1995-2020 Text works


October 28, 2017 until 28 February 2018. ‘Mare Nostrum’, Venezuela, the Netherlands and Aruba joined by the Caribbean. At the Museum of Contemporary Art in Zulia, Maracaibo, Venezuela. Group exposition 

‘Mare Nostrum’ project, was made possible through gracious support of:
FE-Fundacion Eterno hosting the project
Unoca – Ray-anne Hernandez
Mondriaan Fund – Birgit Donker
Coordination and research: Osaira Muyale
Art Curator: Jimmy Yanez
Maczul – Lourdes Peñaranda
Art Historian: Dr. Adi Martis
Participants:
Elvis Lopez – Atelier’89, ’Magia Extraterrestre’- ‘Un mundo sin Fronteras’-‘Compra Nubes’
Glenda Heyliger – Sinfa, ’Primeros Auxilios’-‘Yo soy Sal’,
Osaira Muyale/  FE, ’Un mar de suenos’- ‘a dialoque with plants ‘- A Restauration’
Ryan Oduber/ Aldea, ’Trans-Degeneracion’
Historic and critical  text: Visual artist-sculptor Rosher Acevedo Ocando
Historic and critical lecture: Juan David Bracho Rios
Photography: Gipsy Rangel
Special thanks for their unconditional support: Joost Vrieler, Rosher Acevedo Ocando, Soyde Bastidas Brito, Jimmy Yanez, Jean Carlos Leal, Hely Sandro Molero, Johan Terăn, Marilyn Fernandez, Renwick Heronimo, Jose Montilla, Familia Medina Melidoni (Empresa Campre), Jesus Rojas (Gesu Rosso).
Contemporary Artists Acknowledgement: Visual artist-sculptor Rosher Acevedo Ocando, Soyde Bastidas Brito, Hugo Javier Palmar Cruz.
Research archives : Fundacion Eterno Library, Art historian Dr. Adi Martis, Juan D Bracho R, Visual artist-sculptor Rosher Acevedo Ocando, Red de Bibliotecas Publicas del Estado Falcon, Fundacion Biblioteca Oscar Beaujion Graterol Coro, Biblioteca de la Academia National dela Historia Caracas,  Arubiana Library, Biblioteca Nacional Aruba.
MARE NOSTRUM’
Venezuela, the Netherlands and Aruba joined by the Caribbean.
Four key artists in the contemporary art scene on the island of Aruba follow the trail of water trails drawn by their Dutch and island ancestors through this mare nostrum which is the Caribbean. The compass points to the south, to the nearest route to mainland: The “little Venice” of Alonso de Ojeda, that vast and exuberant territory that is the politically convulsed Venezuela. A country in crisis as a destination seems to make any trip against the current. Winds that echo through these seas, the captivating songs of sirens, visions and deliriums of wrecked dreams and utopias do not seem to disturb the artists, Elvis López, Glenda Heyliger, Osaira Muyale and Ryan Oduber, who embark on this voyage with no corso patents in search of galleons, or rich towns and villages, or exotic goods such as spices, woods or precious metals. What they seek is to conquer the spaces of art and from there to strengthen the bonds of a historical relationship always fruitful with the other shore. The Mare Nostrum Contemporary Art Aruban exhibition at MACZUL is the first phase of a project that invites artists from Venezuela to continue this journey, and to align the dialogue of a past, present, and future time, with a story that runs through a landscape bathed by the same sun and carved by the saline winds of the Caribbean. Venezuela, the Netherlands and Aruba joined by the Caribbean.
The history of relations between Venezuela and the Netherlands through the Netherlands Antilles, more specifically Aruba and Curacao, is rich in socio-economic and socio-political events of great impact in the development of this Caribbean region. Although this relationship was marked by territorial and commercial disputes, due to the strict monopoly imposed by the Spanish crown on its overseas colonies, the inhabitants of these coasts are so close to each other and with particular needs alien to the interests of the metropolis other side of the Atlantic, managed to circumvent any series of restrictions and establish their own rules outside Spanish law and its institutions, such as the feared Company Guipuzcoana for example. In this way the commercial exchange through smuggling was prosperous, dynamic and fluid, precious goods like salt, tobacco, cocoa, sugar, wood, cattle and leather, passed from one hand to another, from one coast to the other. But this did not stop there, with the smuggling of different layers of influence, each clandestine route was introducing a complex web of relationships, settled in a bidirectional process that left its imprint, since colonial times, in some cultural manifestations such as language, architecture, gastronomy, agriculture, among others. And although this type of activity extended for a long time, there was a period of pacification and regularization of commercial activity, which went through the reciprocal recognition of political sovereignty reached with the treaty of Munster or of Westphalia in 1648, and later, with the successive Bourbon reforms from the 1700 is advanced in a more modern stage in the mercantile activity of the area. With the independence and conquest of the republic these relations continued their course reaching the present time, a time full of new challenges where it becomes necessary to review these historical processes that allow to project, from the past and the present, what will be the future of these nations in open peace and development.


 Title of work:  ‘SAN NICOLAS’ (Saint Nicolas)

Solo exposition
Dreamtime Stories of a Saint of sailors, children and researchers
Human nature in conversation with  time
A dialogue on  historical and contemporary research

2016-2017/ Solo exposition. A dialogue on  historical and contemporary research. The artwork  ‘SAN  NICOLAS’ (Saint Nicolas) is a follow up research and extension of  a community art project ‘The Bleau Garden’ installed at B.v/d Veen Zeppenfeld straat 6, San Nicolas. This artwork  installation took place parallel with the art fair event during the 16th until the 18th of September 2016. This installation spoke about the sense of familiar, informal exchange of ideas, heart to heart conversations on everyday‘s life, cultural boundaries, passionate spirituality, unfamiliar cultural borders and a complex historical Caribbean community. The story represented a family and their children that immigrated from Dominica,1850 Mr.and Mrs. John Bleau and Clemant Bleau Noel parents of Mr. Augustin Bleau (6.6.1909 -17.4.1983) married to Mrs Pamelia Abrahams (18.7.1922-17.7.1962). Daughter Lilian Blue (17.7.1962). Mr.Augustin Bleau left Dominica during 1923, as a young boy of 14. He traveled for a new future and immigrated in Aruba as a British citizen. Mr.Bleau, a man of not many words with an entrepreneurial culture, with a positive and progressive spirit, thinking big and reading Time magazine, soon made financial risk in hope of profits buying a building on B. v/d Veen Zeppenfeldstraat 6 in the centrum of San Nicolas, Aruba. Mr.Augustin Bleau was self made business man. His moto was “e pais cu ta dunabo di come b mester repete” You should respect the country who provides you with food ’. Dominica, 1850 Family Mr.and Mrs. John Bleau and Clemant Bleau, (photograph courtesy of Mrs. Lilian Bleau – grand daughter.

In 2017 FMA curator Renwick Heronimo invited me for a project called  ‘San Nicolas Aesthetic and I agreed to make an artwork, a sculpture called San Nicolas (Saint Nicolas).Continuing the research on the concept of ‘San Nicolas’, I found out that San Nicolas is a saint that protects the sailors, children and researchers. I believe it was a magic concept because San Nicolas’s community is passionate on religion, spirituality and beautiful historical stories between the ocean and the sky. San Nicolas was a very well known saint all over the world and in Aruba to. I immediately wanted to create a magic garden, a place where human nature can go in conversation with time. Renwick introduced me with the space I could make this dream come true. I started  to measure my idea and mostly the idea is larger in fantasy than the space available. In the mean time the idea started talking to me; a Saint in conversation with the invisible and the voiceless. A name representing human nature.  A story, of a tree that loves his dog so much that it asked its leaves to give birth to a flower.  A flower that would protect the dog from rain, sun and strong winds. Each one of the leaves said, yes‟ we will bare a flower together with a choir of birds that will also bare fruits for a hundred years of harvest and a hundred more to take care of the dog as the tree cares for its leaves. The tree graciously danced for the dog. The leaves took the dog carefully by the branches, to an old branch that by the years turned into gold. A branch that could stretch to the far sea, where you could see children waiting on the ships to pass by. The tree, the dog and its beautiful flower kept staring on top of the golden branch to see the Sun rise as it kept them looking at its beauty forever and ever…….

