Biographies 2019

Iris Kensmil. Foto: Khalid Amakran

Iris Kensmil. Photo: Khalid Amakran

Iris Kensmil (Amsterdam 1970) lives and works in Amsterdam

Kensmil creates installations of her paintings or drawings to present a multi-layered referential space. Kensmil depicts an inclusive history from a black feminist perspective. She lauds black authors, philosophers, activists and musicians and this counter-movement that is an undeniable part of modernity.

Iris Kensmil was convener for the caucus Becoming More, Van Abbemuseum, Eindhoven and created an installation for the collection Study in Black Modernity (2017). Solo exhibitions include Iris Kensmil, Club Solo, Breda, in cooperation with Van Abbemuseum, Eindhoven (2015); Shifting Colours, with Willem de Rooij at Tropenmuseum Amsterdam (2014); No Sidon na bakra sturu, with Charl Landvreugd, 6to8months at Kara Walker studio, New York (2010). Her work has been shown in collection presentations such as Stedelijk Base2, Stedelijk Museum Amsterdam (2017-18); Black and Revolutionary, The Black Archives & Veronsur, Amsterdam (2018); Evolution/Revolution/Revision, Bread House, Tsaritsino Museum, Moscow (2017); How Far, How Near, Stedelijk Museum Amsterdam (2014); Time Trade Travel, SMBA, Amsterdam & Accra, Ghana (2012); Monumentalism, Stedelijk Museum Amsterdam (2010); Wakaman drawing lines – connecting dots, Fort Zeelandia, Paramaribo, Suriname (2009) and Respect, Shapes of society, Musée Dar-Si-Said & Palais el-Badi, Marrakech, Morocco (2005).

Remy Jungerman. Foto: Khalid Amakran
Remy Jungerman. Photo: Khalid Amakran

Remy Jungerman (b. 1959 Moengo, Suriname) lives and works in Amsterdam

Remy Jungerman is interested in the intersecting paths travelled by motifs from Africa, the Surinamese Maroon culture, and 20th century modernism. By exploring the convergence of patterns and shapes from these seemingly disparate cultural landscapes, he reveals the condensation of time and identity. Jungerman is co-founder and curator of the Wakaman Project. Wakaman, which literally means, ‘walking man’ was born out of a desire to examine the position of visual artists in Suriname and to raise their profile(s) on the international stage. Solo exhibitions include Based In, Robert Henry Contemporary, Brooklyn, New York (2018); Crossing The Water, Gemeentemuseum Den Haag (2015). Group exhibitions: I Am a Native Foreigner, Stedelijk Museum, Amsterdam (2017); Bye Bye de Stijl, Centraal Museum, Utrecht (2017); Prospect 3 Notes for Now, New Orleans Contemporary Art Triennial (2014); Spirit Levels, CCA Glasgow, Scotland (2014).
His International residencies include Art Omi Residency in Ghent, New York (2013) and International Studio & Curatorial Program (ISCP) in Brooklyn, New York (2018). His work has been featured in numerous publications and acquired by various institutions and private collectors worldwide.

Benno Tempel. Foto: Khalid Amakran

Benno Tempel. Photo: Khalid Amakran

Benno Tempel lives in Amsterdam and works in The Hague

Tempel has been director of Gemeentemuseum The Hague since 2009. The Gemeentemuseum also includes The Hague Museum of Photography, GEM museum of contemporary art, and Escher in The Palace. Tempel is specialised in painting of the nineteenth and early twentieth century. He started his career as guest curator at the Dordrecht Museum, where he organised the exhibition Paul Gabriël. Colorist of The Hague School. After that, Tempel became assistant-curator at the Van Gogh Museum, where he was responsible for the non-Van Gogh part of the collection. In addition, he was research assistant at the Rijksmuseum. From 2000 until 2006 he was curator of exhibitions at the Kunsthal Rotterdam. He has a large number of publications to his name, including the collection book accompanying the Discover the Modern exhibition that is permanently on show at the Gemeentemuseum The Hague. Just like in the exhibition, Tempel, in this publication, highlights the history of modern art not as a sequence of schools, but in an associative way. Since 2015, he has been chairman of the board of the Van Doesburghuis Foundation, and since 2009 he has been a member of the TEFAF vetting committee for nineteenth-century painting.