Tentoonstellingen Archive

Andy Warhol, The Textiles

vrijdag 24 apr 2026 t/m zondag 6 sep 2026

Deel:

Andy Warhol, The Textiles reveals a lesser-known side of Andy Warhol and is on view in the Netherlands for the very first time. Before gaining worldwide fame as a pioneer of Pop Art, Warhol designed playful and experimental textiles for fashion and interiors during the 1950s. Through repetition, bold lines and exuberant motifs–ranging from ice cream sundaes and toffee apples to colourful buttons, sliced lemons, pretzels and leaping clowns–he explored what happens when images are multiplied, worn and woven into everyday life.

Rather than distancing himself from the commercial world, Warhol actively embraced collaboration with industry during this period. His textiles bring art and everyday use closer together, showing how creativity, fashion and mass production could meet in surprising and convincing ways.

Set against the optimistic, rapidly changing atmosphere of the 1950s and 1960s, the exhibition offers a fresh perspective on Warhol’s artistic development.
Andy Warhol, The Textiles demonstrates how these seemingly light, joyful designs formed an essential step toward the iconic visual language that would later redefine the art world.

The exhibition includes over 60 of Warhol’s textile patterns from the 1950s and early 1960s. Some of the most important manufacturers in American textile history are also represented, including Stehli Silks, Fuller Fabrics Inc., and M. Lowenstein and Sons.

Andy Warhol, The Textiles is organised in association with the Fashion and Textile Museum in London.

Silk pretzel dress, Serendipity 3 collection, Spring/Summer 1964. Metropolitan Museum of Art, New York

Wilde rokken

vrijdag 24 apr 2026 t/m zondag 6 sep 2026

Deel:

Wilde rokken presents textiles designed by members of the Cobra movement and produced through commissions with Dutch textile printers. In the post-war years, manufacturers invited artists to translate avant-garde painting into repeatable designs for garments and domestic textiles, positioning these collaborations as demonstrations of new printing methods and emerging textile technologies.

The results initially provoked public backlash, with newspapers mocking manufacturers for aspiring to “art” and criticising artists for misunderstanding the technical constraints of textile design. Over time, as production expertise and visual languages aligned, the same designs shifted from scandal to desire, becoming widely embraced.

Set against the post-war decades and into the 1960s, the exhibition also situates these textiles within a changing social landscape, including women’s growing agency over the body and the statements made through dress and the home. Wilde rokken traces this arc from outrage to acceptance, showing how contested textiles became cultural signals of modern life.

Wilde rokken is guest crated by Eloise Sweetman, in conversation with Museum Cobra’s programme team.

Wi Sranan

zaterdag 8 nov 2025 t/m zondag 1 mrt 2026

Deel:

Wi Sranan. Surinamese Art in Transition
An ode to 50 years of Surinamese independence

Meredith Joeroeja, Akare, 2025, installationphoto Wi Sranan bij Museum Cobra. Photo: LNDWstudio

November 25, 2025 marks the 50th anniversary of Suriname’s independence. Museum Cobra in Amstelveen is marking this historic moment with a large-scale exhibition: Wi Sranan. Surinamese Art in Transition.

From November 8, 2025, to March 1, 2026, 24 artists and one artist collective present existing and new works depicting the struggle, transformation, and future of freedom. Through fashion, photography, paintings, installations, film, and performances artists show how stories from the past live on in the imagination of today—and how they continually redefine the meaning of freedom, with an eye to the future.

“The artists in Wi Sranan make tangible how traditions can transform, how identity is constantly reshaped, and how art creates space for dialogue and imagination. The exhibiton is a tribute to Suriname and an invitation to all of us to rethink community and the future,” says director Suzanne Wallinga.

Wi Sranan. Surinamese art in Transition is curated by guest curator Noukhey Forster, who is known for his work on inclusion and new narratives in art and fashion. The exhibition features work by Totomboti, Neil Fortune, Guillaume Lo A-Njoe, Sheila Janet Pinas, jahi quasim reeberg, Tessa Leuwsha, Marga Weimans, Angel-Rose Oedit Doebé, Meredith Joeroeja, Soeki Irodikromo, Dhiradj Ramsamoedj, Isan Corinde, Kenneth Flijders, Kurt Nahar, Maikel Deekman, patricia kaersenhout, Reilly do Rosario, Rinaldo Klas, Remy Jungerman, Sara Blokland, Sarojini Lewis, Sri Irodikromo, Xavier Robles de Medina, Marcel Pinas, and Iris Kensmil.

