Jan Schoonhoven, Untitled - 1976
Artist: Jan Schoonhoven
Size: 50 x 33 cm
Signature: signed and dated 1976 lower right
Numbered: SM-1-14/50 lower left
Medium Type: Silkscreen on paper
Certificate of authenticity: not included
Image rights: © Muetos Gallery
Condition: Excellent (A), very light signs of handling
Frame: Not included
Literature: C. Rigo, B. Meijer, Jan Schoonhoven – Editions, Schiedam 2018, no. 28-B
In his 1964 programmatic text 'Zero', published in De Nieuwe Stijl (1965), Jan Schoonhoven further explained the organizing principles of his art:
'The geometric aspect of zero arises from the element of repetition, placing in rows (Reihungen).
This ordering arises from the need to avoid preference. The absence of preference for particular places and points in the work of art is essential to zero and necessary to give isolated reality. The geometric side of zero is therefore attuned to utmost simplicity (...)
Zero is first and foremost a new conception of reality, in which the individual role of the artist is reduced to the minimum. The zero-artist merely chooses, isolates parts of reality (materials as well as ideas derived from reality) and shows them in the most neutral way. Avoiding personal feelings is fundamental to zero. Accepting things as they are and not changing them for personal reasons, making changes only when necessary to show reality in a more intensive way. Changes only as isolations and concentrations of parts of reality.
Time and space are almost synonymous. Sequence of one motif, one thing, one object, one part of isolated reality by repetition implies, apart from rhythm and time, at the same time, because of the repetition, a suggestion of absence of time, of timelessness. This antithesis resulting from the element of "Reihungen" is, despite the monotone, the greatest possible tension inherent. Zero does not wish to draw attention to this in the first place, but accepts it as a basic element of reality.
The main task of zero is to show reality in its essence (...) The aim is to foundation reality as art in an impersonal way'.