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PAUL DONKER DUYVIS •
Photoworks - Installations
O holandês Paul Donker Duyvis mostra em Belém
HandMade 2008
Encumbered Memo´s for Bosnia Sarajevo 2008
Paul Donker Duyvis - Tree with View 2005 (Sichuan China)
Paul Donker Duyvis - Bamboo with Lanterns 2005 (Sichuan China)
Paul Donker Duyvis - Exhibitionview / Performance Gallery 21 Dordrechr NL 2006
The real and the fictional world can be considered as the complex
Paul Donker Duyvis - Touch of the Pilgrim 2005 (Sichuan China)
Behind the facination any mirror, object or human, is able to provide, rests the (perception=)reality
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Me, Myself and I •
Paul Donker Duyvis - Jump 2004
This is a remarkable photo. The ultimate silence of the touching of the water. More than in any other photo time is frozen. The Japanese have this remakable little word 'ma' to express the suspension of time. It leads me further on to ponder on the size of the lake, and allows me to think of the lake as being round, circular and encompassing all. Like in the evocative pictures of Van der Heijden. The mirrorlike surface draws my attention to the title. a self-portrait? How is Paul included in this picture?
Paul Donker Duyvis verstaat zich als Nederlandse kunstenaar nadrukkelijk
Fire 2005 (sugar powder on sand) 3 x 2 m, Sculpture to be blown away in the wind
His photographs are sensually invoking yet natural and passive at the same time.
Performance ZA (Sit) with Installation view: AKI (Autumn) Paul Donker Duyvis 6 november 2004
Paul Donker Duyvis - Japanese Family, Amsterdam 2004
Sleep 2000, C Print 150 x 100 cm
Als je terugkomt, woon ik aan het water / when you return, I live at the water 1997
Photo Paul Donker Duyvis - Design Gek Ontwerp
Photo Paul Donker Duyvis
Some Aspects Of Heaven And Hell, 2003 Kunstlijn, Kloostergang Haarlem / Vrije Academie Den Haag
New release 2003: Silk a Novel by Alessandro Baricco • Cover Photo by Paul Donker Duyvis
Ear from Young Indian Man with long bone as decoration (Pataxó Brasil) 2002 Amazone holding bow and shooting an arrow (Pataxó Brasil) 2002 Young Indian Man with nice feathers on head (Pataxó Brasil) 2002
• PATAXO Indians Coral Vermelho Brasil 2002 - Slide Show (Click to View) Hand (Walldrawing) 1998
Safe-Western Comort 1995, Safe 1995
Material - Spiritual 1997
Secret Words: the Spiritual and the Material World 1996
De Hand en de Hals / The Nape of the Neck / Unagi 1997
The Flower of Balsam
(Traditional song from Okinawa)
De video (de Hand en de Hals) van Paul Donker Duyvis is een verademing.
Guards - The Mutability of Life (Tryptich) 1994 Sea Billiard 2000 Sisters 1999 Diva (YG) 2000 Face (AS) 1999
Ball (CI) 1999
See no Evil (AK) 1999
VOETWASSING-MAUNDY 1996
Mood (PR) 1996
Sad 1996
Fire (Five Elements) 1992
The bell in Gion Shoja temple
( The Story of the Heike a 12th century Japanese epic,
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Explicito, Exposition View, Belem 2006 •
Some Aspects Of Heaven And Hell, 2003 Project for Museale Maaltijd Vrije Academie, Den Haag • ZUCHT, Melancholie, Vertraging en Woede, Paraplufabriek, Nijmegen
• PATAXO Indians Coral Vermelho Brasil 2002 - Slide Show (Click to View)
• Polar Project 1996, Land-project
• Exhibition View Museum of Contemporary Art-MAC Campinas Brazil 1998
• The changing color of 'Sala Flowers (Reclining) 1998
Contact / Newsletter:
Mob: +31-64-8502.088 / +31-61-9538-949
sua arte original de elogio aos povos
O Liberal Belem Para Brasil 14-06 2006
C Print 150 x 100 cm
This project is part of
Encumbered Memo´s,
Exhibition Project (Performances / Installations)
by Paul Donker Duyvis for Nine Dragon Heads Encumbered Exhibition
XXIV International Festival Sarajevo
7.2. - 21.3. 2008. Visual Identity:
Barricades Without Borders- New (Brave) Worlds
This project is part of XXIV International Festival Sarajevo
7.2. - 21.3. 2008. Visual Identity:
Barricades Without Borders- New (Brave) Worlds
C Print 150 x 100 cm
C Print 150 x 100 cm
C Prints 150 x 100 cm
Os quilombos fazem parte do fundo ético da sociedade paraense. Os atuais quilombolas descendem de escravos que não hesitaram em correr o risco de fugir para a liberdade. Graves formas de violência social, como massacres de quilombolas e práticas fascistas de estrangulamento de suas terras.
