Het Parool over Behind the Forest van Remy Jungerman

HET PAROOL
zaterdag 20 november 2021

“Uiteindelijk moet het over de kunst gaan”
Een interview met Remy Jungerman door Jan Pieter Ekker

Dit weekend verscheen een artikel over Remy Jungermans nieuwe tentoonstelling in het Stedelijk Museum, Behind the Forest in Het Parool. In dit artikel is een interview te lezen met de kunstenaar.

“‘Het moest natuur-lijk drogen, dus we zijn hier vrij vroeg mee be-gonnen,” zegt de Surinaams-Am-sterdamse kunstenaar Remy Jungerman (1959), terwijl hij naar de bak met gebarsten klei onder zijn installatie Visiting Deities wijst. Een dikke week voor de opening van zijn solotentoonstelling Behind the Forest in het Stedelijk Museum – met sculpturen, installaties, panelen, collages en zeefdrukken van de afgelopen vijftien jaar – is hij bezig met de reconstructie van het monumentale werk, dat in 2019 te zien was in het Nederlandse paviljoen op de Biënnale van Venetië.”

Klik hier om verder te lezen

ABOUT Remy Jungerman

Remy Jungerman was born in 1959 in Moengo, Suriname
He lives and works in Amsterdam, The Netherlands

Remy Jungerman attended the Academy for Higher Arts and Cultural Studies in Paramaribo, Suriname, before moving to Amsterdam where he studied at the Gerrit Rietveld Academy. In his work, Jungerman explores the intersection of pattern and symbol in Surinamese Maroon culture, the larger African Diaspora, and 20th Century “Modernism.” In bringing seemingly disparate visual languages into conversation, Jungerman’s work challenges the established art historical canon. As art and culture critic Greg Tate has remarked “Remy Jungerman’s work leaps boldly and adroitly into the epistemological gap between culturally confident Maroon self-knowledge and the Dutch learning curve around all things Jungerman, Afropean and Eurocentric.”

Born and raised in Suriname, Remy Jungerman is a descendant, on his mother side, of the Surinamese Maroons who escaped enslavement on Dutch plantations to establish self-governed communities in the Surinamese rain forest. Within their rich culture, many West-African influences are preserved including the prominent use of abstract geometrical patterns. Placing fragments of Maroon textiles, as well other materials found in the African diaspora such as the kaolin clay used in many African religious traditions or the nails featured in West African Nkisi Nkondi power sculpture, in direct contact with materials and imagery drawn from more “established” art traditions, Jungerman presents a peripheral vision that can enrich and inform our perspective on art history.

Remy Jungerman’s work is included in various collections: Stedelijk Museum, Amsterdam, The Netherlands, Centraal Museum, Utrecht, The Netherlands, Kunstmuseum, The Hague, The Netherlands, Zeeuws Museum, Middelburg, The Netherlands, ABN AMRO Collection, Amsterdam, The Netherlands, Rennie Museum, Vancouver, Canada, Art Omi, Ghent, New York, USA, US Embassy, Paramaribo, Suriname, Hudson Vally MOCA, Peekskill, New York, USA, Francis Greenburger Collection, New York, USA, Saamaka Marron Museum, and various private collections.

In 2019, Jungerman represented the Netherlands at the 58th Venice Biennale with a the impressive Visiting Deities installation. Later that year, the artist had his introduction exhibition Neap Tide at Galerie Ron Mandos. In 2021-2022, Jungerman had a solo exhibition at the Stedelijk Museum in Amsterdam, titled Behind the Forest.

Visit the website of the artist here.

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