Freedom in motion
The theme of freedom is the common thread running through the exhibition. It ties in seamlessly with the spirit of Cobra, which once broke with academic rules and embraced the power of imagination and collaboration. At a time when debates about freedom of expression and the social role of art are more topical than ever, the artists from Wi Sranan pose urgent questions in a new, polyphonic light. Wallinga: “With Wi Sranan, which loosely translates as ‘Our Suriname,’ we offer our visitors a unique opportunity to discover Cobra and Surinamese art in a new light.”

The Wi Sranan exhibition ties in with the historical exchange between Cobra and Suriname. Cobra artists such as Corneille (1922–2010) were inspired by Surinamese Tembe and Maroon culture, while Surinamese artists such as Erwin de Vries (1929–2018), Soeki Irodikromo (1945–2020), and contemporary artist Guillaume Lo A-Njoe (1937) embraced Cobra’s experimental spirit. Whereas this generation engaged in dialogue with Cobra at the time, contemporary artists continue this tradition of imagination, each from their own perspective.

Diversity as a source of imagination
Suriname has a rich, layered history and a society with unprecedented cultural diversity. This diversity is reflected in the art: in references to heritage and traditions, but also in futuristic perspectives and radical imagination. In the exhibition, the artists each give their own voice to the story of Suriname: from memory and ritual to experiment and avant-garde.

Tembe art and Indigenous voices
A significant part of the exhibition is devoted to Maroon art, with a special focus on Tembe art, an art form from Maroon culture that expresses itself in both colorful paintings and refined wood carvings. It combines struggle, beauty, and cultural freedom. Surinamese Indigenous art also features prominently: the work of the first inhabitants of Suriname, which is rarely recognized as a fully-fledged art form, is proudly incorporated into the work of young artists. By showcasing these art forms, Museum Cobra not only wants to pay tribute, but also to stimulate a broader dialogue about heritage, identity, and the future.

New commissions
Thanks to intensive collaboration with artists, lenders, and institutions from Suriname and the Netherlands, Museum Cobra is able to present a diverse selection of contemporary Surinamese art. In addition to existing works, new commissions are also on display, in which collaborations with local indigenous artists play an important role.

Installationphoto Wi Sranan bij Museum Cobra. Photo: LNDWstudio

Wi Sranan is made possible by: Gemeente Amstelveen, VriendenLoterij, Mondriaan Fonds, J. Safra Sarasin, Zadelhof Cultuur Fonds, Zabawas, Fonds 21, Nico Nap Foundation, KEIM, Business Cobra

Combineren & vis

zaterdag 13 sep 2025 t/m zondag 12 okt 2025

Deel:

What happens when an artist and a philosopher meet in a living/working room? In this special film, Museum Cobra invites you to spend a day with Amstelveen visual artist Jos Houweling. The film, shot in one continuous take, offers an intimate and unfiltered glimpse into his daily practice, thoughts, and conversations with Guikje Roethof, Esther van den Berg, and others. Philosopher Michel de Montaigne acts as an imaginary sparring partner and gives the day a philosophical undercurrent.

About the film
The film was shot in one take in the spring of 2025 in Jos Houweling’s personal workspace. There is no editing: what you see is a direct recording of a day filled with thinking, creating, and meeting people. The script was conceived by participating director Gerard de Kleijn and filmed by cameraman Tom de Wit.

In the morning, the focus is on the ‘usefulness’ of art, while in the afternoon the attention shifts to Houweling’s book production: 39 photo books on a variety of themes, from street scenes to Putin.

Jos Houweling
Jos Houweling (1943) is a Amstelveen visual artist, photographer, and former director of the Sandberg Institute. His work is characterized by irony, wonder, and a keen eye for the absurd in everyday life. He was the initiator of the international platform for One Minutes and has compiled dozens of photo books. His style is influenced by the absurdism of Wim T. Schippers: disruption, alienation, and being thrown off balance are recurring elements.

Michel de Montaigne
Michel de Montaigne (1533–1592) was a French philosopher and humanist known for his Essais — personal reflections on life, friendship, introspection, and freedom. He lived in a time of religious polarization and violence, but chose autonomy and mildness. His ideas form a philosophical counterpart in the film and invite reflection on artistry in turbulent times.

