In her sculptures, drawings, and installations, Anouk Asselineau (1993) reflects on the processes that drive capitalism and the production of art. These themes also recur in her installation at Prospects. For this work, the artist made an exact replica of the postcard wall in the shop of the Stedelijk Museum Amsterdam, one of the Netherlands’ leading museums for modern and contemporary art. Within an exhibition that offers a platform to young, emerging talent, she reflects on the circulation of iconic artworks as mass-produced objects.
Asselineau is fascinated by postcards because they are affordable copies of priceless and otherwise unattainable artworks. While original artworks are not meant to be touched, postcards carry a sense of intimacy; they can be taken home or sent to a loved one. The artist is also intrigued by the question of which artworks from a collection are turned into postcards, and which not. What does this selection reveal about which art is valued in 2026? For this sculpture, Asselineau collaborated with staff from the museum shop, which is operated by Walther König, and received permission to use postcards from their stock.
Asselineau playfully raises questions about the role of institutions within the art world. She does not regard this installation as institutional critique (a movement within the visual arts that examines institutional power) but as an ‘institutional portrait’ that brings a part of the museum into focus. As with a painted portrait, this work invites reflection on what lies behind the façade.
Text: Sarah van Binsbergen