Paul Donker Duyvis Photo Video Performance


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Photo - Installation - Performance


Paul Donker Duyvis Foto  Mong 몽 (Dream), Performance 5-9-2013 JEJU Island S. korea
Watch video Mong (Deam)

Mong 몽 (Dream) 5-9-2013
Paul Donker Duyvis  JEJU Island S. korea

Paul Donker Duyvis Foto  Chairs (Free Fall Sulpture) 2011 Performance Paul Donker Duyvis Foto . Nine Dragon Heads Masterclass with Students from School for Art & Design Schule fur Gestaltung Biel — in Biel/Bienne
Chairs (Free Fall Sulpture) 2011 Performance
Paul Donker Duyvis  Nine Dragon Heads Masterclass
with Students from School for Art & Design/Schule fur Gestaltung Biel

Paul Donker Duyvis, pddstudio, wind, performance, Biel, 9DH, nine Dragon heads
Echo of the Winds    Watch video
Paul Donker Duyvis Sound Performance 2011 at Bieler See  3Paw Exposition Projects, Biel

Tutto Bene ...
(Vanitas Sill Life with Mimosa)
Public Street Performance Dubrovnik

Nine Dragon Heads
10 February 2014
Sarajevo Peace Festival Winter 2014 Collegium Artisticum
Paul Donker Duyvis with Byoung-uk Park

watch video    watch Slideshow    more photos
PUSH  Performance Paul Donker Duyvis
RCdeRuimte 7-11-2010

Sound Performance 16-10-2011
Paul Donker Duyvis Cyclus 1 (Primitivo)

Blue River
Paul.Donker Duyvis Performance-3-9-201
Opening exhibition
Preservation is Future”
Moodeung Museum of Contemporary Art, Gwangju, S. Korea

+ogether (Tutti Fratelli)
Paul Donker Duyvis - Performance 2009

Unity Against Disaster

Official Opening Red Cross Center CheongJu 15-April 2009

Nine Dragon Heads Art & Performance Project
CheongJu S. Korea  curator: ByoungUk Park
See No Evil  Paul Donker Duyvis,Performance
at Opening Artisterium V, Karvasla / Caravan Serail
National History Museum, Tiblisi, Georgia 8 Oct 1012

Say No Evil, See No Evil, Hear no Evil 2012
Cotton Project Aral Sea, Tiblisi 2012
Nine Dragon Heads Silk Road Nomadic Art Project

Watch video

ARAL SEE, Paul Donker Duyvis, Nine Dragon Heads, Uzbekistan, ,
Well (log in)
Performance / Installation
Paul Donker Duyvis
Moynaq, Uzbekistan
Nine Dragon Heads 30 Sept 2012

In front of shipwrecks on the bottom of the Aral Sea.
This immense lake dryied out due to dams and irrigation for the cotton production in this area.
The dead Aral Sea is One of the biggest ecological disasters of our planet.

Performance Nuclear Inspectors
Busan, Haeundai Beach, 2010
Paul Donker Duyvis
Harold de Bree
Nine Dragon Heads Art Projects curator Park, ByoungUk

Paul Donker Duyvis, Belem, Armando Sobral, Paulo Herkenfoff, Fotoativa

Performance - X
Paul Donker Duyvis Woodcut Poster Project for
VILA da BARCA, Belem 2006
Solo Exhibition Fotoativa ArtSpace, Belém, Brazil
photo: Renato Chalu / O Liberal 2006 Fotoativa Art Space, Belém, Brazil
X stands for Explicit / Explicito
This word has many meanings.
For me it is an expression of
Freedom of Thought, Speak, Religion, Race, Sexuallty.
Freedom of Expression without Censorship or Threat to hide the Truth

O holandês Paul Donker Duyvis mostra em Belém
sua arte original de elogio aos povos
O Liberal Belem Para Brasil 14-06 2006
C Print 150 x 100 cm

Compass, compassion, Paul Donker Duyvis, Paul Donker Duyvis Performance Compass collaboration with Madalena Aliverti, Soprano singing:  Melodia Sentimental Compser: Vila Lobos CCBEU 2006
Paul Donker Duyvis Performance
Compass / Compassion
with Madalena Aliverti, Soprano singing: 
Melodia Sentimental from Vila Lobos Museo CCBEU, Belem 2006