2016-2017 / Human nature in conversation with  time
Memory can experience past, present and future dreams. What experience or knowledge is stored in long-term memory can be retrieved again. Memories are texts and pictures in the mind and as such form part of the declarative memory. Art has the ability to bend, angle, flex, curve, hook, loop shift, tack, turn twist, time. Slow it down and wander through it.  That is precisely why Art provides a framework within which we can look at time. Time is something of daily life much at once. We look constantly at the clock, masterly imposing our lives, pushing forward and tracking collectively, running like clocks, marking what to do, and what it exactly makes us escape. In time everything rotates around time. We hardly think about how time is a mirror of Being.  There were not always clocks, calendars and seconds. There was only one way where one watched time trough, ‘Nature. The sun coming up every day and going down again, the seasons change, the plants grow. Little more than a circle, repeating of events. This rhythm is increasingly framed and named. A system established in words, terms and standards.  Time is a wonderful thing and in my eyes something that we will never fully get a grip on. The system of years, days, seconds, clocks and calendars is not time. Even the time of a moment, that we often think is a flexible notion, is set at 90 seconds to be exact. All these developments are just an attempt to grasp the sense of the circle of time. For the clock may say that only 7even minutes have passed and the truth is that 200 years have gone by.
2016-2017/ Dreamtime Stories of a Saint of sailors, children and researchers.
San Nicolas, a saint of sailors, children and researchers.A Saint that transmutes experience into believes, human nature into stories, A Saint that speaks of the invisible and the voiceless A name that takes care of each other A word that sounds. „Esta dushi pa sinta den un mondi di dulcura schuchando cancionan di silencio blaachinan conversando di luz den un brisa di perfume di fruta mi amigo eterno banda mi semper naturalesa lo dicidi e salto pa lama of cielo define esta dushi tempo sirbi‟
San Nicolaas is an industrial city near the ocean. It was a  bustling company town, when Lago Oil and Transport Company opened its oil refinery in 1924 until 1985.In 1991 Coastal Corporation reopened the oil refinery until 1995.Valero in 2010 and Citco in 2017. San Nicolaas was named after a Mr. Nicolas van der Biest (1808–1873), who owned a big piece of the land there. Landowners were then addressed by their subordinates by their first names preceded by ‘Shon’ meaning ‘master’. So he was called ‘Shon Nicolas’, as was the area. It is thought that the change from Shon Nicolas to San Nicolaas was due to the influence of Spanish. (refr.Dr. J Hartog, Aruba’s historian and Aruba Tourism Authority).

 Saint Nicolas life’s story,The church of San Nicolò al Lido(Venice), hosts half of Nicolas’ relics.On 26 August 1071 Romanus IV, Emperor of the Byzantine Empire (reigned 1068–1071), faced Sultan Alp Arslan of the Seljuk Turks (reigned 1059–1072) in the Battle of Manzikert. The battle ended in humiliating defeat and capture for Romanus. As a result, the Empire temporarily lost control over most of Asia Minor to the invading Seljuk Turks. The Byzantines would regain its control over Asia Minor during the reign of Alexius I Comnenus (reigned 1081–1118). But early in his reign Myra was overtaken by the Turks. Nicholas’ tomb in Myra had become a popular place of pilgrimage. Because of the many wars and attacks in the region, some Christians were concerned that access to the tomb might become difficult. For both the religious and commercial advantages of a major pilgrimage site, the Italian cities of Venice and Bari vied to get the Nicholas relics.[3] Taking advantage of the confusion, in the spring of 1087, sailors from Bari in Apulia seized part of the remains of the saint from hisburial church in Myra, over the objections of the Greek Orthodox monks. Returning to Bari, they brought the remains with them and cared for them. The remains arrived on 9 May 1087. There are numerous variations of this account. In some versions those taking the relics are characterized as thieves or pirates, in others they are said to have taken them in response to avision wherein Saint Nicholas himself appeared and commanded that his relics be moved in order to preserve them from the impending Muslim conquest. Currently at Bari, there are two churches at his shrine, one Roman Catholic and one Orthodox.Sailors from Bari collected just half of Nicholas’ skeleton, leaving all the minor fragments in the grave. These were collected by Venetian sailors during the first crusade and brought to Venice, where a church to St. Nicholas, the patron of sailors, was built on the Lido. This tradition was confirmed in two scientific investigations of the relics in Bari and Venice, which revealed that the relics in the two cities belong to the same skeleton. Many churches in Europe, Russia and the United States claim to possess small relics, such as a tooth or a fingers.


Project  Paarden Baai  ‘Horse Bay”  2015 to present time.
The theme of the Art work is a Tribute to ‘Paardenbaai’ (Horses Bay)
Art in Public Space contributes to Culture, preserves historical and contemporary history of Community, Infrastructure, commerce, and local identity. We all share with the Tourists our appreciation and respect to this Development. It joins for a common purpose and a common action to the New down town Project.

This name arrives from the Aruban and European trade commerce and economy in the 1700 Century. Aruba and Holland were into cattle exchange.Especially in horses trading.The Arubans bought their horses at the coast of Venezuela and Colombia together with the one hundred Indians that still lived near Forti Abow (where the peer of Paarden baai is now).The horses had enough space to live and gallop in the ranches (Ranchos) for their multiplication. International Horse export started in 1800 century and was one of the most important sources of livelihood for Aruba especially to the sugar countries. A Horse is by far one of the largest contributor to the enhancement of civilization. The 8 Sculptures represents strengths ‘Nobility, Grace, Beauty and Freedom. It represents Aruban collaboration with locals and international communities and its business trade world. Europe, South America, Caribbean islands and the Mediterranean. The Blue horses represents the important historical moment where the horses jumped from the ship deck into the Caribbean Ocean and swim to our Aruban Bay ‘Paarden baai “. At 6 strategic points – Down Town Oranjestad, there will be a horses installed. It will take 6 months to complete the whole project. With their different personalities and postures you can still see a united family.
References: Biblioteca National Aruba, Hartoch.J.Aruba zoals het was en zoals het werd Hartoch .J. 1960, Het oude Fort van Aruba Willem.P.1950-1960. De Nederlandse Antillen ,A.H and Iglesia protestant Aruba in oude ansichten, Een reisje naar Aruba Dominee Bosch.

Paarden baai’(2014-2015) is an extension of installation Paradise Park’ (2011-2014), a space falling in time, sea, ocean, life, love. Paradise Park is a dream-state, representing a space in between the Atlantic Ocean and the Caribbean Sea, connected to a hybrid globalized subject. Influenced on immigrants, heritage, and storytelling. At the same time, an allegory presenting cultural memories. The installation is inhabit with sculptures, crossing between horses, birds, fishes, plants, and human beings. Paradise Park archives metaphors that effects life, associated within a natural world, human association and bird resemblance. Species such as rotating flora and floating fauna  crossing in a solemn sound by Vangelis ‘ la petite Fille de La mer. Crossing over fiber sculptures surrounded with a character called ‘Sikkepit’. A space that unites anecdotes in deep sea water. A fantasy park where paradise energy settles time between continents, specifying a cultural and a visual language. My fascination with birds is seen in floating work’ Japanese Nightingale. A  sculpture mirroring  an inter familial hybrid, where the plants are sensitive and vulnerable and its leaves reaching out above the viewer, at the same time bordering arrangements. The Japanese nightingale is an aide-memoire, a bird that stretches, pitch and strain like a floor that has been danced upon. The exhibition highlights the senses that address the notion of time and space, and a relationship between the body, soul, and the material world. – Osaira Muyale

Paardenbaai embodies an important part of the early history of Oranjestad; the natural harbor facilitated horse trade that dates back to the early days of Spanish colonization of Aruba. This trade in livestock and primarily horses was one of the key factors in the early development of commerce and later settlement of the town at the bay. During the following three centuries, the horse trade remained important for the island: for the Spanish period during conquest (1500’s), and later for the Dutch under the West Indian Company rule (1600’s and 1700’s) Aruba remained as what could be considered a ranch that facilitated the colonization projects. In the early Dutch Colonial period (1800’s & 1900’s) this role diminished and a shift to other industries and small scale farming became more important. Thus for over four centuries a great variety of livestock (primarily horses) was kept on the island where it remained accessible and could easily be transported to other destinations. Historic accounts relate that at times the herds would count up to thousands of horses, roaming the island. Testament to the foundational importance of this period is the simple fact that from this period onwards and to this day, almost two hundred years after the official re-naming of Playa Caballos to Oranjestad (1824), the town at the bay is still referred to as Playa and its residents are still known as Playeros, in the local language Papiamento. The importance of the Caribbean Sea and the Horse Bay is also evident in the symbolic blue color of the horses, serving as a reminder of their voyage to and from the island. A deep blue color that still bathes their skin as if they seemingly just emerged from the bay pacing forward into town confronting us with the rich identity of our past. – Renwick Heronimo art curator

Fundacion Eterno (Oranjestad) – Playa Caballos-De Fundacion Eterno en de lokale overheid op Aruba geven opdrachten aan Osaira Muyale. Muyale realiseert de installatie ‘Playa Caballos’ (Paardenbaai), bestaande uit een route van blauw gekleurde paardsculpturen vanaf het strand waar vanaf 1700 paarden arriveerden op het eiland voor de handel naar het historische centrum van Oranjestad.
http://www.mondriaanfonds.nl/gehonoreerd/gehonoreerde-plannen-bijdrage-opdrachtgeverschap/


Paradisepark, A space falling in time, sea, ocean, life, love’.
Paradise Park is an installation started research 2011 and completed in 2014.
Paradise Park is a dream–state, representing a space in between the Atlantic Ocean and the Caribbean Sea and connected to a new hybrid globalized subject. A project influenced on immigrants, heritage and storytelling. At the same time, an allegory representing ideas and concepts. The installation is populated with sculptures , objet trouve ’ different species. Crossing between horses, birds, fishes, plants and human beings. Paradise Park archives metaphors that effect life, associated within a natural world, human comparison and bird resemblance. Rotating Flora and floating Fauna species crossing in a solemn sound by Vangelis ‘La petite Fille de La mer (the little girl of the sea). Crossing over’ are fiber sculptures with a story and a main character called Sikkepit. It is a space uniting anecdotes in deep see water. A fantasy park where paradise energy illuminates the senses in between continents, specifying a cultural and visual language. My fascination with birds is seen in a floating work called ‘Japanse Nachtegaal’ or Japanese Nightingale. A medium size sculpture representing an inter familial hybrid, a rare hybrid. The plants are vulnerable since it reaches out above the viewer and at the same time  with a delicate arrangement. The  Japanese nightingale is a bird that stretches, pitch and strain like a floor that has been walked upon. The exhibition highlights works that address notions of time, memory, displacement and harmony and the relationship between the human spirit  the material world.- Osaira Muyale


