‘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

Thursday-Night-Feature: presentation by René Tosari about syuru, also known as sorrel

January 3, 2017 at 12:30 pm (Coming up, Inspired, Thursday Night Feature) (, , , , , , , , , , )

What: Thursday-Night-Feature, presentation by René Tosari about his fascination with syuru, also known as sorrel
When: Thursday January 05, 2017, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs)
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname

image002

René Tosari, ‘The Beauty’, mixed media on canvas, 120x100cm, 2016

At Readytex Art Gallery the new year brings with it new possibilities and new challenges, and of course also a new series of Thursday-Night-Features to look forward to! Eager to kick things off for us in 2017 is Surinamese visual artist René Tosari. On January 5th, the first Thursday of the year, Tosari presents a new collection of artworks inspired by an interesting, somewhat unexpected theme. His new artwork has everything to do with a specific plant that the artist is currently fascinated with: sjoeroe or sorrel as the plant is called in the Caribbean.

Over a year ago René Tosari became interested in the fruit of the sorrel plant through a friend who is originally from Trinidad, David Michael. When the artist discovers that it is a very sturdy plant that multiplies easily and rapidly, and from which delicious and healthy tea or juice can be made, ideas start brewing in his artistic brain. David’s stories about the use of sorrel in traditional Caribbean culture as well as Tosari’s own childhood memories about the use of sorrel in Suriname strengthen his interest. The engagement shown in the earlier work of Tosari, especially in the 80’s with regards to socio-political and also agricultural subjects, seems to resurface as a result of his interest in sorrel.

The artist currently has plenty of sorrel plants growing in his garden and his home is always well stocked with sorrel tea. He eagerly hands out plants and fruit and his fascination with the plant has inevitably grown into a new art project. He has entered into a new phase in his art. In some of his new works the inspiration can be read from the canvas literally, but there are also a number of interesting abstract pieces in which the link with sorrel is not so obviously present.

Why and how Tosari became so interested in sorrel and how it has influenced his art, will be explained by the artist at the TNF on Thursday January 5th. He will be assisted in his presentation by David Michael who will briefly talk about the history and the use of sorrel in the Caribbean.

+++

René Tosari has a new website. Please click here.

Untitled.jpg

+++

Eline Visser is in her first year of DIY Textile School, Amsterdam, The Netherlands. For her modules Contrast & Form, she does research and experiments collage techniques with paper and textile, during her stay in Boxel, Wanica, Suriname in December 2016-January 2017. Here is a Sranan Art Xposed Flickr album with the Project Syuru Sorrel Sjoeroe.

img-20161214-wa0014

+++

From Wikipedia: “In the Caribbean, sorrel drink is made from sepals of the roselle (Hibiscus sabdariffa). In Mexico, ‘agua de Flor de Jamaica’ (water flavored with roselle) frequently called ‘agua de Jamaica’ is most often homemade. It is prepared by boiling dried sepals and calyces of the sorrel/flower of Jamaica plant in water for 8 to 10 minutes (or until the water turns red), then adding sugar. It is often served chilled. This is also done in Saint Kitts and Nevis, Guyana, Antigua, Barbados, St. Lucia, Dominica, Grenada, Jamaica and Trinidad and Tobago where it is called ‘sorrel’. (In Jamaica, it was introduced by Akan slaves in the late 1600s.) The drink is one of several inexpensive beverages (aguas frescas) commonly consumed in Mexico and Central America; they are typically made from fresh fruits, juices or extracts. Something similar is done in Jamaica but flavor is added by brewing the tea with ginger and adding rum, making a popular drink at Christmas time. It is also very popular in Trinidad and Tobago where cinnamon, cloves and bay leaves are preferred to ginger.”

