Release: Janine van Oene

RELEASING: JANINE VAN OENE


MISCHKIN is proud to present its first release of 2019: during a residency at AGA Lab, Dutch artist Janine van Oene created two wonderful prints. 'Lemons', an aquatint etching combined with a screenprint and 'Melons', a multiple-layered screen print.

When examining the paintings of Janine, it shows that printmaking comes natural to her. Her works are built from familiar shapes; doodles, sunglasses, shells, plates, knives, plants. These shapes are distorted by applying multiple layers of painterly interventions. In a press release for a recent exhibition, Gerhard Hofland gallery wrote about her paintings: The paintings of Janine van Oene move between abstraction and figuration. Seemingly recognisable shapes prove to be fragmented, more complex, or more vague at closer inspection. Strange forms suddenly turn into irreversibly recognisable images. Van Oene plays with our perception in a way that distorts our sense of what is real and what is artificial... The methods used in in creating this distortion  become visible when looking at the prints. For example; what started as a watermelon, gets distorted by adding a layer of brushstrokes. The shape of the watermelon is brought back through its black outlines....or are these outlines sunglasses...

...No wait, first a layer of brushstrokes, then the watermelon...

No wait, first the colors of the watermelon which..

Just come and see for yourself:

Saturday March 16 from 17.00
Tweede Weteringdwarsstraat 58sous
Amsterdam


For inquiries:
info@mischkineditions.com
or call +31 (0) 6 202 30 900
Image

Lemons, 2019
aquatint and screenprint on paper
64 x 48 cm
Edition: 10

// € 450

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Image

Melons, 2019
screenprint on paper
70 x 50 cm
Edition: 30

// € 200

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ALSO SHOWING:


During the release of the works by Janine van Oene, we will also be showing work in edition by other artist. To broaden the painterly context, we chose to show our previous release: 'Every Pretzl is a Pretzl' by Nazif Lopulissa, work by painters such as René Daniëls, Günther Förg and Emo Verkerk as well as an early woodcut by Dutch sculptor Carel Visser.

NAZIF LOPULISSA


Nazif Lopulissa's paintings are best described as playful renderings of material, surface and shapes. With MISCHKIN he published a screenprint which he printed in Berlin, working with the shape of a Berliner Pretzl. Each of the 30 screenprint has an added layer of acrylic; a blue doodle, a yellow dotted outline and a red dot, each placed and painted in a slightly different place, giving every edition a unique touch.
In 2018, Nazif had a solo exhibition at KunstHAL in Rotterdam, if you would like to know more about his work, please visit the following link.

Nazif Lopulissa at KunstHAL

Available Artwork


Every Pretzl is a Pretzl, 2018
screenprint and acrylic on cotton paper
76 x 56 cm
Edition: 30

// € 300

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CAREL VISSER


Carel Visser is seen as one of the most important constructivist sculptors of the Netherlands. His later work is characterized by the assembly of a variety of materials, such as tires, oil drums, car windows, leather, sheepskin, eggs and so on. He made organized connections, a kind of assemblages, with this so-called great and sometimes small objets trouvés (found objects). Some of his work has been compared to a musical composition in which repetition and variation play an important role.

Carel Visser is represented in the collections of major museums such as MoMA, Tate and the Stedelijk Museum. The Kröller Müller Museum owns a broad collection of his oeuvre, find out more via the following link.

Kröller Müller Museum - Carel Visser

Available Artwork


Houtsnede II, 1966
woodcut on paper
62 x 88 cm
Edition: 190
Framed (Profilex, Amsterdam)
// € 900

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RENÉ DANIËLS


René Daniëls occupies a prominent place in the history of contemporary art from the latter half of the 20th century, despite the fact that his career was abruptly interrupted in 1987 after he suffered a stroke. Emerging in the late 1970s, when figurative and expressive painting once again became popular, Daniëls soon developed an original, personal language. Although he enjoyed early recognition, Daniëls had no qualms about experimenting with different pictorial styles. Nevertheless, certain motifs recur under constantly changing forms, following an associative, dream-like logic. Not unlike a composer, Daniëls devises variations on a theme. From 1984 onwards, one motif was to play a dominant role: that of an exhibition room seen in perspective. This form, resembling a bow tie, is reproduced in compositions in which he plays with mirroring effects, overlapping layers, or changes of direction.

WIELS.org

Available Artwork


Het Schoolbestuur is het oneens met de EG-Bepalingen, 1984
screenprint on paper
80 x 95.5 cm
Edition: 45
Framed (Profilex, Amsterdam)
// Price on request

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Lland Stival, 1985
screenprint on paper
114.5 x 84.4 cm
Edition: 120
in original frame
// Price on request

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GÜNTHER FÖRG


Günther Förg was a German artist known for his paintings and photography. He rose to prominence in the late 1970's making black monochrome paintings in reaction to the minimalist painters of the decades before. In the 1980's he became heavily influenced by Bauhaus, its ideals and the remaining architecture. By photographing the formal buildings in odd perspectives and showing imperfections or additions he showed the fragility of these once idealist buildings. These photographs also show his interest in windows, particularly the formal function and potentiality of the frame, or in painting, the grid. These grid paintings would take up most of his oeuvre of the 1990's.

The Stedelijk Museum in Amsterdam hosted a grand retrospective of his oeuvre in 2018, you can find out more about his work via their website.

Günther Förg - A Fragile Beauty

Available Artwork


untitled, 1993
screenprint on paper
96 x 69 cm
Edition: AP / 130
// € 750

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untitled, 1993
screenprint on paper
96 x 69 cm
Edition: AP / 130
// € 750

// INQUIRE

EMO VERKERK


Among the most important artists working in the Netherlands in recent years, Verkerk began producing his weird and wonderful two- and three-dimensional works in 1978. Early in his career, he painted portraits in which form and colour took on a life of their own. Following his major 1988 retrospective at the Stedelijk Museum in Amsterdam, his work developed in leaps and bounds. Abandoning all normal concepts of portraiture, he adopted a highly individual approach that has resulted in a stream of disarming and joyous paintings and sculptures.

gemeentemuseum.nl

Available Artwork


Vincent, 2015
Etching on paper
Sheet size: 60 x 45 cm
Image size: 17,5 x 20 cm
Edition of 12 plus 3
// € 450

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