by Lisa Hilli
In late 2020, I was invited to be part of a curatorial advisory at the Stedelijk Museum Amsterdam. Led by former curator of Modern Art, Beatrice von Bormann, the invitation was in relation to an upcoming exhibition examining the art history and collective art practices of Die Brücke (The Bridge) a German Art expressionism movement. The re-examination of German expressionism was largely focused on the art practices of Ludwig Kirchner and Emil Nolde. Three consecutive exhibitions were presented at three public cultural institutions across Europe, . . .
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