‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 3 – Winston van der Bok

June 22, 2017 at 4:17 pm (A Close Look, Been there, Exposed, Inspired) (, , , , , , , )

De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …

Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 3, a text that accompanied the art work of Winston van der Bok. Please find the Dutch text under the English translation. 

Dragers van het Beeld Winston van der Bok 4 AK

On the right: Winston van der Bok, ‘Transformation – Siwalapa (war club) motifs’, acrylic on wood, 2017 – USD 300 a piece / PHOTO Ada Korbee

Dragers van het Beeld Winston van der Bok 5 AK

Nicole Smythe-Johnson, curator from Jamaica and EdKe, Surinamese visual artist, discussing the exhibition On the right: Winston van der Bok, ‘Transformation – Siwalapa (war club) motifs’, acrylic on wood, 2017 – USD 300 a piece / PHOTO Ada Korbee

Winston van der Bok and the theme ‘transformation’

Transformation is a concept that characterizes the life of Winston van der Bok.

If you ask Winston why he chose the theme ‘transformation’, he says: ‘Thalia is 180 years old and it’s no longer as it was 180 years ago. It has been through several transformations and will go through yet another transformation again.’

‘Transformation is what I focus on in the arts. I am indigenous and want breathe new life into old traditions. The indigenous tribes all over the world have been pushed aside. I want to raise awareness for the valuable old cultures of the Indigenous. It is my calling to transform that which has always lived, and still lives, within my deepest being into a contemporary art form.’

When Winston talks about his life, it becomes clear that his whole life is made up of transformations. True to his native character, Winston does not adhere to a numeric year count and essentially lives a timeless existence. He looks at his life as a labyrinth of roads that he has traveled. There is no real beginning, and every end is a new beginning.

Winston was born in 1947 in a very small village on the Cottica River, as third child in a family of seven children. Straight from his mother’s hammock, the young baby was given to two strangers who wanted the little baby very badly. His parents were convinced that the foreigners would be able to provide their child with a better future.

Winston grew up in the USA, where two strict, but fantastic foster mothers raised him, until he was about fifteen years old. Around his fifteenth birthday he was suddenly sent back to Suriname. He would ride on the Cottica River in a canoe with his father, surrounded by a muttering of languages he did not understand. Upon arriving back in his village, his mother knelt at his feet. She inspected his left ankle, saw the birthmark, and knew that her son had returned.

Winston moved to Paramaribo and married a beautiful city creole woman. Together they had two sons. His wife passed away at a young age. His sons were nine and six years old. For many years there was no woman in Winston’s life and he raised his sons all by himself.

Winston studied at the Surinaamse Academie voor Beeldende Kunsten (SABK) [Surinamese Academy for Visual Arts] and worked, for many years, in visual communications, graphic design and product marketing for businesses. He also became a graphic design teacher at the AHKCO.

He became ill. It was an acute pancreatitis that was not diagnosed as such initially. He came face to face with death. It was beautiful. A pleasant journey without barriers, straight through everything.

A successful operation brought him back into the world of the living. His son fed him like a baby and his girlfriend came from the Netherlands to take care of him. From that point on a new life had begun. A new transformation had taken place.

Characters, patterns and symbols similar to those you might see on petroglyphs, the traditional weaving and pottery of the Indigenous, are important elements in the art of Winston. Remarkable is the appearance of movements without a beginning and without an end in his work.

 

TEXT Kit-Ling Tjon Pian Gi, 2017

Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.

Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.

TRANSLATION Cassandra Gummels-Relyveld, 2017

PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017

+++

‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction

‘De Dragers van het Beeld’ / The Carriers of the Image – 2 –  Kit-Ling Tjon Pian Gi

‘De Dragers van het Beeld’ / The Carriers of the Image – 3 –  Winston van der Bok

‘De Dragers van het Beeld’ / The Carriers of the Image – 4 –  Razia Barsatie

‘De Dragers van het Beeld’ / The Carriers of the Image – 5 –  Soeki Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 6 –  Dhiradj Ramsamoedj

‘De Dragers van het Beeld’ / The Carriers of the Image – 7 –  Sri Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda 

‘De Dragers van het Beeld’ / The Carriers of the Image – 9 –  George Struikelblok

+++

Winston van der Bok en het thema ‘transformatie’

Transformatie is een begrip dat het leven van Winston van der Bok kenmerkt.

Als je Winston vraagt waarom hij heeft gekozen voor het thema ‘transformatie’, zegt hij: ‘Thalia is 180 jaar en is niet meer zoals het 180 jaar geleden was. Het heeft meerdere transformaties meegemaakt en zal ook weer een transformatie ondergaan.’

‘Transformatie is waarmee ik in de kunst bezig ben. Ik ben Inheems en ik wil oude tradities nieuw leven inblazen. Inheemsen zijn overal in de wereld weggedrukt. Ik wil de oude waardevolle cultuur van de Inheemsen onder de aandacht brengen. Het is mijn roeping om wat altijd in mijn diepste wezen heeft geleefd en nog steeds leeft, te transformeren naar een hedendaagse kunstvorm.’

Als Winston over zijn leven vertelt, blijkt zijn gehele leven uit transformaties te bestaan. Eigen aan zijn Inheemse karakter, kent Winston geen jaartallen en leeft in principe een tijdloos bestaan. Zelf ziet hij zijn leven als een labyrint van wegen die hij heeft bewandeld. Er bestaat niet echt een begin en elk einde is een nieuw begin.

Winston werd geboren in 1947 in een heel klein dorp aan de Cotticarivier, als derde kind uit een gezin van zeven kinderen. Als baby werd hij zo vanuit zijn moeders hangmat meegegeven aan twee vreemdelingen, die de kleine baby heel graag wilden. Zijn ouders waren van mening dat de buitenlanders hun kindje een betere toekomst konden geven.

Tot ongeveer zijn vijftiende jaar, groeide Winston op in de USA, streng opgevoed door twee fantastische pleegmoeders. Rond zijn vijftiende werd hij plotseling teruggestuurd naar Suriname. Hij voer met zijn vader in een korjaal op de Cotticarivier en werd omringd door een geroezemoes van talen die hij niet verstond. In zijn geboortedorp aangekomen, knielde zijn moeder aan zijn voeten. Ze inspecteerde zijn linkerenkel, zag de moedervlek en constateerde dat haar zoon was teruggekeerd.

