To my wife Petri and my son Tomas
2 - 3
the photographic machine and us In the work of Hague artist Ossip, the photographic medium plays a key role. By that I don't really mean photography in the usual artistic sense, but more in the literal sense of graphically rewriting reality in and onto the top layer of a photochemical surface. With Ossip's work that involves his embellishment of an existing photograph with tautly stretched lines, threads, cardboard divisions, net curtains and everyday objects. In his hands the flat photograph becomes spatial. So far Ossip has been most interested in offhand portrayals of human figures, but also those of everyday objects and conventional interiors. Most are nondescript beings and things in situations, stances and arrangements, as can be seen when we browse through old technical and medical manuals, scarcely giving them a second thought. Ossip isolates such images, blows them up into evocative, usually monumental proportions and, by reconstructing and reinterpreting them, he develops the surface spatially. As a result of these radical interventions, the expressiveness of Ossip's photographic work is sooner that of a painting, or even a display case, than of images one would expect to find in a folder or an album. Paintings belong on the wall. And so do the works of Ossip: giant panels; not colorful and vast, but predominantly yellowed, blackish and a dirty white; not shouting from the walls, but as if the doors of a darkroom have suddenly been thrown open; caught in the act, as it were, rather than shown or put on display. By way of this enlargement and reconstruction, Ossip seems primarily concerned with restoring the photographic image to its original subject. After all, that image was literally snatched away—without any form of participation or permission—with the aid of a camera or 'photographic machine', as it was so aptly called in the nineteenth century. Regarded in this manner, giving back the image would be no more than an act of decency. However, such machines refuse to allow for any reversal: once a photograph, always a photograph. But artists do in fact, understand the art of reversal. That's why they happen to be artists. And let's not assume that this reversal of realities is a matter related solely to human beings! A teacup, too, and a table, a village green, a rainbow, an electronic circuit, a sheep in the pasture: they've all been caught off guard at one time by some 'photographic machine' and recorded on a flat surface for eternity. That is their tragedy, their tragic visual history— to be permanently bound in time, if necessary with rope, glue, pins and paint, but always in a flat and two-dimensional way, nostalgically recalling their original and lost threedimensionality. Again: once a photograph, always a photograph! What we have
4 - 5
to offer these images in exchange for their lost three-dimensionality is no more than an artificial sort of space: a holoscopic, stereophonic, four-dimensional or simply, as they call it, virtual space. These technical options are, however, not only limited but questionable as well. The artistic alternative, on the other hand, is better and more effective. Ossip's way of dealing with photographic images, as described above, implies an extraordinarily sensitive concern for the surface—for the skin, as it were—of objects and bodies. This is indeed the case for most of Ossip's work. But that skin isn't the only concern. There is also, and mainly, an interest in what goes on well beneath that skin, away from our eyes. Just look at how all those frequently large-scale figures direct their sometimes painful emotions at us, how they stare us in the face almost accusingly! Clearly, there is more going on in Ossip's work than a mere superficial display of the two-dimensional appearance of these figures. The entire placement of ourselves, as viewers of these beings, comes into play. Evidently 'they'—but also 'we'—have been sentenced to regimented role-playing due to the use and acceptance of the 'photographic machine'. But, we ask ourselves, what exactly is the artist's role in this? Is he a shrewd manipulator or, in fact, the neutral maker of a photograph? Has he strengthened our manner of observation or actually weakened it? Does he therefore, and to that end, make spaces flat, or is it the very opposite: does he make flat photographs spatial? And what for? Why should those photographs have to be returned to their original owners? Or, to put it differently: why should those figures be brought (back) to life? And: what, in heaven's name, have we got to do with all of those bygone figures? Why can't they be left in peace! But the artist refuses to leave them in peace. And it just might have to do with the following. By granting long-forgotten photographic material new spatiality, the artist makes us (the viewers) aware of our own purely physical exterior presence in our own world. Just as in a mirror, we see how we're constantly occupied with holding our own in our surroundings—in just as caricatural, unique and uniform a manner as Ossip’s frozen figures, arranged in front of us, in frames. Beings who gaze at us motionlessly from a distance, just as we gaze at them, and who confront us with their mirror images: figures, in the form of a teacup or kitchen table, if need be, or a patient, or illustration 37 on page 107, or a rainbow, or a curved spine that ends up being a harp; whatever, it makes no difference. All of these images tell us just how caricatural and conformist we are, being as caught up in webs of social and psychological conditions and conventions as those in their past surroundings and capacities. And how we are little more than ordinary day-to-day uniform objects: equipped with round teacups for heads and table legs for walking. Let's not imagine anything.
