Exhibition Ro Heilbron, December 19, 20, 21, 2014

December 19, 2014 at 12:06 pm (Coming up) (, )

What: Exhibition Ro Heilbron

When: Friday December 19, Saturday December 20 & Sunday December 21, 2014. Friday: 19:00-22:00 hrs, Saturday & Sunday: 10:00-14:00 hrs & 17:00-22:00 hrs  

Where: Artherese, Keizerstraat 83, Paramaribo

Announcement

Announcement

Ro Heilbron

Ro Heilbron

 

Ro Heilbron

Ro Heilbron

RH DSCF4234-200x150 RH DSCF5429-2-200x150 RH DSCF5574-300x225+++

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Solo exhibition ‘Erwin de Vries 85 jaar Beeldhouwer Schilder Levensgenieter’ [85 years Sculptor Painter Bon Vivant]

December 19, 2014 at 11:34 am (Coming up) (, , )

What: Erwin de Vries 85 jaar Beeldhouwer Schilder Levensgenieter [85 years Sculptor Painter Bon Vivant]

When: December 21-23, 2014, 11:00-14:00 hrs & 17:00-20:00 hrs

Where: De Hal (Facebook), Grote Combéweg 45, Paramaribo 

Flyer

Flyer

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Erwin de Vries, flanked by Kit-Ling Tjon Pian Gi and George Struikelblok, when he participated prominently in the SURIFESTA FVAS Giant Painting 2014 project / PHOTO Peter Thielen, 2014

Erwin de Vries, flanked by Kit-Ling Tjon Pian Gi and George Struikelblok, when he participated prominently in the SURIFESTA FVAS Giant Painting 2014 project / PHOTO Peter Thielen, 2014

Erwin de Vries recently was presented with the Lifetime Achievement Award during the Owru Yari Awards.

 

 

 

 

 

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An Eye for Art: Rinaldo Klas ‘Mountains of Gold II’

December 17, 2014 at 11:50 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Mountains of Gold II’, acrylics on canvas, 130 cm wide x 100 cm high, 2012, from Rinaldo Klas.

Rinaldo Klas, 'Mountains of Gold II’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 - USD 1400 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Mountains of Gold II’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 – USD 1400 / PHOTO Readytex Art Gallery/William Tsang

“The Nassau Mountains, in the east of Suriname, are also under threat of falling prey to the gold rush The World Nature Fund, WWF Guianas, is sounding the alarm. Dozens of illegal gold miners have encroached upon the area, attracted by the promise of quick fortune. There seems to be no stopping it.”

A simple message on the website of ‘Waterkant’ at the beginning of this year. Behind these three lines a drama is hidden. An apparently unstoppable destruction of nature, which does not even bring any financial benefits to the country.

Rinaldo Klas – who in his work often expresses his concern for his natural environment – seems to utilize a similar method to expose this problem. In this painting – ‘Mountains of Gold II’ from 2012 – he needs very little to bring his message across. What in reality was once a green landscape and is now changed into a yellow-brown, messy, barren hill scenery, becomes, in Klas’s work, a grouping of bare, reddish brown hills under blue skies and a yellow sun.

A great part of its significance lies hidden in the colors. It looks as though the landscape is bleeding. The bright blue and yellow seem to, because of the way they heighten the contrast, reinforce this explanation. By themselves they could be seen as symbols of hope. If the authorities bring an end to the gold rush, nature might as yet be able to restore itself.

Rinaldo Klas (Moengo, 1954) has an easy, loose way of painting. Very few nuances, hardly any detailing, just rather bold strokes of paint in a limited array of colors. For him it is not about accurately portraying reality, it is about bringing across a message to a large audience. Clear symbolism then takes precedence over nuances. A billboard on the side of the road does not focus on details either.

Since recently Rinaldo Klas no longer has to concern himself with the goings on at the Nola Hatterman Art Academy. That task has been taken over. Now he has more time to focus on his artistry. This work proves how important it is that he manifests himself as an artist more often and in more places.

 

TEXT Rob Perrée, Amsterdam, December 2014

TRANSLATION Cassandra Gummels-Relyveld

Want to see this and other work of Rinaldo Klas ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about Rinaldo Klas please visit the website http://readytexartgallery.com/rinaldoklas.

