Het HEM is reopening Chapter 3HREE Maarten Spruyt from June 27th on. The exhibition can be visited on the last weekend of June, all weekends in July and the first weekend in August on Saturday and Sunday from 1pm until 8pm.
Thanks to the generous donations made to our ‘Shoot Us With Love!’ crowd funding campaign we can re-open our doors to Chapter 3HREE Maarten Spruyt to the public. Most of the exhibited artists have been so charitable to leave their works for a period longer. Unfortunatelly th works from Ivana Basic and Cyprien Guillard are no longer exhibited here. It is necessary to make a time slot reservation for Chapter 3HREE via our ticket page.
If we succeed in finding sufficient structural support, we will resume our own programme in 2021 and return in March with Chapter 4OUR and 5IVE, in collaboration with Simon(e) van Saarloos and Rem Koolhaas / Samir Bantal respectively.
Het HEM is a home for contemporary culture, situated in a former munitions factory on the Hembrug site in Zaandam.
Cultural development programme
Mini museum for two people
These events are related to Chapter 1NE only. For complete program of events at Het HEM, visit Calendar.
Can’t be greedy… You gotta take some, and leave someJames Brown
Le Vendeur Sénégalais qui Fume, 1972
Maliennes Coquettes, 1969
Les Jeunes Melomanes, 1974
Mali Djeli, 1984
Motocycliste Alangui, 1975
Photographer Sanlé Sory (BF, 1943) started his career as a photographer in 1960, the same year that his native Burkina Faso became independent from France and took the name Republic of Upper Volta.
Shown at Het HEM are a selection of photographs taken between 1969 and 1984, a period in which a progressive government had come into power, operating with greater independence from France. With regards to socioeconomic policy this was possibly one of the most radical governments ever within the African continent. There was an enormous boom and focus on local products, investments in local technology and a decrease in foreign imports. Sory captured this moment of blossoming and national consciousness. A striking element are the opulent set paintings used in his studio portraits, bringing humour and absurdism to his photographs.
Guillaume: ‘A representation of black utopia. This is super beautiful. It triggers all sorts of ‘what if’ questions. What would Africa have looked like if colonialism had turned out differently? World history may seem a fixed thing, but there are different realities and the ones we live in are based on half-truths.’
Edson: ‘There’s a sense of optimism in these images – and that’s what we’re all about. Sometimes you need a catalyst to help bring your message across, with this kind of work that’s exactly what happens in this exhibition.’