6 - 7
Now and then a certain lighthearted, sometimes frivolously humorous poetry predominates in Ossip's work. At those times his work is slightly reminiscent of Dada and Surrealism, and the contemporary nature of this does not escape his notice. It is, after all, not difficult to put the label 'contemporary' on that nearly idle matter-of-factness with which he selects photographic images as the starting point for his strictly autonomous work. But also typical of these times is the way in which our corporality is experienced as both 'inner' and 'outer'. That observational aspect can be found in Ossip's work as well. Even so, his way of working is not based on any distinct ideology, nor on any stylistic tendency or fashionable deconstructivist motives for having a go at images with contemporary (electronic) means. It has none of this. Perhaps such lapses are indeed preconditions for evoking the kind of virtual visual world that Ossip seeks: mirror images, for once not in full motion but frozen individually, as in film stills; random pictures during a journey from a certain present to an uncertain past, and vice versa. But the mere mobilization of age-old, familiar photography and its 'photographic machines' cannot achieve this. All of Ossip's work ultimately revolves around his personally and very precisely executed operations, as he manages to demonstrate in the photographs selected by him in all sorts of variations. By hanging and erecting these 'surgically reworked' photographs as readymade works of art, he allows the game of observation to begin. We can stare at each other, as though peering through glass, the focus and lens. We can ask 'who's who', 'what's where', 'what's real' and 'what's fake'. Then we can ask ourselves what, in the end, this is all about: is it about all those manipulated and sometimes maltreated figures from the past, or is it about 'us' in our secure present. Asking this question is synonymous with giving the answer. And the answer proves to be... a game: a game of role-playing, a machine game. We play it with all those figures, while the 'photographic machine' intermediates as a relentless and irrevocable dividing plane. Dick Raaijmakers
translation: Beth O'Brien
MI-SOHN 590
1991 37 x 27 cm
8 - 9
moeders kus
1986 155 x 106 cm
10 - 11
V. Ö . G . L
1986 90 x 73 cm
12 - 13
HE.LOVES.ME
1991 22 x 18 cm
14 - 15
zonder titel
1975 48 x 64 cm
16 - 17
W. E . R . K
1994 31 x 35 x 23 cm
18 - 19
Schchtsti
1968 28 x 22 cm
20 - 21
S.C.H.R.A.M
1991 24 x 14 cm
22 - 23
noi
1991 21 x 17 cm
24 - 25
M I T TA U S E N D M A S T E N
1985 24 x 15 cm
26 - 27
