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      <image:title>Blog - Eerste blik: De Antwerpse Zes in Mo(de)Mu(seum) in Antwerpen</image:title>
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    <lastmod>2026-03-17</lastmod>
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      <image:caption>Beelden door Gergely Ofner.</image:caption>
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    <loc>https://www.decultuurvlogger.com/blog/een-recensie-van-west-end-productie-the-devil-wears-prada-thats-all</loc>
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    <lastmod>2026-02-27</lastmod>
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      <image:caption>Foto’s door Matt Crockett</image:caption>
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    <loc>https://www.decultuurvlogger.com/blog/barok-maar-dan-als-blockbuster-the-opera-circus-is-puur-theaterplezier</loc>
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    <lastmod>2026-02-21</lastmod>
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    <lastmod>2026-02-19</lastmod>
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      <image:caption>Foto: Creative Flow</image:caption>
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      <image:caption>Foto’s: Danny Kaan</image:caption>
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    <loc>https://www.decultuurvlogger.com/blog/harrekidee-sukkelen-als-kunstvorm</loc>
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    <priority>0.5</priority>
    <lastmod>2026-02-11</lastmod>
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    <loc>https://www.decultuurvlogger.com/blog/de-brief-voor-de-koning-8-een-ode-aan-de-verbeelding</loc>
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    <priority>0.5</priority>
    <lastmod>2026-02-02</lastmod>
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    <loc>https://www.decultuurvlogger.com/blog/als-muren-spreken-mijn-tips-voor-blind-walls-film-fest-2026</loc>
    <changefreq>monthly</changefreq>
    <priority>0.5</priority>
    <lastmod>2026-02-02</lastmod>
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      <image:title>Blog - Als muren spreken: mijn tips voor Blind Walls Film Fest 2026 - Streetart Frankey. Kleine ingrepen, grote impact</image:title>
      <image:caption>Frankey is een bekende naam, juist omdat zijn werk zo licht en speels is. In deze documentaire zie je dat achter die humor veel nadenken schuilt. Over timing, over plek, over hoe ver je kunt gaan zonder iets kapot te maken. Frankey laat zien dat straatkunst niet altijd groot of schreeuwerig hoeft te zijn om betekenis te hebben. Het gaat om aandacht sturen…</image:caption>
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      <image:title>Blog - Als muren spreken: mijn tips voor Blind Walls Film Fest 2026 - Women on Walls – wie krijgt letterlijk plek?</image:title>
      <image:caption>Straatkunst speelt zich af in de openbare ruimte, maar die ruimte is niet voor iedereen even vanzelfsprekend of veilig. Women on Walls laat zien hoe vrouwelijke makers hun plek opeisen in een scene die nog altijd grotendeels door mannen wordt gedomineerd. Aan de hand van drie shortfilms en een verdiepend panelgesprek wordt duidelijk dat zichtbaarheid iets is wat je moet bevechten. Het gaat niet alleen over wat je maakt, maar ook over waar je mag werken, hoe je wordt benaderd en of je serieus wordt genomen als kunstenaar. Thema’s als veiligheid, erkenning en representatie lopen als een rode draad door het programma. Women on Walls maakt daarmee zichtbaar dat straatkunst niet alleen draait om expressie, maar ook om machtsverhoudingen: wie krijgt ruimte, wie wordt gehoord en wie bepaalt wat kunst mag zijn in de openbare ruimte.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e99a936bc7f296ce00e2138/75eef6ef-f67f-4b37-a4ef-57c329f47ad3/img58727_orig.webp</image:loc>
      <image:title>Blog - Als muren spreken: mijn tips voor Blind Walls Film Fest 2026 - Triple Bill: Street Politics + Q&amp;A</image:title>