Winston verhuisde naar Paramaribo en trouwde met een prachtige stadscreoolse. Ze kregen twee zoons. Op jonge leeftijd kwam zijn vrouw te overlijden. Zijn zoons waren negen en zes jaar oud. Jarenlang was er geen vrouw in Winston zijn leven en hij voedde zijn zoons helemaal alleen op.

Winston studeerde aan de Surinaamse Academie voor Beeldende Kunsten (SABK) en was jarenlang werkzaam op het gebied van de visuele communicatie, vormgeving en productmarketing voor bedrijven. Hij werd daarnaast ook docent grafische vormgeving op het AHKCO.

Hij werd ziek. Het was een acute alvleesklierontsteking die in de eerste instantie niet als zodanig werd onderkend. Hij heeft de dood gezien. Het was mooi. Een prettige reis zonder barrières dwars door alles heen.

Een goed geslaagde operatie bracht hem terug naar de wereld van de levenden. Zijn zoon voedde hem als een baby en zijn vriendin kwam uit Nederland om voor hem te zorgen. Daarmee is een nieuw leven begonnen. Er heeft een nieuwe transformatie plaatsgevonden.

Tekens, patronen en symbolen zoals je die kunt zien in de rotstekeningen, het vlecht- en aardewerk van de Inheemsen zijn belangrijke elementen in het werk van Winston. Opmerkelijk is de verschijning van bewegingen zonder begin en zonder einde in zijn werk.

Permalink 2 Comments

‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 2 – Kit-Ling Tjon Pian Gi

June 17, 2017 at 12:34 am (A Close Look, Been there, Exposed, Inspired) (, , , , , )

De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …

Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 2, a text that accompanied her art work. Please find the Dutch text under the English translation. 

'Alakondre Phoenix'

Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017

Kit-Ling Tjon Pian Gi and the Alakondre Phoenix

Within the framework of 180 years Theatre Thalia, I, Kit-Ling Tjon Pian Gi, chose the phoenix as my subject.

The phoenix

This mythical creature fascinates me for several reasons.

In the first place, because it’s a bird and I have always seen the bird as a free spirit. The soaring bird takes me back to the time when I was a teenager dancing ballet, and I experienced that as the ultimate freedom to express emotions. Secondly, because of the fictional stories that balance somewhere on the edge between reality and fantasy, something I often like to do within the visual arts as well.

Thirdly, because the phoenix is a universal symbol of resurrection and immortality, but also of death and rebirth. As such the phoenix fits seamlessly within the theme we chose for the celebration of 180 years Thalia.

The fourth reason is that it’s a legendary bird that dies through self-sacrifice. Self-sacrifice intrigues me because in this world of people who give and take, those who only take, emanate such dominance. Is this group truly that large, or does it only seem so?

And fifth, because such mythical creatures seem to exist in different cultures. The phoenix is often compared to the Chinese Fenghuang and to the Garuda known in India as well as in Indonesia. The phoenix is even compared to the Mexican Quetzalcoatl.

The phoenix is described as a magnificent divine bird with feathers in striking colors and that can sing beautifully. His age ranges from 300 to 100.000 years. At the end of his life he sets himself on fire on a bed of fragrant herbs and from his ashes another phoenix arises.

Sometimes the phoenix is described as a heron, sometimes he has the characteristics of a peacock, and at other times he looks like an eagle.

 

The Alakondre Phoenix

Born and raised in Suriname, I have, when it comes to the visual arts, been on a quest through cultural diversity and hybridism. Ultimately this has led me to Alakondre. Why is Alakondre more than cultural diversity to me? Cultural diversity essentially involves different people. Alakondre is also within the individual persons.

I have currently defined Alakondre as follows: the adaptation of all cultures, from all countries, by the individual human being and by the various communities that inhabit the world. In order to be able to take Alakondre onto yourself, you have to open yourself up to those other cultures. You have to be curious and must want to learn more about the other cultures. When you embrace the other culture, it becomes a part of you. Because it becomes a part of yourself, you cannot hate it. With Alakondre there will be no more racial discrimination, and even less racial hatred.

My phoenix is an Alakondre Phoenix. It can be an egret, a sabaku. It can be an eagle, a gonini, but it can just as well be a simple small bird, a grietjebie (Great Kiskadee) or a pikan (Squirrel Cuckoo).

 

Dragers van het Beeld 'Alakondre Phoenix'

Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017

Dragers van het Beeld 'Alakondre Phoenix'

Kit-Ling Tjon Pian Gi, ‘Alakondre Phoenix’, 2017 / PHOTO Ada Korbee, 2017

 

TEXT Kit-Ling Tjon Pian Gi, 2017

Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.

Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.

TRANSLATION Cassandra Gummels-Relyveld, 2017

PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017

+++

‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction

‘De Dragers van het Beeld’ / The Carriers of the Image – 2 –  Kit-Ling Tjon Pian Gi

‘De Dragers van het Beeld’ / The Carriers of the Image – 3 –  Winston van der Bok

‘De Dragers van het Beeld’ / The Carriers of the Image – 4 –  Razia Barsatie

‘De Dragers van het Beeld’ / The Carriers of the Image – 5 –  Soeki Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 6 –  Dhiradj Ramsamoedj

‘De Dragers van het Beeld’ / The Carriers of the Image – 7 –  Sri Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda 

‘De Dragers van het Beeld’ / The Carriers of the Image – 9 –  George Struikelblok

+++

Kit-Ling Tjon Pian Gi en de Alakondre Phoenix

In verband met 180 jaar Thalia koos ik, Kit-Ling Tjon Pian Gi, voor het onderwerp ‘Phoenix’ of ‘Feniks’.

De Feniks of Phoenix

Het fabeldier boeit me om verschillende redenen.

Ten eerste omdat het een vogel is en ik heb de vogel altijd als een ‘free spirit’ (vrije geest) gezien. De zwevende vogel brengt me terug naar de tijd toen ik als tiener ballet danste en dat ervoer als summum van vrijheid in het uiten van emoties.

Ten tweede vanwege de gefantaseerde verhalen die balanceren op de rand van werkelijkheid en fantasie, zoals ik ook vaak zelf binnen de beeldende kunst wens te balanceren.

Ten derde omdat de feniks is een universeel symbool van wederopstanding en onsterfelijkheid is maar ook van dood en wedergeboorte. Hierbij sluit de feniks naadloos aan bij het thema dat we voor 180 jaar Thalia uitkozen.