Print

More work by Rinaldo Klas available in Readytex Art Gallery:

Rinaldo Klas, 'Mountains of Gold I’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 - USD 1400 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Mountains of Gold I’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 – USD 1400 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Goudkoorts II’ [Gold rush II], acrylics on canvas, 187 cm wide x 144 cm high, 2012 - USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Goudkoorts II’ [Gold rush II], acrylics on canvas, 187 cm wide x 144 cm high, 2012 – USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Goudkoorts III' [Gold rush III], acrylics on canvas, 187 cm wide x 144 cm high, 2012 - USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Goudkoorts III’ [Gold rush III], acrylics on canvas, 187 cm wide x 144 cm high, 2012 – USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Goudkoorts IV’ [Gold rush IV], acrylics on canvas, 187 cm wide x 144 cm high, 2012 - USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Goudkoorts IV’ [Gold rush IV], acrylics on canvas, 187 cm wide x 144 cm high, 2012 – USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Looking for gold', acrylics on canvas, 187 cm wide x 144 cm high, 2012 - USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Looking for gold’, acrylics on canvas, 187 cm wide x 144 cm high, 2012 – USD 2250 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'From the sky III’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 - USD 1400 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘From the sky III’, acrylics on canvas, 130 cm wide x 100 cm high, 2012 – USD 1400 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Goudputten 3’ [Gold pits 3], acrylics on canvas, 30 cm wide x 20 cm high, 2012 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Goudputten 3’ [Gold pits 3], acrylics on canvas, 30 cm wide x 20 cm high, 2012 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Goudputten 18’ [Gold pits 18], acrylics on canvas, 30 cm wide x 20 cm high, 2012 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Goudputten 18’ [Gold pits 18], acrylics on canvas, 30 cm wide x 20 cm high, 2012 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Going for gold’, acrylics on canvas, 60 cm wide x 80 cm high, 2012 - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Going for gold’, acrylics on canvas, 60 cm wide x 80 cm high, 2012 – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Untitled 3’, mixed media on tile, 15 cm wide x 15 cm high, 2012 - USD 55 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Untitled 3’, mixed media on tile, 15 cm wide x 15 cm high, 2012 – USD 55 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'My baby', acrylics on paper, 56 cm wide x 75 cm high, 2012 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘My baby’, acrylics on paper, 56 cm wide x 75 cm high, 2012 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, 'Red Ibis’, acrylics on canvas, 50 cm wide x 50 cm high, 2014 - USD 500 / PHOTO Readytex Art Gallery/William Tsang

Rinaldo Klas, ‘Red Ibis’, acrylics on canvas, 50 cm wide x 50 cm high, 2014 – USD 500 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on December 17, 2014 and was published in Kunst en Cultuur in de Ware Tijd on December 17, 2014.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

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‘Freedom in creativity’, De Hal, Paramaribo, December 13 & 14, 2014

December 11, 2014 at 5:02 pm (Coming up) (, , , , )

What: Freedom in creativity, 28 young artists show their work

When: December 13, 10:00-22:00 hrs & December 14, 10:00-20:00 hrs

Where: De Hal (Facebook), Grote Combéweg 45, Paramaribo

Flyer

Flyer

Flyer

Flyer

Flyer

Flyer

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SURIFESTA FVAS Giant Painting, December 13 & 14, 2014

December 11, 2014 at 4:39 pm (Coming up) (, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , )

What: SURIFESTA FVAS (also to be found on Facebook) Giant Painting 2014. With: George Struikelblok, Dorette Kuster, Patrick Tjon Jaw Chong, Dakaya Lenz, Erwin de VriesRon FluGlenn Fung LoyRinaldo KlasSoeki IrodikromoAnand Binda, Leo Wong Loi Sing, Jules Brand-Flu, Reinier AsmoredjoAugust Bohé, Ray Daal, Stanny Handigman, Cliff Rasidin, Ardie Setropawiro, Sri Irodikromo, Manuela Tjin A Soe, André Sontosoemarto, Kim Sontosoemarto, Daniel Djojoatmo, Dhiradj RamsamoedjKurt NaharRanjan AkloeLeonnie van EertArti AbhelakhJohan Doelradjak