Gﾃ傍Z KRAFFT
1991 24 x 16 cm
28 - 29
Ihrer voorschijn
1990 21 x 14 cm
30 - 31
Das Lied von Bernadette
1986 106 x 66 cm
32 - 33
Winner
1996 23 x 16 x 22 cm
34 - 35
V itrine
1993 50 x 120 x 30 cm Collection Haags Gemeentemuseum
36 - 37
Tekstblad
1994 18 x 15 cm
38 - 39
B . I . S . T. - S . A . B . L . E . T
1991 125 x 50 cm
40 - 41
ZÖLLSTE
13-10-2008 50 x 107 cm
44 - 45
Alles im Allem
28-4-2007 80 x 109 x 10 cm
46 - 47
Breiende vrouw
1995 120 x 136 x 15 cm Collection NOG van het SNS REAAL Fonds
48 - 49
M.A.C.H.E.N
13-10-2007 109 x 133 x 6 cm
50 - 51
wo est
9-1-2003 122 x 149 cm
52 - 53
Tekstblad
1994 40 x 28 cm
54 - 55
Landschap-Tijd
1996 136 x 121 cm Collection NOG van het SNS REAAL Fonds
56 - 57
L.Ă–.S
10-12-2006 48 x 81 x 20 cm collection Hans Bronsgeest
58 - 59
R.A.M
2-8-2006 30 x 40 x 18 cm
60 - 61
MÜTTIE
3-5-2007 53 x 94 x 6 cm
62 - 63
WO-DA
2006 107 x 142 x 20 cm private collection
64 - 65
MENCH
14-4-2005 121 x 143 x 15 cm
66 - 67
S.L.ÖF
2008 350 x 135 cm
68 - 69
K.A
17-1-2007 60 x 120 cm
70 - 71
SCHAAP
3-1-2003 146 x 160 cm
72 - 73
74 - 75
B etekenissen etc .
2-2-2007 h 165 cm
76 - 77
JAAS WEENDE
7-2-2002 h 42 cm
78 - 79
L.Ä.M.B
16-11-2005 h 178 cm
80 - 81
ICH-KÖNTE-ES-MACHEN
2006 h 300 cm
82 - 83
Erst klein dann grรถzs
13-6-2005 h 190 cm
84 - 85
Manchen
12-2-2007 h 82 cm
86 - 87
ODE - FRITZ
21-4-2002 h 37 cm
88 - 89
M.A.C.H.
4-5-1998 h 47 cm
90 - 91
Messieurs les Coiffeurs
2-2-2002 h 26 cm
92 - 93
Desocialisten.v.
15-4-2002 h 25 cm
94 - 95
DICHTLIEVENDE
30-8-2008 h 38 cm
96 - 97
Z.I.R.M
3-5-2008 h 43 cm
98 - 99
Schaamogenblik
7-2-2002 h 42 cm
100 -101 101
K.A.A.K
2008 h 47 cm
102 -103 103
ohne.wie.ist.da
2008 h 215 cm
104 -105 105
S.Ö.N.S.T
2-2-2007 h 63 cm
106 -107 107
Ersten Bild im Das
11-2-2007 h 240 cm
108 -109 109
EIGEN-SELE
15-9-2007 h 60 cm
110 -111 111
SO-WIE
24-3-2002 h 45 cm
112 -113 113
WHÖÖL
31-2-2003 h 150 cm
114 -115 115
MAN –WIE
10-3-2003 h 220 cm
116 -117 117
BILD
2005 h 150 cm
118 -119 119
voorstudie beeld
3-10-2004 33 x 22 cm
120 -121 121
EL.SHAM
16-11-2008 h 195 cm
122 -123 123
FRAU-LEIN
4-12-2004 h 143 cm
124 -125 125
CHRU
5-6-2007 h 50 cm
126 -127 127
P. Ü . R . A .
14-7-2007 h 178 cm
128 -129 129
K.A.R.L.
7-7-2007 h 50 cm
130 -131 131
Die lebendige Zeichnung
25-3-2003 h 32 cm
132 -133 133
Zweiter Band
16-11-2008 h 126 cm
134 -135 135
Kombinationen
25-9-2002 h 36 cm
136 -137 137
Sig.An
14-1-2007 h 100 cm
138 -139 139
Bﾃ傍T
2007 h 185 cm
140 -141 141
Bﾃ傍T
2007 h 185 cm
142 -143 143
TCHECH
28-4-2007 h 137 cm
144 -145 145
Tekstblad
1994 18 x 24 cm
146 -147 147
ist est ĂŤrlich nein
22-01-2007 128 x 56 cm
148 -149 149
D.R.A.Z.N.I.