The tetralogy
This film is part of a tetralogy in which an artist is paired with a philosopher. Each part explores how art and thought relate to an absurd world:

COMBINEREN & VIS – Jos Houweling & Montaigne (Museum Cobra)
OPSTAND & HEIMWEE – Pier Pennings & Hannah Arendt (Herinneringscentrum Apeldoornsche Bosch)
SCHELPEN & RUISHOORNS – Arthur Slenk & Walter Benjamin (Synagoge Museum Kampen)
TRAMMELANT & TRIANGEL – Ron Jagers & Friedrich Nietzsche (Museum Flehite, Amersfoort)

For more information a-b-s-u-r-d.nl.

The Cyclops

zaterdag 20 sep 2025 t/m zondag 25 jan 2026

Deel:

In the autumn of 2025, Museum Cobra will open the exhibition The Cyclops, a playful and energetic exhibition that invites visitors to literally and figuratively get moving. The exhibition is rooted in the spirit of the Cobra movement. For artists like Appel, Constant, and Van der Gaag, playfulness was no ornament but a necessity. They consciously deployed intuition and the physical as a counterweight to the rigidity of systems and the growing belief in reasonableness and control. This energy lives on in The Cyclops: an open gaze, in which play and working together make room for something unexpected.

The Cyclops, installationphoto Museum Cobra, 2025. Photo: LNDWstudio.

The starting point is a simple, recognisable object: the marble. Seven artists are each developing an installation for the museum’s Water Hall that addresses movement, mechanics, or chain reaction with a marble in their own way. Together, the works form a spatial system.

One-eyed giant
The title refers to a figure from Greek mythology: a giant with one eye in the middle of his forehead. This Cyclops is often depicted as a powerful, instinctive figure who can be both creator and destroyer. His single eye represents a focused gaze, but also a limited view of the world – he sees everything, but only from one perspective. In the context of this exhibition, that eye takes on a new meaning: in the guise of a marble, it becomes a mobile sense, a mindful eye that moves through it all and makes connections along the way. Here, the Cyclops is not a monster, but a living system that learns by moving. The installations behave as one big body, one being, in which the individual parts work together as muscles, bones, and nerves. The eye – the marble – moves through these mechanics like a gaze hurtling through space. Thus, the marble track becomes a living being capable of action and reaction.

Learning through play
The exhibition is all about fun: about playing, touching, rolling and colliding. However, it is also about how to experience what material does: how form and gravity work together, how chance and control alternate. Visitors are also invited to set “the Cyclops” in motion and thus become part of the game. It is an exhibition that uses play as a way of learning, feeling, and thinking; in the spirit of Cobra.

Participating artists
For The Cyclops, seven artists are developing work that stems from their own practice. They are artists concerned with movement, technique, sensory perception, and material research. Rather than static, the work is physical, active, and direct: it is in motion and takes the visitor for a ride.

Vibeke Mascini uses copper wire to generate electricity to propel a metal marble. Zoro Feigl builds a marble track without beginning nor end. His marbles orbit each other like small planets, in a closed system that perpetually feeds itself. Theo Botschuijver plays with optical illusion: from a cupboard, a giant marble suddenly appears to be approaching you. Besides these three, Atelier Van Lieshout, Audrey Large, Philip Vermeulen and Leon de Bruijne also make their own interpretation of a marble track. The Cyclops is curated by guest curator Ellis Kat.

Please note: This exhibition contains loud noises and light effects.

Kishio Suga – Where Both Sides Meet

zaterdag 28 jun 2025 t/m zondag 26 okt 2025

Deel:

Museum Cobra is proud to present the first Dutch solo exhibition of the Japanse artist Kishio Suga. In the late sixties, Suga and his contemporaries resisted the urge to control or shape nature. Instead, they let materials speak in their own language – raw, temporary, fragile – and asked themselves: what does it mean to simply let things be?

Kishio Suga – Where Both Sides Meet, installationphoto Museum Cobra, 2025. Foto: LNDWstudio.

The Mono-ha movement
The Mono-ha movement emerged in Tokyo in response to social and political tensions in the sixties, especially geo-political relations between Asia and the United States. Instead of creating traditional works of art, the artists worked with natural and industrial materials in their unaltered state. This was an expression of their displeasure about postwar modernity and rapid industrialization. Suga’s work exemplifies this approach, in which meaning emerges from the relationship between objects, their surroundings, and the time we spend together with them.

