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Birds-eye view of Surinamese art by
Marieke Visser
The
multitude of colors in the Surinamese artists’ palette is often compared to the
bright feathered foliage of birds. Even today that comparison is still quite
appropriate especially since, now more than ever, visual artists in Suriname
are spreading their wings and taking flight into the international art world –
Most often however, to return to their nest eventually. The relatively unknown
art from Suriname is rapidly developing and deserves more attention. In a
series of magazine articles several Surinamese artistic expressions will
subsequently receive some much deserved special attention. To begin with, we
start with a sketch of the present day visual arts in Suriname. The
Surinamese population of the twenty-first century has roots originating from
practically all over the world. As a result influences can be found in almost
every aspect of society. Quite naturally of course, this also true for the
visual arts. Sometimes this is rather obvious: Indian patterns in the work of
an artist from West Indian descent or batik techniques applied by an artist
with Javanese (Indonesian) origins. Often however, there are surprising
cross-cultural manifestations: Kit-Ling Tjon Pian Gi, with Chinese roots, who
uses the motifs from the maroons and the indigenous peoples, the
Afro-Surinamese artist Rinaldo Klas whose sculptures show clear similarities to
Chinese characters. Starting point Opinions are divided about the
actual starting point of visual arts in Suriname. Kit-Ling Tjon Pian Gi, visual
artist and secretary of the Federation for visual artists in Suriname (FVAS):
‘It depends on how you look at it. The fact that many Surinamese artists got
their professional training in the Netherlands has made the European influence
quite strong.’ Erwin de Vries is the most famous of the three artists from
Suriname whom in 1949 traveled to Holland to start a professional art
education. His mastery is undisputed. In the Oosterpark in the Dutch city
Amsterdam, stands the National Monument for Slavery History from the hand of
this well known artist. Also Rudi Getrouw and Stuart Robles de Medina, both contemporaries
of de Vries, are considered amongst the most prominent Surinamese artists.
Several individuals, but also institutes, organizations and initiatives have,
in the years thereafter, made their mark. The CCS School for Visual Arts, the
National Institute for Art & Culture (NIKK), the Union for Visual Laborers
(BBW), Gallery Egi Du, and Waka Tjopu: those were the solid building blocks
upon which today the foundation for the future rests. The Jamaica-factor With the Edna Manley Institute for
Fine Arts, Jamaica has significantly contributed to the broadening of the
possibilities with regards to art education for Surinamese artists. The first
of the Jamaica students were Rinaldo Klas and George Ramjiawansingh, in 1986. A
few years later also Marcel Pinas, George Struikelblok, Humphrey Tawjoeram and
Robbert Enfield took a giant step in their art career with their education in
Jamaica. After them followed Kurt Nahar and recently also Remond Mangoensemito.
Kurt Nahar studied at the Edna manly college from 2000 until 2002. ‘If I had
not been to Jamaica I never would have reached this point, particularly with
regards to creating collage pieces and installations. You are also made
familiar with working from a concept.’ Marcel Pinas as well, discovered and
developed his artistic signature during his period in Jamaica, between 1997 and
1999. Since then the theme that defines all his work as an artist is kibri a
kulturu, meaning: preserve the culture. Most specifically the N’dyuka-culture
and the maroon life style in general: that is what Pinas strives for, and that
is also his greatest source of inspiration. Since the beginning of 2007, Marcel
Pinas is associated with the Rijksacademie in Amsterdam, the Netherlands,
through an artist in residence fellowship program for two years. Active and growing It seems as though the developments
in the area of visual art in Suriname have taken off at tremendous speed in the
past decade. The industry is active and growing. Workshops, exhibitions,
publications: all types of initiatives contribute to a lively totality. The
past few years have seen an increase in exhibition facilities. Several
galleries regularly organize selling exhibitions or art displays in which
(recent) work from an artist is shown. Other than the different art galleries
such as Steinhoff, Singh, Bribi, Egi Du and House of Arts, there is also the
Readytex Art Gallery where Evelyn and Monique Nouh-Chaia, for over fifteen
years now, offer significant support to the art industry in Suriname. For a few
years now the complete assortment at the Readytex Art gallery is also offered
online on their website. It is an extensive source of 22 artists, including the
possibility to purchase the works of art directly from the internet. The
National Art Fair is a yearly recurring event where a great number of local
artists put their work on display for an ever increasing public. This event has
been organized every year for 42 years now, since 1965. But the need for a
national museum of visual art remains predominant. An establishment which other
than controlling and supervising the State Art collection is also in charge of
managing an exhibition policy in which attention is periodically given to
different themes in art. Suriname: undeveloped terrain The discussion about the identity of
Surinamese art is no longer as lively as it used to be several years ago. The
process of globalization seems, even in Suriname, to make the world appear
smaller. The homeland does however provide an inexhaustible source of
inspiration. Nature in her unequalled diversity and the relative virginal state
thereof for example, but also the multicultural composition of the population
which makes Suriname so extraordinary. René Tosari: ‘For the artists who have
their roots here, Suriname remains always a source close to their hearts. Here
it is like undeveloped terrain, it requires a great amount of creativity to
develop that which does not yet exist. At the same time this undeveloped
terrain dares you into making things happen, also in the visual arts.
Less
homebound The new century seems to bring with
it more breathing space. In the past the great attraction to the Netherlands
was largely determined by the ease with which one could travel there. In that
area some definite improvements have been made. Thanks in part to the FVAS,