No século XXI, vivem em liberdade sitiada. Recentemente uma família foi dizimada.
No Marajó, os quilombos estariam sendo cercados por fazendeiros com cercas elétricas, como nos campo de concentração, por motivos fundiários. As comunidades perdem acesso à água, a fontes de alimento e lugares sagrados.
Paul Donker Duyvis aponta a discriminação e a violência às quais se expõe um "quilombo" urbano aqui e agora em Belém, através de formas ativas contemporâneas de marginalização. A exploração imobiliária ameaça a moradia da população da Vila da Barca. O modelo de desenvolvimento urbano
de Belém se aproxima da prática paulista de se apropriar de terrenos de favelas para entregar ao
capital imobiliário,expulsando os moradores para a periferia distante de seu trabalho.
A obra de Margalho Açu é uma instável construção de uma latrina, que denuncia as
precárias condições de higiene entre as populações marginais do Pará.
(Paulo Herkenhoff, 2007, Curator Arte Para)
relationship between the material and spiritual world,the temptations
of the body and the spiritual duties of the soul.
These two extremes are strongly interrelated in human life
and should not be seen as opposite poles or separate worlds.
Paul Donker Duyvis creates a Japanese atmosphere in his work,
not only by using typically Japanese objects such as kimonos,
fans and rice or Oriental-looking women. These are obviously
Japanese, or rather Oriental, attributes, but still just
properties of his work.These Japanese characteristics merge
strongly with the ambiguity of his images.
The Japanese have an unspoken agreement not to regard
paradoxical matters as paradoxical.
Contradictory elements are presented on a common level
instead, camouflaging them with a certain vague ambiguity.
To Westerners, ambiguity is opposite to clarity, but the
Japanese perceive this vague ambiguity as a means of
understanding the many layers of possible meanings.
These characteristics can also be recognised in his work,
strengthening the sense of Japanese aura.
Yuri Fujimoto
C Print 150 x 100 cm
that what you see is never 100% what you expect, what you get, what others get.
The reflection hardly equals perception; the
reflection presents at least one outstanding feature that catches your eye and requires acceptance, if not
comprehension--for starters--, comprehension
(=need to understand) being a more powerful driver than acceptance
under human terms and ways, unfortunately.
Basically, it is unclear, to most of us, whether a (perception of) self is untrue or a (perception of) reflection.
That is what really catches the eye. The drive to identify
the real self, as if there would be only one
(perception of) way of the self.
Human nature at work, once again.
This photo, for example, could be just a snapshot, even if sold/ positioned as
a self-portrait of a the artist. Yet it is my view that decides
what this
(perception of a) photo is, or this (perception of a) mirrored image is.
That makes the question irrelevant if the boy is caught in the act or directed.
The boy is just a happy boy, in (again, a Buddha state ;),
unaware of his larger than life nanosecond.
The
reflection, though, is there, fully there, embracing
existence, not just hitting the water. The reflection shows the joy
and hope we all hold in some corner, and the catch is...
that we are both the boy and the reflection,
simultaneously. Nothing fancier.
Or, if a tiny bit fancier,
that we have the potential to be either, mirrored or
not.
The choice. For all those majority instances when we're not mirrored. When we think
we're just one. When we
refuse to think we're so many more,
and we're only comfortable with some of them getting mirrored ;)
I must add that the photo is a self-portrait of Paul... I've a weakness for Dutch guys... Perception rules. (Mirona Iliescu)
Arti & Amicitiae october 2005
C Print 150 x 100 cm
Who is this mysterious I?
Alberti.nl (May 2007)
. . .
met de niet westerse opvatting over de functie van kunst.
De betekenis van het beeld zoals zich dat in de westerse kunstbeschouwing
heeft ontwikkeld, is voor Donker Duyvis vanzelfsprekend onontkoombaar,
maar hij zoekt nadrukkelijk een verhouding met totaal andere
betekenismogelijkheden die hier worden veronachtzaamd,omdat ze de autonomie
van het beeld en de zelfstandige verantwoordelijkheid, zowel in ethische
als esthetische zin, van de kunstenaar zouden devalueren.
Paul Donker Duyvis gelooft daar helemaal niets van en is vooral op zoek
naar de maatschappelijk bindende betekenis die de visuele kwaliteit die
in de beeldende kunst wordt nagestreefd als ultieme potentie heeft.
Het gaat daarbij niet om westerse waarden als uniciteit,authenticiteit,
originaliteit en het ongrijpbare kwaliteit, maar om het begrip van de
betekenis die op velerlei niveaus wordt aangekaart.