September  2013 – Maart 2014

200 Jaar TROPISCH KONINKRIJK

Museum de Fundatie presenteert vanaf december 2013 in zijn vestiging in Zwolle, Paleis aan de Blijmarkt, de tentoonstelling ‘Tropisch Koninkrijk’. Deze expositie, georganiseerd naar aanleiding van de viering ‘200 JAAR KONINKRIJK’ geeft een overzicht van de actuele beeldende kunst van de zes Caribische eilanden die tot het Koninkrijk der Nederlanden behoren: Aruba, Bonaire, Curaçao, St.Maarten, Saba en Sint Eustatius. ‘Tropisch Koninkrijk’ beslaat een groot gedeelte van het Paleis aan de Blijmarkt, dat momenteel gesloten is in verband met een markante uitbreiding en zal worden heropend in mei 2013. Naast de gehele nieuwbouw (twee keer 400 m²), die momenteel op het dak van het neo-klassieke gebouw verrijst, zijn verschillende zalen van de  19de-eeuwse ‘oudbouw’ voor ‘Tropisch Koninkrijk’ gereserveerd. Het wordt de tweede grote expositie die te zien is in het heropende museum in de Zwolse binnenstad. Gastconservator van ‘Tropisch Koninkrijk’ is de kunsthistoricus en publicist Maarten Jager. Hij brengt op dit overzicht de laatste ontwikkelingen op kunstgebied uit de Caribische gebiedsdelen van het Koninkrijk der Nederlanden onder de aandacht. De meest representatieve vertegenwoordigers van de verschillende kunstdisciplines zijn op de expositie vertegenwoordigd. Het gaat om  internationaal georiënteerde Caribische, multiculturele schilder- en beeldhouwkunst, video, film, fotografie, keramiek en conceptuele kunst waaronder installaties. Hun kunst wordt met name in het Caribisch gebied zelf en in Midden-Amerika getoond, met name op de internationale biënnales van Santo Domingo en Cuba. Terwijl de expressieve kunst uit het Caribisch gebied veelal het lokale overstijgt, speelt de zoektocht  van de bewoners naar de eigen identiteit een belangrijke rol in hun kunst. Voor de hand ligt de Afrikaanse en Indiaanse erfenis van de Caribische kunstenaars. Daarnaast manifesteert zich binnen de mix van culturen de invloed van Europa, Midden-Amerika en zelfs die van het Nabije Oosten, want in het bijzonder kunstenaars op Aruba hebben Libanese voorouders. Naast de diaspora, zijn de geschiedenis van de eilanden, mythen en gebruiken, religie en de huidige sociaal-politieke situatie belangrijke thema’s in de kunst van de Cariben. De 19 kunstenaars op ‘Tropisch koninkrijk’ gebruiken de meest uiteenlopende materialen. Van traditionele ’dragers’ als verf en brons tot sumpiñas (doornenstruiken), plastic afval en ander afgedankt materiaal. Een aantal kunstenaars is in het Nederlandse museale circuit inmiddels bekend, onder wie Yubi Kirindongo. Hij nam vorig jaar deel aan de internationale beeldenroute ‘ArtZuid’ in Amsterdam. Een overzicht van het werk van David Bade was in 2010 te zien in het museum voor actuele kunst GEM (Den Haag). Van zijn hand is ook de metershoge sculptuur van een ridder, getiteld ‘Ins Blaue’, die in september 2012 een plaats kreeg in de beeldentuin van Kasteel het Nijenhuis in Heino. Dit najaar nemen verschillende prominente Curaçaoenaars en Arubanen deel aan de tentoonstelling ‘Caribbean: Crossroads of the World’  in New York. Middels 500 kunstwerken wordt vier eeuwen Caribische kunst belicht. Aan deze expositie in El Museo del Barrio, het Queens Museum of Art en het Studio Museum ging tien jaar onderzoek vooraf.

‘PK  Paarden Kracht  – HP Horse Power
Als de verbinding sterk is, slaan de motoren aan en begint de vlieg te draaien.

Paarden kracht  is een tentoonstelling die een modern  onderzoek beleeft  op het gebied van kunst en in kader van  een historisch moment. Een vereniging  waar Holland en Aruba  een ontmoeting plaatsen doormiddel van een hernieuwbare energie ‘ Paarden . Arubanen  en Nederlanders handelden met paarden vanaf de 1700 eeuw,geleidelijk er meer immigranten zich vestigden  op het eiland, waaronder ook Oost-Europese Joden en Libanezen. Zij hadden de eerste particuliere ondernemingen in Aruba.Het werdt voorgesteld als een visuele reis door een variëteit van fantasierijke  werelden gecreëerd op creativiteit en expressieve  talen.Een hybridisatie – een kruising van kennis en openstellen  van productieve voorwaarden , overeenkomsten , medeleven en passie van kennis, concurrentievermogen,  culturele innovatie en  efficiëntie bevordering.

Het onderwerp van het werk  is een eerbetoon aan de ‘Paardenbaai’ Oranjestad Aruba ,waar de burger en de sociale koophandelaars hun  werelden begonnen.Het was een omarming  van Paarden  geest en energie  die zijn edele en kostbare  kracht en vrijheid  spreekt bij  een groot bijdragen en aan een  versterking van samenwerking  en een hybride  culturele beschaving .Het werk  wil met het publiek een reis maken door culturele contexten ,historische relaties en vooruitzichten. De PK werd geboren uit de allure van mijn prive-leven en studio.De instalatie bestaat uit een ruimte voorzien van kunstwerken, in de vorm van object trouve ‘, videowerk, fotografie ,sculpture en text met  inspiratie over persoonlijk en historisch vastgestelde  boeiende  verhalen . Aruba is een eiland met een rijke geschiedenis, bewoond door archeologische resten en architectonische monumenten. De ideale plek voor het onderzoeken van de relatie tussen erfgoed en het geheugen.

Werk; Video -landschap inventaris, loop / verzameling digitale beelden 2002/2013,correctie en desoriëntatie.
Object trouve ‘- Paradijs park, verzameling  1995-2013, opgeslagen erfgoed
fotografie-kruispuzzel  , Een hybridisatie – een kruising van kennis en openstellen  van productieve voorwaarden , overeenkomsten , medeleven en passie van kennis, concurrentievermogen,  culturele innovatie en  efficiëntie bevordering.
sculptuur / hybride collectie – Cabai blouw, life size objet trouve ‘. Paarden kracht   onderzoek beleeft  op het gebied van kunst en in kader van  een historisch moment. Een vereniging  waar Holland en Aruba  een ontmoeting plaatsen doormiddel van een hernieuwbare energie ‘

 


2012 Encuentro Biennale Aruba 
place:Free Zone Aruba
Curator :Jose Manuel Noceda Fernandez 
Title : I m not white, not black, but blue
Concept :
Hybrid identity in post colonial Time

1.Titulo: min ta blanco, ni preto, pero blauw (papiamento) om
2.Titel : ‘ben niet wit, niet zwart maar blauw (dutch)
3.Titulo ; no soy blanco, ni negro ,pero azul (espanol)
4.Title; not white, neighter black, but blue (english)
5.العنوان، لا أبيض، أسود5 r، ولكن الزرقاء(arabic)

1.Contepto:identidad hibrida,cu ken bo ta identifica bo mes?
2.Concept :Hybride identiteiten, ‘Wie vertegenwoordigt u eigenlijk?’
3.Concepto: Identidades híbridas, “¿Quién te identificas más?”

4.Concept:Hybrid identities, “Who represents you?”
5.المفهوم: الهويات الهجين “الذي يمثل لك؟5”

1.Kiko ta indentidad? e ta algo indefini y por ta crea confusion;e por ta un hancra,pero tambe un bruhamento.identidad ta algo dificil pa alcansa.
2.Wat is identiteit? Ze is ondefinieerbaar en kan verwarring scheppen; ze kan een houvast zijn, maar ook vervreemding betekenen. Identiteit is een ongrijpbaar iets.
3.¿Qué es la identidad? Ella es indefinible y puede ser confuso, pueden ser un faro, pero también significa la alienación. La identidad es algo difícil de alcanzar .
4.What is identity? She is indefinable and can be confusing, they can be a beacon, but also alienation mean. Identity is an elusive something.
5.ما هو الهوية؟ أنها لا يمكن تعريفها ويمكن أن يكون مربكا، فإنها يمكن أن تكون منارة، ولكن يعني أيضا التغريب. الهوية.ي .يء بعيد المنال

In the 19th century the word Hybrid was used to refer to a physiological phenomenon, is reactivated in the 20th century to describe a cultural one. The 1828 Webster defined a hybrid as ‘a mongrel or mule; an animal or plant produced from the mixture of two species’. It is only in the 1861 edition of the Oxford English Dictionary (OED) that it is first used to denote the crossing of people of different ‘cultures’, thus marking the acceptance of the possibility of human hybrids.