9-5-2006 148 x 89 x 30 cm
150 -151 151
K . R . A . A . K – madelaine
16-1-2007 158 x 63 x 3 cm
152 -153 153
B.Ä.R
27-7-2007 217 x 61 cm
154 -155 155
ZUUR
1998 190 x 120 cm
156 -157 157
W o hast du mein sch Ă„ tzen das kussen studiert
20-09-96 90 X 22 cm Collectie Galerie Ramakers
158 -159 159
J端ngling
1994 153 x 48 x 17 cm
160 -161 161
ZA.DOUZELÉ
27-11-2007 42 x 26 cm
162 -163 163
KÄRLL
21-1-2007 44 x 31 cm
164 -165 165
KÜMMEL – UND – KWELL
3-7-1995 161 x 122 cm
166 -167 167
DAMÉ
6-5-1999 148 x 77 cm collection ABN AMRO Bank
168 -169 169
D onaldi - T rump
5-2-1998 192 x 92 cm
170 -171 171
M채dchen
3-7-2002 187 x 76 cm collection Becht
172 -173 173
BEKKEN-STOOT
21-9-1996 204 x 92 cm
174 -175 175
V. A . S . Z
11-4-2007 175 x 50 cm
176 -177 177
B.I.L.D
12-3-2001 117 x 61 cm
178 -179 179
Z V. F I . C A R – N O D E
30-1-2007 145 x 47 cm
180 -181 181
N O - C H A M . A LT
17-9-2007 191 x 73 cm
182 -183 183
ZAHNE
14-4-1997 230 x 91 cm
184 -185 185
POOL
31-12-1996 174 x 106 cm collection Van Krimpen
186 -187 187
S . W. Ö . R .
1-9-1998 180 x 78 cm
188 -189 189
F. R . A . U
1999 173 x 106 cm
190 -191 191
Z.I.E.M.
1996 210 x 86 x 42 cm
192 -193 193
FÜZZ - HERREN
1994 166 x 107 cm
194 -195 195
M.A.D.C.H.E.N
14-9-1999 92 x 60 cm collection Bouwfonds Nederlandse Gemeenten
196 -197 197
kamer
1992 170 x 120 cm
198 -199 199
manchini
1996 163 x 122 cm
200 -201 201
W I E - S P Ä T. I S T. E S t
26-9-2004 57 x 34 cm
202 -203 203
SNÖRR
2001 173 x 92 cm
204 -205 205
T ijd
1998 163 x 122 cm
206 -207 207
W o hast du mein sch Ă„ tzen das kussen studiert
20-09-96 90 X 22 cm Collectie Galerie Ramakers
Sele
25-12-2003 h 168 cm
210 -211 211
W. O . Z . E . C
19-6-2007 h 365 cm
212 -213 213
Das gibt den.ach. enz.
17-7-2007 160 x 140 cm
214 -215 215
ZOEN
29-8-2007 h 340 cm
216 -217 217
ZIJ - BEEN
7-1-2005 195 x 135 cm
218 -219 219
M.A.N.Z
24-7-2007 h 350 cm
220 -221 221
WO - MAN
29-08-07 h 275 cm
222 -223 223
FIND - LÖÖS
2008 h 300 cm
224 -225 225
ICHZ
2003 h 350 cm
226 -227 227
F. A . C . E - T. R . A . N . C . S
13-2-07 39 x 31 cm
228 -229 229
W O - H A S T. D U . M E I N . S C H Ä T Z C H E N D A S K U S S E N S T U D I E R T.
20-9-1996 90 x 22 cm
230 -231 231
S O U - V E . N I E R . P. J . J .
