PLEIN AIR CURACAO
From the start of the international art festival in 2011, it was the intention to establish a museum to house a slowly growing permanent collection of the beautiful paintings of Curaçao made during the festival. A competition is held at the end of each festival and some first prize winning paintings are retained for display, that otherwise would be taken abroad by their owners and not be available for local viewing.
Every two years the Plein Air Curaçao artists paint Curaçao on land (Plein Air), underwater (Plein Eau) and from above (Plein Aerial) because the island, its people and cultural objects make for very paintable subjects, while the documentation in paintings also aims to preserve a sampling for future generations.
Although the collection of paintings is permanent, this brand new museum's location is not permanent and will follow the pop-up concept of the festival itself.
We invite you to take this unique opportunity to see these paintings from past festivals and learn more about the Plein Air genre in general and the movement of Plein Air art in Curaçao at Hanchi Snoa 27, next to the Synagogue.
This 2017 theme chosen by ICOM (Int'l Council of Museums) gives our brand new Plein Air Curacao Art Museum, the opportunity to express one of the reasons why the international art festival "Plein Air Curacao" was established to preserve through paintings the beauty of Curacao in all its aspects, including the pleasant and less pleasant history and the silent witnesses for present- but especially for future generations.
How we wish we had started long before 2011: we could have a painting of the West End building, the "Vijf Zinnen", the Roxy Cinema and many others that can never again be painted "en plein air".
A recent opportunity was lost also to Plein Eau (underwater) painting when we looked in despair at the newspaper article describing the large area of 540 by 50 meters of coral reef that was destroyed to build another mega pier.
The Plein Aerial (from high above) painting during the festival also served to confront us with some realities: the artists had the opportunity to paint views from within the Juliana Bridge, with the refinery on one side and Punda and Otrobanda on the other side. All of the paintings were made of the Punda and Otrobanda side and only one of our necessary "evil", the refinery. Although the site of Punda and Otrobanda is very compelling, the exhaust, ground-pollution and other less attractive aspects of the refinery might have been a sight they preferred to neglect, in spite of the economic benefit to the island.
On the other hand, painting views from the Tafelberg was very popular and all the artists signed up for this. After all, it sure is not as high as it used to be, who knows if it will be high enough for Plein Aerial painting in the future.