 in 2003.  The work explores genres such as 

Potato, 2003

visible in

For a diverse group of contemporary photographers, the Dutch still life remains a source of inspiration, but with a modernised and updated concept in a contemporary visual language. This highly stylized portrait of one of the most Dutch products ever, the potato, is far from classic, but instead starkly graphic. The humble vegetable is staged like a fashion model in this work by Blommers & Schumm. At the centre of attention the potato with its blemished skin gains a sculptural quality.

Potato

Created by Marton Perlaki as part of the series 

Bird Bald Book Bubble Bucket Brick Potato

Waves from the Web, 2009

Visible in

came about when artist Marton Perlaki discovered cigarette cards from the 1850s. These cards were small collector’s items, often coupled with illustrations and housekeeping advice. Perlaki noticed how the image on the one side only gained significance after reading the text on the other side. This process of signification formed the starting point for this series, centring on the themes of vulnerability, fragility and the ephemeral. Through still lifes and staged situations, Perlaki repeatedly recreates the effect of turning around the card. With humour, absurdity, and elements of surprise, Perlaki plays with the viewer’s perception.  

Self Defense nr. 1 from the series Bird Bald Book Bubble Bucket Brick Potato

Self Defense nr. 1

Created by Daniel Gordon in 2011. The artwork is a c-print and displayed at 105 cm x 92.5 cm.

A collage is an image created using shreds of existing materials, for instance by cutting up and pasting images, or editing them electronically. Although the collage technique is not new to photography, Daniël Gordon’s application is unique. Gordon starts the process by printing out images found on the internet. He then uses these images to build three-dimensional collages. The next step is to photograph the collages with an 8x10-inch camera, which is a large-format camera. Gordon is also keen to reuse materials. After photographing the collages, he cuts up the 3-D compositions to reuse different elements in other works.  

 from 2011 not only visualises the digital era while paying tribute to the rich history of photography and collage, but the colours and geometry are reminiscent of the cubist style of artists like Pablo Picasso. For his unique approach to classic genres within the art world such as the still life and the portrait, Daniel Gordon won the Foam Paul Huf Award 2014. 

Portrait with a Yellow Window, 2011from the series Still Lifes, Portraits & Parts, Wallspace, New York, 2010-2011

Portrait with a Yellow Window

Created by Sarah Palmer in 2011. The artwork is a digital c-print and displayed at 63.5 x 51 cm.

 by American artist Sarah Palmer provokes more questions than answers. How do the various objects relate? All the items are part of the photographer’s household and are intended to evoke a sense of recognition. Rather than seeking to establish a relationship between them, Palmer invites the viewer to think about their own experiences and memories regarding the items displayed here. In this way Palmer researches the various ways in which photography can capture personal ideas and memories.  

 exhibition on display at Foam in the summer of 2011. This exhibition toyed with the idea that chaos can also be viewed as something permanent and unchangeable, according to some philosophies.  

Doppelganger (Kingston) from the series As A Real House

Doppelganger (Kingston)

Created by Jaap Scheeren & Hans Gremmen in 2009. The artwork comprises of four c-prints, each of which is displayed at 30 x 24 cm.

Maldoror #6, 2014

Foam is supported by the VriendenLoterij, Foam Members, De Brauw Blackstone Westbroek, the VandenEnde Foundation and the City of Amsterdam.

In 2021 Foam receives additional support from the Mondriaan Fund and Kickstart Cultuurfonds

Do you notice anything particular about these four colours? They represent the four colours of the CMYK colour system. In contrast to the RGB colour system that dominates the representation of colours in the digital world, the CMYK colour system is central to print colours. Like RGB, CMYK is an acronym: Cyan, Magenta, Yellow and Key. These four colours form the basis of the entire colour spectrum in printing. 

Photographer Jaap Scheeren and graphic designer Hans Gremmen conduct an almost absurdist investigation into the impact of digitalisation on the colour of an image. 

 comprises four images of the same flower bouquet, each in a different base colour. If the photos were to be layered on top of each other, they would create a lifelike still life of a bouquet. Instead they create a brightly coloured, artificial-looking image. The artists use this to question the apparent realism of the photographic medium. 

Fake Flowers in Full Colour - CMYK

Fake Flowers in Full Colour

Created by Gregory Eddi Jones in 2017. The artwork is an inkjet print of a digital collage constructed from appropriated images and digital drawings, displayed at 91.44 x 76.2 cm.

Untitled from the series Bible, 2008-2014

As a ‘post-photographic’ artist, Gregory Eddi Jones composes works that he did not necessarily create himself using a camera. Instead, he works with existing, edited or found digital images which he collects and combines to build a digital photo montage. Take some time to discover all the elements used in this playful still life. What do you see? The title of the series, 

, is an ironic reference to the political situation of 2016, when Donald Trump won the American presidential elections. With this collection of collages, Gregory Eddi Jones comments on the chaotic political climate of that period and the sensational reporting in American media. Notice how Jones deliberately includes a piece of the photo editing software Photoshop in the background, as if to underline how manipulable and changeable photographs are in the digital domain. 

