Algunas fotos Maxima Zorreguieta imágenes:
YOUTUBE MOVIE QUEEN MAXIMA & TANJA NIJMEIJER AT FARC GUERRILLA BASE REMOVED on the request of the Dutch government.
YOUTUBE MOVIE MAXIMA & TANJA REMOVED on the request of the Dutch government. This was a second request within a week, the first case was some photographs and footage on King and Queen in swimming trunks (1) on Aruba, right after they had been informed about the history of slavery on the island of Curaçao (2) and must have had a great need to wash it all off.
Only this screenshot remains and circulates at certain internet sites as a proof of the secret mission of Queen Maxima to a base camp of the FARC in Columbia. Tanja Nijmeijer a guerrillera from the Netherlands that joined the FARC movement in Columbia many years ago, has especially been flown in from Cuba for the occasion, as she is (like Queen Maxima) the pretty face of the organisation. Maxima had expressed a deep wish to see for herself, as an Argentinian lady who had heard so much about guerrilleros from her father when she was a teenager (3), how the romantic life in the jungle for the good cause of the people looks like in real.
Was not Che Guevarra also an Argentinian? The visit has been organised in the deepest secrecy, still some member of the FARC media crew must have managed to shoot some video footage during the meeting of Tanja and Maxima. As it had been agreed on forehand, that the FARC would refrain from using this special visit for any propaganda purposes, in the end the video footage has been withdrawn within minutes after been posted on the Youtube channel. What we still can see is how careful and apt – once again – the dress of Maxima is for this occasion, she even went so far as to apply a camouflage make up, something Tanja has long stopped doing, as she has changed the Colombian jungle for a VIP life in Cuba.
(1) 27/11/2013 De Volkskrant: "Koningspaar op foto in badkleding in Argentijns blad" (Royal couple in bathing suits in Argentinian magazine). Dutch main stream media have signed a contract with the State Information Agency (RvD) not to publish any material that can be seen as an infringement on the private life of the members of the Dutch Royal House. This form of pre-censorship leads to comic situations, whereby the name of the newspaper is mentioned in this news item that describes in words what is to be seen (of no real interest in this case) and giving the name of the magazine, so within minutes the pictures have been found on-line and are circulating in those Dutch media that did NOt sign the royal-media-contract.
The no interest photograph of Queen Maxima seen from afar in a swimming suit, can be found here:
(2) 19/11/2013 Reformatorisch Dagblad: "Koningspaar leert over slavernij op Curaçao" (Royal couples learns about slavery on Curaçao)
(3) 30/1/2013 Télam Cultura, an Argentinian newspaper, shows a picture of Maxima Zorreguieta as 8 year old girl with her father Jorge Zorreguieta in 1979, with some functionary of that time, at that time participating in the Argentinian dictatorship government, infamous for ist ‘Dirty War’ to cleanse Argentina from all forms of progressive and leftwing influence: "Reeditan la historia de Máxima que la casa real no quiso publica. La biografía Máxima, una historia real, de los periodistas Soledad Ferrari y Gonzalo Álvarez Guerrero, se reedita ampliada y toma vuelo a propósito del anuncio de la reina Beatriz de Holanda, que abdicó en favor de su hijo Guillermo, lo que convertirá a Máxima Zorreguieta en la primera reina argentina en la historia, a partir de abril."
(The article is about a reedition of a book on the history of Maxima and her family, a book that was not welcomed by the Dutch Royal House, that has attempted to prevent its publication in the year 2008).
Maximalism meets Minimalism Stedelijk Museum Amsterdam immersion into a black Malevich square by Queen Maxima & the 1915 Manifesto by Kazimir Malevich
Maximalism meets Minimalism Stedelijk Museum Amsterdam immersion into a black Malevich square by Queen Maxima & the 1915 Manifesto by Kazimir Malevich
‘Chiffon’ hat meets ‘craquelé’ painting or the recuperation (appropriation) of a revolutionary concept, when royals open exhibitions of the work of revolutionary artists and all intend is commodified into just an aesthetic experience. Or would Queen Maxima have had a real knowledge of the ‘the intend’ of Kazimir Malevich when he made his Suprematist paintings.
Does she know his 1915 manifesto in which he writes: "The square is a living, royal infant. It is the first step of pure creation in art"? Does that explain the way Maxima had a close look during her round of all the works on display in the Stedelijk Museum in Amsterdam?
