A large retrospective exhibition of kaersenhout’s work is presented in an adjoining room, consisting of a selection of about sixty works of art from eleven different series. The film is shown in a separate room in a former office at Hettenheuvelweg 8 in Amstel III.
Why has their presence not been recorded? To correct that omission, kaersenhout performs the characters of these women while clothed in men's suits made of Vlisco fabric, a reference to the Dutch colonial past. The congress was one of the most important gatherings of black intellectuals in the 20th century, but women were missing, even though they played a role in its organisation. Most of these women are far from forgotten but less well remembered are their crucial roles within the Négritude movement, an important organisation of black emancipation.Īt the legendary four-day First International Congress of Black Writers and Artists in 1956 in the Amphithéatre Descartes at the Sorbonne University, no women are documented among the attendees.
In an upcoming solo exhibition, Dutch-Surinamese visual artist patricia kaersenhout (1966) continues her exciting journey into the forgotten stories of women of colour.įirstly, there is Le Retour Des Femmes Colibri, a new film featuring the histories of Josephine Baker, Suzanne Césaire, Christiane Diop, Frida Kahlo and Paulette and Jeanne Nardal.
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