Using historical sources, underrepresented perspectives, and both classical and contemporary art, the exhibition Christendom en Slavernij (Christianity and Slavery) at Museum Catharijneconvent explores the overlooked relationship between Christianity and the Dutch history of slavery. Christianity played a pivotal role in shaping thoughts on slavery, ultimately impacting millions of people.
A key aspect of the exhibition’s spatial design was to challenge the colonial-historical narrative by juxtaposing it with a contemporary perspective, thereby reframing the slavery narrative. To achieve this, works by contemporary artists such as Patricia Kaersenhout, Natasja Kensmil, Kenneth Aidoo, Remy Jungerman, and others were displayed in spatial isolation. These works, positioned on freestanding podiums, contrast with the historical evidence presented on surrounding walls, which acts as a one-dimensional backdrop.
For this exhibition, we collaborated with graphic designer Serana Angelista.
The exhibition design is inspired by the relationship between slavery and modern-day waste distribution. Addressing contemporary waste requires tracing the dynamics of global trade and its toxic byproducts, which are deeply rooted in the history of slavery and colonialism. The shapes of the podiums echo the pallets and crates used in the global trade system. The exhibition’s material choices—wood chips, paper planks, and sprayed paper pulp—symbolize the degrading process from tree to waste. Through this, the design not only exposes unequal trade systems and degrading production processes but also engages with paper’s material and affective expressiveness.
The design simultaneously demonstrates the potential of waste materials while reflecting on the postcolonial, inequitable, and harmful nature of today’s global trade systems. It places the exhibition’s subject matter into a modern context, echoing the exploitative global trade systems that persist today.
Paper, as a light and fragile material, does not naturally convey the weight of the exhibition’s story. To give the podiums a more commanding presence, extensive research into the use of paper waste was conducted. Recycled paper pulp was sprayed onto vertical panels displaying two-dimensional artworks, while custom-made papercrete and wood pallets were used for horizontal stands, referencing the global trade pallet artifacts.
We developed papercrete planks using museum archive paper and pigments. Through experimentation with different mixtures, sampling, and the creation of custom molds, we produced a complete set of planks for the exhibition. Wood chips were used for the base structures of the podiums, while recycled cotton was incorporated into the seating areas to further highlight the potential of waste materials.
As visitors move through the exhibition’s six thematic sections, they are confronted with the juxtaposition of historical and contemporary artworks. In the second room, the celebratory portrait of the revolutionary Tula gazes out over a mosaic of historical portraits, challenging their presence. Sculpture-like paper monoliths provide space for contemplation and reflection.
This pattern is echoed in the intermediary space, where Natasja Kensmil’s triptych of a slave ship responds to a VOC merchant’s historical painting. While confrontation is a central theme, the paper monoliths, imposing in their presence, also expand to reflect the intertwined histories of Christianity and slavery—the exhibition’s central theme.
In the fourth section, dedicated to the importance of baptism, key pieces such as The Portrait of Maria from St. Thomasand First Fruits by Johann Valentin Haidt are spatially and graphically emphasized. In the final sections, visitors gain insights into religious traditions, emancipation, and the legacy of slavery, culminating in a totem-shaped monolith that presents a reflective video installation.