Flowers for donald #20 (channel surfing [with a flock of birds and some good dogs]), 2017 from the series Flowers for donald

Flowers for donald #21 (talent show [in 3-d])

In the early 20th century, artists associated with the Dada movement experimented with politically charged photo montages for which they cut and pasted existing materials. This technique is still used in today’s digital era, but then applied using computer screens and mouse clicks. For his series 

, the American post-photographic artist Gregory Eddi Jones created such photo montages using both digital and digitalised visual materials, and applying photo editing software. More than ever before, the 2016 American presidential race between Donald Trump and Hillary Clinton played out in digital space, ranging from social media platforms to news media TV programmes. With his artificial flower still lifes, Jones offers a playful take on the American elections. Using screenshots and collected materials plus some of Trump’s visual cues and slogans, Jones creates a collage that shows his experience of this chaotic time. 

Flowers for donald #20 (channel surfing [with a flock of birds and some good dogs])

Politics is a frequent subject for the arts, often a means to come to grips with a certain situation or to express critical views. This also applies for the American presidential elections of 2016, when Donald Trump added a wholly new dimension to the political battlefield. Drawing on the traditional art genre of flower still lifes, Gregory Eddi Jones’ series 

 reflects on these notorious elections. A recurrent element in the series are the references to Donald Trump and his supporters. In photo montage number 

, Trump’s characteristic red tie hangs on a vase that shows a black-and-white image of what appears to be a demonstration. The work is a digital collage, composed by Jones using different digital ‘materials’ and techniques, including images taken from the internet. Can you discover what else he uses for his collages?  

Flowers for donald #13 (artificial flowers [with power tie]), 2017 from the series Flowers for donald

Flowers for donald #13 (artificial flowers [with power tie])

 in 2012. Using C-type as the medium, the artwork is displayed at 73,3 x 93,4 cm.

Pink Ladies and Pear, 2012

Daniel Gordon’s work displays a kaleidoscope of colours, forms, and textures. Gordon uses his own photographs alongside images that he finds on Internet to construct three-dimensional still lifes. Although familiar with Photoshop, he mostly physically cuts and pastes in the studio. Daniel Gordon does not hide the construction behind his work but rather emphasizes it. The paper structure of the fruit is distinctly visible. A drop of glue remains visible on the rim of the fruit bowl, a silent witness of his creative practice.

Pink Ladies and Pears

 in 2008. Using C-type as the medium, the artwork is displayed at 150 x 120 cm.

Bouquet V, 2008

 by Maurice Scheltens and Liesbeth Abbenes looks like a typical Dutch seventeenth-century still life. But like most floral still lifes from that time, this carefully arranged bouquet is far from realistic. Many seventeenth-century painters assembled bouquets in their paintings with an assortment of seasonal flowers, which could never flourish at the same time. Bouquet V is also an artistic construction: the duo cut all parts of the flower arrangement from books, magazines, and catalogs, which were accurately combined into a balanced composition. This two-dimensional construction was then photographed in a three-dimensional setting, distorting the viewers’ gaze and perception of reality. The still life we see is fake and real at the same time: although not quite what it seems, it is a true creation, not a digital tableau.

Bouquet V

Text-to-image generators have gained tremendous popularity over the past years. This specific application of artificial intelligence allows users to create digital images based on textual input. It seems that any desired image is just a few clicks away, with little to no technological knowledge about the inner workings needed.  

But what happens underneath the hood? How does a text-to-image AI exactly work? This step-by-step explainer will lift (some) of the curtains of image generation and shed light inside the black box of AI. 

Disclaimer: this is a simplified explanation of text-to-image generation. In reality, there are many different types of generation models, approaches and techniques. To learn more about this complex technology, we recommend reading 

Inside the Black Box


Results

Text to Image explained

How does a new generation of image-makers from Turkey use photography to reflect on the world around them? 

As part of the multi-year project Kısmet, this online group exhibition gives a snapshot of the emerging community of contemporary image-makers from Turkey. Kısmet is inspired by longstanding cultural, diplomatic and economic ties between Turkey and the Netherlands and delves into the diverse and intricate facets of Turkish visual culture, as seen through the lens of different generations of image-makers. Here, we present the work of four talented visual artists, born after 1990, whose voices will shape the vast visual landscape in Turkey, and beyond, in the upcoming years. 

Showing a diverse range of visual styles, what connects these four artists is the profound personal investment they put in their work. Their photography holds a personal dimension that goes beyond ‘merely’ having an affinity for the chosen subject matter. Rather, their practice and the resulting bodies of work reveal a deep connection to their perception of the world around them. What stands out are the distinct translations of their inner worlds, whether this is in the methodology, subject matter or aesthetics. 

For Oğulcan Arslan, the personal comes forward not only through the story he documents, but also through photographic techniques he uses. In 

, he intimately captures a friendship by adjusting light, exposure and composition to the emotions he experiences himself or from his friend. 

