Paramaribo Suriname Art
Erwin de Vries is by no means a rare breed of Surinamese artist, but the country has flourished in recent decades with artists and the multicultural composition of its population makes it so extraordinary. It seems that the development in the field of fine arts in Surinam has progressed with enormous speed in the last decades. The audience of artists continues to grow and is strongly present in an evolving Surinese art world with a wide range of styles and styles.
The variety of colours of the Surinamese artist is often compared with the bright feathered foliage of the birds. Sometimes it is quite obvious, like the batik technique used by Javanese and Indonesian artists.
The earliest settlement in Surinam is much older than the first settlements in the Caribbean, as it was also the site of the earliest settlement in South America and the oldest in Latin America. Unfortunately, it does not date from the late Bronze Age or even the early Iron Age, but it is very similar to Venezuela.
Suriname is involved in a territorial dispute with Guyana and French Guiana, which is a legacy of colonial rule. Suriname considers its west bank as a border and claims sovereignty over the entire river, while Guyana claims that the Thalweg (the deepest channel of the river) is the border.
Suriname is bordered by three rivers: the Courantyne, the Maroni and the Thalweg, and the Guyana River. This includes the Courantyny, which is part of the border with Guyana, while the chestnut forms part of a border with French Guiana.
The best known Surinamese artists are also considered the most influential of their time, such as Klas Rinaldo, the Afro-Surinamese artist. His sculptures bear clear similarities to Chinese characters and he uses motifs of maroon and indigenous peoples.
We want to tell the story of contemporary Surinamese art and thus clarify the relationship between the culture and the art of its artists. This website offers an overview of the exuberant art of Suriname artists, reflecting the cultures that inspire their work, as well as the history of their art. The gallery continues the contemporary art tradition of our founders by identifying with the cultural and artistic traditions and traditions of South East Asia, the Caribbean and South America.
As artists, we want to influence recurring themes in order to make substantial differences between local and global contexts through the art that our art embodies. A series of meetings convinced us that, in order to bring Surinamese visual arts issues to the public, by joining forces we could better understand how the Dutch art world and the media would view them. During the brainstorming, for example, I realised that in Switzerland and the Netherlands there are almost no publications or academies dealing with the history and culture of the arts in their respective countries.
In order to establish a dialogue with the Surinamese art world and to give the Surinamese artists a central position, Gillion and Grantsaan travelled to Sur to speak to relevant people in person. We visited the offices of the Dutch National Museum of Contemporary Art in Amsterdam, the National Gallery in Rotterdam and spoke with a number of influential figures from the Surinamese world and culture, including artists, writers, poets, musicians and spoken word artists. The work of these Dutch and international artists shows the diversity of their work, which we can compare with our own. Jungerman is a multimedia artist, Tedja draws and creates installations, Grantaan works more in collages and with computers and we make installations and talk about influential artists and influential events in their countries.
The people who survived and their extraordinary will to change this humiliating legacy of human bondage. In art we capture these themes and try to find a sense of how we can deal with the history of the people, the culture and culture of Surinamese culture in general, and the social and political situation in Sur. Born in the 1950s, immersed in the ever-changing changes of today, born and reborn but rarely performed, and immersed in the art we try to make a statement about how we deal with our art and through it. Our unique biographies show the various aspects of her life, which lead to paintings and sculptures.
Six years ago, a Wakaman was born out of the desire to examine the position of visual artists in Suriname and put it on the international map. It quickly became clear that it was necessary to sit down and discuss and evaluate the state of play in the fine arts of Suriname.
Shortly afterwards I was invited to apply for the Artistic Director's Cultural Diversity Project. For the production of the exhibition, Pinas assembled a team of supporters and collaborators, including artists from Suriname, the Netherlands, Belgium, France, Germany, Italy, Spain and the United States.