regional affiliation and opportunities have greatly increased. At present
Suriname is once again participating in the Caribbean Biennale in Santo
Domingo. Then there is also a group that commutes back and forth. René Tosari
is one such a ‘less homebound’ Surinamese artist. He travels back and forth
between Amsterdam Zuidoost and Paramaribo. ‘For the last ten years I have been
to Suriname every year. The traveling also causes stagnation, it restrains you.
You have to pick up the thread all over again every time. But ultimately I take
it quite lightly after all. You know that you won’t stay in that concrete space
forever and you know that when you are no longer capable of running hard
because everybody walks slowly, you can leave again. All that traveling also
has its influence on my art; the thematic choices have to do with the contradictions
of those worlds. Social engagement The strong bond that Surinamese
artists share with their home country also seems to engender a greater than
average sense of social engagement. With his politically laden art, Kurt Nahar
attempts to make painful subjects from Surinamese history debatable. ‘Even my
own instructors don’t openly discuss certain subjects. I can’t just keep
standing on the sidelines and constantly carp, I too am a child of this
country. Each of us has a responsibility, also the artist. I want to pass on my
history to anybody who is interested in hearing it.’ In an interview with the
newspaper Weekkrant Suriname he once stated: ‘A beautiful piece of art
immediately captivates the person that looks at it. But that is all. It does
not stimulate any type of discussion. That is why I don’t paint “beautifully”.
You don’t always have to be beautiful to be loved. You only have to be
yourself. That is what I try to indicate with my art.’ ‘An artist is the radar
of the community,’ says Rinaldo Klas. With colorful and expressive works of art
he invites the viewer to experience the value of nature, and from that sense of
involvement, to acknowledge the urgent need to protect this unique flora and
fauna. In the near future he wants to take some time out to visit the
Surinamese interior again. ‘To witness the touched and the untouched; Witness
it with my own eyes.’ For Marcel Pinas art is a means of communication with the
viewer: ‘I live in the community, I am a part of it. My personal feelings about
this are what I try to express and that is what I use my art for.’ Pinas often
elects to create large art installations in public spaces. By doing so he wants
to make his work, and the message that it portrays, available to as wide an
audience as possible. Very impressive is his monument Fu Memre Moiwana in
commemoration of the 59 defenseless civilian victims who were killed in 1986,
in the village of Moiwana, by soldiers from the military. In the Tropenmuseum
in Amsterdam, there is a large installation by Pinas which symbolically marks
the transition between the museum collections from Latin-America and Africa. Perseverance Living and working in Suriname
requires a great deal of perseverance and resourcefulness. Materials are not
always readily available. Clay for example is hard to find. If you do find it,
you have clear it of impurities first: remove stones, shells and other
substances that don’t belong in it. The climate with its high humidity also has
its effects. Casting of large statues in bronze is also a problem. The effect
of the drug trade as well (and the worldwide intensification of stringent
safety measures), can have unexpected negative consequences: a mould, but also
a completed work of art, is at risk of suffering irreparable damage during
customs inspections. Growing public Remarkably, both Rinaldo Klas and
Kit-Ling Tjon Pian Gi explicitly remark upon the increase in interest, but in
particular also on the judgment capabilities of the public. Kit-Ling: ‘If the
audience does not follow the developments of the artists, their will be no
communication. The Surinamese public has evolved considerably. The conceptual
art of Jules Chin A Foeng did, back in those days, not have the impact it would
have had today, because his audience was not yet at that phase of development’.
Rinaldo: ‘There are more and more visitors at every exhibition nowadays, the
audience is growing literally and figuratively. People ask more questions now.
The public approaches you more readily. Breeding ground Aside from the AHKCO - Academy for
Higher Art- and Culture education (Academie voor Hoger Kunst- en
Cultuuronderwijs) and the IOL - Institute for the training of teachers (het
Instituut voor de Opleidingen van Leraren) where also art teachers are trained,
the Nola Hatterman Art Institute is an important breeding ground for Surinamese
artists. In 2006 this institute started an official form of cooperation with
the Rietveld Academy in the Netherlands. Visual artist Rinaldo Klas is also
director of ‘Nola’. His view on the developments in the area of contemporary
visual art is as follows: ‘Suriname has a collectivity of people originating
from all over the world, from which certain developments are evolving. These
are just now taking root. It is precisely this diversity in ethnicity that
produces a different type of fruit. Perhaps once the fruit has ripened, we will
be able to ascertain its taste. It would be premature to determine its taste
now. Most importantly: There are things going on.’
Marieke Visser is publicist in the area of Surinamese art and culture and works from her own press agency Swamp Fish Press in Suriname.

René Tosari, Digi Love, Mixed media on canvas, 120 x150 cm, 2007

Marcel Pinas, Adjosi, 2007

Marcel Pinas Exhibit Sanfika -Installation, Kuku, 2005

Kit-Ling Tjon Pian Gi, Marron meisje (Maroon girl) -Caught by Today-, Mixed media on paper, 50 x 38 cm, 2001

Kurt Nahar, Vaarwel moment I, Mixed media on hardboard, 60 x 60 cm, 2007

Kurt Nahar, Visions V, Mixed media on hardboard, 60 x 60 cm, 2007

René Tosari, Untitled 18, Mixed media on canvas, 110 x 90 cm, 2006

Rinaldo Klas, Untitled I, Acrylic on paper, 75 x 55 cm, 2006

Rinaldo Klas, Boesisma II , Acrylic on pottery, 2004
Websites
Federation for Visual Artists in Suriname (FVAS): www.suriname-fvas.org
Readytex Art Gallery: www.readytexartgallery.com
This article has previously appeared with the title ‘Surinaamse kunst in vogelvlucht’ in the magazine Origine, voor kunst, antiek en toegepaste kunst, Number 6 / 2007, volume 15.
English translation by Cassandra Relyveld Gummels.


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