Dit beeld van een kind dat in het water duikt, lijkt inwisselbaar voor
duizenden anderen soortgelijke foto-opnames. Behalve dat je moet zien
dat hier de tijd aan de gebeurtenis is ontnomen, dat in de lucht,
tussen wal en water, met de schaduw van het kind tussen zijn lichaam
en het water als oppervlakte in, de diepte van de sprong in het ongewisse
is gevangen. In niet westerse culturen worden ornamenten, symbolen,
patronen, kleurenschema's, sjablonen en dergelijke in een eindeloze
herhaling gedurende de hele cultuurgeschiedenis opnieuw van betekenis
voorzien, door ze opnieuw te maken. De oude zijn niet betekenisvoller
dan de nieuwe, de oude hebben niet afgedaan, maar zijn door de nieuwe
bevestigd. Paul Donker Duyvis past het toe op zijn manier van kijken naar
het voorbijgaan van het leven, dat hij vangt in onbekommerde levenslust.
Kopje onder.
Copyright 2006: Alex de Vries . (21-5-2006 - Galeries.nl)
One of the Five Elements: Fire, Earth, Wind, Space (Emptiness)
Fire symbolises warmth, energy, creativity, sexuality. Sugar is a concentrated form of energy
Installation / Performance for Nine Dragon Heads 2005, Lake Daejon / Cheong Ju Art Center, Korea
Curator: Park, Byoung-Uk
Great sensitivity, gentleness and sensuality.
Photo: Thomas Lenden
C Print 150 x 100 cm
Colorphoto 130 x 100 cm
Paul Donker Duyvis explores both the everyday life and the exotic.
He cherishes a more than mystical-sentimental view on the
Japanese lifestyle and the rituals of the historical culture.
(Paul Groot)
Melancholische portretten van Japanse vrouwen,
die herinneren aan de devote gezichten en
kostbare plooival van de schilderijen van
Jan van Eyck en Rogier van der Weyden.
(Karin Feenstra)
Paul Donker Duyvis maakte een prachtige video van een Japanse,
die in vertraagde bewegingen speelt met de haren in haar nek.
Op de achtergrond klinkt een traditioneel Japans lied.
De alledaagsheid van het beeld overstijgt de grens tussen West en Oost.
Paul Donker Duyvis made a beautiful video from the hand
of a Japanese woman playing with her hair in slow motion.
On the background a traditional song from Okinawa.
It surpasses the border between East and West
(Merel Bem - Volkskrant 2 augustus 2000)
350 x 200 cm
Installation with Colorphotos, Lightbulbs, Water containers
Colorphoto 150 x 100 cm
detail Installation
detail Installation, Textile, Rice
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm, Video Still
· The (unpainted) nape of a geisha's neck is considered to be the most sensuous part of her body
One dyes on one's fingernails.
The words of the beloved must dye in one's heart.
Ships sailing the night seas
take their bearings by the pole star.
One has but to study to master the name of the constellations.
But the lessons are not mastered by study alone.
Even gems and treasures will rust unless polished.
Polishing my spirit night and day,
I traverse this transient world.
When the sun rises , I shall go off to study.
Please plait my hair, my dear...
Hij belicht een ander aspect van de Japanse samenleving.
In zwartwit toont de Nederlander de rug van een vrouw in traditionele kleding.
Met eindeloos geduld is zij de loshangende plukjes haar in haar nek tussen de rest van het opgestoken haar weg aan het werken.
Zo nu en dan vang je nog net een glimp op van de ovale spiegel die de vrouw voor zich houdt.
Telkens opnieuw zoekt haar hand naar naar nog andere loshangende onrechtmatigheden.
Het lijkt soms een bijna dwangmatige handeling.
Donker Duyvis laat hier op een subtiele manier iets zien van de traditionele Japanse Cultuur vol ondoorgrondelijke codes.
(Sandra Spijkerman, 'Ondoorgrondelijk Japan daagt kunstenaars uit',
Trouw 19/08/2000)
Colorphoto (3 x) 150 x 100 cm
Installation (Zen Garden with Rice on Billiard Table)
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm of Performance Project
Washing the Feet of a Black Woman from Bahia Brasil with Cotton grown in Holland (seed from Cottonbelt USA)
to celebrate and to memorize the abdiction of slavery (100 th anniversary).
Part of 1996 Project for Civil Rights Museum Memphis USA curated by Anthony Murrell.
Colorphoto 100 x 150 cm
Colorphoto 150 x 100 cm
Colorphoto 150 x 100 cm
Rings out with the mutability of life.
The changing color of 'sala' flowers
Shows that what florishes today
must perish tomorrow.
Welth does not last long,
just like a dream of spring night.
Prosperity goes to ruin,
Just like dust before the wind...
traditionally chanted by a minstrel-monk while playing the Biwa lute.)
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http://pddstudio.cjb.net
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Tel: +31-(0)20-400.31.32 / +31-(0)70-3244.223
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