Alp Peker finds solace in their photographic practice to voice their protest against unspoken issues and social taboos they experience on a daily basis. Their photographs, shown here under the title 

, are an ode to the community Alp lives in, their goals, struggles, and weirdnesses.  

Kıvılcım S. Güngörün defines her work as autobiographical fiction. The collages in 

are a direct translation of her inner workings: intuitive visual responses to questions that pop into her mind, or new questions that arise during the process.  

, Cansu Yıldıran studies the power dynamics and gender inequality that they encountered in their ancestral village in Northern Turkey. Inspired by the personal stories of the women of their family, Cansu creates emotional atmospheres that investigate their own sense of identity, of belonging and the continuous search for a safe space.

Kismet: online exhibition intro

How to

Oğulcan Arslan 

From the series All the Rivers Flow In the Nuthouse

               

Alp Peker

Untitled

From the series Amel Defteri: a notebook of deeds

From the series Amel defteri: A Notebook of Deeds

             

Kıvılcım S. Güngörün 

From the series I lab yu

From the series I Lab Yu

“My day becomes my laboratory, and I lab back.” 

                          

Cansu Yıldıran 

From the series The Dispossessed

      

Image from the series After Anahit, 2023

The Golden Horn, Istanbul

Dad and his Indian Friends, April 2017

Kısmet: New Perspectives. Four Contemporary Image-makers from Turkey

06.09.2004

Jasper Wiedeman

exhibitions

Popel Coumou

The work of Vasantha Yogananthan as shown at Galerie Mercatorplein 2018

Installation shot of the works by Vasantha Yogananthan in the exhibition Foam Talent in London

Cover of Foam Magazine #48: Talent issue. 

In The Myth of Two Souls, Yogananthan tells the story of The Ramayana by juxtaposing three formally unique sets of images: landscapes, hand-painted staged portraits, and illustrated black-and-white photographs.

Vasantha Yogananthan

Launch new set First Editions by Nanouk Prins

Join us on Thursday 31 October in Foam Editions as we launch a new set of First Editions by photographer Loes de Boer. The work explores femininity and unravels the fluid dimensions within it.

The First Editions are a unique chance to buy work by emerging talent for an attractive price. With this initiative, Foam Editions aims to facilitate a connection between starting photographers and (potential) collectors. The two works have an edition of 100 per work and are sold for €95 each, including an aluminium frame.

Set First Editions by Loes de Boer

Foam Café

Launch new First Editions by Loes de Boer

Launch new set First Editions by Loes de Boer

John Edmonds (1989, US) is the winner of the Foam Paul Huf Award 2021. Part of this prize is the solo exhibition 

In his work, Edmonds examines issues of identity and power from an African-American perspective in an apparently simple yet essentially culturally complex way.

Face As Mask II, 2018

Foam

Holding a Sculpture from the Ashanti, 2019

A Guard for the Gods, 2020

Still Life II, 2018

Anatolli & Collection, 2019

John Edmonds A Sidelong Glance

Join us live on 13 October, 18.00 hrs CET as Vasantha Yogananthan goes into a conversation with Foam Magazine editor in chief Elisa Medde about his new publication Afterlife.

<a href="https://shop.foam.org/en/vasantha-yogananthan-afterlife.html">Afterlife</a>&nbsp;is the sixth chapter of Vasantha Yogananthan&rsquo;s long-term project&nbsp;A Myth of Two Souls&nbsp;inspired by the epic tale&nbsp;The Ramayana. Drawing inspiration from the imagery associated with this myth and its pervasiveness in everyday Indian life, Vasantha Yogananthan has retraced the legendary route from north to south India.&nbsp;A Myth of Two Souls&nbsp;is informed by the notion of a journey in time and space and offers a modern retelling of the tale. Join us live on 13 October, 18.00 hrs CET when Yogananthan and Medde will go into conversation about <a href="https://shop.foam.org/en/vasantha-yogananthan-afterlife.html">the book</a> and the work featured in <a href="https://shop.foam.org/nl/foam-magazine-57-in-limbo.html">Foam Magazine #57: In Limbo</a>. ABOUT VASANTHA YOGANANTHAN Vasantha Yogananthan is a photographer working around the genres of portrait, still life and landscape. He has received several awards, including the Prix Levallois (2016), an ICP Infinity Award as Emerging Photographer of the year (2017) and was a Foam Talent (2017). In 2018 and 2019 he was awarded the Prix Camera Clara and the Rencontres d'Arles Photo-Text Book Award. Yogananthan's work is included in private and public collections, including the V&amp;A, Mus&eacute;e de l'&Eacute;lys&eacute;e, Foam photography museum and the Mus&eacute;e Fran&ccedil;ais de la Photographie. <a href="https://shop.foam.org/en/vasantha-yogananthan-afterlife.html"><img src="https://a.storyblok.com/f/113697/595x298/a1af952c65/vasantha_yogananthan_afterlife_2.jpg" alt="" width="595" height="298" /></a> -&gt;<a href="https://www.foam.org/book-a-visit/public/book-launch-afterlife-by-vasantha-yogananthan/13-10-2020">Sign up for the event</a> to get an email notification before it starts.
Afterlife is available for purchase in the <a href="https://shop.foam.org/en/vasantha-yogananthan-afterlife.html">Foam webshop</a>.
Yogananthan is also featured in <a href="https://shop.foam.org/nl/foam-magazine-57-in-limbo.html">Foam Magazine #57: </a><a href="https://shop.foam.org/nl/foam-magazine-57-in-limbo.html">In Limbo</a>. Available now.

