The Best Dutch Book Designs of 2019: Where the River Runs by Remy Jungerman
About | Remy Jungerman. Where the River Runs
Where the River Runs is the first comprehensive monograph on the work of Remy Jungerman. The majority of Where The River Runs comprises reproductions of his work. This visual component is complemented with essays shedding light on the subject matter from various aspects and from different perspectives.
The following international critics have contributed to the book: Remco de Blaaij, Ingrid Braam, Leontine Coelewij, Roel Hijink, Charlotta Kotik, Charl Landvreugd, Adi Martis, Tumelo Mosaka, José Manuel Noceda, Rob Perrée, Sally & Richard Price, Benno Tempel, Joseph Underwood, Vincent van Velsen and Lilly Wei.
For more information, please visit: www.japsambooks.nl/…/pr…/remy-jungerman-where-the-river-runs
ABOUT Remy Jungerman
Born in 1959 in Moengo, Suriname
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 “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, he 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.