IMG-20161229-WA0006.jpg

Making sorrel drink in the happy kitchen / PHOTO Marieke Visser, 2016

Permalink Leave a Comment

Kurt Nahar artist-in-residence in New Orleans

July 7, 2016 at 12:58 pm (Headlines) (, , , , , , , , , )

It is turning out to be quite an interesting year for visual artist Kurt Nahar. On July 9th,, 2016, he leaves for the USA where he will spend three weeks at the Joan Mitchell Center (on Facebook) in New Orleans as an artist-in-residence researching and creating work about a social issue that has, in past and present, held the whole world in its throes. In New Orleans Nahar will direct his energy towards the complex and multifaceted theme of various refugee crises.

Kurt Nahar FOTO RAG

Kurt Nahar / PHOTO Ada Korbee, 2016

The residency at the Joan Mitchell Center (on Facebook) was brought to the attention of Readytex Art Gallery by their good friend and trusted collaborator in the arts, Rosie Gordon-Wallace of DVCAI (Diaspora Vibe Cultural Arts Incubator) (on Facebook) in Miami. In recent years Rosie has travelled to Suriname with a team of US/Caribbean artists twice and she has been a fan and supporter of the work of Kurt Nahar for even longer than that. On her recommendation the team of Readytex Art Gallery set to work with partner artist Kurt Nahar, to submit an application on his behalf for participation in this residency project in New Orleans. In February 2016 we were informed that the selection committee of the Joan Mitchell Center had granted Kurt Nahar a spot in her summer residency program.

op2

During the opening of ‘Treasure hunt’, an exhibition curated by Bart Krieger, February 4, 2016, Readytex Art Gallery, Paramaribo, Suriname, february 4-13, 2016, an installation about the refugee crisis in Europe, by Kurt Nahar / PHOTO Ada Korbee, 2016

kurt

An installation about the refugee crisis in Europe, by Kurt Nahar / PHOTO Ada Korbee, 2016

The Joan Mitchell Center aims to be a place for creation, innovation and transformation, while supporting values of community, diversity and social equity. It will therefore undoubtedly serve as the perfect backdrop and environment for the work that Kurt plans to create during his residency. In his research Kurt Nahar will explore the various angles of the issue of forced displacement of large groups of people, focusing primarily on the victims of hurricane Katrina in New Orleans, the Maroons who fled their jungle villages after the war in the interior in Suriname in the 80’s, as well as the current refugee crises from the Middle East that affect so many countries around the world. He will focus especially on the aftermath, and the often-tragic consequences for all communities and individuals involved. What exactly his resulting artwork will end up being – although it is almost certain that it will be an installation made from locally found materials -, depends on that which he encounters during his research.

Nahar’s residency at the Joan Mitchell Center in New Orleans runs from July 11th until August 5th, 2016. From there the artist travels to Miami where he will spend several days as a guest of DVCAI (on Facebook) where Rosie Gordon-Wallace has arranged various opportunities for him to present his work in her lively art community there.

 

TEXT Press release Readytex Art Gallery, 2016

kurt

Kurt Nahar / PHOTO Ada Korbee, 2016

 

 

Permalink Leave a Comment

Thursday-Night-Feature: Kit-Ling Tjon Pian Gi – ‘Caged’

July 7, 2016 at 10:59 am (Coming up, Thursday Night Feature, What's Up Suriname?) (, , , , , )

What: Thursday-Night-Feature, exhibition and presentation by Kit-Ling Tjon Pian Gi (Facebook Event)
When: Thursday July 07, 2016, 19:00 hrs (doors open 19:00 hrs, start presentation 19:30 hrs)
Where: Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo, Suriname

13494951_1212493095468989_193543929633485018_n

Kit-Ling Tjon Pian Gi, ‘Caged 08’, acrylic on canvas, 80x80cm, 2016, featured image for ‘Caged’ / PHOTO Courtesy Readytex Art Gallery, 2016

Each first Thursday of the month, Readytex Art Gallery opens her doors from 19:00 to 21:00 pm, for a special exhibition or activity, known by now as the Thursday-Night-Feature.