When: December 13 & 14, 2014, 10:00 hrs till late

Where: Sidewalk Café ‘t Vat, Kleine Waterstraat 1, Paramaribo 

Flyer

Flyer

The previous giant painting, made by FVAS members in 1997. Participants: Kit-Ling Tjon Pian Gi, Ron Flu, Glenn Fung Loy, Rinaldo Klas, Soeki Irodikromo, Anand Binda, Reinier Asmoredjo, August Bohé, Ray Daal, Stanny Handigman, Sharda Harkhoe, Cliff Rasidin, Ardie Setropawiro, Micheal Wong Loi Sing, Anita Hartmann — at Johan Adolf Pengel International Airport

The previous giant painting, made by FVAS members in 1997. Participants: Kit-Ling Tjon Pian Gi, Ron Flu, Glenn Fung Loy, Rinaldo Klas, Soeki Irodikromo, Anand Binda, Reinier Asmoredjo, August Bohé, Ray Daal, Stanny Handigman, Sharda Harkhoe, Cliff Rasidin, Ardie Setropawiro, Micheal Wong Loi Sing, Anita Hartmann — at Johan Adolf Pengel International Airport

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An Eye for Art: Sunil Puljhun ‘Papegaai V’ [Parrot V]

December 3, 2014 at 8:16 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Papegaai V’ [Parrot V], mixed media on paper, 47 cm wide x 63 cm high, 2012, by Sunil Puljhun.

Sunil Puljhun, 'Papegaai V' [Parrot V], mixed media on paper, 47x63cm, 2012  - USD 155 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘Papegaai V’ [Parrot V], mixed media on paper, 47x63cm, 2012 – USD 155 / PHOTO Readytex Art Gallery/William Tsang

‘Threat’ is the word that usually comes to mind when I think of the works that  Sunil Puljhun (Paramaribo, 1978) has made in the last couple of years. ‘Threat’ and ‘fear’. That’s why they are executed primarily in black charcoal. Smudged, from black to deeper black. That’s why the light shines on the human figures like the blinding light during a harsh interrogation. That’s why it seems logical, reinforced also by the suggestive titles, to search for an underlying social message.

And then all of a sudden there is this work: ‘Papegaai V’ (Parrot V) from 2012. An innocent work, executed in bright, but transparent colors. A parrot on a branch. The paint does not restrict itself to the edges of his reality. It flows in all directions, as watercolors tend to do. The jumpy, seemingly uncontrolled way in which that occurs, makes of the animal not just the suggestion of an animal, but especially a lively and active creature that seems to be screaming at the top of his lungs. A screamer.

Is this a turning point in the work of Puljhun? Has he put his gloom aside? Has he conquered his fears? That is hard to say. For a time the artist experimented with Photoshop as a means to give a twist to reality. In this work however, the reality is manipulated manually.

Does he use the parrot as a symbol? That is a possibility. In a small community ‘parroting’ is easier than voicing your own opinion. It could be that he is irritated by that habit. Looked at from that perspective, a screaming parrot might be frightening after all. Especially when the artist puts him against a background of a black cloud. That then suddenly becomes more than decorum.

Sunil Puljhun was born in Suriname and has always lived and worked there. His work does not give that away clearly. He essentially covers themes that are universal, that apply to many more communities and countries.

TEXT Rob PerréeNew York, November 2014

TRANSLATION Cassandra Gummels-Relyveld

Want to see this and other work of Sunil Puljhun ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about Sunil Puljhun please visit the website http://readytexartgallery.com/sunilpuljhun.

Print

More work by Sunil Puljhun available in Readytex Art Gallery:

Sunil Puljhun, 'Untitled 2', mixed media on paper, 47x63cm, 2011  - From: 'The Weight of Darkness'  - USD 550 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘Untitled 2′, mixed media on paper, 47x63cm, 2011 – From: ‘The Weight of Darkness’ – USD 550 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, 'The Jump', mixed media on paper, 56x76cm, 2011  - USD 450 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘The Jump’, mixed media on paper, 56x76cm, 2011 – USD 450 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, 'Samen zijn we sterk' [Together we are strong], mixed media on paper, 35x50cm, 2009  - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘Samen zijn we sterk’ [Together we are strong], mixed media on paper, 35x50cm, 2009 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, 'Freedom Fighter I', mixed media on paper, 75x55cm, 2010  - USD 400 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘Freedom Fighter I’, mixed media on paper, 75x55cm, 2010 – USD 400 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, 'Dare Devil', mixed media on canvas, 140x140cm, 2008 - From: 'The Weight of Darkness'  - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Sunil Puljhun, ‘Dare Devil’, mixed media on canvas, 140x140cm, 2008 – From: ‘The Weight of Darkness’ – USD 600 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on December 3, 2014 and was published in Kunst en Cultuur in de Ware Tijd on December 3, 2014.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

 

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An Eye for Art: Sri Irodikromo ‘Blauw Misi’

November 19, 2014 at 7:22 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Blauw Misi’, mixed media on canvas, 70 cm wide x 100 cm high, 2013, by Sri Irodikromo.