About the exhibition
Where Both Sides Meet refers to one of Suga’s thoughts in 1976. He surmised that art arises where the worlds of movement (such as people) and silence (such as stones) meet, creating space for reflection and wonder. It is precisely this search for the reciprocal correspondence of different elements that makes Suga’s work so powerful. He invites us to look again, to pay attention to what is otherwise taken for granted. His work is an invitation to silence, to presence, and sometimes even to smile.

About Kishio Suga
Kishio Suga (1944, Morioka, Japan) is an key figure of the postwar Japanese avant-garde and know for his poetic installations and sculptures in which natural and industrial materials come together in their original state. After studying at Tama Art University, Suga began doing “field works” outdoors, combining materials such as wood, stone, and metal in the state in which they were found. In addition to installations, he also creates works on paper, wall assemblages, and performances, which he calls “activations”. His oeuvre is extensive and internationally recognized, with exhibitions at MoMA, Centre Pompidou, and the Venice Biennale, among others. Suga lives and works in Ito, Japan.

Kishio Suga – Where Both Sides Meet is kindly supported by City Council Amstelveen, Vriendenloterij, J. Safra Sarasin, Zadelhoff Cultuurfonds, Embassy of Japan in the Netherlands, Cultuurfonds/Tjerk Jan Buchter Fonds, Isaac Alfred Ailion Foundation, Japan Foundation, Nico Nap Foundation, KEIM & Business Cobra.

Kishio Suga, Standing, 1969/2023, glass, wood and stones. Variable dimensions © the artist and Mendes Wood DM and BLUM. Photo: Gui Gomes

Lucebert X it is part of an ensemble

vrijdag 4 apr 2025 t/m zondag 31 aug 2025

Deel:

Between owls, bats and blind spots

Lucebert (Lubertus Jacobus Swaanswijk, 1924 – 1994) was a Dutch poet and visual artist, known as one of the most important representatives of the Vijftigers. His work is characterized by an experimental, free style and a profound exploration of language, image and political engagement. In addition to his poetry and painting, he leaves behind a vast and influential body of work, which is still studied and exhibited today. In 2018, a controversial side of his past came to light, leading to renewed discussions about his work and legacy.

Lucebert X it is part of an ensemble, photo: Gert Jan van Rooij

About the exhibition
Museum Cobra has invited artist collective it is part of an ensemble to respond to its artistic ideas and work. The collective is a changing group of approximately thirty artists, theater makers and performers who conduct research and create exhibitions, performances and publications together. In the exhibition Between Owls, Bats and Blind Spots, the collective explores the potential for ongoing metamorphosis in relation to Lucebert’s artistic legacy. Lucebert’s work is populated by strange creatures, monsters and fantasy animals – from innocent and lovely to ominous and evil – the collective places these characters in a contemporary perspective. In the exhibition, the collective brings together work by Lucebert with its own work and spatial interventions. At the center of the presentation is a studio and study space that will be actively used and transformed during the exhibition.

Lucebert House
During a working period at the Lucebert House, it is part of an ensemble delved into his oeuvre, his living environment and his sources of inspiration, such as literature and music. From this new work has emerged, ranging from collectively made drawings and collages to bread dough masks, costumes, free jazz performances and textile sculptures. For the exhibition, work by Lucebert from the collection of Museum Cobra is complemented by never-before-exhibited works from his family’s private collection, a short film by Johan van der Keuken and objects from the Lucebert House in Bergen.

About the collective it is part of an ensemble
it is part of an ensemble is a multidisciplinary collective that has been operating at the intersection of visual art and theater since 2018. For each project, new collaborations are entered into and the composition of the group changes. Recurring questions are: How do we live together, how do we work together? How do we shape our togetherness? This involves the whole ecology of living together, including non-human animals, plants, architecture and the environment. The collective previously had presentations in Billytown, The Hague; Club Solo, Breda; De Pont, Tilburg and Museum Dhondt-Dhaenens, Sint Martens Latem (B), among others.

Participating artists
Participating in this exhibition are Matea Bakula, Kim David Bots, Lotte Driessen, Marisa Goedhart, G.C. Heemskerk, Bas van den Hurk, Sjuul Joosen, Marijn van Kreij, Joost Krijnen, Jochem van Laarhoven, Marcia Liu, Bernice Nauta, Matthijs van de Sande Bakhuyzen, Samieh Shahcheraghi, Reinout Scholten van Aschat, Marianne Theunissen, Maxim Ventulé, Mattias van de Vijver, Loran van de Wier, Hussel Zhu and others.