This journey of my life , been born in Aruba ,Dutch Caribbean with mixed cultures and heritage. Wondering for an identity. Does an identity exist ? The question is ,if i realise my identity will i be happy ,shall the world be happier.What is happiness ?

The 19th /20th century debate on  hybridism is a central issue of debate in the social sciences today. The term ‘hybrid’ mixed cultures,was applied from botany to anthropology and was associated with both political and scientific speculations on ‘races’ as species or subspecies. The acknowledgment of the common humanity of all ‘races’ strengthened the separation between culture and nature as part and parcel of the project of Modernity.

Been searching on identity for a while and my recent work ‘hybrid identity ‘I am not white, not black, but blue , comes from a Post Colonial background .Living through the different years 1940,50, ,60,70,80,90.New century 1210 and till today 2012.Been born in Aruba and lived my whole life here.While traveling allot especially for my work while growing up in between Cultural gabs.With a mixed complex background of  speaking and being Aruban,Dutch,Lebanese.Speaking, Spanish,Papiamento,English,Dutch. Searching common ground.Always searching for my identity, with a co-result of understanding hope, happiness ,love ,trust and peace.  – a mix of ‘blood’ and culture. 

The Post-colonial theory addresses the matters of post-colonial identity (cultural, national, ethnic), gender, race, and racism, and their interactions in the development of a post-colonial society, and of a post-colonial national identity; of how a colonized people (cultural) knowledge was used against them, in service of the colonizer’s interests; and of how knowledge about the world is generated under specific socio-economic relations, between the powerful and the powerless. Identity politics comprise the perspectives of the colonial subjects, his and her creative resistance to the colonizer’s culture; and how that resistance psychologically complicated the imperial-colony project for the Dutch Caribbean/ European man and woman. http://en.wikipedia.org/wiki/Hybridity

In my recent work there will be no common forms and no identity .A production of  humans, plants and animals together as one.Time and Memory is in charge of  the space. om

Hybris and monsters by Miguel Vale de Almeida, ‘longing for one self Hybridism and Miscegenation colonial and postcolonial Portugal.and much more.

 The Dicionário Moraes of 1891 refers to hybrido as originating in the Greek hybris, defined as ‘an animal generated by two species. Irregular, anomalous,monstrous’. Hybridação is the ‘production of  hybrid plants or animals’ and hybridez is the ‘quality (…) of that which is composed of two different species’;in grammar it is used to refer to ‘words compounded from two different languages’. The same dictionary does not have an entry for miscigenação,

but it does for mestiço, from the Latin mixtus, defined as ‘that which proceeds from parents of different race or species: e.g. among men (sic) the mulato, the cafusa, etc.; among animals, the mule etc. It is also used to refer to some grafted plants, e.g. rosas mestiças’.In the Dicionário Etimológico da Língua Portuguesa (1977 [1952]), we learn that the Greek root hybris defines ‘excess, all that exceeds measure; pride, insolence; excessive ardor, impetuousness, exaltation; outrage, insult, offence; violence over woman or child; via the Latin hybrida to designate the product of the crossing between the sow and the wild boar; the child of parents from different regions or conditions, probably via the French hybride.’ In the same dictionary one can already find an entry for miscigenação, ‘from the English miscegenation, which came from the Latin miscere, ‘to mix’ + genus, ‘race’.After 1960 miscigenar is said to mean simultaneously ‘to procreate hybrids’and ‘to procreate mestiços’. Mestiço is said to come from the Castillian mistizo,which comes from the Late Latin mixticiu. As a complement to this list of definitions, we can also find that the word mulato comes from ‘…mulo (male ‘Longing for Oneself’ 183 mule) + –ato (as in cervato, lobato)’. According to literary examples used in the entry, one can infer (although not prove) that it is in the 1500s – the ‘Age of Discoveries’ – that the animal reference is replaced by a human one.If one uses the several entries in the Dicionário de Sinónimos from Porto Editora, a constellation of meanings connecting these different expressions can be traced:

Híbrido: ambígeno, anómalo, irregular, mestiço, monstruoso (…) Mestiçagem: hibridismo, mestiçamento, miscigenação (…) Mestiço: bode, caboclo, cabra, carafuzo, cariboca, híbrido, mesclado, misto, mulato (…) Mulato: bode, cabra, cabranaz, cabrito, cabrocha, caporro, escuro, fulo, mestiço, moreno, mu, mulo, pardo, trigueiro (…) Mulata: cabrita, china, mestiça, mista, morocha, mula, trigueira (Dicionário de Sinónimos).

 Reference : There are allot of essays, research on this theme hybridism identity ,s.a. theory of Canclini and his work of  and life of Santiago, that he concludes that nationality of Puertorican is fruit of the asendance of Taina+European+African. The Emergence of Hybrid Organizational Forms: Combining Identity-Based Service,Provision and Political Action,Debra C. Minkoff,University of Washington.“From miscegenation to Creole Identity: Portuguese Colonialism, Brazil,Cape Verde”, in Creolization: History, Ethnography, Theory. C. Stewart (ed.),Walnut Creek, CA: Left Coast Press, pp 108-132.2007. Miguel Vale de Almeida, ‘longing for one self Hybridism and Miscegenation colonial and postcolonial Portugal.and much more. Contemporary rhetoric (is the art of discourse ) on hybridity  as part of globalization, transnationality, postcolonial diasporas, and multiculturalism – clashes with the reality of the return of ‘race’ within a cultural fundamentalism. Miguel Vale de Almeid.


2012 Salon 2, Flower Castle, Lisse, Netherlands – I never promised you a rose garden
2010 Salon 1, popup La Linda and studiO- Silhouette
Curated  by Gijs Stork independent Art Curator Netherlands

 


2010  Take me home cause I don’t remember’ (Project Silhouette, 2008-2010)
Project First International Triennial of Caribbean at  Museo de Arte Moderno  Santo Domingo
www.cultura.gov.do/dependencias/museos/museodelartremoderno.htm

Spirituality and context
Profesor José Manuel Noceda Fernández

I came across some of Osaira Muyale’s work, for the first time in a while, at the First Caribbean Triennial in the Santo Domingo Museum of Modern Art, in September 2010. She was one of the artists invited by the “Dutch Caribbean”. Osaira belongs to a group which is transforming the art produced in Aruba, this diminutive enclave which for centuries was at the whim of Dutch geopolitics. Osaira is a member, with a distinctive style, of a clan of artists there who were highly active in the early 1990s.

But she was also clearly associated with a movement that crosses Aruba’s borders and defines a new avant-garde throughout the Caribbean, marked by radical innovations in terms of concept and representation. In this respect her work showed affinities with the language of several West Indian artists, but especially in the way it reflected the emergence of a group of female artists who made their mark at that time within the Caribbean and also beyond its geocultural boundaries.

That work opened doors and led to a number of opportunities. Osaira was invited to the Havana Biennial in 1997, as part of a programme aimed at exploring the role memory as a resource in contemporary artistic endeavour. She was also present at the Caribbean and Central America painting biennials organized by the Santo Domingo Museum of Modern Art. And years ago, Virginia Pérez-Ratton included her in a Caribbean and Central American retrospective for an edition of the Cuenca (Ecuador) biennial, one of the most firmly-rooted and best-attended of such events in Latin America & the Caribbean.

Some years ago, alluding to Osaira, I quoted José Luis Brea’s “El arte en la era póstuma de la cultura”, to reference a theoretical field in which I felt her poetic art worked very well. Her sculptures and structures are unquestionably the expression of existential limits and tensions of universal scope, viewed through the highly individual prism of the artist’s personal experience. I would describe it as sponge-like, absorbing and recording diverse chapters of daily experience and translating them into images charged with meanings.

Analyzing this new work which I exhibited in Santo Domingo, ‘Take me home cause I don’t remember’ (Project Silhouette, 2008-2010), and performing a kind of retrospective revision, it is apparent that this visual output defined by personal points of reference and marked spirituality has not changed in its essential constants, although it has become more complex in terms of its mise en scène. And with the passage of time, Osaira has enriched the visual text with numerous elements that appreciably expand her expressive resources. She is now among the artists who have contributed most to the formal, conceptual and material reformulation of art in Aruba. She is the master of an extended register characterized by work with a variety of techniques, ranging from painting, drawing and sculpture using various materials, to the challenge always implied in adopting new disciplines and the new media of photography and video, always with success in terms of expressive qualities. Also apparent is an interest in matter and the recycling of objects. The wide assortment of the latter includes fur, clocks, dolls, broken tailor’s dummies and countless other elements, always arranged so as to represent existential and contextual imperatives. And this is perhaps the leitmotif of her work, this perennial interchange between the “I” and what surrounds her, between personal time and the circumstances of context. Everything has a symbolic function, whether expressed through the latent meanings in her works, or through the use of colour to convey emotional states. Viewed from an evolutionary perspective, through all that activity Osaira maintains certain key elements as constants in her work. These include the position reflected in ‘The mystery of my soul’ (1995), an autobiographical work, and a close affinity  with Barthesian reflection, introspective in nature, with an emphasis on fragmentation and on deconstruction of memory. Although her early work (like that of no few artists) clearly showed the influence of Louise Bourgeois, identifying herself with the anthropomorphism and sculptural fragmentation characteristic of that artist, I see no traces of that style in the Santo Domingo work, which introduces an environment-type narrative based on the assembling of documents and objects into symbolic codes imbued with meanings that reflect an open environmental vision in which the human being is the focus of her discourse. As is usually the case with Osaira’s output, the essence of this work rests on the bedrock of personal identity, on the way she uses tools and methods to convert her individual history and experience and the deep layers of her psyche into a rich profusion of drawings, etchings, sculptures and installations. Using personal history as her vantage point, coupled with her particular way of representing existential dilemmas, she creates a perspective of surprising reverberations. This approach fosters a poetic style that adopts an introspective methodology, of withdrawal into a private domain in response to a world situation determined by the crisis of the modernist model of progress, by frustration of the development processes in large parts of the South, by the collapse of the social Utopias, where the model of questioning the Other deployed by the avant-gardes coexists, strangely, with researches into the “I” itself, and given the implications of such conditions for a small island such as Aruba. Okwui Enwezor, highlighting the dichotomy between the individual and his/her environment, has said that for many non-Western artists, the logic of modernity is no longer based on the style of the avant-garde as the preponderant Zeitgeist, or concerned with progress and change. For many (in the West as well), he believes modernity has come to mean a particular condition – one that often implies dislocation and rootlessness; displacement and dispersion; alienation and exile, even in the familiar rooms of the home. For him, rather than breaking down barriers, modernity seems to have built them. His words clarify the path Osaira has taken. The crisis and real conflicts of society and culture, the failure of the logic of immutable identities, the undermining of cultural identities implied by the high volume of international