Was she ready to take the risk, by getting so close at this revolution in painting, as Malevich explains: "Any painting surface is more alive than any face from which a pair of eyes and a grin jut out. A face painted in a picture gives a pitiful parody of life, and this allusion is only a reminder of the living."
Maxima did survive this opening celebration, but what went on in her mind, may be haunting her for the rest of her days. She must have heard the voice of Malevich sipping through the craquelé of his paintings and his radical statement from a time that was full of revolutionary turmoil at the end of the royal reign over Russia: "I tell you, you will not see the new beauty and the truth, until you make up your minds to spit."
Hereby a selection from the famous 1915 Malevich Manifesto "From Cubism and Futurism to Suprematism: The New Realism in Painting"
"Only with the disappearance of a habit of mind which sees in pictures little corners of nature, Madonnas and shameless Venuses, shall we witness a work of pure, living art."
"Things have disappeared like smoke; to gain the new artistic culture, art approaches creation as an end in itself and domination over the forms of nature."
"Thus they are unable to see the new beauty of our modern life. For they live be the beauty of past ages."
"And I say: That no torture-chamber of the Academies can withstand the passage of time. Forms move and are born, and we make newer and newer discoveries. And what I reveal to you, do not conceal. And it is absurd to force our age into the old forms of time past"
"But can cowards spit on their idols. Like we did yesterday!!! I tell you, you will not see the new beauty and the truth, until you make up your minds to spit. [. . .]"
"Now it is necessary to give the body shape and lend it a living form in real life. And this will be when forms emerge from the mass of the painting; that is, they will arise in the same way that utilitarian forms arose. Such forms will not be copies of living things in life, but will themselves be a living thing. A painted surface is a real, living form."
"If for thousands of years past the artist has tried to approach the depiction of an object as closely as possible, to present its essence and meaning, then in our era of Cubism the artist has destroyed objects together with their meaning, essence and purpose. The new picture has sprung from their fragments. Objects have vanished like smoke, for the sake of the new culture of art."
"The square is not a subconscious form. It is the creation of intuitive reason. It is the face of the new art. The square is a living, royal infant. It is the first step of pure creation in art. Before it, there were naive deformities and copies of nature. Our world of art has become new, non-objective, pure. Everything has vanished, there remains a mass of material, from which the new forms will he built."
"Any painting surface is more alive than any face from which a pair of eyes and a grin jut out. A face painted in a picture gives a pitiful parody of life, and this allusion is only a reminder of the living. But a surface lives, it has been born. The grave reminds us of a dead person, a picture of a living one."
"I have arrived at the surface and can take the dimension of a living body. But I shall use the dimension from which I shall create the new. I have released all the birds from the eternal cage, and opened the gates to the animals in zoological gardens. May they tear to pieces and devour the remains of your art. And may the freed bear bathe his body in the ice of the frozen north and not languish in the aquarium of boiled water in the academic garden. You may delight in the composition of a painting, but surely composition is the sentence of death to a figure condemned by the artist to an eternal pose. Your delight is the confirmation of this sentence."
"I say to all: reject love, reject aestheticism, reject the trunks of wisdom, for in the new culture your wisdom is laughable and insignificant. I have united the knots of wisdom and set free the consciousness of color! Remove from yourselves quickly the hardened skin of centuries, so that you may catch us up the more easily. I have overcome the impossible and formed gulfs with my breathing. You are in the nets of the horizon, like fish! We, Suprematists, throw open the way to you. Hurry! For tomorrow you will not recognize us."
Kazimir Malevich, From Cubism and Futurism to Suprematism: The New Realism in Painting (1915): www.mariabuszek.com/kcai/ConstrBau/Readings/MlevchSupr.pdf
The link is a scan from the standard work on Art Theory:
Harrison, Charles, and Paul Wood. 2003. Art in theory, 1900-2000: an anthology of changing ideas. Malden, MA: Blackwell Pub.; p173-183)
For availability in a local library see worldcat.org
When using as Creative Commons please include a reference to the original news-tableau picture: flic.kr/p/gSKibF
– inspirational news picture has this caption: "Netherlands’ Queen Maxima looks at a painting of Russian avant-garde painter Malevich during the official opening of the exhibition at Stedelijk Museum in Amsterdam, Friday Oct. 18, 2013. A string of diplomatic incidents is putting a severe strain on the relationship between the Netherlands and Russia, one of its major trading partners. The Dutch royal couple is scheduled to visit Russia on Nov. 9, 2013. (AP Photo/Peter Dejong)"
If you like the picture with the black polygons and yellow dot, you can have it reproduced by hand for just over 0,- in China (it comes without the original craquelé though) via this web site that offers: "Hand painted oil painting reproduction on canvas of Suprematism 1915 8 by artist Kazimir Malevich as gift or decoration by customer order." How would Malevich have reacted to this Chinese mimicry and what about Walther Benjamin and his discourse "The Work of Art in the Age of Mechanical Reproduction", published in 1936? I hope that the Stedelijk Museum Amsterdam has procured a few of these copies as a necessary documentation of reappearance of ‘manual art’ in the age of ‘digital reproduction’ (or is this Chinese firm faking it and does the painting not come from one of the manual reproduction centres of art in China, but from a printing machine with 3D capacity?)
