‘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

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‘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

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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.

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‘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

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‘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

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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.

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‘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
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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

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‘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

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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.

 

 

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Surinamese artists in ‘ONE BARE FOOT SQUARE’, Amsterdam

July 28, 2016 at 5:59 pm (Coming up, Elsewhere) (, , , , , , , , , , , , , )

The exhibition ONE BARE FOOT SQUARE opening in the Outsider Art Gallery in the Hermitage Amsterdam is the most recent initiative of Chutima ‘Nok’ Kerdpitak (also on Facebook) and her ‘Uncooked Culture’ art platform. This artist and curator was also the initiator of the international travelling exhibition Circus Terminal, which in collaboration with Readytex Art Gallery had its final stop in De Hal in Paramaribo, Suriname in 2014.

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It is incidentally an artist initiative during that exhibition in De Hal that inspired the idea for ONE BARE FOOT SQUARE. On the opening night of Circus Terminal the artists affiliated with Readytex Art Gallery each painted a series of small canvases of 15 x 15 cm, which were pinned on a large panel, together creating the look of a colorful mosaic.

ONE BARE FOOT SQUARE is a collaborative artist-led travelling mosaic canvas. Artists create a One Foot square canvas forming a bigger piece with variable dimensions depending on the exhibition space.

ONE BARE FOOT SQUARE starts in the Netherlands with 73 international artists from 15 different countries. Participating from Suriname, are visual artists Rinaldo Klas, Kit-Ling Tjon Pian Gi, Shaundell Horton and Sancha Sullivan.

Outsiders, Neo-Outsiders & artists from all other Squares, will be contributing their creations as its Uncooked boundary-crossing recipe progresses. The mosaic canvas will project a spectrum, weaving together each individual’s life journey; reflecting on their experience, hopes, thoughts & imagination through their diverse practice, from doodles, painting, stencil to mixed media.

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What: ONE BARE FOOT SQUARE (also on Facebook)

When: Opening: Saturday July 30th from 3:00 pm–5:00 pm. The exhibition is on display until August 13th 2016 and entrance is free

Where: Outsider Art Gallery in the Hermitage Amsterdam (www.amsterdam-outsider-art.nl), Neerlandiaplein 1, 1018 DR Amsterdam, the Netherlands

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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

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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’

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An Eye for Art: Kit-Ling Tjon Pian Gi, ‘In Search of 1’

October 14, 2015 at 2:07 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 ‘In Search of 1’, acrylics on canvas, 80 cm wide x 60 cm high, 2000, from Kit-Ling Tjon Pian Gi.

Kit-Ling Tjon Pian Gi, ‘In Search of 1’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘In Search of 1’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

A surprising work, this colorful painting.

Abstraction is not popular in contemporary Surinamese art, let alone geometric abstraction. And compared to Tjon Pian Gi’s other figurative work, this canvas seems an exception or a bold experiment. Yet it is still a logical extension of that other work.

Kit-Ling Tjon Pian Gi is inspired by her surroundings, but specifically by Surinamese nature and Surinamese culture, both traditional and more contemporary. This is especially noticeable in the portraits that she has painted of Surinamese women. Surinamese women are traditionally the designers of the well-known pangi textiles. In the arts they usually appear when they are worn, as a pattern or as a decorative element within a larger whole of visual elements. Kit-Ling Tjon Pian Gi gives them a life of their own. She paints them on canvas, meaning that she paints her personal interpretation of them on canvas. Just like how she always subjects reality to her own will or her own imagination. The subdued colors particularly, are indicative of this.

Several years ago, the Surinamese born artist Remy Jungerman created a series of lithographs of existing pangi-designs. His fascination for them however, went in a different direction. Research taught him that the designs originated from the same period as the work of the members of the artist group De Stijl, in particular from Piet Mondriaan. He brought them into the present by printing them layer upon layer, creating the impression of depth, and thus strengthening the suggestion of mutual influence.

