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Netherlands

Facial casts of Nias islanders, J.P. Kleiweg de Zwaan, 1910 – A Post-Colonial Simulacrum – Dutch History Exhibit – Rijksmuseum, Amsterdam – Gaia Son

© Gaia Son

© Gaia Son

Why do these men look so unhappy and violated?

After 1900, the colonial-military expansion of power in the Dutch East Indies opened it up as an unparalleled area of activity for Europeans. This also applied to the Dutch anthropologist J.P. Kleiweg de Zwaan, who conducted research on the physical characteristics of ethnic groups. During a 1910 expedition on Nias he covered the faces of a group of living men with plaster to record their appearance. Numbered casts of these plaster moulds were made in the Netherlands. – Rijksmuseum, Amsterdam

Netherland Shipbuilding Company – Nederlandsche Scheepbouw Maatschappij – North Amsterdam, NL – Lowlands Correspondent, Gaia Son

© Gaia Son

© Gaia Son

© Gaia Son

Commemorative book – August 1894 – August 1934 http://www.ndsm-werfmuseum.nl/

© Gaia Son

http://www.ndsm-werfmuseum.nl/diverse-uitgaven

Encircling a Memory: Some events within the dates of April 11, 2012 – August 20, 2014

April 11, 2012 © Frank H. Jump

The image above was taken in April of 2012 during my mother’s last trip to the Netherlands. On this day we visited the gravesite of where Willy’s parents were buried and to relinquish the contract with the Nieuwe Ooster cemetery for the upkeep and claim to this burial place.

So much of your life could change in one day. As world events rapidly unfold we witness tragedies of single lives being unravelled by violence or unmitigated circumstances. The beheading of a long-captive journalist by Islamic militants. The loss of a son to unwarranted police actions in Ferguson Missouri. The disappearance and subsequent destruction of Malaysian passenger planes. The disinterment of your parents after over forty years of undisturbed rest. The relinquishing of a long-kept and valued domicile. All of these events have gone by unnoticed – not due to callous disregard or indifference but due to a neurodegenerative disease. Willy has dementia – Alzheimer’s disease – and lives very much in the moment. She no longer watches television and has no reference point as to what day it is or what is occurring locally or abroad.

On April 11, 2012 – we had trouble locating my grandparents’ gravesite. Frustrated, Willy was sure the headstone was laying down and I knew from online images that the stone stood upright. We walked in circles. We talked in circles. A young rooster nearby also traced a circular path. Finally we came upon an outdoor structure, a rectangular room in the middle of what I thought Willy’s parents grave should lie. The door had a mirror reflecting the illusion of passing time in the outside world. I could hear familiar music coming from within. It sounded like a Burt Bacharach song. On closer approach, I was sure it was Dusty’s voice singing the theme to the film Casino Royale- The Look of Love. We entered the oversized shack and the only light illuminating the darkness was from a projected moving image of dancers on a screen and a circling disco ball. We inspected all corners of the room and after silently accessing we were alone with these ghostly dancers, I turned to my mother and lifted my arms and we danced cheek to cheek while being serenaded by the late Ms. Springfield.

© Frank H. Jump

© Frank H. Jump

My mother’s maiden name is Broekveldt which loosely translates to Pantsfield. She married Harold Jump and became Willy Jump. ‘Jump’ in Dutch is “spring.” Dusty’s name is a hybrid of both of Willy’s given and married surnames. So here we were in the early Dutch spring, dancing together in the flickering light of ghostly dancers in an art installation in the middle of a cemetery.

© Frank H. Jump

In the video installation Tonight from the Brazilian artist Valeska Soares, people dance in an empty dancehall with an invisible partner. With the romantic tones of Burt Bacharach’s The Look of Love, glides lonely dancers through an endless reflecting space, sometimes encountering each other and moving immediately apart. It is a poetic, melancholic film that explores the loneliness one experiences following the loss of a loved one. They dance with the invisible partner, which is present in the memory. A memory that makes one happy. Tonight is filmed in the ballroom of the famous complex Pampulha in Belo Horizonte designed by Oscar Niemeyer in 1943.