<div class="sidebar__content">EVENT INFO 
13 October 2020
 TIME 18.00 hrs CET
 PLEASE NOTE: This is an online event. Join us via <a href="https://www.instagram.com/foam_amsterdam/">Instagram</a>. Please register to receive an email notification as soon as the live stream starts.</div>

Book launch | Afterlife by Vasantha Yogananthan

Exclusively for Club Foam, Foam Family and Foam Fan+ members, Foam organises photography workshops in November based on the exhibition Brassa&iuml;.

ATTENTION: This event is sold-out.
<a href="https://foam.org/museum/programme/brassai"><img src="https://a.storyblok.com/f/113697/595x769/27ae7691d1/on_the_boulevard_saint_jacques_1930_1932_c_estate_brassai_succession_paris_595x298.jpg" alt="" width="595" height="769" /></a> On the Boulevard Saint-Jacques, 1930-1932 &copy; Estate Brassa&iuml; Succession, Paris
The workshop starts with a participatory tour through the exhibition of Brassa&iuml;, during which you will get inspired by the theme and work ethic of the photographer. Inspired by this tour, you will then start working on the assignment of the workshop. Within the themes of Brassa&iuml;, you will photograph in black and white and discover the still life, people in caf&eacute;s and street scenes. During the workshop you will be guided by a professional museum teacher.
The workshop will finish with showing and discussing each other&rsquo;s results. You can choose your best results and have a few options on printing them. All results will be sent to you digitally and of course you can take your analogue work with you.
Workshop 1: Sunday 10 November from 14.00 until 17.00 hrs Workshop 2: Saturday 16 November from 10.00 until 13.00 hrs&nbsp; SIGN UP This workshop is free for Club Foam, Foam Family and Foam Fan+ members. It is possible to bring one guest. This person pays the regular workshop rate of &euro; 50. Foam provides Olympus OM-D cameras for this workshop. Of course, you are free to use your own camera if you prefer. In that case, remember to bring a fully charged battery, an empty SD card, and a transfer cable. The use of your own materials is at your own risk.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">WORKSHOP INFO 
Sunday 10 November 2019 14.00 - 17.00 hrs Saturday 16 November 2019 10.00 - 13.00 hrs This event is sold-out.
&nbsp;
PRICE&nbsp; Free for&nbsp;<a href="/about/memberships">Club Foam</a>, <a href="/about/memberships">Foam Family</a> &amp; <a href="/about/memberships">Fan+</a>&nbsp;members &euro;50 guests LANGUAGE Dutch</div>

Club Foam, Foam Family & Fan+ workshop Brassaï

Inspire yourself with Brassa&iuml;'s street photography and learn how to capture Amsterdam during dusk.

ATTENTION: This event is sold-out.
Brassa&iuml; (1899- 1984) created countless iconic images of 1930s Parisian life. He was famous for capturing the grittier aspects of the city, but also documented high society, including the ballet, opera, and intellectuals - among them his friends and contemporaries like Pablo Picasso, Salvador Dal&iacute; and Henri Matisse.
ABOUT THE WORKSHOP The workshop starts with a participatory tour through the exhibition of Brassa&iuml;, during which you will get inspired by the theme and work ethic of the photographer. Inspired by this tour, you will then start working on the assignment of the workshop. Within the themes of Brassa&iuml;, you will photograph in black and white and discover the still life, people in caf&eacute;s and street scenes during Brassa&iuml;s&rsquo; most loved time of the day. During the workshop you will be guided by a professional museum teacher. The workshop will finish with showing and discussing each other&rsquo;s results. You can choose your best results and have a few options on printing them. All results will be sent to you digitally and of course you can take your analogue work with you.
<img src="https://a.storyblok.com/f/113697/595x770/d8dfeb2c04/on_the_boulevard_saint_jacques_1930_1932_c_estate_brassai_succession_paris_595px.jpg" alt="" width="595" height="770" /> On the Boulevard Saint-Jacques, 1930-1932 &copy; Estate Brassa&iuml; Succession, Paris SIGN UP A limited amount of spots is available, so be sure to sign up in time. The workshop will be organised in Dutch (7 November) and English (14 November). Please make sure you choose the right date when signing up, as it is not possible to change dates or cancel without charge after your purchase has been made. Foam provides <a href="https://www.olympus.co.uk/site/en/c/cameras/om_d_system_cameras/index.html">Olympus OM-D</a> cameras for this workshop. Of course, you are free to use your own camera if preferable. In that case, remember to bring a fully charged battery, an empty SD card and a transfer cable. The use of your own materials is at your own risk.
Brassa&iuml; is organised by Fundaci&oacute;n MAPFRE in collaboration with Foam.
 Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">Workshop info 
7 November 2019&nbsp;(Dutch) 18.00 - 21.00 hrs 14 November 2019&nbsp;(English) 18.00 - 21.00 hrs This event is sold-out. PRICE&nbsp; &euro;60,00 regular rate &euro;50,00 <a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund" target="_blank" rel="noopener">Fund</a> The price includes&nbsp;museum entry and use of materials.</div>

Workshop inspired by Brassaï

On the occasion of the exhibition Changing Views - 20 Years of Art Collection Deutsche B&ouml;rse, Foam presents an evening around the collection of one of the most important corporate photography collections in the world.