Also apparent is an interest in matter and the recycling of objects. The wide assortment of the latter includes fur, clocks, dolls, broken tailor’s dummies and countless other elements, always arranged so as to represent existential and contextual imperatives. And this is perhaps the leitmotif of her work, this perennial interchange between the “I” and what surrounds her, between personal time and the circumstances of context. Everything has a symbolic function, whether expressed through the latent meanings in her works, or through the use of colour to convey emotional states.

 Viewed from an evolutionary perspective, through all that activity Osaira maintains certain key elements as constants in her work. These include the position reflected in ‘The mystery of my soul’ (1995), an autobiographical work, and a close affinity  with Barthesian reflection, introspective in nature, with an emphasis on fragmentation and on deconstruction of memory.

Although her early work (like that of no few artists) clearly showed the influence of Louise Bourgeois, identifying herself with the anthropomorphism and sculptural fragmentation characteristic of that artist, I see no traces of that style in the Santo Domingo work, which introduces an environment-type narrative based on the assembling of documents and objects into symbolic codes imbued with meanings that reflect an open environmental vision in which the human being is the focus of her discourse.

As is usually the case with Osaira’s output, the essence of this work rests on the bedrock of personal identity, on the way she uses tools and methods to convert her individual history and experience and the deep layers of her psyche into a rich profusion of drawings, etchings, sculptures and installations.

Using personal history as her vantage point, coupled with her particular way of representing existential dilemmas, she creates a perspective of surprising reverberations. This approach fosters a poetic style that adopts an introspective methodology, of withdrawal into a private domain in response to a world situation determined by the crisis of the modernist model of progress, by frustration of the development processes in large parts of the South, by the collapse of the social Utopias, where the model of questioning the Other deployed by the avant-gardes coexists, strangely, with researches into the “I” itself, and given the implications of such conditions for a small island such as Aruba. Okwui Enwezor, highlighting the dichotomy between the individual and his/her environment, has said that for many non-Western artists, the logic of modernity is no longer based on the style of the avant-garde as the preponderant Zeitgeist, or concerned with progress and change. For many (in the West as well), he believes modernity has come to mean a particular condition – one that often implies dislocation and rootlessness; displacement and dispersion; alienation and exile, even in the familiar rooms of the home. For him, rather than breaking down barriers, modernity seems to have built them.

His words clarify the path Osaira has taken. The crisis and real conflicts of society and culture, the failure of the logic of immutable identities, the undermining of cultural identities implied by the high volume of international travel, all revive and intensify age-old questioning about existence, like Dostoevsky’s torments. The loss of the subject’s freedom asserted by Foucault, and the weakening of the notion of self in a destabilized modern individual proposed by Andreas Huyssen, clearly reflect the deep crises in a civilization dominated by the illusion of the material and by consumerism.

Such circumstances explain the current prevalence of art founded on a personal archeology, which converts experience into an allegory of individual questioning and prompts self-reference in response to conditions of existential instability, in a premeditated excavation of memory which unearths gestures of intimacy, journeys in the distant past and retrieves events that fuel the individual narratives.

The representation strategy in this case involves a remapping of individual or familiar territory, at odds with the compact, closed ontologies of yesteryear. This new anthropological approach is apparent in ‘Take me home cause I don’t remember‘. The work presents itself in four clearly-defined sections that nonetheless form an environment-type mise en scène, with one of her now classic sculptures of broken, incomplete tailor’s dummies, a photograph with flowers and a satellite view of the island, a video about her dog and an extensive polyptych of 80 drawings. Among the latter, I was particularly struck by the sequence of anthropomorphic drawings in which the human body, represented in an elementary, naïve way – sometimes in combination with small birds, in others with the intersection of photographs of flowers, or in musical pentagrams – is repeated as a pattern and splits into countless poses, subtle variations and combinations. However, these human images have nothing to do with Da Vinci’s L’uomo vitruviano and the supreme expressions of the renaissancist concept of Man as the centre of the universe. Quite the contrary. In an age in which one speaks of the anthropocene – a term coined by Paul Crutzen to denote a stage in the evolution of the planet marked by the global influence of human activity on the ecosystems – all these images are imbued with a heartrending poetry that is difficult to ignore.

It could be said that Osaira’s work, always detached from the experiential, is particularly well adapted to the requirements of an event preoccupied with the relations between art and the environment. The environment is not a concept that can be circumscribed, nor is it a synonym for (although encompassing) ecology; the notion is much more all-embracing; it includes – of course – the natural factors (behaviour of the climate, energy sources); but it also encompasses Man, his relations with his living surroundings, as well as social and cultural aspects. And that is exactly what Osaira synthesizes, from her perspective – that interrelation with individual themes, with the little things that fill and give sense to her daily existence; but also with her surroundings and with the implications of living on a small Caribbean island.

 


2003

14th international electronic art festival /video brasil Associacao Video Brasil”  Brasil, Sao Paulo, Curated Chriz Cozier, Charlotte Elias CCA7


 

’I always thought that every one is the same’- The immigrant
Public Art  installation -light sign 2002-2003
L.G.Smith Blvd # 30, Oranjestad, Aruba

Concept – The immigrant. If each human being is an individual with a complete network of senses of his own and a special combination of abilities, then the vision of each human being will be different, and the way in which each individual determines his life will be a unique interpretation. Captured in the complexity of civilization, man often loses sight of his human destination. The artist not only records the physical data of his own being, but has to act as an interpreter, a translator of human experience. Art functions as diagnosis, definition, and standard for human life. This work is a very important statement, because these words I have always heard through my life. These words come from my mother’s heart, she had always thought me these words, “everybody is the same” I have always lived these words. Until I have experienced and discovered through life that this is not the truth. I used the language English, as it is the first universal language.

’Yo siempre pense que cada uno es igual’- Numbers as tools
Public Art  installation -light sign 2004
8th Bienal de Cuencar, Banco de Fomento, Ecuador

Concept – Numbers are tools. Humanity’s fascination with numbers is ancient and complex. Our present relationship with numbers reveals both a highly developed tool and a highly developed user, working together to measure, create and predict both ourselves and the world around us. But like every symbiotic couple, the tool we would like to believe is separate from us (and thus objective) is actually an intricate reflection of our thoughts, interest, and capabilities. One intriguing result of this symbiosis is that the numeric system we use to describe patterns is actually used in a patterns fashion to describe. In learning how to abstract, we learn that all information is potentially expressive in numbers. One consequence of abstraction is that we must ignore the individual characteristics of entities we abstract.
Apart from the existence of the numeric system and numbers, individual numbers have no meaning. Thus, our number system is seen as an objective tool-a tool that does not reflect human preference, emotion, or inconsistency. As such it is a tool used not to express ourselves, but is reserved only to describe the world around us. We do not write poetry with numbers, nor do we express our personal doubts or prejudices through them…except as our humanity is projected onto the emotionless toil of mathematical proof, ledger balances, or pedagogical exercises. Herein I return analyses to the public in the form of an interactive visualization, whose aim is to provoke awareness of one’s own numeric manifestations.

I always thought that every one is the same’- New religion
Public space installation / ‘light sign ‘on building
Studio Beirut- Gemmayzeh-Rue Gouraud Beyruoth Lebanon
Teoretica, exposicion ‘iconofagia , Costa Rica Aug –Sept 2007
Photographer
: Frederic Lezmi

Concept- New religion, Light used with a purpose;
‘psycholinguistics’ a free word order language’
psychological and phonological language in public space. Where there is light, certainly there is darkness also. What is darkness? Absence of light. When you don’t recognize the light, you see Darkness. What is dark to you is bright to a cat or tiger or a bat. It’s all relative. And when you have one, you have the other also. You cannot only have one side of the coin. But the moment that you know that darkness is part of the whole, it is not darkness anymore. The real darkness lies in your ignorance of what it is. Your not knowing is the darkness. The minute you know, you respect both sides, and it’s no longer darkness. Don’t we respect both day and night? We want both day and night. Night makes the day complete. Pleasure and pain are also two sides of the same coin. If you only want pleasure and hate pain, you become miserable. After one, the other is certain to follow. When it comes and you don’t want it, you fight it. Instead, we must recognize that life is like that. If someone is nice to you and you demand that he or she must always be nice to you, always respect you, then you are seeing only one side. If the other side comes, you deny the person, you hate the person. You should know that the other side will also be there. Love that person for the other side also. Then you are in a different light where there is no darkness at all. That is what you call collective light. That light is not like the light that casts a shadow, that light is a shadow less light. Once you go into that state, you will see the light and darkness, but you respect them both.