Other Maxima Zorreguieta related ‘news tableaus’:
– 19/7/2013: "Zomervakantiefoto Koninklijk Gezin bij monument voor jaarlijkse kosten Koninklijk Huis"
– 2/7/2013: "Desi Bouterse Bigi Brasa Fu Bakrakondre / Grote Knuffel voor Nederland: alles vergeven en vergeten"
– 5/5/2013: "DODENHERDENKING 4 MEI 2013: "Don’t cry for us Maxima""
– 29/1/2013: ""Jorge Zorreguieta niet bij Inhuldiging" Daniel Rey Piuma Gefeliciteerd!"
– 5/1/2013: ""Maxima is van ons – Haar vader van de Argentijnen" over Nederlanders en het gemak van het vergeten van andermans leed"
– 4/10/2012: "Ster Van Qatar en prinses Maxima bezoeken vluchtelingen-tentenkamp in Amsterdam Osdorp, meldt Het Parool zojuist… 4/10/2012"
– 22/5/2012: "Confessions of Videla published by Ceferino Reato, but we are still waiting waiting for Zorreguieta to show any remorse"
DODENHERDENKING 4 MEI 2013: “Don’t cry for us Maxima”
4 MEI 2013 DODENHERDENKING (*)
fourth of May commemorating the death at the National Monument for the victims of World War II at the Dam square Amsterdam.
The white scarf that emerges through the basement of the Dutch National Monument for the Victims of WWII, is the symbol of the ‘Mothers of the Plaza de Mayo’ who have been demonstrating against the organised disappearances of their children and grand children since the days of the Dirty War in Argentina, 1976-1983. The number of victims of this war range from 10.000 to 30.000 and the demonstrations of the mothers and grand mothers continues to this very day, as many disappearances have still not been solved, children have been kidnapped from their original parents and some still are discovering that their actual parents are not their real parents. Jorge Zorreguieta has been able to evade persecution till this very day.
(*) For non-Dutch readers this further explanation.
Wikipedia summarises it as follows: "Remembrance of the Dead (Dutch: Dodenherdenking) is held annually on May 4 in the Netherlands. It commemorates all civilians and members of the armed forces of the Kingdom of the Netherlands who have died in wars or peacekeeping missions since the outbreak of World War II."
The meaning and shift of meaning of this national commemoration are problematic though. Was the colonial war fought by the Dutch in Indonesia (the Dutch use the euphemism ‘Politionele Actie"/police action, a peace keeping mission then? This also because the Dutch Royals never have involved themselves with public repentance for committed crimes of the Dutch colonial forces, neither in the colonial past, nor in the post Word War II repression of the national Indonesian insurgence. (1)
Also the Dutch participation in the Korean War in the fifties is now when the Cold War is over, something that can be seen in another light, certainly not a peace keeping mission.
The peace role of the Royal family became with the marriage of the Prince of Orange Willem Alexander with the daughter of a member of the military dictatorship in Argentina, Jorge Zorregueita, a debated issue. Especially so because at first the Prince waved away the historical research presented on the deep involvement of the father of his future wife. (2) It was only after many years of pressure that an actual ‘persona non grata’ policy has been instituted by the Dutch Royal House for Jorge Zorreguieta.
A protester against the attitude of denial of the Dutch prince in the year 2002, on the same Dam square in Amsterdam, at the eve of the official marriage ceremony in the Nieuwe Kerk, also situated at that square, has been arrested, intimidated and kept in custody for a long time in that year. This man was an Uruguayan who had received political asylum in the Netherlands because of his opposition against a similar military regime in his own country. (4)
Only recently and just indirectly has Maxima Zorreguieta – now declared Queen of the Netherlands – given some signs of understanding that her father should be always out of the picture in relation to any official appearance or ceremony.