Hand Warm, Paul Donker Duyvis

Hand Warm 2008
This project is part of Encumbered Memo´s,
Exhibition Project (Performances / Installations)
by Paul Donker Duyvis for Nine Dragon Heads
Encumbered Exhibition XXIV International Festival Sarajevo
7.2. - 21.3. 2008. Visual Identity:
Barricades Without Borders- New (Brave) Worlds

Encumbered Memo´s for Bosnia Sarajevo 2008
This project is part of XXIV International Festival Sarajevotarget="_blank"
7.2. - 21.3. 2008. Visual Identity:
Barricades Without Borders- New (Brave) Worlds

Paul Donker Duyvis - Tree with View 2005 (Sichuan China)
C Print 150 x 100 cm

Paul Donker Duyvis - Bamboo with Lanterns 2005 (Sichuan China)
C Print 150 x 100 cm

Paul Donker Duyvis - Exhibitionview / Performance
Gallery 21 Dordrecht NL 2006
C Prints 150 x 100 cm

Os quilombos fazem parte do fundo ético da sociedade paraense.
Os atuais quilombolas descendem de escravos que não hesitaram em correr o risco de fugir para a liberdade.
Graves formas de violência social, como massacres de quilombolas e práticas fascistas
de estrangulamento de suas terras. No século XXI, vivem em liberdade sitiada. Recentemente uma família foi dizimada. No Marajó,
os quilombos estariam sendo cercados por fazendeiros com cercas elétricas, como nos campo de concentração, por motivos fundiários.
As comunidades perdem acesso à água, a fontes de alimento e lugares sagrados.

Paul Donker Duyvis aponta a discriminação e a violência às quais se expõe um "quilombo" urbano aqui e agora
em Belém, através de formas ativas contemporâneas de marginalização. A exploração imobiliária ameaça
a moradia da população da Vila da Barca. O modelo de desenvolvimento urbano
de Belém se aproxima da prática paulista de se apropriar de terrenos de favelas para entregar
ao capital imobiliário,expulsando os moradores para a periferia distante de seu trabalho.
A obra de Margalho Açu é uma instável construção de uma latrina, que denuncia as
precárias condições de higiene entre as populações marginais do Pará.

(Paulo Herkenhoff, 2007, Curator Arte Para)

The real and the fictional world can be considered as the complex
relationship between the material and spiritual world,
the temptations of the body and the spiritual duties of the soul.

These two extremes are strongly interrelated in human life
and should not be seen as opposite poles or separate worlds.

Paul Donker Duyvis creates a Japanese atmosphere in his work,
not only by using typically Japanese objects such as kimonos,
fans and rice or Oriental-looking women. These are obviously
Japanese, or rather Oriental, attributes, but still just
properties of his work.These Japanese characteristics merge
strongly with the ambiguity of his images.

The Japanese have an unspoken agreement not to regard
paradoxical matters as paradoxical.
Contradictory elements are presented on a common level
instead, camouflaging them with a certain vague ambiguit
To Westerners, ambiguity is opposite to clarity, but the
Japanese perceive this vague ambiguity as a means of
understanding the many layers of possible meanings.
These characteristics can also be recognised in his work,
strengthening the sense of Japanese aura.

Yuri Fujimoto

Touch of the Pilgrim 2005
Paul Donker Duyvis  C Print 150 x 100 cm
Pilgrim touching a secret pre-handformed touchspot
Buddhist Sanctuary (Sichuan China 2005)

Behind the facination any mirror, object or human, is able to provide, rests the (perception=)reality
that what you see is never 100% what you expect, what you get, what others get.
The reflection hardly equals perception; the reflection presents at least one outstanding feature that catches your eye
and requires acceptance, if not comprehension--for starters--, comprehension
(=need to understand) being a more powerful driver
than acceptance under human terms and ways, unfortunately.

Basically, it is unclear, to most of us, whether a (perception of) self is untrue or a (perception of) reflection. That is what really
catches the eye. The drive to identify the real self, as if there would be only one (perception of) way of the self.
Human nature at work, once again.