The song ended and we emerged from this phantom-shrouded love shack to continue our search for my mother’s parents interred remains. We made a right turn, walked fifty feet towards plot number 42-3-0304. There they rested together- liefe Oma en Opa. For that moment, all recurring memories of Willy’s turbulent relationship with her father seemed to be erased.

April 11, 2012 © Frank H. Jump

© Frank H. Jump

On a recent trip to the Netherlands, Vincenzo and I parked our rental car in the parking lot adjacent to my grandparents’ gravesite. We walked in a circle around where I remembered they rested and accessed the online grave database for the plot number. As anticipated, they were disinterred and their bones were incinerated since I was last there with Willy. We further explored this beautiful cemetery where my grandparents once were layed.

July 26, 2014 © Frank H. Jump

© Frank H. Jump

© Frank H. Jump

© Frank H. Jump

© Frank H. Jump

© Frank H. Jump

© Frank H. Jump

© Frank H. Jump

When we returned from our vacation, we continued to empty my mother’s apartment and on August 20, 2014 – 861 days since my mother and I traveled to visit the place of her birth one last time, I handed in her apartment keys to the rental management office at Spring Creek, Brooklyn. Willy is currently residing in a lovely nursing facility in Manhattan Beach, Brooklyn – overlooking the mouth of Jamaica Bay, Breezy Point, Sandy Hook and the hustle and bustle of jet-skiers, yachts, sailboats, fishing boats, cruise ships, tankers and other vessels en route to the New York Harbor or the Atlantic Ocean.

Menorah Nursing Facility © Frank H. Jump

Comestibles & Fijne Vleeschwaren – F.G. Lebbing – Amsterdam, NL

© Frank H. Jump

© Frank H. Jump

Timmer’s – Bloemen & Planten – Bloemenmarkt, Amsterdam NL

Fresh Daily Supply, Delivery Throughout the City – © Frank H. Jump

UPDATED FEB 4, 2015:

Courtesy of Fred Feddes’ link to Athenaeum Boekhandel (CLICK FOR LARGER IMAGE)

Barrington Hall Soluble Coffee Tin Filled with WWII Philadelphia Minted 1944 Coins from The Netherlands

© Frank H. Jump

Tonight we went to my mother’s house to help her organize her linen closet and drawers in her kitchen and we found this tin that belonged to my grandfather, Frans Ludwig Broekveldt, II.

Atlantic Monthly – Vol. 123 – Jan – June 1919 – CLICK FOR LARGER IMAGE

 

Baker and Company produced a soluble coffee labeled as Barrington Hall. During World War II, the United States government took over Baker and Company to produce K rations for Allied Troops. – Treasure Trove -The National Museum of Military History (NMMH) Diekirch

Soluble Coffee and Products a Staple After War PRODUCTION capacity has been tripled by- producers of soluble coffee and  General Foods and Barrington-Hall are expected to compete for the soluble coffee and soluble coffee products business American Institute of Food Distribution., 1944 – Weekly Digest – Volume 33 – Page 25

We opened the tin, and to our surprise found these shiny silver coins from WWII Netherlands © Frank H. Jump

The coins bearing the fourth portrait of Wilhelmina, from 1922 to 1945, were downgraded to 0.720 silver, which lowered their weight to 9.9g. Three different privy marks were issued: a seahorse from 1922 to 1931, grapes from 1938 to 1940 and an acorn from 1941 to 1945. During the Nazi German occupation of the Netherlands, no guilder coins were issued of the zinc coins circualted by the Nazis, but Dutch guilder coins were struck in the United States. In 1943 they were struck at theDenver Mint in Colorado and in 1944 at the Philadelphia Mint in Pennsylvania and the San Francisco Mint in California. In 1945, 25,375,000 were issued in Philadelphia. – Wikipedia

Dutch 10 cent & 25 cent pieces from 1944 that were minted in Philadelphia during WWII © Frank H. Jump

Pleasant @ de Slang Amsterdam, NL

STREET ART = MODERN ART – BE PLEASANT

CLICK FOR FACEBOOK EVENT PAGE

FAB Spotlight on Street Art: Be Pleasant – Three Generations of Artists

By placing ourselves into the environment with the paintings, we create a layered effect that distorts reality and offers a kind of real time interaction with the environment which suggests that we are part of the art. – PLEASANT

Greetings, my name is Pleasant…. I  am a visual artist who is currently presenting a selection of my work in a project I have titled: Portable Expressions. In this series… I use static imagery and live interaction to convey a series of ideas. I was in Fort Greene recently performing this art [and] currently in the Nederlands bound for Paris in a few days where I shall appear in a documentary film piece about my new approach to street art and design.