Anne-Marie Beckmann, director of the <a href="https://www.deutscheboersephotographyfoundation.org/">Deutsche B&ouml;rse</a> <a href="https://www.deutscheboersephotographyfoundation.org/">Photography Foundation</a>, will introduce participants to the extensive collection, which she has curated from the very beginning. Beckmann will then go into conversation with three of the photographers presented in the collection: <a href="https://www.deutscheboersephotographyfoundation.org/en/collect/artists/dana-lixenberg.php" target="_blank" rel="noopener">Dana Lixenberg</a>, <a href="https://www.deutscheboersephotographyfoundation.org/en/collect/artists/julian-roeder.php" target="_blank" rel="noopener">Julian R&ouml;der</a> and <a href="https://www.deutscheboersephotographyfoundation.org/en/collect/artists/tobias-zielony.php" target="_blank" rel="noopener">Tobias Zielony</a>. The talk will focus on the body of work of these artists and will touch on themes such as identity, subcultures, representation, and how these themes are being influenced by developments in the social media landscape.
<img src="https://a.storyblok.com/f/113697/595x298/3fcc3ae68c/julian_roder_heiligendamm_i_from_the_series_summits_2007_c_julian_roder_courtesy_of_the_artist595x298.jpg" alt="" width="596" height="298" /> Julian R&ouml;der Heiligendamm I from the series Summits 2007&nbsp;&copy; Julian R&ouml;der courtesy of the artist
The Deutsche B&ouml;rse started its renowned Art Collection in 1999. This year it celebrates its 20th Anniversary. The Collection is dedicated to the central themes of contemporary photography from the mid-20th century onward, with subjects ranging from landscapes and portraits to still lifes, interiors and street photography. Since 2015, the non-profit Deutsche B&ouml;rse Photography Foundation has been responsible for the development, presentation and preservation of the Art Collection Deutsche B&ouml;rse. The Foundation&rsquo;s intended purpose is to develop and show the collection as well as to promote projects and institutions on the subject of photography. Most notably, it focuses on discovering and supporting new talent as well as on developing educational platforms and encouraging scientific dialogue.
ABOUT DANA LIXENBERG Dana Lixenberg (1964, NL) studied photography at the London College of Printing and at the Gerrit Rietveld Academie in Amsterdam. The artist&rsquo;s sensitivity for capturing the finest indications and details of human expression are striking in each of her portraits. The series Imperial Courts 1993&ndash;2015, her most extensive body of work to date, was awarded the Deutsche B&ouml;rse Photography Foundation Prize in 2017.
ABOUT JULIAN R&Ouml;DER Julian R&ouml;der (1981, DE) started as a photojournalist with Germany&rsquo;s influential photography agency Ostkreuz. Throughout the years, R&ouml;der developed a unique conceptual-documentary approach. He currently creates series of photographs that negotiate structures of power, environment and economy far beyond that which is concretely shown in the images. His images offer insight into the societies we are part of and the governing powers at play.
ABOUT TOBIAS ZIELONY Tobias Zielony (1973, DE) studied Documentary Photography at the University of Wales, Newport, before he continued with artistic photography at the Academy of Fine Arts Leipzig under Timm Rautert in 2001. Zielony is known for his photographic depiction of juvenile minorities in suburban areas. His critical approach to documentaries manifests in a specific aesthetic and relationship with fiction. People are often portrayed in a casual fashion that is sensitive to the visual language, gestures and poses a person uses.
Learn more about the&nbsp;Deutsche B&ouml;rse Photography Foundation and its Art Collection&nbsp;<a href="https://www.deutscheboersephotographyfoundation.org/en/">here</a>.
<a href="https://foam.org/museum/programme/changing-views">Changing Views &ndash; 20 Years of Art Collection Deutsche B&ouml;rse</a> is curated by Foam and the Deutsche B&ouml;rse Photography Foundation.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">EVENT INFO 
Tuesday 25 June 2019 19.00 - 20.30 hrs
&nbsp;
PRICE &euro;10,00 regular &euro;8,00 <a href="/about/memberships">Foam members</a> *including a drink at Foam Caf&eacute;
&nbsp;
LANGUAGE English</div>

Changing Views  Artist Talk

On Wednesday evening, 29 May, Maurice Scheltens and Liesbeth Abbenes will lead you through the universe of objects from their exhibition ZEEN.