Audio tour
Exclusively for this exhibition, it is part of an ensemble has created an experimental audio tour recorded in Lucebert’s former studio in Bergen. This collection of audio collages offers a colorful mix of voices and sounds that both represent the dynamics of the collective and explore the versatility of Lucebert’s work and world. The tour is informative but also sets a certain mood, entirely in the spirit of Cobra: spontaneous and experimental!

You can listen to the audio tour in the museum via your own smartphone and headset. So don’t forget to bring your earphones! If you don’t have a headset or have forgotten it: they are also for sale at the entrance desk.

Wolvecamp 100 X Sam Samiee

zaterdag 22 mrt 2025 t/m zondag 15 jun 2025

Deel:

To mark the 100th anniversary of Theo Wolvecamp’s birth, Museum Cobra presents a festive exhibition linking the work of this influential but modest Cobra artist with that of Iranian-Dutch artist and guest curator Sam Samiee.

Theo Wolvecamp (Hengelo 1925 – Amsterdam 1992) is often described as an artist who deliberately kept to the sidelines. Unlike his Cobra colleagues, he worked outside the spotlight and stayed true to his own path, far away from the noise of publicity. Yet he was a driving force within the movement. Wolvecamp devoted his life to one of Cobra’s core principles: free, spontaneous painting in which improvisation and experimentation play the leading role. His work was always sincere, free of external appearances, and found its strength in the intuition and spontaneity with which it was created.

What makes Wolvecamp unique is the combination of the mythical and the material. He saw paint not just as a tool, but as a living material with which he brought his own world to life. He admired artists such as Asger Jorn, who he felt perfectly captured this balance between content and form. Miró and Alechinsky were also great sources of inspiration, but Wolvecamp’s work continues to unmistakably carry his own voice: raw, spontaneous and sensitive.

Sam Samiee, winner of the 2018 Wolvecamp Prize, sees Wolvecamp as an important source of inspiration. Like his predecessor, he approaches painting as a free, experimental process, but he also brings in new perspectives. In his work, European painting traditions merge with Persian cultural references, and he explores the boundaries of the medium by expanding painting into installations and spatial interventions.

His expressive use of color, dynamic brushwork and layered textures create an experience that is both sensory and intellectually stimulating. In doing so, like Wolvecamp, he seeks a balance between spontaneous creation and deeper layers of content. In this exhibition, Samiee links not only the heritage of Cobra to contemporary art, but also to broader cultural connections, such as the influence of Iranian artists on Western art history and the narrative nature of One Thousand and One Nights.

About Theo Wolvecamp
Theo Wolvecamp began painting at an early age. In 1947, after two years, he left the art academy in Arnhem, where he felt restricted by academic rules, and moved to Amsterdam. There he threw everything he had learned earlier overboard and became involved as the youngest co-founder in the Experimental Group in Holland and in 1948 in the Cobra movement. From 1953 to 1954 Wolvecamp lived in Paris and then returned to his hometown of Hengelo.

Wolvecamp was a man of nature. He did not limit himself to figuration or abstraction; feeling was more important to him than what was depicted. To him, painting was like hunting: a search for a hidden emotion or idea that only presented itself during the painting process. He aptly described it himself: “I hit with a stick and it (game) comes out. Something similar plays out in painting. It comes from within and yet it goes outside of you.

About Sam Samiee
Sam Samiee (born Tehran, 1988) is an Iranian-Dutch multidisciplinary artist, painter, essayist and researcher. His work combines painting, installation and curatorial practice, drawing on European painting traditions and Persian culture. He engages in psychoanalysis and cultural history and explores the intersections between Western and non-Western art. His immersive, conceptually rich compositions invite the viewer to actively participate.

Samiee studied at the Art University in Tehran, AKI ArtEZ Academy of Art & Design in Enschede and the Rijksakademie in Amsterdam. His work was shown at the 10th Berlin Biennale and at Kunstmuseum Den Haag, among others, and is included in several collections, including Centraal Museum Utrecht and Kadist Art Foundation. Samiee received the Royal Dutch Painting Prize and the Wolvecamp Prize and was a juror for both hereafter.