This photo, for example, could be just a snapshot, even if sold/ positioned as
a self-portrait of a the artist. Yet it is my view that decides
what this (perception of a) photo is, or this (perception of a) mirrored image is.
That makes the question irrelevant if the boy is caught in the act or directed.

The boy is just a happy boy, in (again, a Buddha state ;),
unaware of his larger than life nanosecond.
The reflection, though, is there, fully there, embracing
existence, not just hitting the water. The reflection shows the joy
and hope we all hold in some corner, and the catch is...
that we are both the boy and the reflection, simultaneously. Nothing fancier.
Or, if a tiny bit fancier, that we have the potential to be either, mirrored or not.
The choice. For all those majority instances when we're not mirrored. When we think
we're just one. When we refuse to think we're so many more,
and we're only comfortable with some of them getting mirrored ;)

I must add that the photo is a self-portrait of Paul... I've a weakness for Dutch guys... Perception rules.
(Mirona Iliescu)

Me, Myself and I
Arti & Amicitiae october 2005

Paul Donker Duyvis - Jump 2004
C Print 150 x 100 cm

This is a remarkable photo.
The ultimate silence of the touching of the water.
More than in any other photo
time is frozen.
The Japanese have this remakable little word 'ma'
to express the suspension of time.
It leads me further on to ponder on the size of the lake,
and allows me to think of the lake as being round,
circular and encompassing all.
Like in the evocative pictures of Van der Heijden.
The mirrorlike surface draws my attention to the title.
A self-portrait?
How is Paul included in this picture?
Who is this mysterious I? (May 2007)

. . .

Paul Donker Duyvis verstaat zich als Nederlandse kunstenaar nadrukkelijk
met de niet westerse opvatting over de functie van kunst.
De betekenis van het beeld zoals zich dat in de westerse kunstbeschouwing
heeft ontwikkeld, is voor Donker Duyvis vanzelfsprekend onontkoombaar,
maar hij zoekt nadrukkelijk een verhouding met totaal andere
betekenismogelijkheden die hier worden veronachtzaamd,omdat ze de autonomie
van het beeld en de zelfstandige verantwoordelijkheid, zowel in ethische
als esthetische zin, van de kunstenaar zouden devalueren.
Paul Donker Duyvis gelooft daar helemaal niets van en is vooral op zoek
naar de maatschappelijk bindende betekenis die de visuele kwaliteit die
in de beeldende kunst wordt nagestreefd als ultieme potentie heeft.
Het gaat daarbij niet om westerse waarden als uniciteit,authenticiteit,
originaliteit en het ongrijpbare kwaliteit, maar om het begrip van de
betekenis die op velerlei niveaus wordt aangekaart.

Dit beeld van een kind dat in het water duikt, lijkt inwisselbaar voor
duizenden anderen soortgelijke foto-opnames. Behalve dat je moet zien
dat hier de tijd aan de gebeurtenis is ontnomen, dat in de lucht,
tussen wal en water, met de schaduw van het kind tussen zijn lichaam
en het water als oppervlakte in, de diepte van de sprong in het ongewisse
is gevangen. In niet westerse culturen worden ornamenten, symbolen,
patronen, kleurenschema's, sjablonen en dergelijke in een eindeloze
herhaling gedurende de hele cultuurgeschiedenis opnieuw van betekenis
voorzien, door ze opnieuw te maken. De oude zijn niet betekenisvoller
dan de nieuwe, de oude hebben niet afgedaan, maar zijn door de nieuwe
bevestigd. Paul Donker Duyvis past het toe op zijn manier van kijken naar
het voorbijgaan van het leven, dat hij vangt in onbekommerde levenslust.
Kopje onder.