Tjon Pian Gi chooses the Surinamese culture as her theme because she is deeply moved by it and because she wants to prevent its manifestations from becoming completely lost. Although she may not truly want to imitate reality, the method she uses is still a form of documentation.

TEXT Rob Perrée, Amsterdam, New York, October 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

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

Print

Kit-Ling Tjon Pian Gi also published two books, still available at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo.

De kracht van vrouwen/The Strength of Women

KL F

More work by Kit-Ling Tjon Pian Gi available in Readytex Art Gallery:

Kit-Ling Tjon Pian Gi, ‘In Search of 2’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘In Search of 2’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘In Search of 3’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘In Search of 3’, acrylics on canvas, 60 cm wide x 80 cm high, 2000 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Marronmeisje’ [Marroon girl], acrylics on canvas, 80 cm wide x 60 cm high, year unknown - USD 700 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Marronmeisje’ [Marroon girl], acrylics on canvas, 80 cm wide x 60 cm high, year unknown – USD 700 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown - USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown – USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 - USD / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 – USD 650 / 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 Ocober 14, 2015 and was published in Kunst en Cultuur in de Ware Tijd on October 14, 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.

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An Eye for Art: Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’

March 25, 2015 at 8:20 am (Uncategorized) (, , , , , )

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 ‘Born on the wrong date 1’, acrylics on canvas, 30 cm wide x 60 cm high, 2012, from Kit-Ling Tjon Pian Gi.

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 - USD / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Born on the wrong date 1’, from the series ‘Short Stories’, acryl on canvas, 80 cm wide x 60 cm high, 2012 – USD 650 / PHOTO Readytex Art Gallery/William Tsang

In 2012 Kit-Ling Tjon Pian Gi made a series of paintings which she named ‘Short Stories’. With short stories I would initially think of literature, not of visual art. Yet it turns out not to be such a strange title after all. Especially not for her. Language is a method of expression for artists as well. Her poems for example, are proof thereof.

The paintings in the series form a narrative. They are like short scenes from a story. This work is a good example thereof. In a realistic style Kit-Ling depicts a girl who walks through a street in Paramaribo. She walks alone. The sky looks somewhat turbulent. It’s quite windy. The yellow curtain is waving in the wind. It is not at all hard to think up a story. Where is she walking to? Is she as lonely as she seems? Is there a threat lurking?

What is striking is the red line that outlines her. Does that line continue? Is that a way to indicate that it is only a scene from a story? Does the story go on, just like how the red line creates the impression of an image that moves along, on its way towards the next scene?

Even more striking are the foreground and the blue sky. There are words written in them. Or at least the curly letters seem to form words. What is written exactly, is not clear. In the blue sky a bit of puzzle work might turn up something. The words on the street do not go beyond a suggestion of words. I don’t think it is important whether I can or cannot read those words. They symbolize the narrative character of the work. And above all, they symbolize the open content: Tjon Pian Gi appears to give the viewers the liberty to use their imagination and give it their own interpretation.

In a lot of her work Tjon Pian Gi showcases the diversity of the Surinamese culture. In this work she transcends the local and takes on a more universal theme. Could that girl not have been walking in any random city, in any other country?

 

TEXT Rob Perrée, Amsterdam, March 2015

TRANSLATION Cassandra Gummels-Relyveld, 2015

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

Print

Kit-Ling Tjon Pian Gi also published two books, still available at Readytex Art Gallery, Steenbakkerijstraat 30, Paramaribo.

De kracht van vrouwen/The Strength of Women

KL F

More work by Kit-Ling Tjon Pian Gi available in Readytex Art Gallery:

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown - USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist 3’, conte on paper, 70 cm wide x 100 cm high, year unknown – USD 550 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Krabu Owrukuku - A pa nanga a boi’ [Owls - The father and the son], acryl on wood, 30 cm wide x 30 cm high, 2014 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Krabu Owrukuku – A pa nanga a boi’ [Owls – The father and the son], acryl on wood, 30 cm wide x 30 cm high, 2014 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 - USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Vermont Impressions II’, acryl on glass, 64 cm wide x 66 cm high, 2012 – USD 600 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acryl on wood, 30 cm wide x 30 cm high, year unknown – USD 275 / PHOTO Readytex Art Gallery/William Tsang

For the project The Strength of Women Kit-Ling Tjon Pian Gi made a video production. This is a fragment:

Several other short videos by Kit-Ling Tjon Pian Gi:

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on March 25, 2015 and was published in Kunst en Cultuur in de Ware Tijd on March 25, 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.