18-4-2006 42 x 30 x 22 cm
232 -233 233
G . A . T. T. Z
26-4-2006 46 x 31 x 14 cm
234 -235 235
TOUT LE CORPS HUMAIN
28-1-2007 77 x 32 x 5 cm
236 -237 237
ZUKREISEN
18-12-2006 105 x 75 x 20 cm
238 -239 239
MUG
1996 148 x 102 cm collection Kuijsten
240 -241 241
M.A.N.Z.
2007 116 x 89 cm
242 -243 243
WO-DA.IST
1-2-2007 41 x 29 cm
244 -245 245
Wrijfdraden
1996 149 x 122 cm Collection NOG van het SNS REAAL Fonds
246 -247 247
MORB
2007 44 x 31 cm
248 -249 249
Blanc le Blanc
17-4-2006 45 x 30 cm
250 -251 251
R obijn
1992 138 x 121 cm Collection NOG van het SNS REAAL Fonds
252 -253 253
d.e.r-SMCHNÉÉ
19-1-2007 44 x 31 x 30 cm
254 -255 255
IRMTRAUT
10-12-1999 163 x 106 cm collection Ramakers
256 -257 257
FRAU
14-4-1998 76 x 61 cm
258 -259 259
erfolgen.SIE
11-11-2002 168 x 91 cm
260 -261 261
S.L.A
1994 1 6 0 x 1 0 7 cm
262 -263 263
werfel
1996 180 x 134 cm
264 -265 265
meine nagelen lieben auch
10-01-2001 128 x 106 cm
266 -267 267
M O Z A M - B . Y. C
13-02-2007 71 x 31 x 8 cm
268 -269 269
TNIRP
10-7-01 128 x 91 cm collection Frank Eerhart
270 -271 271
L.I.E.G
1992 175 x 120 cm collection Haags Gemeentemuseum
272 -273 273
ZO - DAZËK
24-01-2007 44 x 31 x 7 cm
274 -275 275
amylase 144
18-3-2006 122 x 90 x 3 cm
276 -277 277
Schenkel
1990 170 x 116 cm
278 -279 279
gèrne
3-6-1999 125 x 108 cm
280 -281 281
jongen
12-5-03 145 x 120 cm
282 -283 283
ICHZ
31-9-04 42 X 30 cm
284 -285 285
portret
26-1-2005 50 x 38 x 11 cm collection Haags Gemeentemuseum
286 -287 287
FLÜCHT
2007 34 x 25 x 15 cm
288 -289 289
NOZEMKS
9-3-2005 41 x 25 x 5 cm
290 -291 291
FRAUW
14-3-1999 166 x 121 cm
292 -293 293
solo exhibitions
1988
Stichting Felison, Velsen
1990
Stichting Felison, Velsen
1991
De Waag, Leiden
Galerie Waalkens, Finsterwolde
1992
HCAK, Den Haag
1993
Galerie Maldoror, Den Haag
1994
Kasteel Rhoon, Rotterdam
Haags Gemeentemuseum
1996
Haags Gemeentemuseum
2000
De Warande, België
Fries Museum, Leeuwarden
2001
Galerie Vous Etes Ici, Amsterdam
Silverenberg Galleries, Eindhoven
2003
Art Rotterdam. Galerie Ramakers
Galerie Arti Capelli, ‘s-Hertogenbosch
2005
Art Amsterdam. Galerie Ramakers, KunstRai Amsterdam
2006
Galerie Arti Capelli, ‘s-Hertogenbosch
2007
Galerie Ramakers, Den Haag
2009
Haags Gemeentemuseum
Galerie Ramakers, Den Haag
Galerie Willy Schoots
294 - 295
group exhibitions
1992
Galerie Waalkens, Finsterwolde
HCAK, Den Haag
De Beyerd, Breda
Den Haag in kaart, Pulchri Studio, Den Haag
Waan en Werkelijkheid, Tilburg
1993
Bocht van Guinee. Stroom hcbk, Den Haag
Stadscollectie op zicht. Haags Gemeentemuseum, Den Haag
1994
Afslag 16. Stedelijk Museum, Schiedam
Haags Gemeentemuseum
Fotomanifestatie, Eindhoven
1995
TripleX, Westergasfabriek, Amsterdam
Stadscollectie. Haags Gemeentemuseum, Den Haag
1996
NOG maar net, Van Reekum Museum, Apeldoorn
