It is clear that many people in Suriname not yet fully realize that artists can only arrive at great results by stepping out of comfort zones. By venturing into the unknown. We should be proud of what these free spirits offer us, and we truly believe that societies can greatly benefit from their artistic gifts.
Therefore we think that releasing their inner rebel might be sound advice for art lovers too!
Chandra van Binnendijk and Marieke Visser on art in Suriname.
First published: July 7, 2016
Looking for rebels in the visual art of Suriname
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Suriname has no artistic climate in which stimulating debates take place. But does this also mean that the visual arts in this Caribbean country radiate only lethargy? Not in the least! Yes, Suriname lacks lively panel discussions with dynamic and in-depth exchanges of views on the position and the role of visual art in our modern society. And no, there is no forum for artists where they can ventilate critical reflections on their own work or on the work of others. But most certainly art is created here which not always easily fits the conventional models of what contemporary art should be. It is created by artists who can be troublemakers and who are often jamming what is considered permissible by the establishment.
From a superficial point of view, there has indeed been hardly any art with strong views or artwork commenting on what is happening in society. But the one who dives in with his focus on searching for critical features will encounter many surprising artistic expressions. A wide range of wayward rebels appears, each of them contributing in their own way to the versatile color palette that is the Surinamese art history.
For this article we looked at artists who went beyond the beaten paths. Those who are discussed herein are not the only ones who fall into this category. We made a selection especially looking for the ones who have contributed to artistic self-awareness through their authentic expressions and who have by doing so contributed to shaping an identity which did not exist before.
A tribute to the rebels.
Critical views on society
Not many an artist will really boast about being detached from society, and will stress he finds it necessary to be connected and involved with what goes on in their country. But to what extent do they really speak out in their work?
A number of them do so and quite strongly for that matter.
The notable grey eminence among them is Ron Flu (Singapore, 1934). His work is sharp and intense, depicting a highly critical view on society in powerful dark paintings with angular, almost cubist-scale human figures. His topics: nitwits in positions of power, scandalmongers, gamblers and prostitutes, and poverty portrayed in a rain-soaked banana vendor. This is how Flu shows us his compelling indictment of abuses.
Ron Flu, ‘Banana vendor’, oil on linen, 100x60cm, 1982 Collection De Surinaamsche Bank / PHOTO From Zichtbaar, uit de kunstcollectie van De Surinaamsche Bank
Critical as well, but from a different view point, is the work of René Tosari (Meerzorg, 1948). Tosari was an outstanding example of great social involvement in his earlier years when he specialized in graphic techniques. His work in this time was populated with images of militant workers and motivated farmers, radiating the message of national production and education for all. He selected graphics not just as a suitable way for his artistic expression – this stemmed from his conscious choice to make art works affordable for the common people. His style of social realism reminds us of the decade of the anti-Vietnam protests and the Black Power movement. Tosari’s message content of liberation and anti-colonialism connected seamlessly to this international wave.
René Tosari, poster / PHOTO Courtesy artist
René Tosari, etch/aquatint, 1982 / PHOTO Courtesy artist
Both Flu and Tosari became milder in their later years and now select softer and more personal topics for their paintings, often inspired by nature.
We wonder if this also would have been the case with Jules Chin A Foeng (Paramaribo, 1944-1983), a rebel par excellence. This fierce activist and nationalist was only 39 years when he died, but he left an impressive oeuvre of hundreds of paintings, drawings, and graphic work. He was the one who introduced photorealism as a genre in the arts, in the period when modern art got its own special character. He was a passionately driven artist and an inspiration to many art students and young colleagues. Chin A Foeng is also remembered for his strong advocacy that Suriname had to rely on its own strength and was the founder of several art academies in the country.
Jules Chin A Foeng, title unknown, 1972 / PHOTO Roy Tjin, for TOR; A People’s Business
Self-consciousness
Both the Indigenous culture and the Maroon culture have inspired artists to venture outside what are considered criteria for what art is, and what is not.