Sri Irodikromo, 'Blauw Misi', mixed media on canvas, 70x100cm, 2013  - USD 800 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, ‘Blauw Misi’, mixed media on canvas, 70x100cm, 2013 – USD 800 / PHOTO Readytex Art Gallery/William Tsang

A striking canvas by Sri Irodikromo (Schiedam, 1972). For several reasons.

When it comes to her work I automatically think of warm colors: yellow, orange, red, going towards brown. This painting is unmistakably blue, in many shades of that color. The title ‘Blauw Misi’ (blue lady) once again emphasizes this choice. Blue is not considered a warm color, rather the opposite.

The choice for this color is clarified when I see how Sri portrays her ‘Misi’. While many of her works are figurative, in this case it seems as though Irodikromo has reduced the woman to a collection of abstract shapes held together by the vague contours of a woman. They are forms that literally seem to not want to give anything away, that only just want to be a form. The woman is no longer human, but a blue mechanism. I use this last word deliberately because there is, due to her loose, expressionistic way of painting, indeed some movement, some liveliness in the woman. That sounds contradictory, but perhaps she is indeed looking for that contradiction. The tear underneath the middle of the work seems to reinforce this. The artist has sewn two parts together in an elementary fashion. It is obviously done by hand. Everything but technical or mechanical.

It seems obvious to look at the blue figure as a symbol of the coldness caused by the rapid developments in social media and the subsequent acceleration of society, as a result of which human contact is likely to become undermined. Another work, ‘Techno Misi’, seems to reinforce that interpretation. The contradictions mentioned though, are indicative of doubt.

Blue also symbolizes ‘turned inwards’. Irodikromo could just as easily have portrayed that variation. The work could then possibly refer to the consequences of all those developments. Mankind shielding itself.

Sri Irodikromo has no clear answer. She raises questions, but relevant questions. Questions that many people have about a society that increasingly allows itself less and less rest.

Aside from all interpretations: ‘Blauw Misi’ is a surprising and powerful work. An image that imbeds itself in your memory.

 

TEXT Rob PerréeNew York, November 2014

TRANSLATION Cassandra Gummels-Relyveld

Want to see this and other work of Sri Irodikromo ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about Sri Irodikromo please visit the website http://readytexartgallery.com/sri.

Print

More work by Sri Irodikromo available in Readytex Art Gallery:

Sri Irodikromo, 'Techno misi 11', mixed media on canvas, 40x40cm, 2013  - USD 375 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, ‘Techno misi 11′, mixed media on canvas, 40x40cm, 2013 – USD 375 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, 'Baka sei', mixed media on canvas, 68x114cm, 2011  - USD 900 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, ‘Baka sei’, mixed media on canvas, 68x114cm, 2011 – USD 900 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, 'Pangi', mixed media on canvas, 53x77cm, 2012  - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, ‘Pangi’, mixed media on canvas, 53x77cm, 2012 – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, 'Adjuba (vlijtige)' [Adjuba (industrious)], ceramics, 18x33x15cm, 2008 - USD 400 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, ‘Adjuba (vlijtige)’ [Adjuba (industrious)], ceramics, 18x33x15cm, 2008 – USD 400 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 - USD 120 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 – USD 120 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 - USD 120 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 – USD 120 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 - USD 120 / PHOTO Readytex Art Gallery/William Tsang

Sri Irodikromo, bloc note cover, 23/50 – USD 120 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on November 19, 2014 and was published in Kunst en Cultuur in de Ware Tijd on November 19, 2014.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

 

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Paverpol exhibition 2014 ‘I Figure’

November 13, 2014 at 11:31 am (Coming up) (, , , , , , , , , , , , , , )

Working with new materials can be very inspiring for a visual artist. Someone who often takes the lead in this regard, is Kim Sontosoemarto (also on Facebook). She introduced Suriname to the material Paverpol, a kind of polymer substance with which objects can be made that sometimes resemble ceramics. Although the material is not cheap, the possibilities are almost endless, thus making it possible to create art (and crafts) accessible to every budget.