Ten vierde omdat het een legendarische vogel is, die sterft door zelfopoffering. Zelfopoffering intrigeert me, omdat in deze wereld van mensen die geven en nemen, de mensen die alleen maar nemen, zo een dominantie uitstralen. Is die groep werkelijk zo groot of lijkt het maar zo?

Ten vijfde blijkt een soortgelijk fabeldier in verschillende culturen voor te komen. De feniks wordt vaak vergeleken met de Chinese Fenghuang en met de Garuda, die je zowel in India als in Indonesië tegenkomt. De feniks wordt zelfs vergeleken met de Mexicaanse Quetzalcoatl.

De feniks wordt beschreven als een prachtige goddelijke vogel met een vederdracht in schitterende kleuren en die prachtig kan zingen. Zijn leeftijd varieert van 300 tot 100.000 jaar. Aan het einde van zijn leven steekt hij zichzelf in brand op een bed van geurige kruiden en uit zijn as ontstaat een nieuwe feniks.

De ene keer wordt de feniks beschreven als reiger, soms heeft hij karakteristieken van een pauw. Een andere keer lijkt hij op een arend.

De Alakondre Phoenix

Geboren en opgegroeid in Suriname heb ik op het gebied van de beeldende kunst, een speurtocht door culturele diversiteit en hybriditeit gemaakt. Ik ben nu uiteindelijk terechtgekomen bij Alakondre. Waarom is voor mij, Alakondre meer dan culturele diversiteit? Bij culturele diversiteit zijn er in principe meerdere mensen betrokken. Alakondre zit ook in de individuele personen.

Alakondre heb ik nu als volgt gedefinieerd: de adaptatie van alle culturen van alle landen door de individuele mens en door de verschillende leefgemeenschappen die de wereld bevolken. Om in staat te zijn Alakondre tot je te nemen, moet je jezelf openstellen voor die andere culturen. Je moet nieuwsgierig zijn om te weten hoe die andere cultuur in elkaar zit. Als je die andere cultuur in jezelf opneemt, wordt het een onderdeel van jezelf. Omdat het een onderdeel van jezelf is, kan je het niet haten. Met Alakondre zal er dan geen rassendiscriminatie zijn, nog minder rassenhaat.

Mijn Phoenix of Feniks is een Alakondre Phoenix. Het kan een reiger zijn, een sabaku. Het kan een arend zijn, een gonini, maar het kan ook een eenvoudig klein vogeltje zijn, een grietjebie of een pikan.

Permalink 2 Comments

‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction

June 8, 2017 at 11:01 pm (Been there, Exposed) (, , , , , , , , , , , , , , , , , , , )

De Dragers van het Beeld, in English: The Carriers of the Image, is an art exhibition that was held in the foyer of Theatre Thalia, from April 28 until May 7, 2017. It was part of the celebration of 180 years Theatre Thalia. Eight visual artists worked with the theme of death, and more: resurrection from death, new life …

Kit-Ling Tjon Pian Gi wrote a series of columns that we will be sharing on the SAX-blog. Today part 1. Please find the Dutch text under the English text. 

Dragers van het beeld
17951608_10158518038525494_1839296243347417041_n

A Sparkling New Life

Alakondre [literally meaning: of all countries] is the word that we should use to brand Suriname’, said Alida Neslo. With that statement she found an immediate ally within me. This alliance would be continued, as I became the coordinator for visual arts of a team dedicated to celebrate the 180th anniversary of Theatre Thalia in a fitting way. The celebration of 180 years Thalia should breathe new and sparkling life into the theatre.

The Theme

In many cultures death is seen as the end of one life and the beginning of another new life. As a team dedicated to the celebration of 180 years Thalia, we initially spoke more about death and the way in which different cultures process death. But almost simultaneously, the discussion started to revolve around what happens after death: reincarnation, the afterlife, rebirth, etc. The most dominant question that came up was: How is this interpreted by different people and by different cultures? The theme for the celebration of Thalia 180 years, started to develop from here. Eros, Thanatos and Phoenix were brought forward as points of departure for the theme of the celebration. Eros as life energy, Thanatos as the non-violent peaceful death and the Phoenix as the symbol of eternal life; a cyclical life of passing and rebirth.

Visual Art

The theme was presented to the eight participating visual artists: Razia Barsatie, Anand Binda, Winston van der Bok, Soeki Irodikromo, Sri Irodikromo, Dhiradj Ramsamoedj, George Struikelblok and Kit-Ling Tjon Pian Gi. Each artist was inspired by an entirely different aspect of the theme.

The diverse interpretations of the theme are elaborated upon in various short columns, which will help the public to better understand what the works of art displayed in the celebratory exhibition of Theatre Thalia 180 years are actually about. This visual art exhibition was on display from April 28 until May 7, 2017. In addition to the visual art exhibition there also was a Living Art Show, which was presented within the dance program in the weekend of May 5-7, 2017. It was a collaboration between visual artists and performance artists. The artistic concepts, created by the visual artists, were interpreted and performed by the performance artists. The coordination of the Living Art Show was in the hands of Dweight Warsodikromo.

TEXT Kit-Ling Tjon Pian Gi, 2017

Kit-Ling Tjon Pian Gi is a female visual artist from Suriname. She works and lives in Paramaribo, Suriname, South America. Kit-Ling studied visual art in Suriname and in the Netherlands. In 2005 Kit-Ling Tjon Pian Gi added the short video-film as a medium to her artwork. Kit-Ling Tjon Pian Gi makes paintings and drawings, inspired by the tropical rainforest, and the richness of the diverse cultures in Suriname.

Kit-Ling was the featured visual artist at the 13th International Conference of the Association of Caribbean Women Writers and Scholars. This conference, The Caribbean, the Land and the People; Women’s Efforts, Women’s Lives, was held in Suriname, in May 2012. Kit-Ling was the recipient of the Bridget Jones Award for 2013.