1997
Fotografie in de zomer. De Beyerd, Breda
1999
Lieve kinderen. Haagse Kunstkring, Den Haag
NOG Collection - Een keuze. Pronkkamer Uden, Uden
2002
Summershow. Galerie Ramakers, Den Haag
2003
Terugblik, Vooruitblik VI. Galerie Ramakers, Den Haag
Summershow. Galerie Ramakers, Den Haag
2004
Welcome to 2004. Galerie Ramakers, Den Haag
Art Amsterdam. Galerie Ramakers, Kunstrai Amsterdam
2005
De cirkel. Galerie Ramakers, Den Haag
2006
Welcome to 2006. Galerie Ramakers, Den Haag
2007
De keuze van Lucassen. Galerie Ramakers, Den Haag
Pan Amsterdam. Galerie Ramakers
Connected, Galerie Willy Schoots / Kunstkabinet, Eindhoven
2008
Summershow. Galerie Ramakers, Den Haag
Art Amsterdam. These are a few of my favourite things.
Galerie Ramakers
Pan Amsterdam. Galerie Ramakers
Mijn kunst, Verzamelaars delen hun passie,
Zuiderzeemuseum Amsterdam
2009
Art Rotterdam, Galerie Ramakers
bibliography
1986
Vogelaar, Jacq Firmin Gesloten gezichten; bij figuren van Ossip. Raster 39, 1986
1987/88
Vogelaar, Jacq Firmin Hij zingt omdat hij niet kan huilen. Felison-Affiche 4, Velsen
1989
Rijn, C. Van Thermisch verzinkt staal in de moderne kunst. Thermisch verzinken, maart 1989
1992
Peters, Philip Het ambigue beeld. Catalogue HCAK, Den Haag 1992 Duck, Wierd Eenzame beelden met strenge titels. Nieuwsblad van het Noorden, 24 februari 1992 Perrée, Rob Verenigd in verscheidenheid. Recent fotowerk uit Nederland. Catalogue Breda Fotografica, Breda Nederlandse beeldende kunstenaars geven hun visie op het thema: Den Haag in kaart. Pulchri studio, Den Haag, 1992
1993
Breda Fotografica. Catalogue De Beyerd, Breda 1993 Perrée, Rob De minimale manipulaties van Ossip. Reflector no.6, Den Bosch 1993
1994
Ossip. Bulletin 1/94 De Krabbedans, 1994
1995
Waar moet dat heen – zes poëziekaarten over stad en land (beelden van Ossip). Stichting Plint, Eindhoven 1995 Ossip. Triple X, 1995 Ginneken, Lily van. Ossip. Catalogue Warm of Koud, 5 jaar in de openbare ruimte. Stroom, Den Haag 1995 Ruyters, Domeniek Ossip. Catalogue Stadscollectie. Haags Gemeentemuseum 1995
1996
Becht, Frits / Perrée, Rob Catalogue Collectie NOG Verzekeringen, 1996 Peters, Philip Summary introduction. Catalogue Ossip, Haags Gemeentemuseum 1996
296 - 297
1996
Wijgh, Hanneke De oogappels van Frits Becht. Trouw, 6 juni 1996 Straus, Cees Ossip deformeert de mens met schrijnende sympathie. Trouw, 10 juli 1996 Wesseling, Janneke Gevangen misvormingen. NRC Handelsblad, 10 juli 1996 Spijkerman, Sandra De klevende blik van Ossip. Kunstbeeld 7/8 1996
1997
Vlaanderen, Annelies Gespannen draden tussen oude en nieuwe tijden.(...?) 19 augustus 1997 Vermeijden, Marianne Veel foto’s zijn niet pluis, dat voel ik. Cultureel Supplement NRC Handelsblad, 12 september 1997 Vos, Jan Ossip: op zoek naar het leven na de dood. Indruk / Bouwfonds magazine, nr. 4, december 1997
