Presentation Artist Book by CUPP Collective (Collective Un Prati a Patu)

What: Presentation Artist Book by CUPP Collective (Collective Un Prati a Patu) in Suriname, with Marjet Zwaans (Instagram), Meagan Peneux, Annemarie Daniël and Alida Neslo

When: Wednesday, January 17, 2024, from 15:00-16:00 hrs (walk-in 14:30 hrs) – Surinamese time

Where: Readytex Art Gallery (RAG), Steenbakkerijstraat 30, Paramaribo, Suriname

Entrance: free

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What: Presentation Artist Book by CUPP Collective (Collective Un Prati a Patu) in The Netherlands, with Basse Stittgen, Razia Barsatie and Asli Hatipoğlu

When: Wednesday, January 17, 2024, from 19:00-20:00 hrs (walk-in 18:30 hrs) – Dutch time

Where: Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands

Entrance: free

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This art book presentation is held simultaneously in both Suriname and The Netherlands. At Readytex Art Gallery (RAG), in Suriname, with Marjet Zwaans (Instagram), Meagan Peneux, Annemarie Daniel and Alida Neslo. At the Rijksakademie van Beeldende Kunsten, Amsterdam, The Netherlands, with Basse Stittgen, Razia Barsatie and Asli Hatipoğlu.

CUPP Collective (Collective Un Prati a Patu) considers the functions of expertise and experience around ecological and local materials with artists in both capital cities.

This artist book provides an insight into the inspiration, stimulation and findings of material research and meetings in Amsterdam, The Netherlands and Paramaribo, Suriname. Which experimental and traditional understandings can we relate to? To which fibers does it belong? How does it grow? What gives it life? What responsibilities and possibilities were felt and created during the CUPP Collective exchange process? The materials samples are different in each book of this limited edition of 50, making each publication unique within the series. With stories from the advisors, the publication gives depth to the considerations within six artists’ practices in the present time in either city.

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The CUPP artists

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RAZIA BARSATIE

Razia Barsatie (Instagram) is an observant artist known for her captivating imagery that resonates with the themes that she explores. Her work is marked by precision and an effortless creative process guided by an unseen plan. With an imaginative approach, she delves into deeply personal subjects, resulting in powerful and sometimes confrontational art.

Her work often weaves elements of her Caribbean heritage into narratives that invite viewers to explore the intricate interplay between the conscious, subconscious, and unconscious realms.

Razia completed her residency at the Rijksakademie van Beeldende Kunsten in 2022. Her art has been featured in numerous group exhibitions and artist residencies, including a notable group show, Een Lekkere Dood / Delicious Death, at Museum Tot Zover in Amsterdam, The Netherlands, from June 2023 to February 2024.

Upcoming projects include in 2024: a duo art-installation Labyrinth Within with Sarojini Lewis, awarded by Mondriaan Fund – the public fund for visual art and cultural heritage; a group exhibition Decolonize Botany focusing on public art at the Belmonte Arboretum in Wageningen, The Netherlands; an artist in residency at Kwame Nkrumah University of Science and Technology (KNUST) in Kumasi, Ghana; a group show Kunst van het Geloven in Boxmeer, The Netherlands; an artist in residency/group exhibition Grip en Loslaten in Kunstfort bij Vijfhuizen, Haarlem, The Netherlands.

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ANNEMARIE DANIËL

Annemarie Daniël (Paramaribo, Suriname, 1975), studied mathematics in Suriname and also gained a pedagogical certificate. While studying at Nola Hatterman Academie in 2010 she received a scholarship to study at the Gerrit Rietveld Academy and in 2014 she finished her studies in Amsterdam (bachelor in fine arts).

Annemarie is a multidisciplinary artist who investigates slavery, identity, cultural inheritance, and scarification in relation to the changes on the human body and mindset. In her works, she visibly depicts pain, vulnerability, weakness, beauty, strength, and cultural belonging to connect to the past, present and future. Looking at the human body from a different perspective to her community, she investigates scars that are visible and invisible due to exogenous or endogenous forces. Currently, she is working with dried, used tea bags and goma (extracted fluid from bitter cassava that has been dried) to explore the notions of vulnerability, beauty, and identity.

Group exhibitions include: Formation, Storage space exhibition 6 (April 2012); Hetrotopia, Storage space exhibition 7 (December 2012); Vishal, Haarlem, The Netherlands (December 2012); Rietveld graduation show, Amsterdam, The Netherlands (July 2014); Moengo Festival Visual Arts, Moengo, Suriname (2018); Who am I/Who do I want to be, Galerie 23, Amsterdam, The Netherlands (2017) and Zuiver, Amsterdam, The Netherlands (2017).

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ASLI HATIPOĞLU

Asli Hatipoğlu (Instagram) (TR/TH, 1990) is an interdisciplinary artist. Her work often relates to topics such as ecology and sustainability and the challenges it imposes on our daily lives in complex systems of consumption. She is interested in science and what it can offer, as well as the dangers it imposes (such as domination over nature and genetic modifications) that bring ethical questions towards our future as a species.