At the upcoming Thursday-Night-Feature on July 7th, Readytex Art Gallery once again features an artist from her own group of partner-artists, Kit-Ling Tjon Pian Gi.

On this night Kit-Ling will use the ground floor of the gallery to present a new series of artworks titled Caged. The artist came up with idea for Caged, based upon the concept that mankind is ‘caged’. ‘Caged’ by political systems, corruption, religion and much more. Inspired by the Surinamese environment, the concept got its own unique form. In addition to her new artworks, Kit-Ling will also delve into Readytex Art Gallery’s storage to select some of her previous works and work from other artists, to add to her exhibition. Aside from being the featured artist, Kit-Ling Tjon Pian Gi also takes on the role of curator for her exhibition Caged.

The Thursday-Night-Feature of Kit-Ling Tjon Pian Gi also includes a presentation. In it the artist will among other things reflect on the fact that she was the first graduate of the first accredited Surinamese study ‘Tekenen (Drawing) MO-A’, 40 years ago, at a time when the AHKCO and the Nola Hatterman Institute did not yet exist.

Artist’s page on the Readytex Art Gallery website: here.

Article in Calabash, a Journal of Caribbean Arts and Letters, Vol. 4 (2006), Nr. 1 (Spring-Summer): Kit-Ling Tjon Pian Gi, ‘Self-portrait of the Artist Speaking in the Third Person’

Permalink Leave a Comment

SAX/Sranan Art Xposed nr. 11

January 30, 2016 at 8:08 pm (Headlines, Interesting reads) (, , , , , , )

January 2016 brings a well-filled edition of Sranan Art Xposed. If you haven’t received a mail yet, please send us a mail at srananart@gmail.com and mention whether you want the Dutch and/or the English edition. It is free of charge.

cover sax 11

Cover SAX 11

Download SAX nr. 11 here:

SAX 11 Nederlandse editie jan16

SAX 11 English edition jan16

Sranan Art Xposed keeps working towards a steadily growing digital platform. The great thing about this method of communicating and publishing is that it allows you the opportunity to react. By liking something, or sharing something, or by placing your comments. Go ahead and do this to your heart’s content!

WEBLOG https://srananart.wordpress.com/

FACEBOOK www.facebook.com/pages/SAXSranan-Art-Xposed/121474048032615

PHOTOS www.flickr.com/photos/srananart/

VIDEOS http://vimeo.com/user6622619

INSTAGRAM http://instagram.com/srananart

TWITTER http://twitter.com/srananart

GOOGLE +  

REACTIONS srananart@gmail.com (also for signing up to our mailing list ‘Leuke Dingen’-mailings and SAX Dutch and/or SAX English)

 

Permalink Leave a Comment

An Eye for Art Kenneth Flijders – ‘Just a melon’

August 13, 2015 at 12:05 pm (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 the work ‘Just a melon’, mixed media/wood, 104 cm wide x 50 cm high x 10 cm deep, 2011, from Kenneth Flijders.

Kenneth Flijders, ‘Just a melon’, mixed media/wood, 104 cm wide x 50 cm high x 10 cm deep, 2011 - USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Just a melon’, mixed media/wood, 104 cm wide x 50 cm high x 10 cm deep, 2011 – USD 750 / PHOTO Readytex Art Gallery/William Tsang

I really only know Kenneth Flijders (Paramaribo, 1956) as a painter. Paintings in which nature or people, either surrounded by nature or not, take center stage. Expressionistically painted, predominantly realistic, but seeking, especially with regards to color, the boundaries of reality. Because of this they lean more towards interpretations rather than true representations.

This work seems to be the total opposite of that. You have to look closely to see whether the melon segments are real or not. I was immediately reminded of the Pop Art-works by Andy Warhol – his famous Campbell-soup cans and Brillo-boxes – or van Claes Oldenburg – his no less famous plastic sandwich and ditto hamburger. Those artists wanted to portray everyday, popular ‘objects’ or utensils in order to question the distance between ‘high art’ and ‘low art’. They wanted to show the extraordinary in the ordinary.