I always thought that every one is the same’- New language
Public space installation /neon sign
Nepal, Siddhartha Art gallery 2009
Exhibition The Myth and the Reality’

Concept: New language, How many spaces are in between a sentence
How many years does it take to see what you want to listen
How many hours does a day have to carry all the invisible
How many minutes does it take to explode
How many seconds are there in a lifetime

“The title for my installation ‘I always thought that every one is the same’ is self-explanatory: love rarely comes easily and if it does, it usually goes quite quickly and there is death, and loss, which at some point in our lives we all have to deal with. I’m constantly fighting with the notion of  love. Always searching the gab that love can fill when it‘s not there. I have to constantly remind myself that no matter what the circumstances, love is not a feeling but a decision. The goal of my work is to re-live the past and today’s emotions. My Art is the space between my language and the invisible world. It allows me to re=experience fear, to give it a physicality. That the moment has gone by, but the space is filled with visual memoirs. I am saying in my work that what I could not make out in the past, allows me to re-experience the past, to see the past in its objective and realistic proportions. That fear is a passive state and the goal is to be active and in control, to be alive to deal with here and today. As my brain experiences the duality of subjective and objective, my sense of beauty swings between the two, space and language. I am torn between the two, and  I have learned to accept them both. Through the years this space has been transforming in shapes and forms. This space has allowed me to see and understand the unable mess to make myself loved. I am still motivated by an attraction to ‘the other’ which is a mysterious beauty, it allowed me to reach the level of my soul and spirit. As per today I can make this statement; I need Art like I need God.

Love is in the Air – Moving energy
Public space installation / Light-sign on building
Invitation project AIR ART  by the Aruba Airport Authority (AAA)
Queen Beatrix International Airport Aruba 2012

The Airport is the official door, to enter and leave Aruba. Once I worked at the airport because my family is into the Airport business. As I have noticed that the energy at the airport is higher than at another place, especially working with small deadlines tasks,I realized that it was not a place where I could work for long as my family does. That’s because the level of pressure is to high and my adrenaline was in a constant overdrive. When you are working on the ground it gave me the same feeling I was going to travel in an airplane .It give that sensation of an unbalanced sensation. I thought well I am going to make something that will make me feel or will make someone who may feel also this unbalanced sensation a better or more peaceful energy. At this same moment I thought of Love , love in the Air , love must be in the Air, Love is in the Air .Love is the only feeling that produce immediate peace. As for my surprise this text has a moving version to. Love is the Air song by Barry White.
So instead of feeling fear going in the sky , you will see this text and the love will stay with you Moving into your mind body and soul.

Artwork ‘Abo ta Ami

2014 Caribbean Crossroads of the World
PAMM Perez Art museum Miami ,1103 Biscayne Blvd.
April 18, 2014 – September 17, 2014

2012 Museo Del Barrio, Manhattan Fifth ave, New York
Project Caribbean Crossroads of  the World
Curated by Elvis Fuentes and Susy del Valle
www.caribbeancrossroads.org
invitation by Tobias Ostrander
Chief Curator and Deputy Director for Curatorial Affairs
Following credit line-Curatorial Team
Maria Elena Ortiz ;Curatorial Assistant
Elvis Fuentes; Programme Curator  Crossroads Project
Oriol Tarridas Photography, Installation view Photo by
Orial Tarridas Caribbean Crossroads of the World, Pérez Art Museum Miami
Naomi Patterson; Senior Registrar
Renwick Heronimo; logistics outsourcing from Washington to Miami Osaira Muyale; Aruban Artist The theme of  Patriot Acts studies.”Cultural Identity; Patriot Acts studies the idea that artists and intellectuals in the Caribbean were instrumental in the creation of the identity, both visual and conceptual, of the young Caribbean nations, which often pitted traditional, academic aesthetics against the “authentic,” indigenous and African past of the region. Artist Project; Only Beautiful Words 2002-2014. Light Text/Poem in Native Language ‘Papiamento’ written in 2011.Concept: How language can transform space and time and influence Cultural identities
by several different factors such as religion, ancestry, skin color, language, class, education, profession, skill, family and political attitudes. These factors contribute to the development of ones identity. Language develops from the wants of the people who tend to spread themselves in a common given location over a particular period of time. This tends to allow people to share a way of life that generally links individuals in a certain culture that is identified by the people of that group. The affluence of communication that comes along with sharing a language promotes connections and roots to ancestors and cultural histories. Language also includes the way people speak with peers, family members, authority figures, and strangers. Language learning process can also be affected by cultural identity via the understanding of specific words, and the preference for specific words when learning and using a second language. Since many aspects of a person’s cultural identity can be changed, such as citizenship or influence from outside cultures can change cultural traditions, language is a main component of cultural identity. Cultural identity is the process of exploration and questioning about one’s culture in order to learn more about it and to understand the implications of  being in that culture.” During this stage a person will begin to question why they hold their beliefs and compare it to the beliefs of other cultures. Such as being born in Aruba and have a Dutch Passport and heritage. For some this stage may arise from a turning point in their life or from a growing awareness of other cultures. This stage is characterized by growing awareness in social and political forums and a desire to learn more about culture. This can be expressed by asking family members questions about tradition, history ,past , background. This stage might have an emotional component as well. Cultural identity achievement: “is characterized by a clear, confident acceptance of oneself and an internalization of one’s cultural identity.” In this stage i allow the acceptance of  my cultural identity and how to deal with hybrid stereotypes , any discrimination, and approach negative perceptions, s.a. rejection, repulse, disavowal or non-acceptance. This usually leads to an increase in self-confidence and positive psychological adjustment. For more infomation search: www.pamm.org

A’bo ta ami     –     You are me
A’bo ,Ta  e tempo cu ta surpasa mi bista
You are the time that surpasses my vision
A’bo ,ta e aire cu ta sostene mi curpa
You are the air that sustains my body
A’bo,ta e brisa cu ta rondona mi alma
You are the breeze that surrounds my soul
A’bo,ta e awa cu ta corre den mi wowo
You are the water that  runs in my eyes
A’bo,ta e color cu ta carisia mi pensamento
You are the color that caresses my thoughts
A’bo,ta e luz cu ta brilla tur momento
You are the light that shines all moment
A’bo,ta e alegria cu conocemi
You are the happiness  that knows me
A’bo ta ami You are me

 


2003
 V Caribbean Biennial  Museum of Modern Art  Santo Domingo, curated by Marianna de Tolentino, Sara Hermann Morera,


2001
TenT Gallery Rotterdam, Holland. Curated by Dr. Adi Martis, Jennifer smith, Thomas Mejier Zu Schlochteren.
project Beeldende Kunst van de Nederlandse Antillen en Aruba


21 Sept-12 Oct 2000, “Watamula” Instalation on Curacao.

Title; ”bathing me, bathing you”
Subtitle; The blue reservoir
Medium; installation-video/performance-objet trouve’
Size; 8x7x3m – 37 minutes

“The blue reservoir”

By choosing the water reservoir which was used to ferment indigo plant ,I expressed the use of water as a metaphor for soothing the past, washing away the
pain, and to understand life. Life is like a theater script but with real individuals. When a backpack was found in the reservoir with stolen belongings of a homosexual mixed race couple (including intimate photographs).Their life crossed path with mine and we were bound together by fate and by this location with all its historical connotation. This event of real life reflects the view of art as an agent of revelation, where history and architecture becomes the symbolic mediator. The process that got an additional boost by this change encounter evolved into a ritualistic bath where I submerged myself in my needs to go beyond the limits beyond my fears and to submerge myself in the exchange of unconditional love.It was a declaration of love for my white homosexual friend and the submission to the sensual love of my black friend. By using myself as a medium for love to be transmitted unconditionally I learned a great lesson of love which is selflessness.  A letter to Sharlon. As the days went by,You listened like a lullaby, Your tender words, Your tender eyes, O,God  I said, This is a friend goodnight, Your skin so dye, My eyes closed shy,  I will never forget, and tell you, Good by, For the silence, You shared, The trust so divine, Me for the lessons y shared, i wished,You, for the love to forgive, Thank you my friend, You showed me now, You showed me how. A letter to Wilson.As the days went by, You were like an angel, Walking in the sky, So, beautiful, so divine
O, God , I said, This is a friend goodnight, Your skin so pale, My heart a butterfly, I only wished I lonely cried, I only thought, I hoped and tried, You be the one, Another time, May life forgive May life can give, one soul, one mind, one body, A wish, Thank you my friend, You showed me now, You showed me how.