After a reflection on the work by the acclaimed British writer, critic and curator David Campany, he will be in conversation with Scheltens &amp; Abbenes and discuss the way they work, their fascination with the world of things, the role of the camera and their sense of aesthetics. Finally, Foam curator Kim Knoppers will speak about the work of Scheltens &amp; Abbenes in relation to the Dutch tradition of product and still life photography.
ATTENTION: this event is sold out
<img src="https://a.storyblok.com/f/113697/595x446/6b43f4d4f6/scheltens__amp__abbenes__cos__collections__light_bulbs__2012_595.jpg" alt="" width="596" height="446" /> Cos, Collections, Light Bulbs, 2012 &copy; Scheltens &amp; Abbenes
Read more about the exhibition Scheltens &amp; Abbenes - ZEEN, on view at Foam from 15 March until 5 June 2019 <a href="/museum/programme/scheltens-abbenes">here</a>.&nbsp; &nbsp;
ABOUT SCHELTENS &amp; ABBENES Scheltens &amp; Abbenes have been an artist duo since 2001. Maurice Scheltens studied at the Royal Academy of Art in The Hague, and Liesbeth Abbenes attended the Gerrit Rietveld Academie and the Rijksakademie van Beeldende Kunsten in Amsterdam. Scheltens &amp; Abbenes produced commissioned photography for fashion and design brands such as Paco Rabanne, Maison Margiela, COS, Hermes, Scholten &amp; Baijings, Arper, Muller van Severen, Arita, Mutina and editorials for magazines including Fantastic Man, The Gentlewoman, Double, Pin-Up magazine, MacGuffin, The Plant and New York Times Magazine. They have had exhibitions at Jan Cunen Museum (2012), Huis Marseille (2013), De Kunsthal in Rotterdam (2013), The Ravestijn Gallery (2018), Limart/Tokyo (2012), Palais Galliera Mus&eacute;e de la Mode Paris (2012), The Art Institute of Chicago (2013) and Three Shadows Gallery/Beijing (2015). The books On Display (2008), I Put This Here (2012), Le Style (2012) and Unfolded (2012) have all become collectors&rsquo; items. Simultaneously with the exhibition, CASE Publishers has published the same-titled book ZEEN. Scheltens &amp; Abbenes won the ICP Infinity Award in New York (2012).
ABOUT DAVID COMPANY David Campany is a curator and writer, currently based in London. He teaches at the University of Westminster, London. He is the curator of three-city Biennale f&uuml;r aktuelle Fotografie, 2020. Recent curatorial projects include The Still Point of the Turning World: Between Film and Photography (FoMu Antwerp, 2017); The Open Road: photography and the American road trip (various venues, USA, 2016-); A Handful Dust (Le Bal, Paris, 2015; Pratt Institute New York, 2016; the Whitechapel Gallery London, 2017; The California Museum of Photography, 2018; David&rsquo;s most recent book is So Present, So Invisible &ndash; conversations on photography (2018). He has written over two hundred essays for monographs and museums. He contributes to Frieze, Aperture, Source and Tate magazines.
ABOUT KIM KNOPPERS Kim Knoppers is an art historian and curator at Foam since 2011. She has worked on solo exhibitions by Melanie Bonajo, Adam Broomberg &amp; Oliver Chanarin, Anne de Vries, Geert Goiris, Taiyo Onorato &amp; Nico Krebs and Lorenzo Vitturi, and group exhibitions including RE-Search: Alumni Rijksakademie, Collaborate: On Artists&rsquo; Collectives and Back to the Future: The 19th century in the 21st Century. She also initiated several archival exhibitions on commercial photo studios like Fotogalatasaray - Maryam Şahinyan's Photo Studio (2013), Disfarmer &ndash; The Vintage Prints (2016), Dynasty Marubi - A Hundred Years of Albanian Studio Photography (2016). Kim is a lecturer in the MA Photography program at &Eacute;cole cantonale d&aacute;rt de Lausanne (ECAL) where she initiated and developed the course Do Not Disturb &ndash; Curating in Progress. She contributes on a regular basis to Foam Magazine.
The exhibition Scheltens &amp; Abbenes &ndash; ZEEN is made possible by BeamSystems, the Mondriaan Fund and Kleurgamma Fine-Art Photolab. Courtesy of The Ravestijn Gallery Amsterdam.
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, City of Amsterdam, Foam Members, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">Event info 
Wednesday 29 May 2019 19.00 - 20.30 hrs
 ATTENTION This event is sold out PRICE &euro;7,00 regular rate &euro;5,00&nbsp;<a href="/about/memberships" target="_blank" rel="noopener">Foam Members</a>
 LANGUAGE English</div>

The Microcosmos of Scheltens & Abbenes

On 6 February 2019 we&rsquo;re exploring special wine-food combinations at Foam in a special edition of Grapedistricts Big Taste.