Sam Samiee

Dora Tuynman — Paris, New York, Amsterdam

zaterdag 22 mrt 2025 t/m zondag 15 jun 2025

Deel:

Starting March 22, the first retrospective of Dutch artist Dora Tuynman (1926-1979) will open at Museum Cobra. The exhibition is a retrospective and tribute to one of the most underexposed Dutch artists of the 20th century. Museum Cobra shows her artistic development from her early figurative landscapes to her later abstract works and includes many works never before presented to the public.

Installation photo Dora Tuynman – Parijs, New York, Amsterdam. Photo: LNDWstudio

About Dora Tuynman
In the 1950s, Tuynman lived and worked in the famous Parisian warehouse and studio building on Rue Santeuil where artists such as Karel Appel, Corneille, Lotti van der Gaag and Bram Bogart also worked. Tuynman was relatively successful in Paris, but once back in the Netherlands was unable to match this success. Like so many female artists of the twentieth century, Tuynman fell into oblivion, consciously or unconsciously pushed aside by art history focused on male artists.

Bold and completely individual
Tuynman’s work is bold, daring, entirely her own and evolves nicely. At the beginning of her career her work is figurative with many landscapes, but in Paris these images of nature become more and more abstract, culminating in paintings that lack any reference to visible nature. Later when she returned to the Netherlands, her work became figurative again. In addition to landscapes, Tuynman then paints portrait studies, which she calls her “dolls.”

The exhibition
Dora Tuynman — Paris, New York, Amsterdam is the first retrospective showing the full development in Tuynman’s oeuvre. The exhibition not only provides an overview of her career, but also shows personal and artistic struggles Tuynman went through. This creates a complete picture of this artist, giving insight into both her work and her life. The exhibition is curated by guest curator Pim Arts.

With Dora Tuynman — Paris, New York, Amsterdam, visitors to Museum Cobra can finally get to know a great and important artist of the 20th century.

Cobra Kunstprijs Amstelveen

donderdag 14 nov 2024 t/m zondag 23 mrt 2025

Deel:

Sylvie Zijlmans & Hewald Jongenelis win Cobra Art Prize Amstelveen 2024

Museum Cobra is proud to announce that the Cobra Art Prize Amstelveen 2024 has been awarded to the renowned artist duo Sylvie Zijlmans & Hewald Jongenelis! The Cobra Art Prize Amstelveen honors artists who, like the Cobra movement, focus on creative experimentation and social commitment. In addition to the award of a cash prize of 15,000 euros, the prize also includes a solo exhibition of current work in Museum Cobra.

*Cobra Kunstprijs Amstelveen 2024. Foto: Matthijs Immink*

About the artist duo
The art of Sylvie Zijlmans & Hewald Jongenelis shows how creativity can inspire, connect and offer new perspectives. The jury, consisting of Roos Gortzak (director Vleeshal, Middelburg), Melchior Jaspers (art advisor to the Chief Government Architect and exhibition maker), and Sjarel Ex (art historian), chose Zijlmans & Jongenelis as the winner because of their playful, experimental and collective art practice – three traits that are directly connected to the legacy of Cobra. The duo is known for their socially engaged art, which often explores dystopian themes, yet always contains a hint of optimism and togetherness. Their work is a unique blend of performance, sculpture and interactive installations, focusing on the role of the human being. Sylvie Zijlmans & Hewald Jongenelis not only create artworks, but bring people together to participate in their visionary worlds.

About the Prize
The Cobra Art Prize Amstelveen has been awarded since 2005 and is intended for visual artists who are in the middle of their careers and whose oeuvre is related to the ideas and engaged art practice of the Cobra movement. The core of this movement is formed by experimental, playful and a radical approach to art. The prize consists of a cash prize of 15,000 euros and a solo exhibition in Museum Cobra. With the Cobra Art Prize Amstelveen, Museum Cobra together with the municipality of Amstelveen creates attention for how the values of the Cobra movement play a role in contemporary art today. Previous winners include Joost Conijn (2005), Johannes Schwartz (2007), Gijs Frieling (2009), Nathaniel Mellors (2011), Metahaven (2013), Jennifer Tee (2015), Christian Friedrich (2017) and Guido van der Werve (2021). The Cobra Art Prize Amstelveen is made possible by the Municipality of Amstelveen.

About the exhibition
The exhibition Voices From a Simmering City is on view from November 14, 2024 through March 23, 2025 at Museum Cobra and features several installations.