Portable Expressions

These newest images come from Leiden with Pleasant’s Artist assistant, Farah participating in collaboration.

I very much believe in diversity and providing layers of creative content. An alumnus of the New York School of Visual Arts, I also make indirect commentary related to men’s issues and gay rights… in addition to socio-political commentary. Sadly this fact has isolated me in the USA at times. As most recently the so called ‘diverse’ Brooklyn Street Art association refused to cover my work. Their communication with me would be considered hostile at best. Perhaps a little racist too? maybe, I felt it. However despite this kind of treatment and blatant exclusion I continue forward in my work.

Pleasant Promo Shot

Both my father and grandfather were artists and both contributed to the city of Savannah significantly. I have produced a book of the collected murals, paintings and signage of my family titled, ‘PLEASANT Signs’. You can see some of my Dad’s work via his website.  I also present a lecture series titled, Three Generations of Pleasant Art. The book Pleasant Signs has found it’s way to the Collegiate school, School of Visual Arts and Bank Street College’s libraries. My Dad documented life in his art in the south during the civil rights movement from a local perspective. My Dad was a Bahai’ and an advocate for integration and the rights of all people including homosexuals, women and others. He took much abuse during his lifetime as a mixed race Black American artist. To this very day the local (tax-supported) art museum, the Telfair Museum of Art in Savannah refuses to support or acknowledge my father’s art contributions. His collection of paintings are unique and vast and his murals and signage dominate Savannah’s environment, appearing on many of Savannah’s, media promoted, famed historical tourist destinations. Despite this fact, there is little to no mention of my father’s art contributions… I continue as the third generation of Pleasant Artists continuing my family’s art legacy.

Pleasant Signs book produced in collaboration by Designer, Jalal Pleasant and Author, David Pleasant.

My Dad (Willam Pleasant, Jr.) was a Bahai’ and an advocate for integration and the rights of all people including homosexuals, women and others.

The shy Duck who inspired the World to smile – © PLEASANT

Overview of ‘Portable Expressions’

Portable Expressions is an evolution of my Suspended Thoughts installation art series. It continues my work in the development of establishing a static interactive experience for observers of this art. I have presented several versions of this series around the world. Similarly, Portable Expressions will take place (someplace) in New York City, Amsterdam and Paris. February-March 2013. Documentation of this project, including location details as to where observers may publicly see Pleasant art graphics shall be published via my website  and FACEBOOK.

This outdoor art installation consisting of several pieces sometimes suspended by wire, offers viewers an opportunity to become participants. Through multiple modes of interaction, you can independently touch elements and rearrange them in any given pattern. This installation is constructed in a method that integrates with and compliments its host space. Sometimes my ‘suspended’ style artworks have been referred to as “portable graffiti”. This is a result of the stylized art’s ability to enhance a setting without permanently altering it’s environment via creating a layered affect.

This installation uses a mix of fine art painting, graphic and conceptual design and sculptural elements. The host outdoor space serves as a foundation for the canvas. I often begin by planting a pre-rendered graphic design image of my Pleasant Spaceman graphic to represent the optimism of the future and go from there. Other elements include natural and inorganic imagery.