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SURIFESTA FVAS Giant Painting, December 13 & 14, 2014

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

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

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

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

Flyer

Flyer

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

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

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An Eye for Art: Kit-Ling Tjon Pian Gi – ‘Window 32’

August 13, 2014 at 1:39 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 ‘Window 32’, acrylics on wood, 30 cm wide x 30 cm high, 2013, from Kit-Ling Tjon Pian Gi.

Kit-Ling Tjon Pian Gi, ‘Window 32’, acrylics on wood, 30x30cm, 2013 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Window 32’, acrylics on wood, 30x30cm, 2013 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

It might seem strange to call an exhibition of your paintings Short Stories. For Kit-Ling Tjon Pian Gi that is not so. Although her work might tend towards realism, she does no more than give a suggestion of the reality. As a viewer she leaves you with enough room to imagine your own ‘short story’. This work, ‘Window 32’, is a good example thereof. It depicts a window as you are likely to encounter in many places in Suriname. By painting it on wood, she incorporates a peculiar sort of alienation. As if she has taken a bite out of the real house and then mounted it on a wall. Painting is after all, usually done on canvas or paper. Because of the way in which she paints – streaky, with open spaces – she does indicate clearly that the viewer is indeed dealing with a painting. Confusing.

It is also confusing that people are missing in the painting, but that as a viewer you are instantly inclined to imagine them in it. It is a window of a house where people live. The curtain at least, is proof of that.

In short, with her works Tjon Pian Gi conjures up stories. She stimulates the fantasy of the viewer by initially putting him on the wrong track. And then, in addition to this, she puts herself in the place of the viewer: she writes short stories inspired by her own work. She falls into the category of double talents such as Lucebert, Hugo Claus, Jan Wolkers, Charlotte Mutsaers and others. Because her stories are also suggestive – they are more like poems – she manages to stimulate the viewer with those as well. What she does with paint, she does also with words.

When you look at the oeuvre of Kit-Ling Tjon Pian Gi, it becomes clear that women play an important role in her work. Strong women, women who are trying to survive. But that attention for women, can also be indicative of attention for her immediate surroundings. That includes other people who are living out their fantasies, or colorful birds, or the overwhelming nature of Vermont, or the street scenery of Paramaribo in which houses determine the decor.

Contrary to what you may think of this work, tempted by the content, it is in fact very small. Tjon Pian Gi plays with multiple strange elements.

TEXT Rob Perrée, Amsterdam, July 2014

TRANSLATION Cassandra Gummels-Relyveld, 2014

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

Print

Kit-Ling Tjon Pian Gi also published two books, still available at Readytex Art Gallery, Maagdenstraat 44-upstairs, Paramaribo.

De kracht van vrouwen/The Strength of Women

De kracht van vrouwen/The Strength of Women, available for SRD 10 at Readytex Art Gallery.

KL F

More work by Kit-Ling Tjon Pian Gi available in Readytex Art Gallery:

Kit-Ling Tjon Pian Gi, ‘Window 33’, acrylics on wood, 30x30cm, 2013 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Window 33’, acrylics on wood, 30x30cm, 2013 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acrylics on wood, 30x30cm, 2012 - USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Mercredi des Cendres 9 Witch 2’, acrylics on wood, 30x30cm, 2012 – USD 275 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Petrogliefen uit het land van Jayvredice 4’, acrylics on canvas, 80x80cm, 2009 - USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Petrogliefen uit het land van Jayvredice 4’, acrylics on canvas, 80x80cm, 2009 – USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist I’, acrylics on canvas, 90x90cm, 2008 - USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Woman Artist I’, acrylics on canvas, 90x90cm, 2008 – USD 750 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Down Stream’, oil on hardboard, 80x80cm, 2006 - USD 500 / PHOTO Readytex Art Gallery/William Tsang

