13 Dec 2018
Remy Jungerman: Based In
Robert Henry Contemporary
Reviewed by William Corwin
Style for Remy Jungerman is a jumping-off point, not a manifestation of the artist's personality via practice. He uses the work of Gerrit Rietveld as a structure on which to fasten signifiers of a swathe of cultural and ritual practices, Surinamese, Dutch, and African. The vibrant and intriguing constructions investigate the idea of detail, and how it transmits spirituality as well as zeitgeist.
Horizontal Obeah Hasigoun (2016-18) resembles many things in architecture and furniture. It seeps out of its boundaries. A horizon element creeps along the wall while rectilinear forms expand upwards. Kaolin, a white mud used in Surinamese Maroon rituals, and a patch of nails, referencing African power figures, intrude on the primary colors of Dutch design.
Despite this intersection of cultures and spillage of forms, Jungerman deftly contains it within De Stijl. Rather than discarding his colonial framework he loads it to the breaking point, filling his works with the tension of late Mondrian.
|Exhibition||Remy Jungerman: Based In link|
|Start date||26 Oct 2018|
|End date||21 Dec 2018 (32 days ago)|
|Presenter||Robert Henry Contemporary link|
|Venue||56 Bogart Street, Brooklyn, NY, USA map|
|Image||Remy Jungerman, Horizontal Obeah Hasigoun, 2016-18, cotton textile, kaolin, nails, yarn, acrylic paint and wood, 76.75 x 15 x 3.5 inches, image ©2018 Beatriz Meseguer, courtesy of Robert Henry Contemporary|
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