Flyer exhibition

Flyer exhibition

On November 13th Kim Sontosoemarto organizes a masterclass that will be taught by Jossy de Roode, from Paverpol International. De Roode is very well known internationally when it comes to Paverpol. She is also the one who has trained Sontosoemarto. The master class is intended for persons who have previously worked  with the material and are thus already familiar with it. Under the guidance of De Roode, the participants will work on an abstract object of their choice.

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Master Class Jossy de Roode / Collection Kim Sontosoemarto

Kim Sontosoemarto: “In the past few years I gave paverpol workshops every last saturday of the month. During those, people really got to know the material. I expect a lot of attention for the masterclass of Jossy de Roode. At the end of 2013 the students exhibited during the Paverpol Crea Weekend. In addition to the exhibited works, there were also demonstrations given. It was at that time already our intention to make this a recurring event. So this year we have the masterclass, followed by the exhibition: I Figure.”

Participants in I Figure are: Annerose Alberga, Margo Chocolaad, Dorette Kuster, Warda Marica, Marleen De Bruijn, André Sontosoemarto, Kim Sontosoemarto, Vanessa de Vries and Carmen Zaandam. During the exhibition, which will be held on November 14th and 15th in De Hal at the Grote Combéweg 45, the works created during the masterclass will also be on display. Opening hours of the exhibition are: 10:00-13:00 hrs and 18:00-22:00 hrs.

Paverpol jewelry made by Warda Marica / Collection Kim Sontosoemarto

Paverpol jewelry made by Warda Marica / Collection Kim Sontosoemarto

Paverpol art made by André Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by André Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by André Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by André Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by Dorette Kuster / Collection Kim Sontosoemarto

Paverpol art made by Dorette Kuster / Collection Kim Sontosoemarto

Paverpol art made by Kim Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by Kim Sontosoemarto / Collection Kim Sontosoemarto

Paverpol art made by Marleen de Bruijn / Collection Kim Sontosoemarto

Paverpol art made by Marleen de Bruijn / Collection Kim Sontosoemarto

 

TEXT Marieke Visser, 2014

Marieke Visser (Bennekom, the Netherlands, 1962) studied journalism and language and literature in the Netherlands. As publicist she writes a lot about art, culture, history and tourism from her own news agency Swamp Fish Press. Three large art projects to which she has recently contributed are: Wakaman Drawing lines, connecting dotsParamaribo SPAN and  Kibii Wi Koni Marcel Pinas The Event. She is currently editor in chief of Sranan Art Xposed.

TRANSLATION Cassandra Gummels-Relyveld

 

In de Ware Tijd of November 11, 2014 a great article by Tascha Samuel:

Article by Tascha Samuel in 'de Ware Tijd', November 11, 2014

Article by Tascha Samuel in ‘de Ware Tijd’, November 11, 2014

 

 

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An Eye for Art: Marcel Pinas ‘Afaka Libi III’

November 5, 2014 at 8:03 am (An Eye for Art) (, , , , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘Afaka Libi III’, mixed media on canvas, 145 cm wide x 86 cm high, 2011, by Marcel Pinas.

Marcel Pinas, ‘Afaka Libi III’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 - USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka Libi III’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

It is well known that with his art, Marcel Pinas (1971) tries to revive the culture of his birth district Marowijne. The war in the interior has harshly and relentlessly undermined that culture. “There is nothing left of the place where I grew up.”

He does this in several ways. By giving youngsters in Moengo and surroundings the opportunity to develop their talents and creative ideas in different ways and in various forms. And by making art works that conjure up memories of the rich Maroon culture, and by exhibiting them internationally.

This work from 2011 is a good example thereof.

At first sight it is a colorful collection of characters, painted on the canvas in a loose style and in seemingly random fashion. That the whole presents a powerful image, is because Pinas has forged the loose elements of the work into a lively whole through an effective use of color and surface. Moreover, due to the play of contrasts, the colors look wonderfully enticing. They know how to lure the viewer in quite aptly. The large dimensions of the painting strengthen that experience.