2000
Put, Roos van Kiezen uit chaos. Haagsche Courant, 10 november 2000 Bem, Merel Van Krimpen kiest te makkelijk. Volkskrant, 2 december 2000
2002
Put, Roos van Ik heb niet de bedoeling om kunst te maken. Uit 20,12 juni 2002
2003
Beter één vogel in de hand. GM Museumkrant, nr.1, 2003 Hoven, Gerrit van den Ossips spel met betekenissen. Brabants Dagblad, 20 maart 2003 Huygen, Frederike Ossip. Free Eye Magazine nr. 3, 2003
2006
Bosboom, Rolf Oude foto’s krijgen nieuwe betekenissen. PZC, 5 september 2006 Veen, Corrie van der Anything but homeless. Catalogue Collectie NOG van het SNS REAAL Fonds, september 2006
assignments
1975
Thorbecke zwembad, Den Haag
1979
Westeinde ziekenhuis, Den Haag
1983
Fluitpolderplein, Leidschendam
Architect: Hans van Beek, atelier P.R.O.
1984
Schoolplein Hoorn
1985
Basisschool Rotterdam
1986
School Leidschendam
Bezige Bij, Raster nr. 39, Amsterdam 1986
1987
Provinciehuis, Den Haag
Katerstraat, Den Haag
Architect: Hans van Beek, atelier P.R.O. i.s.m. Jean van Wijk
1988
Bezige Bij, Amsterdam
Boekomslag, Verschijningen. Van Jacq Vogelaar, 1988
Newtonplein, Den Haag
1989
Coenschool, Amsterdam
1991
Brandweer kazerne, Den Haag
1993
Stadhuis, De Bocht van Guinee, Den Haag
1995
Kinderdagverblijf, Alkmaar
1997
Creche, Alkmaar
2000
Scholencomplex, Nieuw Vennep, Getsewoud
2003
Tennispark De Bataaf, Den Haag
298 - 299
collections
Haags Gemeentemuseum Fries Museum, Leeuwarden ABN AMRO Bank AEGON Bouwfonds Nederlandse Gemeenten Fortis Bank Kunstcollectie Interpolis Ministerie van Buitenlandse Zaken Collection NOG van het SNS REAAL Fonds and many private collections
colophon
Editing
Frank Eerhart, Ossip, Petri Snoeck
Bibliography
Erna Donkers
Text
Dick Raaijmakers
Translation
Beth O’Brien
Design
Breed Ontwerp, Beerd van Stokkum
Photography
Steven Witkam, Hans Bronsgeest , Peter Couvee, Sylvia Corving
Haags Gemeentemuseum, Robert Peek p 245, Eric de Vries p 241
Digital Printing Lifoka, The Hague Bound
Boekbinderij Van Dijk The Hague
With special thanks to Frank Eerhart, Hans Bronsgeest, Bert van Malssen, Jan Snoeck, Wim van Krimpen
This publication has been made possible thanks to the support of Lifoka, The Hague, SNS REAAL Fonds, Utrecht, Haags Gemeentemuseum, Gallery Ramakers, The Hague, Gallery Willy Schoots, Eindhoven, Stroom, The Hague Ossip is represented by Gallery Ramakers, The Hague and Gallery Willy Schoots, Eindhoven. ISBN 978 90 813858 2 4
Englisch edition
ISBN 978 90 813858 1 7
Dutch edition
ISBN 978 90 813858 3 1
German edition
© 2009 Ossip, Dick Raaijmakers
300 - 301
biography
Ossip is born in The Hague in 1952 He lives and works in The Hague and in Hudimesnil, France www.ossip-artist.com