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    Other Parts of the Scene
    MARJOLIJN DE WIT

    13/11/2019 – 14/12/2019
    only by appointment

    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Other parts of the scene, 2019, installation view. Courtesy Otto Zoo. Ph Luca Vianello.
    • Marjolijn De Wit, Evidence of their existence, 2013, piezography, porcelain, ceramic, wood, acrylic, paint, brass, aluminium, 220x155 cm. Courtesy Otto Zoo. Ph Luca Vianello.

    works

    • #13, 2019, gouache on paper, 35x27 cm
    • #16, 2019, gouache on paper, 35x27 cm
    • #31, 2019, gouache on paper, 35x27 cm
    • #32, gouache on paper, 35x27 cm
    • #44, gouache on paper, 35x27 cm
    • #47, gouache on paper, 35x27 cm
    • #51, gouache on paper, 35x27 cm
    • Artificial reef, 2009, oil in canvas,190 x 200 cm
    • Untitled, 2010, oil on canvas,200 x 190 cm

    Influenced by graphic and modernist schemes, the art of Marjolijn De Wit develops from the idea of depicting the complex relationship between humanity and nature or, to be exact, those places where the intervention of the former has had the effect of “misrepresenting” the essence of the latter. This is a theme that over time has led her to inquire into an aesthetic close to the concept of modern archaeology, and to questioning herself about the environment we have built around ourselves. In her painting, collages, and sculptures, she creates imaginary landscapes where incongruous and abstract elements are mixed up with natural landscapes.
    On show in Milan are her large canvases inspired by cultivation, where the intervention of humankind and its continual aim to control natural production has given life to hybrid and artificial scenarios, and to gouaches that represent small still-lifes, small installations where abstract and real objects are mixed together.

     

    Marjolijn De Wit was born in Bennekom, The Netherlands, in 1979; she lives in Utrecht.
    She has taken part in prestigious residential programmes in Europe, including the Rijksakademie van Beeldende kunsten, Amsterdam; Lia (Leipzig International Art program); and the EKWC (European Ceramic Workcenter) in ‘s-Hertogenbosch, The Netherlands. Her museum exhibitions include Torrance Art Museum, Torrance (USA), Weserburg Museum of Modern Art (DE), CODA Museum Apeldoorn (NL), De Pont Museum, Tillburg (NL), Gemeentemuseum, The Hague (NL), and the Museum Van Bommel Van Dam, Venlo (NL).
    Solo exhibitions include Galerie Houg, Paris, Asya Geisberg gallery, New York, Rotterdam Art Fair, and Spinnerei, Leipzig.
    In 2007 she won the Dutch Royal Award for painting and, in 2013, the New York Pulse Prize with a Otto Zoo’s stand. She has been the recipient of the Mondriaan Fund, and Amsterdam Fonds Voor de Kunst developing stipend. She is also active in the business of publishing and has created numerous artist’s publications, including Abstract gardening, How to get from A to B and Pots are not People.