But Pinas digs deeper. The characters are letters from the Afaka, a syllable script that was made in 1910 for the Ndyuka language, by Afáka Atumisi. The colors refer to the colorful decorations of the Maroons as seen in for example the traditional cloths and in the adornments on houses, boats, utensils, etc. The colors also represent happy, joyful, and uncomplicated childhood memories.

Marcel Pinas could possibly be called a romantic. He goes back to the past, hoping to thus improve the present. You could pass this off as ‘casual’. A dreamer with a can of paint and a brush. That is not what he is. He is trying to make his dream come true by actually intervening in the daily lives of the Maroons by offering them real facilities – the Tembe Art Studio, a museum (CAMM), a store. And by making strategic use of other influential opportunities such as organizing festivals that attract the attention of all Surinamese and by accepting the Directors position of the Nola Hatterman Art Academy, so that that institution can regain prestige and status.

A romantic, sure, but one with influence, persuasion and a sense of reality.

Want to see this and other work of Marcel Pinas ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about Marcel Pinas please visit the website http://readytexartgallery.com/marcelpinas.

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More work by Marcel Pinas available in Readytex Art Gallery:

Marcel Pinas, ‘Afaka Libi I’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 - USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka Libi I’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka sikifi I’, mixed media on canvas, 157 cm wide x 229 cm high, 2009 - USD 5500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka sikifi I’, mixed media on canvas, 157 cm wide x 229 cm high, 2009 – USD 5500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka buku pikien 2', pen drawing on paper, 16 cm wide x 22 cm high, 2013 - USD 250 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Afaka buku pikien 2′, pen drawing on paper, 16 cm wide x 22 cm high, 2013 – USD 250 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Tan A Do’, mixed media on canvas, 70 cm wide x 93 cm high, 2009 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Tan A Do’, mixed media on canvas, 70 cm wide x 93 cm high, 2009 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Kibii wi koniI’, screenprint 3/15, 100 cm wide x 70 cm high, 2009 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Kibii wi koniI’, screenprint 3/15, 100 cm wide x 70 cm high, 2009 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Also in the Readytex Art Gallery shop:

Brochure Kibii Wi Koni Marcel Pinas The Event - SRD 10

Brochure Kibii Wi Koni Marcel Pinas The Event – SRD 10

Book Marcel Pinas. Artist, more than an artist - € 30

Book Marcel Pinas. Artist, more than an artist – € 30Brochure Kibii Wi Koni Marcel Pinas The Event – SRD 10

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on November 5, 2014 and was published in Kunst en Cultuur in de Ware Tijd on November 5, 2014.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

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An Eye for Art: Dhiradj Ramsamoedj ‘I Sculpture Paramaribo II’ and ‘I Sculpture Paramaribo VI’

October 22, 2014 at 11:58 am (An Eye for Art) (, , , , )

In collaboration with art critic Rob PerréeReadytex Art Gallery has developed an informative initiative: An Eye for Art. Once every two weeks Rob Perrée discusses a work of art from the collection of Readytex Art Gallery. This week he talks about ‘I Sculpure Paramaribo II’ and ‘I Sculpture Paramaribo VI’, acryl on canvas, 114 cm wide x 80 cm high, 2014, from Dhiradj Ramsamoedj.

Dhiradj Ramsamoedj, 'I Sculpture Paramaribo II', acryl on canvas, 114x80cm, 2014 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘I Sculpture Paramaribo II’, acryl on canvas, 114x80cm, 2014 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, 'I Sculpture Paramaribo VI', acryl on canvas, 114x80cm, 2014 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘I Sculpture Paramaribo VI’, acryl on canvas, 114x80cm, 2014 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

He has been talking about it for years. Dhiradj Ramsamoedj (Paramaribo, 1986) would love to create a sculpture park somewhere around Paramaribo. Or place sculptures at characteristic locations in the city. Just like other plans of such a dreamy nature, it’s difficult to have them realized. They usually get stuck somewhere in the sketch phase and then quietly disappear in an ever greedy drawer.

These works attest to the fact that he did not let that happen. He has converted them into a series of paintings.

