• Marlene Dumas

    Museum van Hedendaagse Kunst Antwerpen (M HKA)

    Painting and photography keep rubbing up against each other, getting all hot and bothered. A cold-eyed artist like Gerhard Richter just likes to watch, but a more physically and emotionally demonstrative one like Marlene Dumas keeps wanting to join in. Richter’s paintings, which treat a portrait, a landscape, or an abstraction as equivalent, introject the camera’s horrific indifference to any subject. Dumas’s obses-sive return to the human face and figure make her a sort of anti-Richter. She understands that to the model, the camera’s indifference is no more absolute than a psychoanalyst’s

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