TRANSLATION Cassandra Gummels-Relyveld, 2017

PHOTOGRAPHY Ada Korbee & Marieke Visser, 2017

+++

‘De Dragers van het Beeld’ / ‘The Carriers of the Image’ – 1 – Introduction

‘De Dragers van het Beeld’ / The Carriers of the Image – 2 –  Kit-Ling Tjon Pian Gi

‘De Dragers van het Beeld’ / The Carriers of the Image – 3 –  Winston van der Bok

‘De Dragers van het Beeld’ / The Carriers of the Image – 4 –  Razia Barsatie

‘De Dragers van het Beeld’ / The Carriers of the Image – 5 –  Soeki Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 6 –  Dhiradj Ramsamoedj

‘De Dragers van het Beeld’ / The Carriers of the Image – 7 –  Sri Irodikromo

‘De Dragers van het Beeld’ / The Carriers of the Image – 8 – Anand Binda 

‘De Dragers van het Beeld’ / The Carriers of the Image – 9 –  George Struikelblok

+++

Een sprankelend nieuw leven

Alakondre is het woord waarmee we Suriname moeten branden’, zei Alida Neslo en daarmee had ze in mij een bondgenoot gevonden. Dit bondgenootschap zette zich voort door als coördinator van beeldende kunst plaats te nemen in een team dat zich zou inzetten om 180 jaar Theater Thalia op gepaste wijze te vieren. De viering van 180 jaar Thalia moet Thalia weer nieuw en sprankelend leven inblazen.

Het thema

In veel culturen wordt de dood gezien als het einde van een bepaald leven en het begin van een ander nieuw leven. Als team dat zich wilde inzetten voor de viering van 180 jaar Thalia, spraken we eerst meer over de dood en het verwerken van de dood binnen verschillende culturen. Maar bijna simultaan werd er ook gesproken over wat er na de dood gebeurt: de reïncarnatie, het hiernamaals, de wedergeboorte etc. Daarbij werd vooral de vraag gesteld: Hoe wordt dit gezien door verschillende mensen, verschillende culturen? Van daaruit is het thema rond de viering van Thalia 180 jaar zich verder gaan ontwikkelen. Eros, Thanatos en Phoenix (Feniks) werden als uitgangspunten voor het thema binnen de viering van 180 jaar Thalia naar voren geschoven. Eros als levensenergie, Thanatos als de geweldloze zachte dood en de Phoenix als symbool van een eeuwig leven; een cyclisch leven van heengaan en wedergeboorte.

Beeldende kunst

Het thema werd voorgelegd aan de acht (8) deelnemende beeldende kunstenaars, te weten Razia Barsatie, Anand Binda, Winston van der Bok, Soeki Irodikromo, Sri Irodikromo, Dhiradj Ramsamoedj, George Struikelblok en Kit-Ling Tjon Pian Gi. Elke kunstenaar werd geïnspireerd door een geheel andere aspect van het thema.

De diverse interpretaties van het thema zijn in verschillende korte columns uiteen gezet en op deze manier kwam het kunstminnend publiek meer te weten over de inhoud van de kunstwerken die in de feestexpositie van Theater Thalia 180 jaar te zien waren. Deze beeldende kunstexpositie was te zien vanaf 28 april tot en met 7 mei 2017. Naast de beeldende kunstexpositie is er ook een Living Art Show gepresenteerd binnen het dansprogramma in het weekend van 5 tot en met 7 mei 2017. Het betrof een samenwerking tussen beeldende kunstenaars en performance artiesten. De kunstconcepten kwamen van de beeldende kunstenaars, maar werden geïnterpreteerd en uitgevoerd door de performance kunstenaars. De coördinatie van de Living Art Show was in handen van Dweight Warsodikromo.

 

 

Permalink 2 Comments

Been there: ‘BIGI BRASA BAARS’

December 29, 2013 at 3:30 pm (Been there) (, , )

Menno Baars is a Dutch cardiologist who started to paint during the latter part of the 90′s. His passion and the intense joy he experiences while painting, practically jump and burst from his canvases in the form of bright colors, thick, bold strokes and playful figures. In December 2013, at the initiative of Da Vinci Enterprises N.V., Menno Baars had his first solo exhibition in Suriname. From the 16th until the 19th of December exhibited in De Hal, Paramaribo, with his exhibition BIGI BRASA BAARS. The exhibition included a number of paintings which Baars, inspired by the tropical warmth and new sensory experiences, had painted in Suriname.

During the 20th century there were more passers by, or transients, exhibiting their art in Suriname and giving people (and especially artists) the rare chance to see art from other countries and cultures with our own eyes. Some left visible traces, like Corneille, others were more like ships passing. Remarkable is the fact that Corneille, Herman Brood and Menno Baars all use very bright colors.

This exhibition left me longing for more from ‘outside’, more from ‘beyond borders’. I do however feel it is time to see more from the artists from our region. Perhaps the Moengo Triennial in 2015 will invite artists with whom we share a cultural background.

Menno Baars, 'Het interview', 2010 | PHOTO Marieke Visser, 2013

Menno Baars, ‘Het interview’, 2010 | PHOTO Marieke Visser, 2013

Menno Baars, 'Het debat', 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

Menno Baars, ‘Het debat’, 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

Menno Baars, 'Surinaamse vrouw', 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

Menno Baars, ‘Surinaamse vrouw’, 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

Menno Baars, 'Rapunzel', 150x60cm, acrylic on canvas | PHOTO Courtesy Menno Baars, 2013

Menno Baars, ‘Rapunzel’, 150x60cm, acrylic on canvas | PHOTO Courtesy Menno Baars, 2013

In 2013 Menno Baars launches the Penguin Parade, a colorful exhibition of unique painted penguin sculptures. From the website: “The Penguin Parade© creates millions of smiles and raise awareness for penguin conservation.”

"Penguin Parade", Menno Baars | PHOTO Courtesy Menno Baars, 2013

“Penguin Parade”, Menno Baars | PHOTO Courtesy Menno Baars, 2013

Menno Baars, Penguin parade: 'Abigail', polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo - "Yes I'm a hit, I'm part of the penguin-myth", identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, Penguin parade: ‘Abigail’, polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo – “Yes I’m a hit, I’m part of the penguin-myth”, identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, Penguin parade: 'Ryan', polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo  identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, Penguin parade: ‘Ryan’, polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, Penguin parade: 'Marilyn', polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo - "I believe in action, for penguin-protection", identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, Penguin parade: ‘Marilyn’, polyester sculpture, handmade and painted by Menno Baars, 44 cm high and weigth app. 3 kilo – “I believe in action, for penguin-protection”, identification chip and unique penguin passport included | PHOTO Marieke Visser, 2013

Menno Baars, 'Ogri boi', 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

Menno Baars, ‘Ogri boi’, 2013 (made in Suriname) | PHOTO Marieke Visser, 2013

The artist naming his most recent work. Paramaribo inspired him | PHOTO Marieke Visser, 2013

The artist naming his most recent work. Paramaribo inspired him | PHOTO Marieke Visser, 2013

Close-up from the artist naming this work he made in Paramaribo: 'Ogri boi', meaning: naughty boy | PHOTO Marieke Visser, 2013

Close-up from the artist naming this work he made in Paramaribo: ‘Ogri boi’, meaning: naughty boy | PHOTO Marieke Visser, 2013

TEXT Marieke Visser, 2013

Note: In the literary field there have been passers-by too. Michiel van Kempen even compiled a book with their stories: Noordoostpassanten; 400 jaar Nederlandse verhaalkunst over Suriname, de Nederlandse Antillen en Aruba.