It is only a few years ago that Jorge Zorreguieta was photographed during an official concert evening in Amsterdam amidst many royals and Dutch government figures, waving to photographers. (3)
(1) A good academic perspective on the failing Dutch government and royal attitudes on the colonia past can be found in "The age of apology: facing up to the past". a book edited by Mark Gibney on page 230, in the chapter "Colonialism, Slavery and Slave Trade" A Dutch Perspective" by Peter Baehr. Baehr quotes J.J.A. Van Doorn summarising "perhaps none of the other colonial countries suffered as much as the Netherlands from the ‘incompatibility of colonial profit and colonial ideals’ (page 231). Let me just take one fragment form these page long arguments about the attrocities committed in the period 1945-1949 during the attempt to keep Indonesia in some sort of neo-colonial grip by the Dutch: "…a call for apoligies arose on the eve of the official state visit by Queen Beatrix to Indonesia in 1995. (…) Apologies for what? For three hundred years of colonial domination? The bloody subjection of Aceh (Atjeh) by Dutch troops at the beginning of the twentieth century? The two military actions of 1947 and 1948? And apologie sto whom? To the Government of President Suharto that was known for being responsible fro a wide spectrum of human rights violations? To the Indonesia people as a whole? These questions were rasied, but bever satisfactorily answered" (Page 232).
These pages are on-line via GoogleBooks.
(2) Sadly this report has – to my knowledge – never been translated into English, though a Spanish version does exist. After some searches on the internet I hoose these summaries from the USA (conservative) news web site kcbq.com which cites some conslusions and opions form Professor Baud of the Amsterdam based university institute on Latin America (CEDLA):
"Baud’s conclusions, which Argentines later published as a book titled "The Father of the Bride," provided just enough reassurances to allow the wedding to go forward, while making clear that Zorreguieta still has much to answer for.
In an Associated Press interview, Baud said the concerns he raised back then remain just as worrisome.
"I didn’t find any proof that he was directly connected to human rights violations, but it was clear that in his position as director of the ‘Sociedad Rural,’ he was part of the group of people that at least stimulated the coup, and it’s significant that he stayed with the dictatorship for the whole five years, until Videla himself left the government," Baud said.
"It was inconceivable that he did not know about what was happening in Argentina. That was my strongest conclusion," said Baud, who met with Zorreguieta in 2001, and included his written denials in the report he presented to parliament."
An often cited text by Jorge Zorreguieta himself refuting direct involvement in the regime – published at the eve of the marriage of his daughter to prince Willem Alexander can be found (among other possible sources) on this biographical web page; this is just a summary: "Summarized: I have acted in good faith and risked the lifes of my family to fullfil a specific task in the area of agriculture, that didn’t have any connection with the oppression that took place in that time. 10. Like for each father it would be very important for me to accompany my daughter at her wedding. Contacts with the Dutch government however have led me to the conclusion that controversies about my presence at the wedding could have a negative influence on the future role and position of my daughter as a member of the Royal House of the Netherlands. On the grounds of this I am prepared not to be present at the wedding."
(3) See photograph of May 2011 of the forty years birthday party in the Amsterdam Concertgebouw with Jorge Zorreguieta attending
"De vader van prinses Maxima, Jorge (R), moeder Maria en broer Martin Zorreguietta arriveren bij het Concertgebouw. Prinses Maxima vierde dit jaar haar veertigste verjaardag. © ANP"
And a proud group portrait of major guest during the same occasion on the web-site of royalty-online.nl: "Feestweekend voor jarige Máxima (…) Op de voorste rij van links naar rechts: De Aga Khan, koningin Beatrix, prinses Máxima, prins Willem-Alexander, Maria del Carmen en Jorge Zorreguieta. De verjaardag wordt dit hele weekend gevierd." (Party week-end for Maxima having her birthday (…) on the front row from left to right Aga Khan, Queen Beatrix, princes Maxima, prince Willem Alexander, Maria del Carmen and Jorge Zorreguieta).
(4) See my news-tableau and Flickr page ""Jorge Zorreguieta niet bij Inhuldiging" Daniel Rey Piuma Gefeliciteerd!" (Dutch only)