A selection of dishes displayed in the exhibition <a href="/museum/programme/feast-for-the-eyes">Feast for the Eyes</a> will be paired with various wines to taste from the Grapedistrict assortment. During the tasting 25 different types of wines are opened to taste and rate directly via the Grapedistrict app, enritching your very own taste profile. Doors to Big Taste open at 18.00 hrs and remain open until 20.30 hrs, after which no new bottles will be opened. with wine opening.
Your ticket for Big Taste offers the opportunity to visit the exhibitions at Foam at a later moment, until 3 March 2019. <a href="https://www.grapedistrict.nl/proeverij-foam.html?fbclid=IwAR2mgpyWW7FPdQnCV6Uhr5LolmGsUxauLUqo_pYrR1rh2GjybqjaEC-bgF4">&gt; Tickets</a>
ABOUT FEAST FOR THE EYES This event is organised on the occasion of the exhibtion&nbsp;Feast for the Eyes - The Story of Food in Photography.&nbsp;Showing a rich history with a selection of food still lifes, food culture a good dose of humour and cookbooks,&nbsp;Feast for the Eyes&nbsp;celebrates food photography in many different forms. <a href="/museum/programme/feast-for-the-eyes">&gt; Read more</a>
<img src="https://a.storyblok.com/f/113697/456x93/8c3e2a9f6c/bbf_and_partners_aperture_food_foamen4.jpg" alt="" width="456" height="93" />
Feast for the Eyes &ndash; The Story of Food in Photography is organised by the Aperture Foundation, New York and curated by Susan Bright and Denise Wolff.
The exhibition is made possible by the Blockbusterfonds.&nbsp; 
Mediapartners: ELLE Eten, Het Parool
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Foam Members, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">BIG TASTE 
6 February 2019 18.00 - 20.30 hrs
&nbsp;
LOCATION Foam&nbsp; Keizersgracht 609, Amsterdam
 PRICE &euro;18,00 regular rate &euro;15,00 <a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund">Fund</a> with <a title="Membership reduction code" href="mailto:online@foam.org" target="_blank" rel="noopener">code</a> *included ticket to visit at a later moment
&gt;&gt; SOLD OUT &lt;&lt;&nbsp;</div>

Big Taste

On 3 February Foam organises Magazines for Lunch, where we explore how food and the capturing of food appear to be interconnected.

Besides cookbooks, magazines prove to be an important platform for food photography. A variety of magazines are centered around food. From specialised magazine such as The Gourmand, combining food with art and culture, to Allerhande, which is more focused on a broad audience. Every magazine has its own identity, market and also their own method of portraying food.
Magazines for Lunch offers an in-depth look (in)to the tradition of food photography. Which developments will be recognised, how did food photography develop throughout the years and how does the image relate to the intended audience or a specific culinary trend? And how is a photoshoot around food designed?
Three guest speakers will answers these questions in an informal setting at Foam Caf&eacute;, while you can enjoy a light lunch. This afternoon, the main focus will lie on imagery. Foam invited Klaartje Schepers, editor-in-chief at ELLE Eten, photographer Oof Verschuren who has worked closely with Yvette van Boven on various publications, and Niels Schumm, whom since day one has successfully operated in the field of art, fashion and still-life photography with partner Anuschka Blommers.
<img src="https://a.storyblok.com/f/113697/2880x1920/4cd7587def/201812_lewensztain_foam_ffte_3h-lr-3195.jpg" alt="" width="595" height="397" /> Opening Feast for the Eyes, 2018 &copy; Daniel Lewensztain/Foam
ABOUT FEAST FOR THE EYES This event is organised on the occasion of the exhibtion&nbsp;Feast for the Eyes - The Story of Food in Photography.&nbsp;Showing a rich history with a selection of food still lifes, food culture a good dose of humour and cookbooks,&nbsp;Feast for the Eyes&nbsp;celebrates food photography in many different forms.
<a href="/museum/programme/feast-for-the-eyes">&gt; Read more</a>
<img src="https://a.storyblok.com/f/113697/456x93/e8af3af001/bbf_and_partners_aperture_food_foamen4.jpg" alt="" width="456" height="93" />
Feast for the Eyes &ndash; The Story of Food in Photography is organised by the Aperture Foundation, New York and curated by Susan Bright and Denise Wolff.
The exhibition is made possible by the Blockbusterfonds.&nbsp; 
Mediapartners: ELLE Eten, Het Parool
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.

<div class="sidebar__content">EVENT INFO 
3 February 2019 12pm - 1.30pm
 LANGUAGE Dutch PRICE &euro;15,00 regular rate &euro;13,00 <a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund" target="_blank" rel="noopener">Fund</a> *including lunch and museum entrance</div>

Magazines for Lunch

As part of the exhibition Feast for the Eyes - The Story of Food in Photography, Foam has organised Teatime on Sunday 24 February, an afternoon talk on the representation of food in relation to the image of women.

