2018
Remy Jungerman
The Measurement of Presence
Dutch Pavilion at the 58th Venice Biennale
May 11–November 24, 2019
Visiting Deities
2018–2019
Total installation: Painted wood, meranti table legs, cotton textile, kaolin (pimba), dry river clay, nails, yarn, mirror, and river water samples
389 x 134 x 102 inches
Splits into two parts:
1. Kabra Tafra
2019
Painted wood, 58 meranti table legs, cotton textile, kaolin (pimba), dry river clay
339 x 102 x 28 inches
2. Horizontal Obeah GEENGESITONU I, II, III
2018 – 2019
Painted wood, cotton textile, kaolin (pimba), water samples, yarn, mirror, and nails
Horizontal Obeah GEENGESITONU I (detail)
2018 – 2019
Painted wood, cotton textile, kaolin, yarn, mirror, nails and river water samples (Cottica SR, Hudson US, Amstel NL)
(with 2 cubes)
154 x 31 x 15 inches
Horizontal Obeah GEENGESITONU I (detail)
Horizontal Obeah GEENGESITONU I (detail)
Horizontal Obeah GEENGESITONU I (detail)
"Visiting Deities (2019) assumes the form of a kabra tafra, a table altar utilized in Winti ritual meals that honour one’s ancestors. For this instal lation, Jungerman creates the altar in three parts: a long table comprised of 14 textile- and kaolin-covered panels, spanning 8 metres in length; a basin that refers to dry riverbed soil; and three horizontal sculp tures that are assembled from painted wooden beams and hang suspended from the ceiling. The sculptural forms are inspired by medicinal oracle bundles carried on the shoulders of Maroon Winti priests."
–Alison K. Young
To Say Without Saying: Abstraction and the Black Atlantic
Horizontal Obeah GEENGESITONU II
2018 – 2019
Painted wood, cotton textile, kaolin (pimba), yarn and nails (with 1 cube)
112 x 35 x 12 inches
Horizontal Obeah GEENGESITONU II (detail)
Horizontal Obeah GEENGESITONU III (detail)
2018 – 2019
Painted wood, cotton textile, kaolin (pimba), yarn and nails
152 x 45 x 20 inches
Promise IV
2018–19
Painted wood, cotton textile, kaolin (pimba), yarn, and nails
152 x 45 x 20 inches
Promise IV (details)
2018–19
Painted wood, cotton textile, kaolin (pimba), yarn, and nails
152 x 45 x 20 inches
"Reminiscent of the flag altars that are placed at the entrance to Surinamese Maroon villages and at burial sites throughout the nation’s interior rain forests, Promise recalls the long sticks used by Maroon boatmen, who stand at the heads of small rafts as they traverse a vast network of intra-forest canals and rivers.
Their ancestors had once followed these same rivers to freedom from enslavement on Dutch plantations, which stretched across the coastal colony of Paramaribo from the sixteenth century."
–Alice K. Young
To Say Without Saying: Abstraction and the Black Atlantic
Select essays from the exhibition catalog:
To Say Without Saying: Abstraction and the Black Atlantic
by Allison K. Young
Regarding Maroon Spectres, Winti Aesthetics and Afropean Fugutives in the Post-mondrian Thelonious Monastic Art Practice of Remy Jungerman
by Gregory Tate