Because this work seems to be an exception in the oeuvre of Flijders, it is difficult to determine what motivated him to make such a work. The title, ‘Just a melon’, does indicate that he wanted to ‘play around’ with the ordinariness of things. It is a fact that he often tries out different things. I remember an abstract work that comes across as a cutout of a painting by an American abstract expressionist. In a previous edition of this series I discussed a red-brown work that was intended to be a composition, rather than a portrayal of a scene based on reality. It is not for nothing that those two works were called ‘Untitled’. Perhaps this work is yet another result of his urge to experiment.

It is typical that he chooses a red melon for his experiment. With it he distinguishes himself from city people like Warhol and Oldenburg. And with it, he symbolizes his own ‘tropical’ origins.

Incidentally, it is quite clever to make a piece of wood look edible …

TEXT Rob Perrée, July 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

Want to see this and other work of Kenneth Flijders ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Kenneth Flijders please visit the website http://readytexartgallery.com/kennethflijders.

Print

More work by Kenneth Flijders available in Readytex Art Gallery:

Kenneth Flijders, 'Untitled 2'. acrylics on paper, 35x50cm, 2012 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Untitled 2’. acrylics on paper, 35x50cm, 2012 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Terug naar Buku' [BAck to Buku. acrylics on canvas, 145x104cm, 2009 - USD 950 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Terug naar Buku’ [BAck to Buku. acrylics on canvas, 145x104cm, 2009 – USD 950 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Koop en verkoop' [Purchase and Sale]. acrylics on canvas, 80.6x146.4cm, 2009 - USD 1000 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Koop en verkoop’ [Purchase and Sale]. acrylics on canvas, 80.6×146.4cm, 2009 – USD 1000 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Don't Cry'. acrylics on wood, 44.5x144cm, 2009 - USD 900 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Don’t Cry’. acrylics on wood, 44.5x144cm, 2009 – USD 900 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Rijwiel' [Bicycle]. mixed media on paper, 35x28cm, 2009 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Rijwiel’ [Bicycle]. mixed media on paper, 35x28cm, 2009 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Mamio I', acryl on canvas, 143 cm wide x 140 cm high, 2013 - USD 1200 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Mamio I’, acryl on canvas, 143 cm wide x 140 cm high, 2013 – USD 1200 / PHOTO Readytex Art Gallery/William Tsang

From a series of three: Kenneth Flijders, 'Every day a drop creates us 3', mixed media on paper, 100 cm wide x 80 cm high, 2013 - USD 350 / PHOTO Readytex Art Gallery/William Tsang

From a series of three: Kenneth Flijders, ‘Every day a drop creates us 3’, mixed media on paper, 100 cm wide x 80 cm high, 2013 – USD 350 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Untitled V', screenprint, 63 cm wide x 46 cm high, 2010 - USD 225 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Untitled V’, screenprint, 63 cm wide x 46 cm high, 2010 – USD 225 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'I shall call you Adam', mixed media on hardboard, 55 cm wide x 125 cm high x 2.5 cm deep, 2011 - USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘I shall call you Adam’, mixed media on hardboard, 55 cm wide x 125 cm high x 2.5 cm deep, 2011 – USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, 'Untitled 5', mixed media on paper, 27.5 cm wide x 34.5 cm high, 2012 - USD 200 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Untitled 5’, mixed media on paper, 27.5 cm wide x 34.5 cm high, 2012 – USD 200 / PHOTO Readytex Art Gallery/William Tsang

A previous edition of An Eye for Art discussed this work by Kenneth Flijders:

Kenneth Flijders, 'Untitled 2', mixed media on paper, 50 cm wide x 42 cm high, 2013 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Untitled 2’, mixed media on paper, 50 cm wide x 42 cm high, 2013 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