Through investigating ancestral knowledge with a community-building approach, Asli is interested in fusing the diversity of her knowledge among her experiments in different environments. Asli’s work often questions systems of production that deal with what goes into the body as well as what covers it. She often creates interactive installations and video work or uses performative storytelling through conceptual dinners as a method of broaching topics of interest.

After working several years as a self-taught chef, Asli deepened her knowledge of fermentation during her residency at the Food Lab, Jan van Eyck Academie, Maastricht, The Netherlands 2020-2021, alongside participating in several festivals such as: Food Art Film Festival JVE , The Netherlands, Food Culture Days Vevey (CH), Oerol, Terschelling, The Netherlands, Japanese Knotweed Festival at Mediamatic, The Netherlands and Zamus Theaterhaus, Cologne. Germany.

Her works have been exhibited in: Zuiderzee Museum, Enkhuizen, The Netherlands; Framer Framed, Amsterdam, The Netherlands; Fanfare, Amsterdam, The Netherlands; Perdu, Amsterdam, The Netherlands; Het Nieuwe Instituut, Rotterdam, The Netherlands; Radius CCA, Delft, The Netherlands and Jan van Eyck Academie, Maastricht, The Netherlands.

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MEAGAN PENEUX

Meagan Peneux (Paramaribo, Suriname, 1988) is a multidisciplinary visual artist with a strong inclination toward street art. Guided by mentor André Sontosoemarto, she transitioned from a portrait artist to a versatile creator. Her artistic journey began in middle school when a perceptive art teacher recommended art school, leading her to graduate from the Nola Hatterman Art Academy.

Diverse in technique and medium, Meagan thrives on artistic challenges and welcomes experimentation. Her philosophy centers on open-mindedness and the belief that art can transcend boundaries. Looking forward, she aspires to continue evolving as an artist and sharing her experiences, emotions, and knowledge with the world, leaving an indelible mark on the realm of street art and beyond. Meagan embodies the fusion of creativity and community, leaving an enduring legacy in the art world.

Meagan’s art has made a significant impact, with exhibitions at the Ministry of Foreign Affairs and a live painting event at Bar Bizar for MOXI in 2023. Her mission goes beyond aesthetics; she aims to connect with her audience by brightening her homeland with thought-provoking murals and inspiring others to embrace their creative passions.
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BASSE STITTGEN

The work of Basse Stittgen (The Netherlands, 1990) is positioned at the intersection of design, art and material research. It stems from a fascination for matter, how it can be created, cared for, and questioned to unfold hidden narratives.

Basse’s work looks for ways in which objects can mediate contemporary complexities by way of making invisible processes tangible. It puts things out of place and reshapes them through tools and processes that are developed from looking at the world through a lens of materiality.

He graduated from the Design Academy Eindhoven, Eindhoven, The Netherlands, in 2017 and since then his work has been exhibited at the V&A Museum, London, Great Britain, the Stedelijk Museum Amsterdam, Amsterdam, The Netherlands, the Kunsthalle Basel, Basel, and the 13th Shanghai Biennale of Architecture. His work is in the collections of: MAK, Vienna; Museum de Fundatie, Zwolle, The Netherlands; The Verbeke Foundation, Kemzeke, Belgium; and The Wellcome Collection, London, Great Britain.

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MARJET ZWAANS

Artist Marjet Zwaans (Instagram) is based between Amsterdam, The Netherlands, and Pikin Slee, Suriname. She organizes her work from the ideas of Ecological Economics. This approach prioritizes sustainable scale and redistribution of resources, over productivity and efficiency. Her ideas often culminate into spatial installations, vocal performances and gatherings.

She studied Economics at the University of Groningen (BSc) and Erasmus University Rotterdam (MA) while attending Fine Arts at Academie Minerva Groningen, all in The Netherlands. She has participated in artist residencies, including Jan van Eyck Academie, Maastricht, The Netherlands (2019-2020).

Her ongoing series in collaboration with musicians Correspondence for Choir has been presented at various spaces including: Framer Framed (2023), Ja Ja Ja Nee Nee Nee Radio (2023), Villa Mondriaan (2023), Marres (2022) and Jan van Eyck Academie, Maastricht, The Netherlands (2020). Her installations were on show at Unfair Amsterdam (2020 en 2022), Nieuw-Dakota, Amsterdam (2019), Art Rotterdam (2018) and Moengo Triennial, Suriname (2018).

Marjet is, besides being a member of the CUPP Collective, also active within artist collective Totomboti who showed at Unfair 2022 and recently contributed to the Listening Session at Buro Stedelijk, Amsterdam (2023). In 2024 they will show their work at Buitenplaats Doornburgh and Oerol on the island of Terschelling. Her collective practice moves in ways that each collaborator can contribute from their own experience without merging – a practice of correspondence.