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Dutch pavilion in Venice now open

Overview Dutch pavilion 2019. Photo: Simone Ferraro
Overview Dutch pavilion 2019. Photo: Simone Ferraro
Overview Dutch pavilion 2019. Photo: Simone Ferraro
Overview Dutch pavilion 2019. Photo: Simone Ferraro
Overview Dutch pavilion 2019. Photo: Simone Ferraro [left to right: Benno Tempel, Iris Kensmil, Ingrid van Engelshoven (Minister of Culture), Remy Jungerman and Eelco van der Lingen (director Mondriaan Fund).
Overview Dutch pavilion 2019. Photo: Simone Ferraro
The Measurement of Presence, Iris Kensmil and Remy Jungerman, Dutch Pavilion, Venice Biennale, 2019. Photo: Gerrit Schreurs
The Measurement of Presence, Iris Kensmil and Remy Jungerman, Dutch Pavilion, Venice Biennale, 2019. Photo: Gerrit Schreurs
The Measurement of Presence, Iris Kensmil and Remy Jungerman, Dutch Pavilion, Venice Biennale, 2019. Photo: Gerrit Schreurs

Minister Van Engelshoven has just opened the exhibition The Meaurement of Presence, by Iris Kensmil, Remy Jungerman and curator Benno Tempel in the Dutch Pavilion in Venice. Read the speech here.
Iris Kensmil and Jungerman are representing the Netherlands at the 58th International Art Exhibition – La Biennale di Venezia. The Measurement of Presence brings together influences from different backgrounds. In their work Kensmil and Jungerman combine the inspiration they draw from 20th century modernism, particularly Mondrian and De Stijl, the Russian avant-garde and artist stanley brouwn, with elements of other traditions and perspectives.

Iris Kensmil, The New Utopia Begins Here #1, 2019, acrylic paint on wall, oil on canvas, 550 × 1596 cm. Photo: Gerrit Schreurs

Iris Kensmil, The New Utopia Begins Here #1, 2019, acrylic paint on wall, oil on canvas, 550 × 1596 cm. Photo: Gerrit Schreurs

Iris Kensmil depicts in her work an inclusive history from a Black feminist perspective. She honours Black authors, philosophers, activists and musicians, and, in general, the Black counter-movement that is an undeniable part of modernity. She connects the utopian thinking of modernism with Black female intellectuals whose work offers its own perspective on modernity and the future.
In collaboration with The Black Archives, Kensmil researched Black female utopians, focusing mainly on the Caribbean, the US, and Europe. This research resulted in seven portrait paintings in The New Utopia Begins Here #1, namely iconic Black feminist bell hooks, the Pan-Africanist Amy Ashwood Garvey, DJ and singer Sister Nancy, journalist and activist Claudia Jones, communist and activist for Surinamese independence Hermina Huiswoud, anti-colonial writer, surrealist Suzanne Césaire and feminist science-fiction novelist Octavia E. Butler. The abstract composition of this mural is continued in The New Utopia Begins Here #2, in which Kensmil integrates the portrait of writer and activist Audre Lorde.
In a third installation, Beyond the Burden of Representation, Kensmil reflects on the position of a number of artists who take a clear position to protect their authenticity and the interpretation of their work, such as stanley brouwn. In this work, she shows paintings of exhibitions of these artists.

 

Remy Jungerman, Visiting Deities: Kabra Tafra, 2018 – 19, wood, cotton textile, kaolin and dry river clay, 860 × 260 × 70 cm; Horizontal Obeah GEENGESITONU I, II, III, 2018, painted wood, cotton textile, kaolin, yarn, mirror and nails, app. 910 × 180 × 160 cm (size total installation app. 910 × 370 × 260 cm). Photo: Gerrit Schreurs

Remy Jungerman, Visiting Deities: Kabra Tafra, 2018 – 19, wood, cotton textile, kaolin and dry river clay, 860 × 260 × 70 cm; Horizontal Obeah GEENGESITONU I, II, III, 2018, painted wood, cotton textile, kaolin, yarn, mirror and nails, app. 910 × 180 × 160 cm (size total installation app. 910 × 370 × 260 cm). Photo: Gerrit Schreurs

In his work, Remy Jungerman brings together motifs from Africa, from Maroon culture (including elements from the Winti religion, a traditional Afro-Surinamese religion) and from 20th century modernism. He is interested in the path travelled by patterns and motifs, and its influence on visual art. For the pavilion in Venice, Jungerman will create two large-scale installations: Promise IV and Visiting Deities, in which he intends to bring together the strength of the forefathers of the greater Dutch world – ancestors from the Netherlands, Suriname, Indonesia and elsewhere – with the aim of connecting the various cultures and entering into a future-oriented, open conversation. The size and rhythm of his installations are determined by the joining of various sources, such as Winti, Gerrit Rietveld and stanley brouwn.
During 2018 Jungerman lived in New York, a city with a dual meaning for him. It is the city where Piet Mondrian, an artist that is of great importance to Jungerman, found refuge in 1940. At the same time New York is the place where in 1674 the Dutch traded Suriname with the British. In a bilateral negotiation they made a deal to swap conquered land: New Amsterdam became New York, and Suriname passed from British into Dutch hands and became a Dutch colony. For Jungerman, living in this city in preparation for the Biennale gave him the perfect setting in which to think about the subject of measurement and globalization.

Rietveld Pavilion
An important part of the concept is the pavilion, designed by architect Gerrit Rietveld in 1954. The features of this building – open space, light, modular dimensions – have been adopted in the exhibition installation. The architect wished to create a space where people could meet. The works by Jungerman and Kensmil will emphasize this human element of coming together, sharing and experiencing.

The Giardini largely reflects the geopolitical relations of the 20th century. Originally, the pavilions were intended as national showcases, based on 19th-century notions of nationalism. This view underwent a transformation in the 20th century and made way for unconditional faith in what one saw as the universal values of modernism. Today it is clear that both these views have had their day. The permanent flows of people and objects break boundaries and produce new identities outside and separate from nation states. Places and societies are becoming ever more interconnected in our globalized world. On the whole, globalization also causes alignment and imposes prevailing principles. As a result, we risk losing the specific. In The Measurement of Presence Jungerman and Kensmil reflect on these developments.

Publicatie The Measurement of Presence. Design: Haller Brun

The Measurement of Presence. Design: Haller Brun

Publication
An English-language catalogue will be published by Hannibal Publishers in cooperation with the Mondriaan Fund to mark the exhibition. Authors: Jessica de Abreu, Nick Aikens, Jelle Bouwhuis, Paul Goodwin, Charl Landvreugd, Willem de Rooij, Greg Tate, Benno Tempel, Allison K. Young.
Hannibal Publishing generously provided financial support for printing the publication.