Stedelijke Museum Amsterdam acquires Remy Jungerman

Stedelijk Museum Amsterdam presents the first acquisitions by Rein Wolfs. The brand new director, who started on Monday 2 December, thus gives a preview of his vision for the museum. The large wall installation INITIANDS (2015) by Remy Jungerman is one of the six artworks that now enriches the collection of the Stedelijk Museum with new stories and perspectives.

In his work, the Dutch-Surinamese artist Remy Jungerman makes connections between the geometric designs of the Maroons in Suriname and the Western tradition of modernism. As such, he connects different histories and aims to shift the viewer’s perspective.

Rein Wolfs: “The last time The Stedelijk acquired an artwork by this artist was in the late 1990s. It’s great news that by this purchase we are now also adding more recent work by Remy Jungerman to the collection, who this year had an impressive presentation at the Venice Biennale.”

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ABOUT Remy Jungerman

Suriname-born (1959) Dutch Artist Remy Jungerman lives and works in Amsterdam. He attended the Academy for Higher Arts and Cultural Studies, Paramaribo Suriname, before moving to Amsterdam where he studied at the Gerrit Rietveld Academy. 

He is interested in the intersecting paths travelled by motifs from Africa, the Surinamese Maroon culture, and 20th century Modernism. By exploring the convergence of patterns and shapes from these seemingly disparate cultural landscapes, he reveals the condensation of time and identity.

In his work, elements of De Stijl, Mondrian’s grid and palette, and Rietveld’s architectonic forms merge with elements from the Winti faith of Maroon peoples from Suriname to reimagine the geometries that shaped International Style and marked a new relationship to urbanism. As art and culture critic Greg Tate has remarked: “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. His installation is trans-ethnically enharmonic and post-colonially universal in the same breath.”

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