’s name was Zora Neale Hurston, seen here in a photo-illustration by @villanaart. Hurston returned several times, aiming to write a book about the man—called Kossola, with a variety of spellings, or Cudjo Lewis—but never found an interested publisher. Even as she became an esteemed writer, his story stuck with her. His yearning for home, undimmed by time, was wedged in her mind. Now, about 90 years later, the book she had wanted, a nonfiction account of her interaction with a man who lived a vanishing history, has finally been released with great fanfare as Barracoon: The Story of the Last ‘Black Cargo.' "There is a willingness of people at this point in time to look at this issue, to interrogate it, to question it, which is what we have to do," says Deborah G. Plant, the scholar who edited the new volume. "And we have to do it because people are still wrestling with this very fundamental issue about freedom, about humanity, about the right to live a life on one’s own terms." Photo-illustration by @villanaart
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