These works at least visualize what his intention was. Sculptures or sculpture groupings in clear view of recognizable, familiar buildings. But there is more that they visualize. In contrast to the buildings, the human figures of Dhiradj Ramsamoedj are far from the reality. They have deformed bodies with strange heads, but without faces. From their postures some information might possibly be derived. Arrogance? Despite their nakedness, their gender remains unclear. They look like creatures from another planet. The paintings remind me of scenes from a thrilling  science-fiction film. That sense of suspense is not just created by the strange creatures, but also by the surroundings. Although they might be familiar, the use of color, the shadows and the black lines make them seem ominous. As though there is dramatic change in weather coming up.

In all of his works Ramsamoedj ultimately portrays an image of people. His ‘Flexible Man’, constructed from colorful scraps of material is a prime example thereof. I cannot shake off the impression that his image of mankind shows negative traits. His people seem to withdraw from their environment. They seem to have no regard for these surroundings. Didn’t Ramsamoedj make an empty-plastic-bottle sculpture, drifting on the Suriname River, at the beginning of his art career? As a kind of symbol of pollution? Is the approaching storm sensation that these paintings generate, not a portrayal of the consequences?  Is his flexible man not just a disguised conformist who doesn’t want to stand for anything?

Dhiradj Ramsamoedj, 'Flexible Man' / PHOTO Roy Tjin

Dhiradj Ramsamoedj, ‘Flexible Man’ / PHOTO Roy Tjin

If this explanation makes sense, then there is every reason to place the sculptures of  Ramsamoedj on strategic locations in the city. They at least provide some food for thought. And in the meantime they break the code that sculptures in public spaces should always represent pride, glorification or remembrance.

TEXT Rob Perrée, Amsterdam, October, 2014

TRANSLATION Cassandra Gummels-Relyveld, 2014

Want to see this and other work of Dhiradj Ramsamoedj ‘up close and personal’? That’s possible at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo. www.readytexartgallery.comFor more information about Dhiradj Ramsamoedj please visit the website http://readytexartgallery.com/dhiradjramsamoedj.

Print

 

More work by Dhiradj Ramsamoedj available in Readytex Art Gallery:

Dhiradj Ramsamoedj, 'I Sculpture Paramaribo III', acryl on canvas, 114x80cm, 2014 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘I Sculpture Paramaribo III’, acryl on canvas, 114x80cm, 2014 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, 'De Beschermer' [The Protector], acryl on canvas, 114x100cm, 2014 - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘De Beschermer’ [The Protector], acryl on canvas, 114x100cm, 2014 – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, 'You and me', oil on canvas, 150x110cm, 2010 - USD 800 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘You and me’, oil on canvas, 150x110cm, 2010 – USD 800 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, 'A Story of My Own VI', acryl on canvas, 119x129cm, 2010 - USD 800 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘A Story of My Own VI’, acryl on canvas, 119x129cm, 2010 – USD 800 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, '', oil on canvas, 40x65cm, 2008 - USD 165 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ”, oil on canvas, 40x65cm, 2008 – USD 165 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, 'A Subtraction of a Memory 12', acryl on canvas, 36x54cm, 2009 - USD 100 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, ‘A Subtraction of a Memory 12′, acryl on canvas, 36x54cm, 2009 – USD 100 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, untitled, wood object, 60x105x31cm, 2013 - USD 400 / PHOTO Readytex Art Gallery/William Tsang

Dhiradj Ramsamoedj, untitled, wood object, 60x105x31cm, 2013 – USD 400 / PHOTO Readytex Art Gallery/William Tsang

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on October 22, 2014 and was published in Kunst en Cultuur in de Ware Tijd on October 22, 2014.

Because really looking at art and understanding art are not always obvious and easy to do, we hope that these regular reviews will at least offer you some insight into the process.  You will get to see how a connoisseur looks at art, discusses it, and then links the work to others within the international art world.

Of course you can only truly judge a work of art when you are actually standing in front of it yourself. We therefore hope to see you soon in Readytex Art Gallery  and are eager to hear what you think of this artwork, and which other works of art you find yourself drawn to. Please note that the artworks discussed are still available for purchase at the time that the review is published.

Rob Perrée is art historian and works as freelance writer, art critic and curator, specialized in contemporary (Afro-) American art, African art, Surinamese art and art using new media. His work has appeared in countless catalogues, books, magazines and newspapers. He is editor of Sranan Art Xposed, editor in chief of Africanah.org and a member of the editing team of Pf Photo Magazine. His website: http://robperree.com.

 

 

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