Looking at the photographs in Feast for the Eyes, it is noticeable that images of food are rarely just about food. The relationship between women and food is in many cases formed by normative gender roles: men work outside the home and women in the home take on the role of a housewife. Traditionally, the kitchen is her domain. This is reflected in cookbooks from after the Second World War. These books were not very realistic. They presented an image of abundance, progress and leisure while there were still food shortages everywhere. Further, they promised that they would alleviate the tasks of women in the kitchen, but at the same time, they propagated that the kitchen was their natural habitat. In addition to these images, the exhibition also includes a number of works that reject this portrayal, such as Semiotics of the Kitchen by Martha Rosler. In the 1970s, in a humorous manner she conducts a feminist struggle against classical views of women as kitchen princesses. During Teatime we will talk about the representation of food in relation to the image of women with Merel Bem (De Volkskrant), Susan Bright (curator Feast for the Eyes), Kim Knoppers (curator Foam) and Haley Morris-Cafiero (artist).
ABOUT FEAST FOR THE EYES The exhibtion&nbsp;shows&nbsp;a rich history of food photography - not only in the visual arts, but also in photojournalism, commercial and scientific photography. Ranging from the banality of the diner-breakfast special of Stephen Shore the to the allegorical still life of Laura Letinsky, the extensive exhibition&nbsp;Feast for the Eyes&nbsp;explores the most important figures and movements in food photography.
<a href="/museum/programme/feast-for-the-eyes">&gt; Read more</a>
<img src="https://a.storyblok.com/f/113697/456x93/df82f1ea8e/bbf_and_partners_aperture_food_foamen4.jpg" alt="" width="456" height="93" />
Feast for the Eyes &ndash; The Story of Food in Photography is organised by the Aperture Foundation, New York and curated by Susan Bright and Denise Wolff.
The exhibition is made possible by the Blockbusterfonds.&nbsp; 
Mediapartners: ELLE Eten, Het Parool
Foam is supported by the BankGiro Loterij, De Brauw Blackstone Westbroek, Gemeente Amsterdam, Olympus and the VandenEnde Foundation.
ABOUT MEREL BEM Merel Bem (1977) studied art history at the University of Amsterdam and New York University. Since 2000, she has written about visual arts, photography and clothing for the Volkskrant and various publications and magazines, including Harper's Bazaar. She was a thesis supervisor at the photography department of the Gerrit Rietveld Academy in Amsterdam and guest lectured in various other art academies. From 2018 to 2021, she will be jury chairman of the Steenbergen Stipendium, a prize for recently graduated photographers. She wrote the book Doorkijken (2016), on the role that visual art plays in her daily life, and edited Dit boek gaat niet over mode (2016), a book about clothing and why people wear what they wear, together with C&eacute;cile Narinx and Marije van Regenmortel.
ABOUT SUSAM BRIGHT <a href="http://www.susanbright.net">Susan Bright</a> is a curator and writer based in Paris. She has curated exhibitions internationally at institutions including Tate Britain, The National Portrait Gallery in London and The Museum of Contemporary Photography in Chicago. The exhibition How We Are: Photographing Britain (2007) was the first major exhibition of British photography at Tate Britain. The exhibition of Home Truths (The Photographers&rsquo; Gallery and the Foundling Museum) was named one of the top exhibitions of 2013-14 by The Guardian and The Chicago Tribune. She is the guest curator for the International Festival of Photography and Visual Arts PHotoESPA&Ntilde;A 2019. Her published books include Photography Decoded (Forthcoming Spring 2019: co-authored with Hedy van Erp), Feast for the Eyes: The Story of Food in Photography (2017), Home Truths: Photography and Motherhood (2013), Auto Focus: The Self Portrait in Contemporary Photography (2010), How We Are: Photographing Britain (2007: co-authored with Val Williams), Face of Fashion (2007), and Art Photography Now (2005). She holds a PhD in Curating from Goldsmiths, University of London.&nbsp;
ABOUT HALEY MORRIS-CAFIERO <a href="http://www.haleymorriscafiero.com/photography">Haley Morris-Cafiero</a> explores the act of reflection in her photography as part performer, part artist, part provocateur and part spectator. Morris-Cafiero&rsquo;s photographs have been widely exhibited in solo and group exhibitions throughout the United States and abroad, and have been featured in numerous newspapers, magazines and online including Le Monde, New York Magazine and Salon. Born in Atlanta, she is a graduate of the University of North Florida, where she earned a BA in Photography and a BFA in Ceramics in 1999. Nominated for the Prix Pictet in 2014 and a 2016 Fulbright finalist, Morris-Cafiero holds a MFA from the University of Arizona in Art. The Magenta Foundation published her monograph, The Watchers, in 2015. Morris-Cafiero is a Lecturer in Photography at Belfast School of Art at Ulster University.

<div class="sidebar__content">EVENT INFO 
24 February 2019 15.00 - 16.30 hrs PRICE &euro;15,00 regular rate &euro;13,00 <a href="/about/memberships" target="_blank" rel="noopener">Foam Fan</a>/<a href="/about/memberships" target="_blank" rel="noopener">Club</a>/<a href="/about/foam-fund" target="_blank" rel="noopener">Fund</a> *including tea &amp; snacks and museum entrance
 LANGUAGE English</div>

still life