Alex de Vries . (21-5-2006 -

Fire Performance Paul Donker Duyvis 2005

Fire 2005
(sugar powder on sand) 3 x 2 m, Sculpture to be blown away in the wind

One of the Five Elements: Fire, Earth, Wind, Space (Emptiness)
Fire symbolises warmth, energy, creativity, sexuality. Sugar is a concentrated form of energy
Installation / Performance for Nine Dragon Heads 2005, Lake Daejon / Cheong Ju Art Center, Korea
Curator: Park, Byoung-Uk

" His photographs are sensually invoking yet natural and passive at the same time.
Great sensitivity, gentleness and sensuality"

Performance ZA (Sit) AKI (Autumn) Oude Kerk Amsterdam
Installation view: AKI  Paul Donker Duyvis
Museumnacht 6 november 2004

Performance ZA (Sit) Oude Kerk Amsterdam
with Installation view: Hands Paul Donker Duyvis 6 november 2004
more photos

Sit (Family1) 2004 - Paul Donker Duyvis
Japanese Family, Amsterdam 2004
Part 1 of Diptych C Print 150 x 100 cm
Project for My Backyard - Quartair Den Haag
curator Jessy Rahman / pddstudio

Sleep 2000, C Print 150 x 100 cm

Als je Terugkomt, Woon ik aan het Water /
When you Return, I Live at the Water
Colorphoto 130 x 100 cm

• Curriculum

A pebble thrown in a lake causes gentle waves of increasingly rippling rings.
At the moment that Paul Donker Duyvis clicked his camera, a calm ripple spread
from this reality to an other world; his works speak of such serene reverberation.

(Yuri Fujimoto)

Paul Donker Duyvis explores both the everyday life and the exotic.
He cherishes a more than mystical-sentimental view on the
Japanese lifestyle and the rituals of the historical culture.
(Paul Groot)

Melancholische portretten van Japanse vrouwen,
die herinneren aan de devote gezichten en
kostbare plooival van de schilderijen van
Jan van Eyck en Rogier van der Weyden.
(Karin Feenstra)

Paul Donker Duyvis maakte een prachtige video van een Japanse,
die in vertraagde bewegingen speelt met de haren in haar nek.
Op de achtergrond klinkt een traditioneel Japans lied.
De alledaagsheid van het beeld overstijgt de grens tussen West en Oost.

Paul Donker Duyvis made a beautiful video from the hand
of a Japanese woman playing with her hair in slow motion.
On the background a traditional song from Okinawa.
It surpasses the border between East and West
(Merel Bem - Volkskrant 2 augustus 2000)


Invitation Card Paraplufabriek 2003
Photo Paul Donker Duyvis - Design Gek Ontwerp
Exposities, Performances, Lezingen
over melancholie, vertraging en woede
Paraplufabriek Nijmegen - 26 oktober t/m 7 december 2003
curators: Lee Eun Young, Paul Donker Duyvis, Carel Lanters


watch video
AKI / Autumn Wind
(Waiting for Spring)
26 October 2003 


watch video
Generosity 2013

About Heaven and Hell (Diptych) Performance Installation Video
Paul Donker Duyvis

Some Aspects Of Heaven And Hell, 2003
Kunstlijn, Kloostergang Haarlem / Vrije Academie Den Haag


Release 2003
Silk by Alessandro Baricco
Cover Photo Paul Donker Duyvis


Ear from Young Indian Man with long bone as decoration (Pataxó Brasil) 2002


Young Man (Pataxó Brasil) 2002


Young Indian Man with nice feathers on head (Pataxó Brasil) 2002

• PATAXO Indians Brasil 2002

Waaier Dans / Fan Dance 1999

• Animations

Hand (Walldrawing) 1998
350 x 200 cm

Safe-Western Comfort 1995,
Installation with Colorphotos, Lightbulbs, Water containers

Safe 1995 (detail Installation)
Colorphoto 150 x 100 cm
detail Installation

Material - Spiritual 1997
detail Installation, Textile, Rice

Secret Words: the Spiritual and the Material World 1996
Colorphoto 150 x 100 cm

De Hand en de Hals / The Nape of the Neck / Unagi 1997
Colorphoto 150 x 100 cm, Video Still

  The (unpainted) nape of a geisha's neck is considered to be the most sensuous part of her body

The Flower of Balsam

One dyes on one's fingernails.
The words of the beloved must dye in one's heart.
Ships sailing the night seas
take their bearings by the pole star.
One has but to study to master the name of the constellations.
But the lessons are not mastered by study alone.
Even gems and treasures will rust unless polished.
Polishing my spirit night and day,
I traverse this transient world.
When the sun rises , I shall go off to study.
Please plait my hair, my dear...