1998 To my friend no.11
Lips, Sticks & Marks
Spiral Gallery Barbados curated by visual artists, Annelee Davis and Jocelyn Gardner.
Art Foundry Trinidad curated by visueal artists, Jocelyn Gardner, Annelee Davis and Irene Shaw.-


1997- Biennale de Havana Cuba,  Instalation SILENCE

An ear is an emotionally charged symbol. Because we receive the Word through the ear.  It often represents Faith. In Christian semantics, the ear will often be the symbol by which the Holy Ghost, the dove, makes the announcement to the Holy Virgin. In this case, the ear is the part of the body that makes Maria aware of her unspeakable happiness. Furthermore, it also symbolizes the woman as well as daughters. Consequently, with this the ear gets an erotic connotation as well. A magnificent sound has an immediate effect on each part of the body as a sensory experience and yet the ear in Osaira Muyale’s oeuvre  only remains are requisite of the imaginative power. It has a metaphorical meaning, which not only gives cause for observation, but also for deeper associations. Here too, it is clear that is no such a thing as the key to knowing the underlying meaning. The function of intuition is more important. An ear and listening is a mayor theme in contemporary art. Contrary to the works of, say, jan Fabre at Documenta IX and Douglas Gordon at the exposition Entre- Deux in Brussels, Osaira does not attempt to hear the unknown or the “outside”, but the tales of the public. She attempts to let the inner voice speak; to make the suppressed feelings revive. It is not surprising that listening has become a theme in a time in which the hectic life makes that nobody actually has the time to listen anymore. There are more and more souls crying and wandering in the wilderness of new media, fast television footage and 1.000 megabeats per second. Osaira Muyale listens indirectly to the people of Cuba. A work of art has to make the 1.000 voices of silent grief sound. And so, within the theme of the biennale “The individual and his memory”,  Muyale Performs an act in which she considers the public as an individual, and wants to let the memory of a past speak. But speaking takes the form of listening, listening to the inner voice.  A descent in your own deepest inner self,  from where the voice of the unconscious will speak. Therefore, the ear is also comparable with the eye. Both are the carriers of the experience to the memory. For Osaira Muyale personal experience and memory is the most important theme in her works. The experience she tries to concretize and communicate to the spectator, by means of images that thrust themselves upon her in fragments. Experience of life she tries to translate into sculptures. Art that is not about art, or creating art, art not created to please, it rather repels, but art about the experience of the artist, art about life itself. They are translated into sculptures and presented as such. Here too, the fact that the dove and the ear were brought together in early symbolism, can be considered special; the dove brings the message, but also peace.  A sign that gives the ear a positive meaning.  A meaning also needed to survive, with all the experiences, positive or negative, a human being goes through in his life.
-1997 Gijs Stork, M.A., Art Historian and Critic, Director, Artimo Foundation Holland.


Solo exposition at Eterno Studio Gallery (1995-2002)
J.G.Emanstraat 92
Oranjestad, Aruba

AUTOBIOGRAPHY, MEMORY, AND LACK OF COMMUNI­CATION
Profesor José Manuel Noceda Fernandez. 1995

A superficial contemplation of present times demon­strates, without much ado, the conflicts arisen as of the modern age. The terms to define this “fin-de-siecle” feel­ing oscillate between the apocalyptic prophecy and the clever epitaph of José Luis Brea of a “posthumous era of culture”. Behind these descriptions we sense signs of decadence, of anxiety over a global society.

The vertiginous ramification of the transnational and globalizing action of the economy, the financial world, the spearhead technologies, the information, and the culture disturbs the coherent paradigms of nations and men, sets new rules, causes an unusual mobility in the social strata  as well as in the symbolic and cognitive classes, and causes a “deterrito­rializa­tion”, intensified by the irrup­tion of another being, not invited to the banquet, i.e. I refer to the uncon­trollable movements from the South to the metropolitan cen­ters.

The eagerness to be civilized, concealed by the story of progress, ends by curtailing the autonomy of the indi­vid­ual. We live in a “thingy” society, very much aimed at the mass media, in a society of transmitters, or as Barthes would say, of “outers”, in which the dissoluteness of the personal triumph prevails. Therefore, it is not paradoxical to admit that the lack of communication is a lurking spook. This is the context man lives in, absorbed in a deaf ears dialogue. He rather sits in front of the screen of a moni­tor and consumes the global broadcasting menu, accesses the super networks of INTERNET from his home – his real hiding place -, communicates at a dis­tance, builds an insurmount­able ­wall around him, than that he has face to face contact with another. Apart from that, a large part of humanity remains “in areas of silence”, not having the slightest clue about the “advantages” derived from techno­logical impulses.

In this way, the solitude and the fear for a soliloquy emerge. The individual hides himself behind a solipsistic silence to protect his too vulnerable personality, reinfor­cing the idea of the nonsense of communication, the failure of the interaction between transmitter-recipient, the interference of the standards for the circulation of mess­ages. These are exactly the details on which Osaira Muyale bases her ideo-aesthetic story.

I met Osaira in 1993 and I now realize that she has rounded off her visual universe. The autobiography appears to be the ideal means to place her into her history and experience. With The Mystery of the Soul, 1995, she sur­prises with a Barthesian iconography based on the leitmotiv of fragmentation, or rather the physical flagellation and the mutilation of the memory. I enter into these topics because we never perceive an image in its entirety. We only identify unconnected signs of which the syntaxis has to be deciphered gradually. In this respects, Muyale adheres to the memory when she composes a scene of an introspective and retro­spective nature, an infinite permeability between navigable stages from the present to the past and vice versa. Wander­ing through the intimacy, she takes the age of childhood, the stage of innocence, as a central theme, but also the age prone to the loss of sense, of an atmosphere which normally explains the traumas, mysteries and passions of adulthood.

With Mystery … the artist choose a substratum of general use, belonging to everyday life; she connected the mystic complexity of the creating individual with her favorite objects. The symbolic work insistently recurs to “remains” of the human body – torsos hanging upside down, ears, feet, legs, hands and hair -, the domestic envi­ron­ment – chairs, suitcases, cutlery – or the affective envi­ron­ment – portraits, shoes, and parts of dolls. The ambi­guity emphasizes the coherence between these elements. Muyale outlines an apparent syntagmatic dislocation in respect of representation, and although it appears that she revives the astuteness of surrealism, in reality she assumes and reconstructs the contradictions inherent to the paradigms which mould a character.

A year later, during the exposition Hende muhe den Evolucion, she displays a work in which she shows her affinity with the autobiographic, emotive, and objectional preeminence of Louise Bourgeois and with certain three-dimensional schemes of Richard Long. The work in question, seen from a distance, depicts a spiral, and, furthermore, it may resemble the anatomy of the ear, the organ exalted to the level of obsessive iconography, which is repeated like a pattern, which outlines a complete route, a real or imaginary path, just like Long sometimes did. However, the feeling of appropriate guilt disappears rapidly. Muyale justifies its necessity by placing the “I” in the heart of the artistic reflection. Therefore, she assumes the invol­un­tary atrophy of one of the irreplaceable sense of men: the ear, the hearing.

The work harshly refers to the deterioration of com­munication, the uselessness of the ear in the heart of the desire to be civilized. The fusion of the individual-artist with the world is realized by means of a flow of communica­tion and information, marked by stages of interruption and areas of silence. For this reason, the path of Osaira is seg­mented, truncated in intervals, with sequences of frozen, sleeping, and eschatological personalities which condense universal worries, torments which strike the inhabitants of today’s Earth, which go far beyond geo­graphic areas or political preferences, with the pain of living in a small country in the Caribbean, umbilically bound to the ancient Metro­poles, connected to the World by satellite, the har­bors for transatlantic ships, and the international hotel chains; surrounded by the sea, where the perpetual feeling of insular claustrophobia reigns, and where the scourge of intolerance and the lack of under­standing is felt, which probably confirms the truth con­tained in a popular saying, full of humor and grace: “Small community, large hell”.

The work of Osaira Muyale connotes certain irony regarding these modern times of false communication, men­tioned by Walter Benjamin; she dissents from the maneuvers which seem to connect us with the rest of the world, more than ever. From individual sentiments, a deso­late soul, to pub­lic, univer­sal success, it all regards the anxiety of a generation, caused by the devastating effects of the lack of communication. From her life, her history, originates a narration which, in the end, soars the biogra­phy, influenc­ing our lives, the foreign experience, and which suddenly does not seem as subordinated to “the per­sonal” as we sup­pos­ed it was.

 


An ongoing project that delves into the psychology of repeating mechanism and triggers personal memory. It invites the audience to fill
the gap between visualizing a traditional dance and a dance that has no tradition.