      <image:caption>Triple Bill: Street Politics laat zien hoe snel straatkunst kan kantelen van expressie naar politiek statement. In drie korte films wordt duidelijk dat de openbare ruimte geen neutraal decor is, maar een plek waar belangen, overtuigingen en emoties botsen. Wat op straat verschijnt, roept reactie op. De films tonen hoe kunstenaars balanceren tussen zichtbaarheid en risico. In Gooi een vanMoof in de Gracht zie je hoe makers bewegen tussen underground en erkenning, en hoe vaag en veranderlijk de grens is tussen wat als kunst wordt gezien en wat wordt weggezet als ‘overlast’. Piece de Résistance maakt pijnlijk duidelijk hoe een muur kan veranderen in een slagveld van meningen, waar activisme, censuur en doorzettingsvermogen elkaar voortdurend afwisselen. En Symbolic Threats laat zien hoe één simpele ingreep, twee witte vlaggen, een hele stad in verwarring kan brengen en laat voelen hoe bedreigend beeldtaal kan worden zodra machtsymbolen worden omgedraaid. Samen maken deze films zichtbaar dat straatkunst altijd in relatie staat tot macht: wie mag spreken, wie wordt gehoord en wanneer wordt kunst ineens als gevaar gezien. Het aansluitende panelgesprek met makers verdiept dat gesprek en nodigt uit om verder te denken. Street Politics laat zien dat kunst in de openbare ruimte nooit alleen persoonlijk is, maar altijd ook maatschappelijk.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e99a936bc7f296ce00e2138/461de4ed-ccd1-4994-89d4-db73514af9c9/img59705_orig.webp</image:loc>
      <image:title>Blog - Als muren spreken: mijn tips voor Blind Walls Film Fest 2026 - Wholetrain - Florian Gaag</image:title>
      <image:caption>Wholetrain laat zien waar graffiti vandaan komt voordat het in musea of marketingcampagnes belandt. De film volgt vier writers die leven voor hun crew, hun stijl en de ongeschreven regels van de scene. Nacht na nacht trekken ze de metro in, op zoek naar adrenaline, erkenning en een plek binnen hun gemeenschap. Het beschilderen van treinen is hier geen decoratief gebaar, maar een manier om zichtbaar te zijn in een wereld die hen nauwelijks ruimte biedt. De kracht van Wholetrain zit in de eerlijkheid. De film romantiseert het leven van de graffiti-writer niet, maar verdoezelt het ook niet. Je ziet hoe deze makers voortdurend balanceren tussen school, werk, thuis en de nacht, tussen loyaliteit en gevaar. Wanneer een rivaliserende crew opduikt, verandert creativiteit langzaam in conflict en wordt duidelijk hoe dun de lijn is tussen spel en strijd. Met zijn snelle montage, rauwe beelden en harde hiphop-soundtrack voelt Wholetrain nog steeds urgent. Het is een film over vriendschap, ambitie en de prijs van ruimte innemen. Juist daarom blijft hij relevant: omdat hij laat zien dat straatkunst niet ontstaat uit vrijblijvendheid, maar uit noodzaak, drang en een diepe liefde voor stijl.</image:caption>
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    <priority>0.5</priority>
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      <image:caption>The Rolling Stones Archive</image:caption>
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      <image:title>Blog - Deze 5 tentoonstellingen moet je bezoeken in november! - Martien Coppens, Babelse heikant Peelland, 1940-1945. Collectie Het Noordbrabants Museum, © Martien Coppens / Nederlands Fotomuseum</image:title>
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      <image:caption>Foto door Ronald Smits.</image:caption>
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      <image:caption>Olphaert den Otter</image:caption>
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      <image:caption>Foto door Dustin Thierry.</image:caption>
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    <loc>https://www.decultuurvlogger.com/blog/petitie-plein-theater</loc>
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    <lastmod>2020-11-13</lastmod>
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      <image:caption>Thérèse Schwartze,  Meisje met gitaar (Theresia Ansingh),  1904, pastelkrijt, krijt en waterverf op doek, 73 x 57 cm, De Mesdag Collectie, Den Haag </image:caption>
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      <image:title>Blog - MEMENTO MORI is een heuse trip en een waar cadeautje</image:title>
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    <lastmod>2020-11-13</lastmod>
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      <image:title>Blog - Deze 4 musea bezocht ik tijdens #MuseumMonday in juni.</image:title>
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      <image:title>Blog - Deze 4 musea bezocht ik tijdens #MuseumMonday in juni.</image:title>
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      <image:title>Blog - Deze 4 musea bezocht ik tijdens #MuseumMonday in juni.</image:title>