Permalink Leave a Comment

National Art Fair 2013

August 17, 2013 at 10:52 am (Been there) (, , , , , , , , , , , )

What: National Art Fair 2013

When: August 16-24, 2013. Opening hours: 17:00-21:00 hrs

Where: Garden De Surinaamsche Bank N.V., Henck Arronstraat 26-30, Paramaribo

A first photographic impression of the National Art Fair can be found on the Sranan Art Flickr account.

Dorette Kuster, installation, 2013 | PHOTO Marieke Visser, 2013

Dorette Kuster, installation, 2013 | PHOTO Marieke Visser, 2013

My personal first impression in words follows below.

Day 1. August 15, 2013

It felt very good to be back on that location. At the beginning of 2010 De Surinaamsche Bank hosted the exhibition Paramaribo SPAN. A milestone in Suriname’s art history. The garden, the garden house, the parking lot, the pool: they seem to inspire the artists to raise the bar. It was so nice to see familiar faces of the DSB Bank work force, people who have been touched by the Paramaribo SPAN experience.

The opening activity itself was not really visible nor audible for half the audience because of the way things were organized. With so many people not being able to listen or see, it took too long before the exhibition was finally declared opened.

As always with the National Art Fair: the amount of guests, the amount of artists, the amount of works of art can be quite overwhelming. The adagium “Less is more” springs to mind, more than once, as always too.

But, to see the work in that venue, instead of in the depressing Ons Erf, is a huge step forward. Still, a more balanced presentation would be better. Now, the work of established artists is mixed with that of beginning artists. That is not good for either party involved.

I do think though that the National Art Fair has managed, in all these 48 editions it has been through, to lower the threshold for visual arts in a remarkable and impressive manner, and for that I think the organization deserves respect and gratitude.

Dakaya Lenz, 'Bent or broken', 2013| PHOTO Marieke Visser, 2013

Dakaya Lenz, ‘Bent or broken’, 2013| PHOTO Marieke Visser, 2013

Leonnie van Eert, ceramics | PHOTO Marieke Visser, 2013

Leonnie van Eert, ceramics | PHOTO Marieke Visser, 2013

René Tosari, 'Protection', 2013 | PHOTO Marieke Visser, 2013

René Tosari, ‘Protection’, 2013 | PHOTO Marieke Visser, 2013

+++

The Association of Visual Artists in Suriname, the ABKS, with a.o. SoekiAnand BindaRon FluSri Irodikromo, Kim SontosoemartoPierre Bong a JanLeo Wong Loi SingJhunry Udenhout and Ardie Setropawiro, will give individual demonstrations during the National Art Fair. You are invited to visit and enjoy seeing the artists at work.

New Picture

TEXT Marieke Visser

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. The three most recent large art projects to which she has contributed are: Wakaman Drawing lines, connecting dots,Paramaribo SPAN and Kibii Wi Koni Marcel Pinas The Event. She is currently editor in chief of Sranan Art Xposed.

 

Permalink 2 Comments

Been there – ‘Come Together’

March 2, 2013 at 6:49 pm (Been there) (, , , , , , , , , , , , , , )

One of the more surprising exhibitions of last year was Come Together in the Mitra building, Paramaribo. Six young(ish) people, emerging artists, most of them specialized in photography, but also some painters, exhibited from November 27 until December 3, 2012 in a location previously not known as an art location. Some of the elements that triggered positive reactions were the peaceful atmosphere and the spaciousness of the venue. One could just wander through the rooms, looking, pondering, enjoying the almost one hundred works of art, without being distracted by loud music or noisy fellow visitors. Approximately two hundred visitors saw Come Together and I am sure that the majority looks forward to the next exhibition by this group.

Invite

Invite

Se-Sergio Baldew

Se-Sergio Baldew (31) is specialized in photography. Different kinds of photography but especially: macro photography. He loves to make images which show details of the human body. But … a good sunset or a beautiful building is something Se-Sergio will use his camera for too. In Leuven Se-Sergio finished his Master of Science in Physiotherapy. His daily work is at the Anton de Kom University at the Faculty of Medical Science.

Enver Lieuw

Enver Lieuw is a software engineer in his daily life. But when he has a moment to spare he loves to take pictures, especially nature photography. He has been photographing for five years now. The Come Together exhibition was his first exhibition. “For me it was foremost a way to show my work to the audience.” He hasn’t participated in workshops or trainings but looks very closely what his colleagues do and their work inspires him.

Ginoh Soerodimedjo

Ginoh Soerodimedjo’s passion for drawing started from the moment he could hold a pencil. In 2003 he graduated from the Academie voor Hoger Kunst- en Cultuuronderwijs (AHKCO). Since fifteen years he has been working as a professional illustrator and graphic designer. Art, according to Ginoh, is part of life: a creative way to express thoughts and feelings and an opportunity to communicate a message to the audience. About the work he showed at Come Together he says: “The works are not necessarily realistic, but most of the times a message can be discovered.”

Ginoh Soerodimedjo’s digital signature

Lucius Wouden

Lucius Wouden works as a supervisor but has been busy in his spare time with digital photography for more than four years now. He likes to make nature shots, especially sunrise and sunset. But just as easily he will do glamorous photo shoots with models. Specialties: action photography, perfect timing, and to work without the use of photo correction (e.g. Photoshop). He is a member of the SUFOV foundation, for photographers. In June 2012 he participated in the photo exhibition Keep the moment.

Agnes Yang / Senga

Agnes Yang (SENGA) paints at the Nola Hatterman Art Academy (NHAA) under supervision by Wilgo Vijfhoven. She started in 2009 at the Soeki Irodikromo Volksacademie, Sana Budaya, where Humphrey Tawjoeram was her teacher. Her style is semi abstract and she mostly uses acrylic paint on canvas. Her first exhibition was in 2011 when she participated in Nature & Emotions in the Instituto Venezolano para la Cultura y la Cooperacion (IVCC) in Paramaribo, Suriname.