A previous edition of An Eye for Art discussed this work by Kenneth Flijders:

Kenneth Flijders, 'Untitled I', mixed media on paper, 57 cm wide x 38 cm high, 2013 - USD 300 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders, ‘Untitled I’, mixed media on paper, 57 cm wide x 38 cm high, 2013 – USD 300 / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders 'brokopondo' work was chosen as a design for one of the art wraps, a unique product from the Readytex Art Gallery, 180x100cm, 100% cotton / PHOTO Readytex Art Gallery/William Tsang

Kenneth Flijders ‘brokopondo’ work was chosen as a design for one of the art wraps, a unique product from the Readytex Art Gallery, 180x100cm, 100% cotton / 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 August 13, 2015 and was published in Kunst en Cultuur in de Ware Tijd on August 13, 2015.

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.

Permalink Leave a Comment

An Eye for Art: Marcel Pinas, ‘Awewe faaka tiki 2’

July 15, 2015 at 2:19 pm (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 ‘Awewe faaka tiki 2’, mixed media on canvas, 66 cm wide x 83 cm high, 2013, by Marcel Pinas.

Marcel Pinas, ‘Awewe faaka tiki 2’, mixed media on canvas, 66 cm wide x 83 cm high, 2013 - USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Awewe faaka tiki 2’, mixed media on canvas, 66 cm wide x 83 cm high, 2013 – USD 1500 / PHOTO Readytex Art Gallery/William Tsang

Several years ago Marcel Pinas (Pelgrimkondre, Marowijne, 1971) rediscovered drawing. Not the realistic type of drawing he once started his career with, but animated black shapes on a white surface. Those shapes are derived from Afaka-characters, the syllable script that was developed early on in the 20th century in his birth district by Afaka Atumisi. From a distance they resemble swarms without a clear identity. Occasionally he adds a smudge of color or a smudge of black.

In this work he combines this new development with the work that he made earlier. Here the black signs become part of a larger whole. They look like they have been strewn randomly on top. The center of the work shows the shape of a cross, made from pieces of pangi cloth. The cloth refers to the traditional Maroon culture, the cross does not have a religious background, but it refers to his youth, during which playing and various games were part of daily entertainment. The color smudges that have been added to the work supplement that interpretation. They come across as the visual language of a child. Similar to the visual language that also inspired CoBrA-artists such as Appel and Corneille.

Pinas often fills his canvas or sheet of paper completely. He creates the necessary depth by layering color and image planes over one another. In comparison, this work is rather bare and austere. The effect of the bareness is that the attention of the viewer becomes focused on the center, on the part that it’s ultimately about: the portrayal of a joyful childhood in an originally safe environment that would later, because of the war in the interior, become compromised.

Marcel Pinas strives for the preservation of the Maroon culture. In his Moengo-project he does this by organizing various practical activities that could contribute to this, and that could stimulate the people’s confidence in their own capabilities. In his free work he succeeds in using an imagery that indirectly intends to do the same, but that manages to also, for those not involved, deliver results that intrigue, trigger emotions and discussions, but at the same time can and may be an esthetical experience as well.

TEXT Rob Perrée, Amsterdam, July 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

An article by Chris Morvan about Marcel Pinas was (December 5, 2014) published on the website of Africanah.org.

Want to see this and other work of Marcel Pinas ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Marcel Pinas please visit the website http://readytexartgallery.com/marcelpinas.

Print

More work by Marcel Pinas available in Readytex Art Gallery:

Marcel Pinas, ‘Pikien Schop Steentje II’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 - USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Pikien Schop Steentje II’, mixed media on canvas, 145 cm wide x 86 cm high, 2011 – USD 2500 / PHOTO Readytex Art Gallery/William Tsang

Marcel Pinas, ‘Kibii wi koni’, screenprint 2/15, 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

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

Also in the Readytex Art Gallery shop:

Brochure Kibii Wi Koni Marcel Pinas The Event – SRD 10

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 July 15, 2015 and was published in Kunst en Cultuur in de Ware Tijd on July 15, 2015.