Marcel Pinas (Marowijne, 1971) has tapped into an inexhaustible theme, the wealth of the African based Maroon culture of his roots. Pinas is especially known for his mixed media work and his (sometimes huge) installations in which he utilizes traditional symbols and objects such as the faakatiki (poles, wrapped with fabric), engraved spoons, oil lamps, bottles and calabashes, and the colorful checkered pangi cloth which is characteristic of Maroon attire. His mission is to preserve the cultural heritage of the Surinamese Maroon society, and this forms his source of inspiration for all the art work he creates. His strong drive and his unprecedented personal approach have drawn international attention and appreciation.
Marcel Pinas, installation view at Kibii Wi Koni Marcel Pinas The Event / PHOTO Marieke Visser, 2011.
Just like Marcel Pinas, Remy Jungerman (Moengo, 1959) works mainly from his Afro-Surinamese roots. But while Pinas’ scope is broad and comprises a wide range of cultural elements, Jungerman is focused on investigating Winti, the Afro-American religion that is professed by black Surinamese and could be viewed in the same range as Voudoo, Candomblé and Santería. Jungerman assimilates symbols, utensils, and rituals in his intriguing installations, using collages and sculptures and placing them in different contexts, thereby emphasizing their spiritual power.
Remy Jungerman, work in Readytex Art Gallery / PHOTO Ada Korbee
Remy Jugerman, ‘Peepina’, 2011.
Winston van der Bok (Calbo, 1947) has been using his Amerindian roots as main source of inspiration for his work for a long time now. He has not only incorporated indigenous motifs in his art, but has also transformed them and thus given them added significance. Van der Bok is Kaliñha, a member of the Indigenous community which is also known as Carib. In his early forties he suddenly decided to make art about his own heritage. “I don’t know my own language, but I am what I am: Kaliñha. I know what I want, and through image carriers I am able to attach my own roots-message to my work.” Clearly identifiable in his work are all the Indigenous motifs: the patterns of the traditional basketry, maluana-symbols and also the images of the astronomic constellations which his ancestors made for anthropologists.
Winston van der Bok, ‘Transformation’ / PHOTO Courtesy Sranan Art Xposed
Another artist who explored Indigenous culture in his work – although in a much broader, more Caribbean way –was Ro Heilbron (Paramaribo, 1938-2014). During his last exhibition, just after his passing, his widow also exposed his urn, colorfully decorated in his unique style by his grand children. A very fitting gesture for an artist who loved to go off the ‘main road’.
In an interview with Marvin Hokstam for www.devsur.com Ro Heilbron said: “The paintings I make today are figuratively realistic; I have done the landscapes and the angry rebellious stuff already. These days I operate on a much broader platform. I want to know more about our ancestors and what drives me now is that indescribable urge to tell that story.”
Ro Heilbron, ‘Totempole II’, acrylic on canvas, 50x50cm / PHOTO Courtesy Sranan Art Xposed, 2014
Recently a young artist Sylvio Alatoe (Galibi, 1985), also Kaliñha, like Van der Bok, is inspired by his heritage too. He paints the history of the Amerindian people of Suriname and their culture as he sees it. He wants his work to tell his story, the Kaliñha side of the story. He depicts scenes from history but also uses objects or symbols from his culture. Marcel Pinas is a big example for Alatoe. “Marcel utilizes his culture; he doesn’t allow his culture to disappear. He doesn’t write it down; he displays it. I find that fantastic.”
Following Kaliñha tradition, ‘writing’ and decorating are only done by women. Alatoe ‘breaks’ this rule when he uses certain objects in his paintings. For example: the painted sun in the painting below is a ‘maluana’, called a ‘tumero’ in Kaliñha. By doing this the artist expresses his appreciation for women.
Sylvio Alatoe, ‘Untitled’, from the series ‘My Red Culture’, 2014 / PHOTO Courtesy Sranan Art Xposed, 2014
Wakaman, drawing lines – connecting dots
The exhibition Wakaman drawing lines – connecting dots was held in Fort Zeelandia, Paramaribo, in 2009. The venue, the themes of the art work, the whole process of ‘the making of’ Wakaman; everything was done with a new, fresh approach. Remy Jungerman and Gillion Grantsaan paired six Surinamese artists; three living in Suriname were each connected to one of the three living abroad. Kurt Nahar & Iris Kensmil, Marcel Pinas & Charl Landvreugd and Ori Plet & Patricia Kaersenhout. The themes they explored ranged from human rights to deep concern for environmental and loss of traditional knowledge and to the invisibility of Surinamese men (especially fathers).