Kimberly Yang

Kimberly Yang paints, just like her mother Agnes, at the Nola Hatterman Art Academy (NHAA) under supervision of Wilgo Vijfhoven. She started with Vijfhoven in March 2011 and also participated in the Nature & Emotions exhibition in June 2011. Her style tends more to (photo) realism, but in the near future she wants to explore other styles. Yin and yang are her inspiration, which one can detect in her paintings.

The Visitors

A very fun idea was a room where visitors could make their own art work or just sit down and find their way through a maze …

Ginoh Soerodimedjo, 'Maze', 2012 | IMAGE Courtesy Ginoh Soerodimedjo, 2012

Ginoh Soerodimedjo, ‘Maze’, 2012 | IMAGE Courtesy Ginoh Soerodimedjo, 2012

Permalink 1 Comment

‘Who More Sci-Fi Than Us?’ – An exhibition that missed the mark

February 2, 2013 at 2:22 pm (Been there, Uncategorized) (, , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , , )

With Who More Sci-Fi Than Us? Contemporary art from the Caribbean the first retrospective exhibition in the Netherlands with Caribbean contemporary art took place in Kunsthal KAdE in Amersfoort last summer. The title is a reference to the quote of the Dominican-American Junot Diaz, in his book The brief but wondrous life of Oscar Wao: “It might have been a consequence of being Antillean. Who more sci-fi than us? “. With this title curator Nancy Hoffmann chose a not particularly catchy, but striking exhibition title. She put the exhibition together with artists from Aruba, Barbados, Colombia, Costa Rica, Cuba, Curacao, the Dominican Republic, Guadeloupe, Guyana, Haiti, Jamaica, Martinique, Panama, Puerto Rico, St. Vincent, Suriname and Trinidad. It would also have been interesting to know just why from such a large region, the choice had fallen on the ultimately presented artists. That a big name from the region as that of Marcel Pinas is not lacking was logical, young talent like Sheena Rose from Barbados was recently at the Havana Biennale, so that was also an interesting choice, but unfortunately at the exhibition it never really became clear why this group of artists was chosen. Sometimes ripe and green seem to alternate and sometimes it was just a bit predictable.

Sheena Rose, ''Town" Crowd', 2010 | Courtesy Sheena Rose

Sheena Rose, ”Town” Crowd’, 2010 | Courtesy Sheena Rose

Sheena Rose, ''Town' Look!' , 2010 | Courtesy Sheena Rose

Sheena Rose, ”Town’ Look!’ , 2010 | Courtesy Sheena Rose

Science-fiction implies a glimpse into the future, however this does not seem to be the case with the majority of the works, they are more about the past or present. The futuristic work Principios basicos para destruir (2008) with a city made out of sugar cubes and eaten by ants from the Cuban Carlos Garaicoa appeared to visualize this. With the use of sugar Garaicoa appeared to stand in a tradition in which more Cuban artists used sugar (cane) as a symbol of their Cuban identity. Violence, destruction and beauty of the modern metropolis come together in this work. In an exhibition that was meant to let the Dutch public get acquainted with artists who are relatively unknown here, such an original and conceptual title might perhaps have been chosen badly.

Carlos Garaicoa, 'Principios basicos para destruir', 2008   | Courtesy Carlos Garaicoa

Carlos Garaicoa, ‘Principios basicos para destruir’, 2008 | Courtesy Carlos Garaicoa

Carlos Garaicoa, 'Principios basicos para destruir', 2008   | Courtesy Carlos Garaicoa

Carlos Garaicoa, ‘Principios basicos para destruir’, 2008 | Courtesy Carlos Garaicoa

It is striking that apparently the question is not asked anymore whether Suriname can be seen as Caribbean or not. In the catalog of contemporary Surinamese art, Paramaribo SPAN (2010), the Trinidadian artist-curator Christopher Cozier wrote that he, like many other people, wonders “where the Caribbean actually is located.” He starts from the idea that the area can better be interpreted as a space in which people with a shared background live, than that  it is seen as a geographically defined whole. This space is not static, but changes according to the perception where Caribbean people are “… located or where people imagine the Caribbean “. It is also important that some influential Surinamese artists in the eighties and the late nineties went to study in Jamaica for a period of time, which strengthened the direct Caribbean influence, and that they subsequently lectured at the Nola Hatterman Institute and thus influenced new generations of artists. An important factor is perhaps also that the relationships with the Caribbean are easy, because the majority is English speaking or is well able to speak English in everyday life. The Latin American hinterland with its Spanish-Portuguese language may have a greater threshold.

It seems that Suriname by these factors in the art world nowadays indeed can be rated to the Caribbean.

Among artists from the Caribbean region themes like the (de)colonial history, the diaspora, the socio-political situation and the search for a (national) identity, are common themes, and indeed these were not missing in the exhibition. The aim of the exhibition was to create a new view of the Caribbean. Artists sometimes tried to achieve this by playing with the existing stereotypes of paradise islands, where it turns out the sun does not shine everyday either. However, the presentation of all works was not always optimal, sometimes certain works hardly seem to relate to each other or they got too little space, which made it not come into its own.

Jennifer Allora and Guillermo Calzadilla , 'Returning a sound', 2004   | Courtesy Jennifer Allora and Guillermo Calzadilla

Jennifer Allora and Guillermo Calzadilla , ‘Returning a sound’, 2004 | Courtesy Jennifer Allora and Guillermo Calzadilla

In Returning a Sound (2004) by Jennifer Allora and Guillermo Calzadilla there is a graceful referral to the demilitarization of an island of Puerto Rico. The present U.S. military base (1941-2003) was lifted after many years of protest by citizens. The artists call attention to this process by extending the outlet of a moped with a trumpet and driving around the island on it, in the background you can hear American jazz music. It is triumph, a cry for attention and a warning at the same time; the island is the people’s again, now they must rebuild it. But not only in Puerto Rico the presence of the Western powers was a daily reality until recently. Martinique, still French overseas territory, demonstratively received its own embassy from Jean-Francois Boclé to protest against this European ‘domination’ in the post colonial 21st century. This strange situation is not so much “sci-fi” but rather surreal. ‘Science-Fiction’ was made the central word of the exhibition, maybe it should have been ‘surrealism’. The feeling evoked by the freely translated phrase “By God and in Suriname, everything is possible”, may in daily life also be applicable to several Caribbean societies. Many people who are closely involved in the Caribbean and South American region will recognize this sometimes surreal feeling. Although refreshing, it carries perhaps too far to use this perception when reading Diaz’ ‘sci-fi’, as a guide for an exhibition.

