Upcoming Event: RM Sunday Screening: Night Time by Hans Op de Beeck
We are pleased to invite you to another special Sunday screening of Night Time, an animated film based on a series of large black and white watercolours by Hans Op de Beeck. Recently, we opened the online exhibition Unstilled Life: Artists Animations 1980-2020, including the seminal work by the famous Belgian artist.
Hans Op de Beeck’s ‘day job’ may be sculpture, but in Night Time we see the suitably nocturnal fruit of his ‘night job’: painting oneiric black watercolours. Breathing the atmosphere of film noir, they are freighted with spectacular detail, facilitated by them being some three metres wide. No wonder Op de Beeck says he likes to work on one ‘for about twelve hours on end. So around eight in the morning, the essence of the watercolour is already there’.
Animation heightens the impact through accumulation, sequencing and the deftly rendered movement of smoke, snow, water, ships and flames. Tom Pintens’ gently haunting soundtrack adds to the mood. Intimate close-ups – often of sleepers – segue into panoramic images as, in the artist’s words, ‘classic and distinctly contemporary subjects follow one another: the dream, the sleep, the underworld, the exploding postmodern metropolis…’ A multiplicity of possible stories awaits, but when night is this beautiful, do we want dawn to interrupt?
Please note that there are a limited amount of seats available for this event, therefore RSVP is mandatory.
RM Sunday Screening: Night Time by Hans Op de Beeck
Sunday 16 August 2020 | Screening starts: 14:00
Prinsengracht 282 | 1016 HJ Amsterdam
Location: Galerie Ron Mandos | Prinsengracht 282 | Amsterdam
ABOUT Hans Op de Beeck
Hans Op de Beeck was born in 1969 in Turnhout, BE
He lives and works in Brussels, BE
Visual artist Hans Op de Beeck lives and works in Brussels, where he has developed his career through international exhibitions over the past twenty years. His work consists of sculptures, installations, video work, photography, animated films, drawings, paintings and writing (short stories). It is his quest for the most effective way of presenting the concrete contents of each work that determines the medium that the artist ultimately selects. The scale can vary from the size of a small watercolour to a large, three-dimensional installation of 600m2.
The artist not only uses a very wide variety of media, but also deliberately employs a diversity of aesthetic forms, ranging from an economical, minimalist visual language to overloaded, exaggerated designs, always with the aim of articulating the content of the work as precisely as possible.
Thematically, the work concentrates on our laborious and problematic relationship with time, space and each other. Op de Beeck shows the viewer non-existent, but identifiable places, moments and characters that appear to have been taken from contemporary everyday life, aiming thereby to capture in his images the tragicomic absurdity of our postmodern existence. Key themes are the disappearance of distances, the disembodiment of the individual and the abstraction of time that have resulted from globalisation and the changes to our living environment that developments in media, automation and technology have brought about.
Hans Op de Beeck sometimes calls his works “proposals”; they are irrefutably fictional, constructed and staged, leaving it up to the viewer whether to take the work seriously, as a sort of parallel reality, or immediately to put it into perspective, as no more than a visual construct. His work is nourished by a keen interest in social and cultural reflection. The artist also questions the difficult relationship between reality and representation, between what we see and what we want to believe, between what is and what we create for ourselves in order to make it easier to deal with our own insignificance and lack of identity. The visual output of that investigation often produces slumbering, insidious, melancholy and astonishing images.
Multi-disciplinary artist Hans Op de Beeck creates interworlds. Suspended between past and future, fiction and reality, his works sound out a mirage-like contemporary universe and a sensory vertigo where the familiar rubs shoulders with the strange. From installation to sculpture, from video to animated film, from short stories to painting and drawing, from photography to sound material, the media he employs seem to converge on the definition of a topos: a mental theatre that projects the viewer into a reflexive social and cultural experience, the intimate thinking of the human condition. —Eva Prouteau
Op de Beeck has shown his work extensively in solo and group exhibitions around the world. He has had substantial institutional solo shows at the GEM Museum of Contemporary Art of The Hague, The Hague, NL (2004); MUHKA Museum of Contemporary Art, Antwerp, BE (2006); Centraal Museum, Utrecht, NL (2007); the Smithsonian’s Hirshhorn Museum and Sculpture Garden, Washington DC, US (2010); Kunstmuseum Thun, CH (2010); Centro de Arte Caja de Burgos, Burgos, ES (2010); Butler Gallery, Kilkenny, IRL (2012); Kunstverein Hannover, D (2012); Tampa Museum of Art, Tampa, USA (2013); the Harn Museum of Art, Gainesville, FL, USA (2013); FRAC Paca, Marseille, F (2013); MIT List Visual Arts Center, Cambridge, Boston MA, US (2014); MOCA Cleveland, OH, US (2014); Sammlung Goetz, Munich, D (2014); Screen Space, Melbourne, AU (2015); Espace 104, Paris, FR (2016); Art Unlimited, Basel, CH (2016); Kunstraum Dornbirn, Dornbirn, AU (2017); Museum Morsbroich, Leverkusen, DE (2017); Kunstmuseum Wolfsburg, Wolfsburg, DE (2017); Fondazione Museo Pino Pascali, Polignano a Mare, IT (2017); His work is included in museum collections of the Centre Pompidou, Paris; the Royal Museum for Modern and Fine Arts, Brussels; Kröller-Müller Museum, Otterlo; Museum Voorlinden, Wassenaar; Museum Arnhem, Arnhem; the ING Art Collection, Amsterdam; the Akzo Nobel Art Foundation, Amsterdam, and Cobra to Contemporary/The Brown Family Collection.