My mission is to engage all, and specifically young people in critical thinking; to question the order and structure of their environment and to consider how they may actualize their own personal understanding of creative expression and their role in defining the environment in which they live.  – Troy Davis, Warming, Corporate Bullshit, dreams and the loss of the old New York. …Dude Where’s my Bodega?   This Sucka ain’t dead yet.  In contrast it isn’t Pleasant art.  …Is it edgy?

bio:

b. 19 . 12 . 1974  (Georgia, USA) native Pleasant attended Pratt Institute and is an alumnus of the New York School of Visual Arts. Pleasant is a full-time Fine artist, Installation Artist, Curator, Lecturer and Designer. Pleasant received formal art instruction under the tutelage’s of NYC abstract painter Michael Goldberg, Kenny Scharf and fashion art Illustrator, Jack Potter. And is currently gallery represented along with Artists, Shepard Fairey, BustArt, Inkie, London Police among others. In addition Pleasant is an active published Apple® Developer/Designer. Select collections include, Estate of American Comedian Richard Pryor, Batoto Yetu and the University of Haifa. Pleasant has published appearances with the Nation Magazine, BlackBook Magazine, Nickelodeon Television/MTV Viacom, Het Parool, DeVolkskrant, Woodstock Times (NY)  and The New York Press / Chelsea Clinton News, New York, New York among many others. Pleasant is currently working on publishing his second art book slated for release in late 2013.

Bensdorp Cacao – Bussum, NL

© Frank H. Jump

Can be seen from the train from Amsterdam to Hilversum. © Frank H. Jump

The Bensdorp company was founded in 1840 in the Kerkstraat 184 in Amsterdam by Gerardus Bernardus Bensdorp as  a chocolate factory. By the end of the 19th and early 20th century there were stores in Germany and Austria.

In 1901, the Bensdorp chocolate factory was in the German city of Kleve erected near the margarine works of Van den Bergh. During World War II, the chocolate factory was completely destroyed. In 1949, the Bensdorp operations resumed. In 1962, a merger with the cocoa producers Bensdorp Blooker’s Cacao en Chocolade Fabrieken based in Amsterdam. In 1971, the company was taken over by Unilever. The company was sold in 1984 to the Barry Callebaut Group (Switzerland), which has retained the name Bensdorp today.Wikipedia (DE)

Wij groeien vast in tal en last… Burgerweeshuis (Citizen orphanage) – Kalverstraat 92 – Amsterdam NL

Relief with orphan children grouped around the emblem of the Amsterdam civic orphanage, the Burgerweeshuis circa 1581 by Joost Jansz Bilhamer © Frank H. Jump

June 2010 © Frank H. Jump

Amsterdam – Burgerweeshuis (Citizen orphanage)

In 1578 Amsterdam was forced to choose for the revolt against the Spanish (1578). Most Catholic property came to be owned the city. This was also the case with the former St. Lucien monastery. Shortly afterwards (1579) the empty monastery was inhabited by orphans.

The old building was reconstructed and a new building for little children, designed by Hendrick de Keyser, was added at the eastern side of the court-yard. In 1581 a new and conspicuous entrance gate was built in the Kalverstraat. Vondel wrote the text on it:

‘Wij groeien vast in tal en last, ons tweede vaders klaghen. Ay, gaat niet voort door deze poort, of help een luttel draghen’ (Our second fathers complain that we are growing in number and cost. Do not pass this gate without offering some help).

About 1631 the orphanage acquired the neighbouring Oudenmannenhuis (Old men’s house) buildings. After rebuilding the boy orphans came to live here. They had their own court-yard. In 1632 a extensive rebuilding took place: the north, west and south front of the girl’s court-yard. Afterwards the east front was rebuilt in the same style. The fronts then constructed and designed by Jakob van Campen are still determine the sight of the building. In front of the former monastery’s cow stable a gallery was built in 1632, probably designed by Pieter de Keyser (son of Hendrick de Keyser). Above the gallery the orphanage school was located.

To be accepted by the citizen’s orphanage, your parents had to have been official citizen (poorter) for a number of years. Not every inhabitant of Amsterdam had this civil right, for which you had to pay. If the parents had been citizen for too short a period or if they had been to poor to buy this right, the orphans had to be put up in one of the many church orphanages.

In the beginning of the 19th century the citizenship (poorterschap) was abolished. From 1819 on every Amsterdam inhabitant could register for the Burgerweeshuis.

Editor(s): Fokko Dijkstra
Latest revision: 12. September 2008 11:59 – CHAIN – Cultural Heritage Activities & Institutes Network

© Frank H. Jump

Orphanage – Burgerweeshuis – Kalverstraat, Amsterdam – Wikipedia