      <image:caption>Een tentoonstelling die in deze tijd waarin de strijd tegen ongelijkheid en discriminatie zo ontzettend belangrijk is en ik dus zeker niet aan me voorbij wilde laten gaan. Want ook in het zeventiende-eeuwse Nederland waren er zwarte mensen aanwezig, in de buurt waar Rembrandt woonde en het Rembrandthuis staat, maar ook in de kunst. “Lang is dit onderbelicht gebleven, onterecht. In deze tentoonstelling kom je oog-in-oog met portretten van zwarte mensen. Hoe beeldden kunstenaars ze af? En kunnen we er achter komen wie ze zijn? HIER. Zwart in Rembrandts tijd gaat over bijzondere kunstwerken en beeldvorming, over herkenning en erkenning. Wat valt op in de kunstwerken door Rembrandt en vele van zijn tijdgenoten? De stereotypen die later het beeld van zwarte mensen zouden bepalen, zijn nog niet overheersend. Bovendien zijn zwarte personen niet alleen bijfiguren met een ondergeschikte rol, maar vaak juist het centrale onderwerp van het kunstwerk. De tentoonstelling vertelt ook de verhalen achter de kunstwerken. Tussen circa 1630 en 1660 was er een kleine gemeenschap van vrije zwarte mensen in de omgeving van de Jodenbreestraat, in Rembrandts buurt. Door recent onderzoek weten we nu veel meer over deze Afro-Amsterdammers. In dezelfde periode zijn zwarte mensen ook het vaakst in kunstwerken weergegeven zonder negatieve stereotypering, maar gewoon zoals ze waren. HIER. Zwarte kunstenaars nu In hedendaagse kunst speelt zwart een heel andere rol dan in de zeventiende eeuw. Nu zijn er zwarte kunstenaars die reflecteren op hun eigen identiteit. En als er zwarte mensen zijn afgebeeld, weten we wie het zijn. Van beide kanten is er nu zeggenschap, van maker en geportretteerde. In de tentoonstelling komt nieuw en bestaand werk te hangen van tien toonaangevende hedendaagse makers, waaronder Iris Kensmil, Iriée Zamblé en Charl Landvreugd. Hollandse Meesters Her-zien Hollandse Meesters Her-zien is een groeiende fototentoonstelling door curator Jörgen Tjon a Fong, waarbij prominente Nederlanders van kleur in de huid kruipen van hun 17de en 18de-eeuwse voorgangers. Deze indringende en trotse portretten zijn gemaakt in de stijl van Rembrandt en zijn tijdgenoten. Speciaal voor Museum Het Rembrandthuis zijn vier nieuwe portretten gemaakt van onder andere Humberto Tan, Jeangu Macrooy, Tania Kross en Daniël Boissevain. De foto’s zijn gemaakt door Cigdem Yuksel en Ahmet Polat (voormalig Fotograaf des Vaderlands) in de Oude Kerk en in Museum Het Rembrandthuis. Drie portretten zijn te zien in Rembrandts oude huis, één portret is opgenomen in de tentoonstelling HIER. Zwart in Rembrandts tijd. HIER. Zwart in Rembrandts tijd is van 6 maart t/m 6 september 2020 te zien in Museum Het Rembrandthuis. De tentoonstelling is geïnitieerd door gastconservatoren Elmer Kolfin en Stephanie Archangel, de vormgeving ligt in handen van Raul Balai en Brian Elstak. Er zijn bij deze tentoonstelling multidisciplinaire avondprogramma’s op diverse locaties. Ook verschijnen een publicatie bij WBOOKS en een zine over hedendaagse zwarte kunstenaars.</image:caption>
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      <image:loc>https://images.squarespace-cdn.com/content/v1/5e99a936bc7f296ce00e2138/1595337272177-Z8EX1XFW44ZE5HT73FY7/IMG_2539.JPG</image:loc>
      <image:title>Blog - Deze 4 musea bezocht ik tijdens #MuseumMonday in juni.</image:title>
      <image:caption>Een volledige roze kerk in het hartje van Amsterdam. Op de wallen om precies te zijn. Op de bovenste twee verdiepingen van een goed bewaard grachtenhuis uit de 17e eeuw. Voor mij was dit een beetje een ‘trip down memorylane’, omdat ik hier ook (volgens mij) meerdere malen bezoekjes bracht met school. En dit museum verdient meer bezoekers dan er waren toen ik er was. Dat waren er namelijk 0, terwijl dit zo een ontzettend tof stukje Amsterdamse geschiedenis is. “De kerk is gebouwd in opdracht van de toenmalige eigenaar van het pand: de welgestelde katholieke koopman Jan Hartman (1619-1668). Hij woonde er met zijn gezin in de periode dat openbare katholieke vieringen in Nederland officieel verboden waren. De protestanten hadden in 1578 de macht in de stad overgenomen. De rooms-katholieken – zo’n twintig procent van de Amsterdamse bevolking in de zeventiende en achttiende eeuw – komen dan op het tweede plan. Zij kunnen voor de mis niet meer terecht in officiële kerken; die zijn voortaan voor de protestantse eredienst bestemd.” Ook een kijkje nemen in de volledig roze kerk? Alle informatie vind je hier!</image:caption>
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      <image:caption>Foto: Benning &amp; Gladkova</image:caption>
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      <image:caption>Foto: Benning &amp; Gladkova</image:caption>
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      <image:caption>Foto door Julian Maiwald.</image:caption>