Jean-François Boclé, 'Boclé, Le Diable Indépendantiste', 2011-, photograph from performance | Courtesy Jean-François Boclé/Adagp.

Jean-François Boclé, ‘Boclé, Le Diable Indépendantiste’, 2011-, photograph from performance | Courtesy Jean-François Boclé/Adagp.

On a large exhibition like this, it is not surprising that it was chosen to show some more famous works of Surinamese artists such as Marcel Pinas and Remy Jungerman. On the other hand, it is a pity that not more recent work was shown. Pinas’ oil drum with bones, San E Psa (2010), was a little lost in the large room filled with murals and large works, including Pinas’ beautiful triptych Pangi kibi Man (2005). Jungerman’s classic Bakru (2007) was also exhibited, as well as Promise III (2012) which he made especially for the exhibition.  Recently in Suriname his Promise II could be seen. Completely new work made for this occasion was the black and white sculpture Movt nr. 5:  La virginité de l’Europe (2012) from Charl Landvreugd, which by the way was very well presented centrally. With confusing texts that seemed to have been derived from science fiction movies Landvreugd and his work appeared to fit well in with the theme of the exhibition.

Marcel Pinas, 'San e psa', installation, 500x150x200, 2010 | Courtesy Marcel Pinas

Marcel Pinas, ‘San e psa’, installation, 500x150x200, 2010 | Courtesy Marcel Pinas

Remy Jungerman, 'Bakru', mixed media, 300x220x38, 2007 | Courtesy C & H Art Space

Remy Jungerman, ‘Bakru’, mixed media, 300x220x38, 2007 | Courtesy C & H Art Space

Poster for the exhibition with a work by Charl Landvreugd on it, Charl Landvreugd, 'Movt. nr. 5: La virginité de l'Europe', sculpture, year unknown | Courtesy Charl Landvreugd

Poster for the exhibition with a work by Charl Landvreugd on it, Charl Landvreugd, ‘Movt. nr. 5: La virginité de l’Europe’, sculpture, year unknown | Courtesy Charl Landvreugd

In KAdE many and diverse Caribbean work was displayed, accompanied by quite some text and explanation. All this made it for the average visitor an exhibition that could not always be ‘digested’ easily. For the exhibition one needed more prior knowledge of the Caribbean context  than you would expect at a ‘first acquaintance exhibition’  like this one, or one had to look at the accompanying texts too much. For many, the art will not always have spoken for itself.

For large ‘retrospectives’ it is of course difficult to make choices, the audience should get an impression. It was an act of courage to make the exhibition as it was, but it was too demanding for the general public and the space given to the works sometimes left somewhat to be desired. Several individual works were interesting, especially when they entered into mutual dialogue, but as a whole the exhibition was not always clear and too many topics were broached. This unique exhibition wanted too much and consequently perhaps overshot its mark.

TEXT Dan Dickhof

Dan Dickhof writes historical art publications about old, modern and contemporary art for various media – amongst which 8WEEKLY, worked in the auction business and helps with putting together exhibitions. He studies at the art academy The Hague and also works as a young artist.

+++

Catalog cover

Catalog cover

catalog was published to accompany the exhibition.

Who More Sci-Fi Than Us. Contemporary Art from the Caribbean was edited by Nancy Hoffmann and published with KIT Publishers, Amsterdam, 2012. ISBN 9789460222115

The catalogue is divided into four sections, each prefaced by a general introduction by an author from the relevant language area: Leon Wainwright (UK), Giscard Bouchotte (FR/Haiti), Charl Landvreugd (NL/SME), Blanca Victoria López Rodríguez (Cuba) and Giscard Bouchotte (FR/Haiti). The catalogue also features an interview with Simon Njami (FR) by Jocelyn Valton (Guadeloupe). The introduction was written by Nancy Hoffman.

More Information: http://www.artdaily.com/index.asp?int_sec=2&int_new=55654#.UQ0xCx1X3kI[/url]
Copyright © artdaily.org

+++

More websites with information:

http://www.8weekly.nl/artikel/10124/who-more-sci-fi-than-us-hedendaagse-kunst-uit-de-caraiben-tropische-verrassing-in-nederland.html

http://blog.uprising-art.com/interview-exclusive-jhafis-quintero/?lang=en

http://arcthemagazine.com/arc/2012/05/wendell-mcshine-studio-visit-at-the-kade-kunsthal-for-who-more-sci-fi-than-us/

http://www.artdaily.com/index.asp?int_sec=2&int_new=55654#.UOR3VuRX3kI

Permalink 1 Comment

Marcel Pinas inspires to cherish own culture

January 3, 2013 at 11:38 am (Been there) (, , , , , , )

Remarkable activities during the National Art Fair 2012 (October 26-November 3, 2012, Paramaribo) were Art in Process (the art loving visitors could follow the coming about of works of art) and the series of Artist Talks with powerpoint presentations of art topics and additional dialogue. Marcel Pinas held a presentation entitled ‘Moengo Art district’. The activities were coordinated by the FVAS (also to be found on Facebook. Vanda Koorndijk-Kernizan visited Pinas’ presentation.

Marcel Pinas during his presentation | PHOTO Vanda Koorndijk-Kernizan, 2012

Marcel Pinas during his presentation | PHOTO Vanda Koorndijk-Kernizan, 2012

Marcel Pinas during his presentation | PHOTO Vanda Koorndijk-Kernizan, 2012

Marcel Pinas during his presentation | PHOTO Vanda Koorndijk-Kernizan, 2012

The National Art Fair 2012 Tuesday October 30th at 19:30 hours: artist Marcel Pinas starts his PowerPoint presentation with a slide showing the text ‘Kibri a kulturu’. This is the start of an inspiring story about the development of Moengo as an art district. In chronological order the visual artist takes us on his journey as an artist and unveils how his view on art has developed. Indignant and even still shocked he tells about how he arrived in Paramaribo from the district Marowijne as a 15 year old boy and was confronted with expressions like “You are as dumb as a Ndyuka”. Maroon people were looked down upon. Along the years Pinas is more and more convinced that this mentality is disastrous for whole generations of young people originating from the hinterland. He knows the power of thoughts and words: if it is the general tendency to talk negatively about the Ndyuka culture, then more and more Ndyuka’s will develop low self-esteem or show undesired behavior as is ‘expected’ from them. “And that does not do justice to our brave and strong ancestors”, says Pinas. This is why elements from the Ndyuka culture have increasingly become part of his work; his culture is something to be proud of.