13 august 2007 .‘Silhouette’. Story by Osaira Muyale, Beiruth Lebanon,
Arriving at the G,auille airport in France, I start wondering what is it that  i am looking for in Beirut ,Lebanon ,the pearl of the eastern hemisphere , as it has been calling me all along, from deep within. Serhel, the elevated wall.where Alexander Muyale and maria la Tuff joined their life together and forever. This is where Antonio Muyale la tuff was born, Aruba an island in the Caribbean sea. Watching the tequila sign, one morning 8;59 am ,as I jumped out of my red bed to start writing on this beautiful journey of love. Why a journey of love ,I ask myself, I do not know either. i just write as my red finger nails watch my eyes writing on a with piece of paper. a green tree ,in the middle of a red line and white borders. scratching my feet ,that have not been bitten by moskitos. also wondering how could these walls have been painted ,as the ceiling is very high, maybe 10 meters. half through the room, with a furnished mantra pattern tile, looking outside in this with finished wooden window,where mr. Habash just left his balcony to go back inside .tequila ,yes that’s what is hanging out of my room window. beer is what I drank last night at express bar, a place where you can not move your body,only your eyes.my eyes kept rolling to all the corners of a small long space filled with fog and cigarettes, wet lips ,kissing each other,as if there was no end neither mouth. Going back at my room at 1;00.i thought hm..it’s going to be hot again,after taking a bath and drops up my body ,I could feel how there was no end of staying wet .as I lay in bed,I thought just as last night, it will get cooler ,and in the morning when I wake up ,I can reinforce this statement, because I’am  not sweaty any more and there exists this cool air but only in the morning. When I wake up, my body starts to feel cooler, as the breeze starts to get accustomed with the room temperature. Noisy in the street,cars,hunks,talking and screaming people ,serene’s,hard engines,going up and down,.it’s morning ,a day to start,a party ago.it’s fry day! I see that everyone has a split unit hanging on the wall.i wish I could feel this breeze of coolness soon. I am going to make coffee and wanted to visit the metadox church,in the street,until 12 it’s open.


An ongoing project that collect circles, confront ideas on conceptual and abstract perspectives.
It imply movement and symbolize the cycle of time and of everything that moves.

It represents the notion of totality, wholeness, original perfection, the self, the infinite, eternity, timelessness, all cycle movement. ‘CIRCLE’ collection 2004-2005 consists of paintings, mixed media creations, multi media installations and video work. It address psychological and emotional vulnerabilities in a post- modern context. A circle is an universal symbol with extensive meaning. It represent the notion of totality, wholeness, original perfection, the self, the infinite, eternity, timelessness, all cyclic movement God ( ‘God is a circle whose centre is everywhere and whose circumference is nowhere’ Hermes Trismegistus )). As the sun, it is masculine power, as the soul and as encircling waters it is the feminine maternal principle. ”It implies an idea of movement and symbolizes the cycle of time ,the perpetual motion of everything that moves ,the planets’ journey around the sun (the circles of the zodiac), the great rhythm of the universe. The circle is also zero in our system of numbering and symbolizes potential, or the embryo .It has a magical value as a protective agent, and indicates the end of the process of individuation, of striving towards a psychic wholeness and self-realization Spectrum.prof.dr Hans Biedermann.
CIRCLES /Project : a room for tree. dialoque between heaven and earth. osaira Muyale in conversation. To believe and understand that this is a journey a process and not a destination a receiving of a final solution winning a award certificate. I appreciate and live the chance and change in my hereditary history custom. If the heritage, the culture, the system I live in does not work, I have to make my new culture. Because of this journey , I have the opportunity to explore myself and  try to understand the unknown, to continue with the known and thank God for the opportunity of conclusion. I believe that the universal system, the way it works and the way it is going ,depends on each of us. I am carrying the universe in my brain, heart and soul. If I can carry a free mind, a free soul  and a free heart ,I will work with free hands. No system can function if I have  to live with patterns that will not and is not giving a result, I will stay unhappy. And therefore not understanding “time and space”  I can see it in all the universal system I am living in. With all the modern patterns  humankind has not become better, all the advancements in technology, education, religion, government. It has all the same way of searching, following a system or a priest, president, doctor, teacher, guru, father, mother,….. Believing that only learning the external part of the humankind in this earthly life and not the internal soul of this galaxy. The living emotional space that is not being understood, it is considered war of the brain , because humanity don’t understand the difference between outer and inner search of the being. We has to have a constant control of our heart, emotions. Love is considered out of the ordinary, being separated is loyalty and being honest is not progress. I have to be strong all the time, understand and accept whatever I don’t believe in, the rules and regulation of modern decadence. Believing that through independence and communication you can get to a whole new system and that is the system of your own believe. Making a conclusion of this real/unreal life and then from there on try to understand and learn from it. Learn like you have never been hurt. From there on you can follow a system with a better view of mind and spirit. With a open  heart  that understands and receive and share the knowledge and wisdom  of giving love. The most important things of life I have to find out for myself, and that is through time and vision, through accepting my  faults and why I do them. I did not learn in school how to deal with  love, why… That’s why I believe that the bureaucratic universal systems is loosing its contact with human force. Force of the spirit, force of eternal love. If I could understand this from the moment I was born, there would be a better space for the unknown, for the not acceptance of the evil, because evil is a simple word for fear that has been transformed in anger in our mind, heart and soul. This eternal force called love can let me understand my senses, and why I use them unconditionally with awareness. In a not trusting society there exist a system of not seeing, not hearing, not smelling, not tasting, not feeling not communicating and therefore not loving. And therefore no relationship  with  another. Listen to yourself ,to listen to another. The circles of life-Seek and you will find, clean ,look, investigate, understand, try, accept, forgive, give, and love eternal love , that goes from eternity to eternity.

“Circle  within”
It, s not about winning, it, s about opening up
It, s feeling  free of the mind, soul and heart
It, s about sharing, inspiring, giving
It, s about unconditional love
It, s about loving yourself
It, s about loving God
It, s about loving your worse enemy
It, s about understanding evil
It, s about loving everything
It, s about trusting yourself
It, s about trusting others
It, s about using your brain
It, s about patience
It, s about communicating
It, s about cleansing your soul
It’s about respect
It, s about closer to one another
It, s  about discipline
It, s about sweat and tears to reach for the golden stars in heaven
It, s about beautiful words. OM


Project God-Dog

Titulo       “When I woke up, you were gone”/ film 3 min,  projecto God-doG   2002
osaira muyale den conversacion ; Mi interes den arte ta solamente arte cu por cambia un ideologia di un sociedad. E ego ta e obstaculo mas grandi pa e artista. esaki ta e morto pa e artista.Arte cu tin  solamente valor estetico ta incompleto.Den mi opinion e artista mester ta responsabel  y no por ta simplemente contento cu e valor estetico. Un trabao di arte ta pa sirbie sociedad.esey ta su  rol .Mi ta kere ta hopi egoista di un artista cu ta sinta den su studio y no ta worry cu kiko ta pasando rond di nan..bo no ta traha arte solamente pabo mes,claro cu esaki ta parti di dje, pero asina cu un trabao a termina e ta parti di sociedad.esaki ta nos responsabilidad. Mi trabao ta basa riba mi cultura.Mi cultura ta mixto, cu esaki mi kiermen ta cu ,mi tata ta nasi na aruba, desendiente lebanes y spano,  mi mama ta nasi na hulanda bibando 40 ana na aruba.Y ami mes ta nasi na aruba y bibando pa 39 ana aki,Tur dos mi mayornan ta  katholico di nacemento.mi tata pafor di misa, mi mama paden di misa.Asina ta cu for di mucha mi mente tawata tin tur sorto di ideanan mixto.For di mucha mi ta admira justicia y bunitesa , mi tata tawata un architecto y mi bisawelo pa parti di mi mama  tawata un escultor .asina ta e manera  di pensa den nos famia tawata cu hopi libertad mental y cu un disiplina  katholico orthodox.Mi a cuminsa cu theather mi a bai un academia di arte den exterior y a sigiu cu pintamento, ora pintura no a satisfasemi completo mas, mi a cuminsa cu installacion ,mi a cuminsa i husa mi curpa como un material den e instalation.esaki tawata dificil riba Aruba , como cu ta pintura so tawata e methodo di arte .Un obstaculo grandi cu mi ta tin ora mi a yega exterior tawata mi libertad, mi a wordo lanta cu hopi restriction.E storia cu e titulo GoddoG ta, un storia cu  ta basa riba e  responsabilidad y protection di cada individuo pa bo Ser. Ser humano y Ser spiritual.Un ta pasobra bo ta biba riba un pais cu tin un systema democratico, kiermen cu bo tin derecho pa hasi loque bo mente humano ta pensa.unta pasobra nos pais ta democratico kiermen cu e universo ta democratico.Unta pasobra abo tin un ideologia kiermen cu un otro tin pa asepte y unta pasobra un otro tin un ideologia abo mester asepte.awor,si ta cu tur e differente opinionan aki ,ta rekeri un cos ,y esey ta  comunication verbal riba e nivel cu cada persona por comprende e ideologia cu pa e momento ey ta e diferencia di opinion. No ta e diferencia di opinion mester ta e obstaculo den un systema ,ta e responsabilidad di por scucha otro y comprende otro su manera di pensa, pa por yuda orto cu e manera di pensa ey y pa  yuda otro di bai dilanti cu e resultado di e opinionnan cu mester a trece un solution mutuo.Sino bo ta hana cu tin destruction enves di construction.un forma pa  trece un solution permanente tin mas calidad y bondad cu un solution temporal.Comunication verbal ta di suma importancia, pa por comprende kiko ta pasando, si tin desunion rabia of cualkier sentimiento emoional incorrecto, ta pasobra e sintimiento no a wordo verbalisa of comunica debidamente y honestamente.Si cada individuo kier hiba su Ser , su pais y su universo  dilanti, mester por comunica esaki riba un manera honesto y bunita.Un cacho ta e bestia mas fiel na su amigo, e ta apreciabo ,e ta stimabo y nunca e lo lagabo na caya Mi tin tres cacho , Coco Chanel , Gucci , y  Tanka.