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      <image:title>Agenda - Fotobeurs Fresh Eyes - De economische gevolgen van de pandemie zijn voor veel sectoren ingrijpend, waaronder ook de kunst- en cultuurwereld. De meeste beurzen en tentoonstellingen zijn geannuleerd of uitgesteld tot volgend jaar, waardoor fotografen op wereldwijde schaal een podium wordt ontnomen. De organisaties achter GUP Magazine en Haute Photographie bundelden daarom de krachten voor Fresh Eyes: om ze soelaas te bieden en de afstand tussen talent en toeschouwer te verkleinen.</image:title>
      <image:caption>Niets doen was geen optie voor initiatiefnemer Roy Kahmann: “De talenten zouden aanvankelijk worden gelanceerd tijdens Photo Basel of Haute Photographie Amsterdam, maar alles viel weg door corona. Er moest iets gebeuren, we kunnen niet wachten tot de storm voorbij is.” Fresh Eyes biedt behalve onvertoond werk ook rondleidingen met gidsen, een avondprogramma en een door Artibooks georganiseerde boekenmarkt. Daar treffen bezoekers zeldzame gesigneerde boeken en magazines, naast een omvangrijke collectie van publicaties die door talenten zelf zijn uitgebracht. Ook wordt de nieuwe editie van GUP Magazine en het boek Fresh Eyes 2020 gepresenteerd, waarin het werk van de aanstormende talenten geëtaleerd wordt. Een selectie van 100 net afgestudeerde en autodidact fotografen die hun plek nog moeten veroveren.</image:caption>
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      <image:caption>4 t/m 28 juni in Zaal 3 do, vrij en za            zondag 19:30 - 19:50            17:30 - 17:50 20:30 - 20:50            18:30 - 18:50 21:30 - 21:50            19:30 - 19:50</image:caption>
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      <image:caption>18 t/m 28 juni in Zaal 1 do, vrij en za             zondag 19:00 - 19:20            17:00 - 17:20 20:00 - 20:20            18:00 - 18:20 21:00 - 21:20            19:00 - 19:20</image:caption>
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      <image:caption>18 t/m 28 juni in Zaal 2 do, vrij en za            zondag 19:15 - 19:35            17:15 - 17:35 20:15 - 20:35            18:15 - 18:35 21:15 - 21:35            19:15 - 19:35</image:caption>
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      <image:title>Persberichten - Museum Beelden aan Zee gaat verbouwen en vergroenen - Make it stand out</image:title>
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      <image:caption>Marco is 29 jaar, woont tussen het mooie Oosterpark en de gezellige Dappermarkt in en hij is trots als een pauw om een Amsterdammer te zijn. Het is de stad waar hij is geboren en getogen, net zoals zijn ouders zijn grootouders en ga zo maar door. Amsterdamser kan het niet. ''Voor mij is het altijd bijzonder om op dezelfde plek te leven waar de geschiedenis van mijn familie ligt.'' Marco is zeer actief in de digitale wereld, zo is hij cultuurvlogger, presenteert hij de Ding-a-Dong Songfestivalpodcast over het Songfestival en de Pruikentijd Podcast over Dragrace Holland. Daarnaast zet hij zich in als activist voor de LGBTQIA+ scene, #bodypositivity voor mannen en tegen online discriminatie met het project #DatMeenJeNiet.</image:caption>
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      <image:title>In de media - 2020: ‘We weten dat discriminatie niet kan, laten we dat online dan ook niet accepteren’ - Interview met Movisie als onderdeel van #DatMeenJeNiet</image:title>
      <image:caption>Marco Dreijer is een van de deelnemers van #datmeenjeniet. In dit project van Movisie, hogeschool Inholland en Diversity Media worden jongeren getraind en begeleid in hoe in te grijpen bij online discriminatie. Waarom doet Marco mee en wat hoopt hij te bereiken? ‘Ik wil graag de stem zijn voor anderen die zich niet durven uit te spreken.’</image:caption>
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      <image:caption>Hoe trek je als culturele instelling meer jongeren aan? Dat is een vraag die veel musea en theaters bezighoudt. Marco Dreijer(29)  werkte als programmamaker voor VondelCS, het media &amp; cultuur lab van de AVROTROS. Hij was tevens verantwoordelijk voor de expositieruimte en wie daar mocht exposeren. Het idee ontstond om met Instagram te gaan werken, om zo jongeren te enthousiasmeren voor al het moois dat Nederland te bieden heeft op cultureel gebied. En zo rolde Marco in het vak van cultuur vlogger. Momenteel trekt hij volop de aandacht met zijn vlogjes, stories en foto’s. “Ik vind een hele dag in het theater hangen echt het lekkerste wat er is.”</image:caption>
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