(Traditional song from Okinawa)

De video (de Hand en de Hals) van Paul Donker Duyvis is een verademing.
Hij belicht een ander aspect van de Japanse samenleving.
In zwartwit toont de Nederlander de rug van een vrouw in traditionele kleding.
Met eindeloos geduld is zij de loshangende plukjes haar in haar nek
tussen de rest van het opgestoken haar weg aan het werken.
Zo nu en dan vang je nog net een glimp op van de ovale spiegel die de vrouw voor zich houdt.
Telkens opnieuw zoekt haar hand naar naar nog andere loshangende onrechtmatigheden.
Het lijkt soms een bijna dwangmatige handeling.
Donker Duyvis laat hier op een subtiele manier iets zien van de
traditionele Japanse Cultuur vol ondoorgrondelijke codes.

(Sandra Spijkerman, 'Ondoorgrondelijk Japan daagt kunstenaars uit', Trouw 19/08/2000)

Guards -
The Mutability of Life (Tryptich) 1994
Colorphoto (3 x) 150 x 100 cm

Sea Billiard 2000 Installation
(Zen Garden with Rice on Billiard Table)

Sisters 1999
Colorphoto 150 x 100 cm

Watch the Ball 1998 • Photo by / DM Photography •
Colorphoto 150 x 100 cm

Face (AS) 1999
Colorphoto 150 x 100 cm

Ball (CI) 1999

De Aanraking-de Huid (Handen) 2003 • Cover Photo by DM Photography •
Colorphoto 150 x 100 cm

Colorphoto 150 x 100 cm of Performance Project
Washing the Feet of a Black Woman from Bahia Brasil
with Cotton grown in Holland (seed from Cottonbelt USA)
to celebrate and to memorize the abdiction of slavery
(100 th anniversary).
Project for Civil Rights Museum Memphis USA
curated by Anthony Murrell.

Mood (PR) 1996
Colorphoto 100 x 150 cm

Sad 1996
Colorphoto 150 x 100 cm

Water (Five Elements) 1997
Colorphoto 150 x 100 cm

The changing color of Sala Flowers 1997
Colorphoto 150 x 100 cm

The bell in Gion Shoja temple
Rings out with the mutability of life.
The changing color of Sala flowers
Shows that what florishes today
must perish tomorrow.
Welth does not last long,
just like a dream of spring night.
Prosperity goes to ruin,

Just like dust before the wind...

( The Story of the Heike a 12th century Japanese epic,
traditionally chanted by a minstrel-monk while playing the Biwa lute.)

Rejected (Vanitas) 2009
(The changing color of Sala Flowers)
Colorphoto 150 x 100 cm

Birth will end in death.
Youth will end in old age.
Wealth will end in loss.
Meetings will end in separation.
All things in cyclic existence
are transient and impermanent. ...
View this fleeting world.
A star at dawn. A bubble in a stream.
A flash of lightning in a summer cloud.
A flickering lamp.
A phantom and a dream.

• Curriculum (CV) 1

• Curriculum (CV) 2

• Nuclear Inspectors 2009 - Performance Paul Donker Duyvis / Harold de Bree, Busan S. Korea

• Jump to the Island 2009

• Jump to the Island 2009 Blog

• Jump Cover

• CoverPhoto Keizerin uit het Volk 2009

• Portrait & Model

• Explicito, Exposition View, Belem 2006

• Some Aspects Of Heaven And Hell, 2003 Project for Museale Maaltijd Vrije Academie, Den Haag

• ZUCHT, Melancholie, Vertraging en Woede, Paraplufabriek, Nijmegen

• PATAXO Indians Coral Vermelho Brasil 2002 - Slide Show (Click to View)

• Polar Project 1996, Land-project

• Polar Project 1996, Land-project 2

• Exhibition View Museum of Contemporary Art-MAC Campinas Brazil 1998

• The changing color of 'Sala Flowers (Reclining) 1998

Contact / Newsletter:

Mob: +31-64-8502.088 / +31-61-9538-949
Tel: +31-(0)20-400.31.32 / +31-(0)70-3244.223
Den Haag, Amsterdam, Belem, Seoul

. . . What should we be without the sexual myth, the human revery or poem of death? ... Wallace Stevens -Man made Words



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