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.

Permalink Leave a Comment

An Eye for Art: Kurt Nahar, ‘Untitled 6’

July 5, 2015 at 2:30 pm (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 ‘Untitled 6’, mixed media collage on paper, 13 cm wide x 23 cm high, 2011, by Kurt Nahar.

Kurt Nahar, 'Untitled 6', mixed media collage on paper, 13,5 w x 23 h cm, 2011 - USD 95 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Untitled 6’, mixed media collage on paper, 13,5 w x 23 h cm, 2011 – USD 95 / PHOTO Readytex Art Gallery/William Tsang

Collage may seem like an easy medium. A stack of old magazines, a pair of scissors – and even those are not really necessary –, some regular craft glue and you are good to go. Others provide the images and the only thing left to do for you as an artist, is to create a composition with them. You are not even at risk of getting your hands dirty.

This untitled work from 2011 by Kurt Nahar proves however, that a good collage requires more than that.

The whole already delivers a strong image. It immediately attracts attention. The torn edges add a vulnerable note, while the man – is it a man? – rather seems to exude strength; a tension field that intrigues.

Different parts of the work contain similar contradictions. The transparent area to the left must be by Michelangelo, a type of house artist from the Catholic Church. The festive bottom part refers to the Swiss Guard of that same church. The chubby baby has been torn from the arms of the classical mother-with-child. What does the armor have to do with it? That radiates aggression. In reality the Swiss Guard wears a type of operetta helmet. One that is more likely to make you laugh, with its red crest.

Is ‘protection’ that which the various elements have in common?

From other work by Kurt Nahar it is evident that he has a strong aversion to violence, especially to senseless violence. He wants us to take note of figures who use their positions of power to legitimize violence.

Is this work then a portrayal of ‘how to protect oneself’ or is it the other way around, ‘what does protection embody?’ A sensitive shoulder, an open visor, a child that has been torn from his mother, and an army that closely resembles a tourist attraction.

I tend towards the latter, but the artist does not provide an answer. He only makes the viewer aware of the subject matter. The impact of the image alone causes you to think about it.

While many of Nahar’s collages are outright about politics, in this work more attention is given to the form and the message is merely implicit.

TEXT Rob Perrée, Amsterdam, June 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

An article by Marieke Visser about Kurt Nahar was recently (April 7, 2015) published on the website of Africanah.org.

Want to see this and other work of Kurt Nahar ‘up close and personal’? That’s possible at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo. www.readytexartgallery.comFor more information about Kurt Nahar please visit the website http://readytexartgallery.com/kurtnahar.

Print

More work by Kurt Nahar available in Readytex Art Gallery:

This work featured in a previous edition of ‘An Eye for Art’:

Kurt Nahar, 'Untitled', mixed media collage on paper, 20x29cm, 2011  - USD 125 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Untitled’, mixed media collage on paper, 20x29cm, 2011 – USD 125 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Untitled 36', mixed media collage on paper, 27x18cm, 2011  - USD 125 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Untitled 36’, mixed media collage on paper, 27x18cm, 2011 – USD 125 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'This is not a pig', mixed media on paper, 47x49cm, 2012  - USD 500 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘This is not a pig’, mixed media on paper, 47x49cm, 2012 – USD 500 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Revo no, Pussy Si 14', mixed media collage on paper, 19x26cm, 2011  - USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Revo no, Pussy Si 14’, mixed media collage on paper, 19x26cm, 2011 – USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Revo no, Pussy Si 5', mixed media collage on paper, 19x26cm, 2011  - USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Revo no, Pussy Si 5’, mixed media collage on paper, 19x26cm, 2011 – USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Peaceful Visions I', mixed media  on hardboard, 60x90cm, 2008  - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Peaceful Visions I’, mixed media on hardboard, 60x90cm, 2008 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'On the wall', mixed media collage on canvas, 67x81cm, 2011  - USD 575 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘On the wall’, mixed media collage on canvas, 67x81cm, 2011 – USD 575 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Kwakoe dada', mixed media on paper, 28x37.5cm, 2010  - USD 130 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Kwakoe dada’, mixed media on paper, 28×37.5cm, 2010 – USD 130 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Het leven voor niets in een zothuis 8', mixed media collage on paper, 21x29cm, 2011  - USD 175 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Het leven voor niets in een zothuis 8’, mixed media collage on paper, 21x29cm, 2011 – USD 175 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'El mundo de los muertos', mixed media collage on paper, 19x28cm, 2009  - USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘El mundo de los muertos’, mixed media collage on paper, 19x28cm, 2009 – USD 150 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Dada en de appel I', mixed media  on wood, 30x125x3cm, 2008  - USD 250 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Dada en de appel I’, mixed media on wood, 30x125x3cm, 2008 – USD 250 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, 'Appeltje voor de dorst', applied art product, mixed media on canvas, 37x37x8cm, 2011  - USD 100 / PHOTO Readytex Art Gallery/William Tsang

Kurt Nahar, ‘Appeltje voor de dorst’, applied art product, mixed media on canvas, 37x37x8cm, 2011 – USD 100 / 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 July 11, 2015 and was published in Kunst en Cultuur in de Ware Tijd on July 2, 2015.

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.

Permalink Leave a Comment

Surinamese art with magic powers

July 5, 2015 at 12:12 pm (A Close Look, Elsewhere, Meanwhile ...) (, , , , , , , , , , , )

The turning point was a visit to the family altar of his mother in the Surinamese rain-forest. That was in 2005, tells Surinamese-Dutch artist Remy Jungerman (on Facebook) in a video in his exhibition. The reason for the visit was the passing away of his father. But that altar, that physical location with its winti-rituals, right at that moment, meant so much to Jungerman, that he decided to break with his earlier work. ‘This is what I really am,’ he says in the video, ‘Something I have been initiated in’.

Remy Jungerman, 'FODU. Composition 24', (detail of a wall installation consisting of 24 panels for the Projects Room, 410x270x35cm, wood, textile, kaolin (pemba), 2015 / PHOTO Femke DIx, 2015

Remy Jungerman, ‘FODU. Composition 24’, (detail of a wall installation consisting of 24 panels for the Projects Room, 410x270x35cm, wood, textile, kaolin (pemba), 2015 / PHOTO Femke DIx, 2015

Video shown in the exhibition Crossing the water:

What that turning point led to, can be seen in his exhibition in the Haags Gemeentemuseum: six sculptural installations, of large geometric shapes. It is mostly squares that can easily go along with the art history further down in this museum – Mondriaan, Rietveld. But they also have patterns that Jungerman, who himself grew up in a Maroon community, borrowed from the rich visual traditions of the Maroons in the interior. In the 20’s of the previous century, these descendants from the run-away slaves, developed fabric with all kinds of geometric patterns. They are beautiful and Jungerman collected them in his studio. But he wanted more. He thus enrolled at the Gerrit Rietveld Academie in Amsterdam. He studied there with the objective to bring winti-traditions together with those other cultures that excelled in graphic abstractions in the 20’s: the European avant-gardes. Subsequently he named his exhibition Crossing the Water. About bridging oceans.

Mixing cultures is no mathematical formula and Jungerman knows that. His sculptures therefore represent primarily himself, his aesthetics, and his graphic predilections. According to his own insights he combines wood with checkered cloths, tablecloth plaids, Dutch Wax patterns, Maroon designs. A monochromatic blue panel à la Yves Klein hangs next to frames that are reminiscent of how Daan van Golden elevated ordinary handkerchiefs to art. A type of Mondriaan at the kitchen table.