The use of Afaka signs (a script developed by the maroon Afaka) is a very characteristic aspect of Pinas’ objects of art and also his installations with shiny pots and spoons from the maroon kitchen are very famous. The message that one should be proud of its own culture and particularly should preserve it, is what Pinas wants to pass on to as many people as possible. He wants to reach the whole community. As he says himself: “ I don’t reach the people from Pontbuiten (working-class area, SAX) through a painting at Readytex Art Gallery (upscale art gallery, SAX ).” This is how the art installations came about such as the well-known kokolampu’s in front of Fort Zeelandia and the totem pole monument Kibi Wi Totem. Enthusiastically Marcel shows pictures of the totem pole project where he worked together with deaf and hard of hearing children from the Kennedyschool. He emphasizes how special it is when children see ‘their work of art’ in the newspaper. They have done something that is being remarked and receives positive attention. This positive experience is what he wants to pass on to all youngsters in Suriname, but especially in Moengo and surroundings.

That he takes this very seriously is supported by the following slides that accompany his story about art and education projects in Moengo and surrounding villages. Together with colleague artist Ken Doorson he developed initiatives in Moengo which resulted in among others the Tembe Art Studio, where art, dance and music lessons for the youth are given, art installations from various (international) artists which can be found throughout the whole village, training centers for the youth in surrounding villages, a museum for contemporary art and a restaurant. That the latter is a very important aspect becomes clear when listening to the personal stories of Marcel and Ken’s ‘hardships’ in the preparation phase of this developing project. The artists visited Moengo weekly to prepare matters and start things up, but it was not easy to get a meal in the village or to spend the night. And if you have in mind to eventually invite other artists to the region, the least you will have to offer them is a decent meal! Now there is a nice restaurant that has been built with the assistance of local inhabitant and where about eight ladies are responsible for the preparation of tasty dishes: Masanga.

Marcel shares his view on involving other people in his work with the audience. To really turn Moengo into an art district, it is important to let people have their own input and let them profit from the development. When you are invited to brainstorm about and work on something, it becomes your own and turns into something you can be proud of. Marcel seeks to enable adults and children to say: “ Hey, I can do this!”. And these talents can be very diverse: dancing, making music, painting, woodcarving, showing hospitality towards others, navigating a boat, being a good story teller or a good cook. Stimulate others to discover their talents and to develop them, that is the goal. “This is exactly how I see art and how I want to use art”, says Pinas. “Art for development, art in the quest of one’s own identity.”

The artist tells his story with a lot of passion and vision and receives ample appreciation for this at the end of his presentation. The artist is sounded out about holding this presentation for students of the art academies, so that also they can be fed with his positive vibe. Another listener goes even a bit further and proposes to organize the National Art  Fair in Moengo in the future and in this way ‘map’ this town on the art list. An artist who is very occupied with the painting of a wooden doll next to the presentation adds: “Yes, and then we’ll first have the Art Fair in Moengo and only then in Paramaribo!”

It seems the audience is open to developing Moengo into an art district. To be continued!

TEXT/PHOTO’S Vanda Koorndijk-Kernizan

Vanda Koorndijk-Kernizan is a social marketeer and member of the editorial staff of the Surinamese parenting magazine KidzTori. As a freelance writer for Sranan Art Xposed she combines her recently discovered passion for writing with her interest in art and culture. She lives and works in Suriname since end 2003.

Permalink Leave a Comment

Here in the garden …

August 7, 2012 at 11:52 am (Been there, Uncategorized) (, , , , , , , , , )

For the second time Maya Feliksdal and Cindy Nuboer welcomed guests to take a look at ‘Kunst in de tuin‘ [Art in the garden]. Last year’s exhibition had been a success, and this time it was no different. Exhibiting art shouldn’t necessarily always involve a gallery with neutral walls. During the last two or three years Suriname had shown that it’s artists but also the art loving audience is ready for a more adventurous way to enjoy art.

Roshan Mahabir, untitled / USD 1750 | PHOTO Marieke VIsser, 2012

Roshan Mahabir, Vijf vrouwen [Five women], USD 1300 | PHOTO Marieke Visser, 2012

Art in the garden IIwas open for the public on August 4 & 5, 2012. In the garden: sculptural work by Roshan Mahabir. And inside: paintings (and a vase) by August Bohé and cacao bonbons and other products made of her self processed Surinamese cocoa.

August Bohé and Roshan Mahabir in the garden | PHOTO Marieke Visser, 2012

A very enjoyable afternoon, beautiful art in a small garden of Eden … And the sweet taste of Tan Bun chocolate!

Me enjoying – on behalf of all Sranan Art readers – a cocoa bonbon made by Ellen Ligteringen | PHOTO Michael Hermelijn, 2012

This slideshow requires JavaScript.

Permalink Leave a Comment

The Beautiful Faces of Batik

August 6, 2012 at 9:53 pm (Been there, Uncategorized) (, , , , )

Three evenings of good vibrations in Sukru Oso, the gallery which seems to have filled a gap we didn’t knew there was. Arti Abhelakh showed her beautiful art work, all inspired by a combination of batik techniques, tradition and the way she looks at life.

The Beautiful Faces of Batik – Arti Abhelakh | PHOTO Marieke Visser, 2012

Her artful batik-lamps standing everywhere, glowing softly, spreading warm light – but not too bright. Relaxing lounge music, such a relief from the nervous frenzy of the city. There is a time for everything, and this clearly was a time for everybody to enjoy themselves. A time for the children to play and the adults to have a nice conversation. At Sukru Oso it was a time for enjoying The Beautiful Faces of Batik.

The Beautiful Faces of Batik – Arti Abhelakh | PHOTO Marieke Visser, 2012

On her Facebook-page Abhelakh offers an insight into the process of batik.

The sponsors of ‘The Beautiful Faces of Batik’ – SIB, Staasolie & EBS | PHOTO Marieke Visser, 2012

This slideshow requires JavaScript.

What: The Beautiful Faces of Batik, a solo exhibition by Arti Abhelakh

When: August 2, 3 & 4, 2012, 18:30-22:00 hrs

Where: Sukru Oso, Cornelis Jongbawstraat 16a, Paramaribo, Suriname

Permalink Leave a Comment

Next page »

%d bloggers like this: