Rebecca Wangui Gatu, dancer  († 2009)
Isidoor W. Wens, performance artist
Wim Vonk, multimedia artist
Cas Rooseboom, artist, theater
Saliou Traoré, artist
Lieve Prins, artist
Marja van Putten, artist
Klaas de Jonge, anthropologist
Carla Kranendonk, painter
Emma Engelsman, artist
Frits N. Eisenloeffel (†), journalist, photographer
Peter Bouwmeester, photographer
Mirjam Berloth, artist
Papa Adama, artist

Rebecca Wangui Gatu

My name is Rebecca Wangui Gatu (becky) I live in Nairobi, Kenya. This is my first time in Holland, for me it is cold here. I travel as a performing artist to `Europe and other parts of the world before and have been in the field of theatre and dance for over 17yrs.
'I cannot stand, walk or run because my legs are always busy dancing', dance is my first love and passion. Unfortunately shortly after the exhibition she died of AIDS.

Isidoor W. Wens

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Wim Vonk

Wim Vonk is a consumer in a world full of producers....
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Cas Rooseboom

Hut-Tenten van Cas Rooseboom

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Folly Teko

I am interested in contextual and engaged art. No vagueness, no abstraction in the purest sense of the words but the SPECIFIC in art; whether some may call it abstract or not. To underline that character in my works I refer to linguistic or interpretative aspects of CIRCUMSTANCES. (my) Life, my work are not only a biography of my person (which should be meant to stand as an eternal picture) but a photographic flash on a moment, a circumstance. Contextual work wants to conquer not to accept or deny an issue. There is no necessity of invention although innovation can occur while the process is on the go; Or when circumstances enable it (accidentally).
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Saliou TraorÉ

..One might call Traoré’s work a ‘reverse anthropology’, because his re-cognition of the conditional nature of hospitality, of people, of places, space and things creates not a new boundary but a frontier for experience… What is random, contingent, unexpected and puzzling pre-occupies Traoré in his work, and in his ‘reverse anthropology’ he does not intent to bring things to overarching explanation but to show as he states himself, the movement of going back to zero...his work displays a logic of discovery and linkage that does not seek justification, but wants to trigger a response that points to that which is so easily overlooked: the strangeness- also of being in the world. In his work, this strangeness emerges from the background between his experiences of two cultures, one in Africa- Burkina Faso- and the other in Europe- The Netherlands. (Taken from Patrick Healy, The Zoo of Space, Maastricht 2006)

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Lieve Prins

Fascinated by the performances of a laser copier/scanner, described by her as a magic box, a colour camera, an instant photo studio, a scanner and printer and a horizontal mini theatre.

Lieve Prins is manipulating the copier to see her dreams and thoughts come true on new images and a new image-language. Fishes, water, ice, her two daughters, friends and much and many more appear on her scanner/copier. Just like a painter, LIEVE PRINS, by using A3-copies as brickstones, will build up her phantasy ideas.

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Marja van Putten

Marja van Putten What is the origin of our icons, the way we look at things? While world culture looks alike more and more, at least a part of it… we seem to loose touch with our history. To make differences old and new images are used at random, often rude to ourselves and others. In my paintings I want to trigger fixed icons and images by playing a visual game with them.

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Dirk Moons

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Klaas de Jonge

Klaas de Jonge
(born 1937) studied anthropology and sociology in Amsterdam and Paris and worked as a social researcher in various African countries; the last 10 years especially in Central Africa in the field of conflict studies. In the 1980s he was actively involved in the anti-apartheid struggle in Southern Africa. Since his first contacts with Africa (mid 1960s) he has been fascinated by African art; recently he donated a part of his private collection to the State Ethnographical Museum in Warsaw. | more pictures

Carla Kranendonk

In my work I combine elements from the art of painting with original photo’s and photocopies, embrodery, pieces of textile and beads. I make portraits of black woman and black men, the represented persons sometimes family, sometimes friends, sometimes people on the edge of the society -such as a travestite or a junk- are self-willed and contemporary heroes.

The paintings are laminated multimediale collages. Regularly I travel to my family in Surinam and Senegal. My late Surinamese mother in law is a very important inspiration source for my work, almost all my work is inspired on her. Much of my paintings accommodate a long history of Black people wich has been transported as slaves from Africa to the Caribean and to the United States, until the black power movement. Especially the proud, the humour and the strenght of black people fascinate me. The portrait of Marcus Garvey (the founder of the Black is Beautiful movement) frequently occurs in my work. For a lot of black people Garvey (1887-1940) represent the hope on a better future and the return to economic strong and prosperous Africa.

Collages of many small black-white photo’s of africans, jamaicans, rastafarian’s, lost lovers and reggae musicians are in much works used as a background in other works they are the main point. In my work many times you can see shoes, in slavery times it was forbidden to wear shoes. For me shoes are a symbol for freedom, to wear what you want and to go where you like. And if you go back to Africa, of course you will bring your most beautiful shoes with you.

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Emma Engelsman

De vaak monumentale wandkleden ontstaan bij Emma door het bij elkaar zoeken van stoffen tot een bevredigend palet. Eerst de kleur daarna de vorm en dan ontstaan vaak abstracte tot licht figuratieve werken. Voor de toeschouwer lijkt het of men naar een schilderij kijkt. De ontwerpfase is vaak een langdurig proces, gevolgd door stof verven, mengen en schiften van de verschillende materialen. In de jaren zeventig heeft zij gewerkt in Senegal waar ze zich de Afrikaanse verf en printtechnieken eigen heeft gemaakt. Vele reizen naar Afrika zijn nog gevolgd, die invloeden zijn nooit verdwenen en komen nog regelmatig sterk naar voren in het vrije werk.

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Frits N. Eisenloeffel(†)

In memoriam Frits N. Eisenloeffel (1944-2001),
political scientist, freelance journalist (articles among others in De Groene Amsterdammer) and photographer. Frits has always been concerned with groups that support autonomy and fight against repression, such as the liberation movements in the ex-Portuguese colonies in Africa, the fight for the independence of Eritrea and the anti-apartheid struggle in Southern Africa. During the 1970s and 1980s he has traveled extensively in Africa. Probably due to his exhaustive working life in the Eritrean-Sudanese border region Frits ended up in hospital with a serious stroke of which he never completely recovered. With thanks to Frits' widow Mrs. Immeke Sixma for making available to us some of Eisenloeffel's photos about this important transition period in Africa. | more pictures

Peter Bouwmeester

During his travels to unknown worlds photographer and new media artist Peter Bouwmeester became intensely aware of how our perception is determined by the environment in which we grew up. Aware of this insight, Peter tries to capture the world as he found her, with a focus on the beauty that can be seen anywhere if we are open to it. He works independently in self-initiated projects, for example in Nairobi where he spent half a year contributing to the efforts to support young people in their artistic development; refer to Or at home in the Amsterdam Bijlmer, where he does likewise for foundation Bijlmer Breakz; refer to

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Mirjam Berloth

Mirjam Berloth (Aruba, 1963). Berloth specializes in installation art and performance art.
For example: she uses ordinary typing paper to make a long rope in collaboration with the public or cuts square meters from A4-paper sheets glued together. She also uses glue and paint to make installations in spaces that need attention. Exhibitions are often overwhelming. There is usually too much to see and feel in a limited space. This is especially true for Kwasi Afrikani, an exhibition based on the de Jonge’s collection of African artefacts that were recently shipped here in big blue crates.
“The African sculptures and masks are hard to look at because they remind me of people that have passed away, of lost souls a long way from home. I am afraid that if I would look at the masks directly, if I would fix my gaze on a specific one, its’ lonely spirit would stay with me. I need to protect myself if I want to face these roaming spirits”. For this exhibition, Berloth created an object that provides security for looking at art at exhibitions. Every visitor is invited to make use of this armour. | more pictures

Papa Adama

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