Kit-Ling Tjon Pian Gi, ‘Down Stream’, oil on hardboard, 80x80cm, 2006 – USD 500 / PHOTO Readytex Art Gallery/William Tsang

For the project The Strength of Women Kit-Ling Tjon Pian Gi made a video production. This is a fragment:

LOGO eye for art

This edition of An Eye for Art has been sent as a RAG-mailing on August 13, 2014 and was published in Kunst en Cultuur in de Ware Tijd on August 13, 2014.

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

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

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

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Group exhibition ‘WAT – Working Apart Together’, at De Hal

March 28, 2014 at 1:31 pm (Exposed) (, , , , , , , , , , , , , , , , , )

The first vernissage of Readytex Art Gallery in 2014 just opened its doors. Starting from March the 26th, the public could enjoy the group exhibition WAT – Working Apart Together. In De Hal at de Grote Combéweg 45, where 14 artists present their most recent works of art. Though the artists each work independently, their works still contain a surprising amount of elements, turning this into a cohesive presentation. For visitors the exhibition WAT offers the exiting challenge to discover that cohesiveness and perhaps even identify it.

Banner

Banner

After the positive reactions of the public to the group exhibitions of the past two years, Readytex Art Gallery decided to work according to that same concept  for 2014. This year, instead of two large exhibitions with each time new artworks of just one artist, the gallery will organize two large exhibitions with new works of art by multiple artists. It is a concept that works quite well for the artists, the gallery and for the public as well.

Kurt Nahar and two RAG Team members in front of his installation / PHOTO Ada Korbee, 2014

Kurt Nahar and two RAG Team members in front of his installation / PHOTO Ada Korbee, 2014

Visitors admiring Sri's work / PHOTO Ada Korbee, 2014

Visitors admiring Sri’s work / PHOTO Ada Korbee, 2014

Opening Night / PHOTO Readytex Art Gallery/William Tsang, 2014

Opening Night / PHOTO Readytex Art Gallery/William Tsang, 2014

The exhibition WAT offers new work by the following artists affiliated to the gallery: Dhiradj Ramsamoedj, George Struikelblok, Hanka Wolterstorff, Kenneth Flijders, Kit-Ling Tjon Pian Gi, Kurt Nahar, Reinier Asmoredjo, René Tosari, Rinaldo Klas, Roddney Tjon Poen Gie, Soeki Irodikromo, Sri Irodikromo, Sunil Puljhun and Wilgo Vijfhoven.

The exhibition provides the public with impulses other than those of a solo exhibition. In WAT Readytex Art Gallery presents a variety of art works: paintings, batik, and sculptures from wood and ceramics. Viewers can also enjoy a diversity of styles. Kurt Nahar for example, presents a selection that was inspired by his recent participation in the ‘Bienal de Pintura Mural Internos‘ in Cuba. In his new art Sunil Puljhun returns  to abstraction and color, contrary to the black and white works he’d been previously immersed in. Kit-Ling Tjon Pian Gi works from a renewed focus: she researches the Surinamese biodiversity, concentrating especially on bird species. Wilgo Vijfhoven shows transitions in his work and uses a somewhat different visual imagery. Dhiradj Ramsamoedj presents research on canvas, which provides insights into a project that he will soon develop into a series of outdoor, public sculptures.  George Struikelblok gives an exciting new twist to his work and with that offers a glimpse into what is to come at a larger presentation next year.

Readytex Art Gallery and her partner artists invite the public to visit the exhibition WAT – Working Apart Together.  Everyone is welcome in De Hal from Wednesday the 26th until Sunday the 30th of March from 19:00 – 21:00 hrs.

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Banner

TEXT / TRANSLATION Cassandra Gummels-Relyveld, 2014

 

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