Remy Jungerman: Behind the Forest – •
“Remy Jungerman: Behind the Forest” opens at Stedelijk Museum Amsterdam on November 20, 2021, and will likely be on view till March 13, 2022. The Stedelijk Museum Amsterdam is situated at Museumplein 10, Amsterdam, The Netherlands. [Many thanks to Holly Bynoe for bringing this item to our attention.]
On November 20, Remy Jungerman: Behind the Forest opens on the Stedelijk Museum Amsterdam. The survey, organized in shut collaboration with the artist, focuses on Jungerman’s inventive output over the past 15 years and contains new work created particularly for this event. In a borderless and timeless dialog between kinds, colleges, and identities, Jungerman’s sculptures, installations, panels, collages, and display screen prints hint pathways of patterns from the Maroon tradition in Suriname, the African Diaspora, and the visible idiom of Twentieth-century modernism. In his work, Jungerman seeks to ascertain an autonomous visible language by initiating a dialogue between summary geometric patterns drawn from this multiplicity of visible traditions. He exhibits how not solely individuals migrate, but additionally colours, shapes, and aesthetic rules.
Remy Jungerman (1959) was born in Moengo, Suriname in South America and lives and works within the Netherlands and america. He attended the Academy for Greater Artwork and Tradition Training in Paramaribo and moved to Amsterdam in 1990 to finish his coaching on the Rietveld Academy. Jungerman’s mom is of African heritage, his father of European descent. When his father handed away in 2005, Jungerman returned to Suriname for the funeral. Whereas there, he additionally visited his mom’s household altar and took half in ancestor worship rituals. Jungerman’s mom is a descendant of the Bakabusi (“the individuals behind the forest”), also called the Brooskampers. These Surinamese Maroons escaped enslavement on Dutch plantations and based their very own neighborhood within the Surinamese rainforests. The group was led by Granman (paramount chief) Broos. By means of the act of making his work, Jungerman honors his ancestors.
The exhibition’s title, Behind the Forest, is a direct reference to the Bakabusi. Because of this, Jungerman takes 2005 as the place to begin for this overview of his inventive oeuvre. The artist attracts parallels between the geometric patterns of conventional textiles distinctive to Maroon tradition and people of modernism. Connecting, juxtaposing, or contrasting cultures is intrinsic to his pursuit of an autonomous visible language, one which deftly interweaves the cultures of the international locations that outline him: Suriname, the Netherlands, and america. Deepening and broadening our questioning of authorship, appropriation, and certainly of modernism itself, right away Jungerman effortlessly collapses the complete vary of dichotomies and hierarchies that are inclined to outline the human inclination towards clear-cut oppositions.
Rein Wolfs, director of the Stedelijk Museum Amsterdam: “Jungerman’s work is of great worth to the Stedelijk at this important second in time, when as a museum we’re exploring learn how to reconcile our historical past, together with our modernist assortment, with our present imaginative and prescient, together with an emphasis on diaspora and a agency critique of the very premises of modernism. With references to Maroon tradition, West African components, and modernist aesthetics similar to De Stijl and constructivism, Jungerman challenges established artwork historical past with installations infused together with his private rhythm, imagery, and influences.”
Remy Jungerman is among the most essential artists working within the Netherlands right now. Behind the Forest presents a variety of key artworks produced over the previous fifteen years, together with the set up Visiting Deities, comprising three massive horizontal types (“bearers of the previous”) suspended above a desk located in a dry riverbed. Jungerman first offered this set up through the 58th Venice Biennale, and now it’s as soon as extra on show on the Stedelijk. Additionally on view is Broos, a movie composed of images and transient movie clips Jungerman made throughout ancestral worship rituals held by Bakabusi descendants on the Rorac plantation in Suriname. The rhythmic association of quick black-and-white fragments is underscored by the composition “Observe the Mild” by American jazz musician and composer Jason Moran.
For extra info and picture gallery, see https://www.stedelijk.nl/en/presskit/remy-jungerman-behind-forest-2
[Shown above: Remy Jungerman, GUARDIAN HAVANA, 2009. Cotton textile, coconut, shelfs, photo prints, bottles, gin jars, wood, 500 x 250 x 30 cm. Courtesy of the artist and Galerie Ron Mandos. Photo: Aatjan Renders.]