But that perspective by no means makes it insignificant. Because what Jungerman especially does also, is approach his work with the ritualistic point of view from the winti-religion. The white that he paints with is kaolin, a type of clay used by winti to cover their skin and their African sculptures to guard against evil influences. Covered with this, his art works are protected. They are as a matter of fact, named after rituals: Fodu, Initiands, Obeah. He alternates the flat squares with cubes, one of which holds a jar that is wrapped in red thread, which clearly shows the meticulous way of working. An abstract work of art indeed, but also a small altar. And for a moment Jungerman takes us along, in our thoughts, to the altar of his mother.

He continuously brings elements together. On occasion, in an altar block with stoneware gin bottles next to rum bottles, it looks somewhat contrived – a bit too Benetton, colors hand in hand – but for the rest the combinations come together naturally in his unique sense of beauty, with reverence and spirituality. And the beauty is: spirituality is exactly that which Mondriaan and his associates strived for. Many visitors will forget that when seeing those solemnly hung abstract works of art in the strict museum halls, but therein lays a cosmic aim for higher things as well. With color and life Jungerman brings back that look of Mondriaan’s aesthetics. Bridging oceans, that mission has been completely successful.

Exhibition: Remy Jungerman (also on Facebook), Crossing the Water, April 11 until August 16, 2015, in Haags Gemeentemuseum. Stadhouderslaan 41, the Hague, the Netherlands. Tuesday-Sunday 11:00 am-7:00 pm.

More information about this artist can be found on his website: www.remyjungerman.com and on his Facebook-page.

Invitation 'Crossing the Water'

Invitation ‘Crossing the Water’

During the opening of 'Crossing the Water' Remy Jungerman had an art conversation with Mondriaan-expert Hans Janssen, Haags Gemeentemuseum, April 11, 2015 / PHOTO Femke Dix, 2015

During the opening of ‘Crossing the Water’ Remy Jungerman had an art conversation with Mondriaan-expert Hans Janssen, Haags Gemeentemuseum, April 11, 2015 / PHOTO Femke Dix, 2015

From May-July 2015 Remy Jungerman was invited by Marc Straus Gallery for a residency in New York City. On July 19, 2015, from 11:00am-18:00pm you’re cordially invited to the Open Studio (on Facebook) to see the result from the three months residency. Where: 286 Grand Street, New York, NY 10002, USA.

Open Studio Remy Jungerman / PHOTO Courtesy Remy Jungerman

Open Studio Remy Jungerman / PHOTO Courtesy Remy Jungerman

TEXT Sandra Smets

Sandra Smets (Haarlem, 1970) is an art historian, and writes mostly about contemporary art, including art in public spaces. She has worked at the Centrum Beeldende Kunst Rotterdam for over ten years and is, since 2006, a visual arts employee at the NRC Handelsblad. She also writes for various magazines, artist catalogues and publications, about the art of the reconstruction and developments in the twentieth century. Website: www.sandrasmets.nl

This article was previously published in Dutch as ‘Surinaamse kunst met toverkracht’ in NRC Handelsblad, April 23, 2015.

NRC Handelsblad, April 23, 2015

NRC Handelsblad, April 23, 2015

PHOTOGRAPHY Femke Dix

Femke Dix (Paramaribo, 1989) is a student at the University of Applied Photography in Amsterdam. She started making photographs in 2005 and after studying something else it became the job of her dreams after all. In a year’s time she will finish her study and she will enter the field as a freelance photographer. She established Femfoto (on Facebook) in 2010 and it exists for 5 years already. She is most interested in documentary photography and she is currently working on a photographical documentary about the burial customs of the Afro-Surinamese community. Website: www.femfoto.nl 

TRANSLATION Cassandra Gummels-Relyveld, June 2015

Permalink Leave a Comment

Next page »

%d bloggers like this: