Hans Op de Beeck 汉 斯·欧普·德·贝 克
staging silence 默 演
Hans Op de Beeck Staging Silence Introduction The multi-disciplinary oeuvre of the Belgian visual artist Hans Op de Beeck (b. 1969) consists of large-scale sculptural installations, videos, animated films, sculptures, drawings, photographs, short stories and stage designs. Much of his work is based upon the ideas of detachment and loss of self for human beings in these post-modern times. The artist conceives and builds contemporary fictional urban and domestic locations and situations, sometimes featuring human characters that feel very familiar to viewers. His settings include both secluded spots suitable for inner reflection and crowded areas populated by characters who, at times, appear to be inept. His work sheds light on our own present-day lives, dreams and ambitions, and our perceptions of time, space and each other. Hans Op de Beeck’s visual language is hushed and reserved. Serious and ironic by turns, he asks questions that remain unanswered. A typical example of Hans Op de Beeck’s sculptural installation work is ‘Location (5)‘ (2004), which recently became part of the Towada Art Center’s permanent collection (Japan). The life-sized installation in monochrome black paint is entered through a stairwell leading to a restaurant that spans a motorway. The viewer walks past the counter and the kitchen to take a seat at one of the tables. A nighttime scene of a motorway stretching into the distance, lit by orange road lighting, can be seen through the huge windows. The construction of the illusion is achieved by raising the road surface by a 9-degree angle and by distorting the perspective
as it moves towards the horizon; the lampposts decrease from four metres to only forty centimetres, thereby creating an illusion of a view that goes on forever. With this installation, the artist is inviting the viewer to take a seat in a silent, slumbering evocation of the night and offering this darkened setting as a location for all kinds of different stories. ‘All together now...’ (2005) is a fine example of Op de Beeck’s approach to his video work. This video is a tragicomic portrait of three groups of people who are attending social gatherings. The camera pans slowly past the three table settings, each depicting a separate event: the first group consists of people in their late seventies, who are gathered after a funeral, and a table laid with coffee and cakes; the second presents an elaborate wedding party with the bride and groom and their families; and the final setting shows a birthday party for a well-to-do pater familias in a tasteful designer setting. These moments around a table are perhaps some of the most artificial situations in which people come together. Grudges, unspoken feelings and tensions between family members are hidden beneath the ritual.The camera slowly pans past the people around the table. This six-minute choreography of actions in miniature, conversations and knowing glances, clarifies the relations around the table. Some of the characters are comic, others rather tragic or touching. The slow-motion technique makes every detail clearly visible. ‘All together now…’ is a contemporary portrait of human beings around the table, in which a sobering, post-party emptiness can be sensed while the feast is still in progress.
Staging Silence For his first solo exhibition in China, Hans Op de Beeck is presenting a large three-dimensional installation, a new animated film and a new series of black-and-white watercolours. The artist has given the exhibition the title of ‘Staging Silence’, because all of the works are a reference to the staged image, which invites silence and reflection. He also wishes to comment upon the ineptitude and insignificance of human beings in relation to our own mortality and the magnificence and endlessness of nature. ‘Location (6)’ is a monumental sculptural installation, based on the historic panorama constructions created, particularly over the past two centuries in Europe, to suggest an endless landscape completely surrounding the viewer. Traditional panoramas combine a three-dimensional foreground with a painted background. ‘Location (6)’, however, is made up entirely of a sculpted landscape, with artificial fog and light. The basic architecture of the work consists of a large cylindrical construction, four metres high and eighteen metres in diameter.The cylinder contains a trompe l’oeil landscape with an exaggerated perspective that heightens the perception of depth. The spectator can view the landscape from a central observatory that is reached via a long, narrow corridor. From a seated position, the visitor looks at the scene through the panoramic window, a vast snowy expanse with bare trees. The landscape, the observatory, and its interior are all white. This work, a vast snowbound landscape, updates the tradition of the painted panorama. However, in contrast to these earlier forms, the installation does not aim to entertain or to inform. Instead, Hans Op de Beeck uses the infinity of the perspective as a means of drawing the viewer’s eye inward, to the contemplative self.
In addition to the large installation, Op de Beeck is presenting ‘Constructions’, his new series of black-and-white watercolours, pictures in large and small formats. The major part of these elaborate on the theme of constructed silence – images that we create in many different ways in order to generate a sense of detachment, escapism and loss of self. The other part of the series visualises abandoned urban landscapes and transit areas in an associative manner. Here also people appear, be it in a discrete way. Some are sleeping, waiting or on the road, others silently creating or constructing representations of reality. In general, the series features a variety of archetypes of infinity and transience, including watercolours of a ruin, a post-war landscape, a view of the sea at night and an idyllic mountain scene. These are pictures in the Romantic tradition, in which nature appears as a site for meditation, a place for reflection. Op de Beeck also presents contemporary, architectural sites for meditation, such as the sterile departure lounge of an airport. These are somewhat impersonal places of transit in modern life, which nowadays are ubiquitous for every mobile individual. These locations are perfect sites for letting go of our activity and our identity and becoming passive observers of life rather than participants. For this exhibition, Hans Op de Beeck has also created a new animated film, using black-and-white watercolours based on photographs taken from the Internet and images from documentaries and educational videos. In terms of content, ‘Extensions’ deals with cultural and subcultural rituals, science and technology as extensions of the human body, and as the physical manifestation of an unfailing belief in progress, which is both redemptive and ethically problematic. The artist defines the extension of the body in very broad terms. Body extensions may involve objects such as computers, weapons, scanners, prosthetic devices, or large constructions
such as shopping malls or waiting rooms – anything that seems to make Western life easier, serving to channel and automate life and present it in terms of data, grids, and patterns. The work of Hans Op de Beeck has been shown at numerous venues, including Reina Sofia (Madrid),Tate Modern (London), SMoCA (Arizona), Towada Art Center (Towada), ZKM (Karlsruhe), SMAK (Ghent), MACRO Future (Rome), The Drawing Center (New York), the 6th Shanghai Biennale (Shanghai), Kunstverein Hannover (Hannover), Whitechapel Art Gallery (London), P.S.1 (New York), MARTa (Herford), MuHKA (Antwerp) and the Singapore Biennale 2008 (Singapore). In 2009, new projects will be presented in Venice, Paris, Madrid, Singapore, Shanghai and Berlin.
All about the artist’s works, publications and writings: www.hansopdebeeck.com
汉 斯·欧普·德·贝 克 默演 介绍 比利时视觉艺术家汉斯·欧普·德·贝克(1969生人)的作品多种 多样，包括巨形雕塑装置，影像，动画影片，雕塑，绘画，摄影，短篇 小说，舞台设计。他的大部分作品是以人类在后现代时期里超脱及 自我失落的想法为根据的。 艺术家设想并构建虚构的当代都市场景及情形，有时也描绘进 一些人物，使参观者感到十分亲切。他的设置包括两个隐秘点，适用 于内心反省也适用于居住着看起来格格不入的居民的拥挤区域。他 作品于反映我们日常的生活、梦想、志向以及我们对时间、空间和互 相之间的感知为亮点。汉斯·欧普·德·贝克的视觉语言是肃静而缄 默的。时而严肃时而讽刺，留下没有答案的疑问。 汉斯·欧普·德·贝克雕塑装置的一个典型例子就是‘场景(5)’ (2004),目前成为十和田现代美术馆（日本）的永久藏品。由一个楼 梯间走进这件实物大小的黑色装置就进入到一家跨越过高速公路 的餐厅。参观者走过柜台、厨房，挑一张桌子坐下来。通过一扇巨大 的窗户可以看到，在橘黄色路灯的映照下通过一扇巨大的窗户可以 看到，一条高速公路在夜色中延伸至远方。构造的错觉是通过把路 面提升9度，并使透视失真，使人感到公路在伸向地平线；路灯柱从 四米递减到只有四十厘米，从而造成没有尽头的幻觉。以此装置，艺 术家邀请参观者静静地坐下，沉浸在夜色蒙胧中，将这个暗沉的装 置当成各种不同故事的发生地。 ‘现在一起吧...’(2005) 是分析汉斯·欧普·德·贝克影像作品的 一个很好的例子。此录像是对三组参加社交聚会人物的一个悲喜剧 式的生动描绘。摄影机镜头在3张桌子装置前缓慢的摇过，每个装置 描绘不同的事件：第一组包括年近七十的老人，葬礼后聚在一起，和 一张摆有咖啡和蛋糕的桌子；第二组是一个精致的婚礼派对，有新 娘、新郎及其家人；最后一组展示的是为一个富有的父权家族而精 心设计的生日派对。 这些围桌而坐的时刻也许是人们聚首时表现的最虚伪的情形。
家庭成员之间的恩怨、未说出口的感觉、和紧张都掩藏在仪式之下。 摄影机缓缓地拍摄围桌的人们。这六分钟由细微动作、对话及扫视 的编排，阐明了围桌而坐的人们之间的关系。有些人物是可笑的，而 其他的是不幸的或感人的。慢动作的技术使每一个细节都清晰可 见。 ‘现在一起吧...’是一幅桌边当代人物的肖像画，即使盛会仍在 进行中，人们还是可以从中捕捉到一种聚会清醒后的空虚。 默演 汉斯·欧普·德·贝克在中国的第一次个展中展示了一个巨大的 三维装置，一个新的动画影片及一组新的黑白水彩画。艺术家把展 览的名字命名为‘默演’是因为所有的作品都与舞台场景有关，从而 引发沉默与思考。同时他也想谈论的是，相对于我们自身的死亡和 伟大恒久的大自然，人类的无能及渺小。 ‘场景(6)’是一个雄伟的雕塑装置，是基于历史的，特别是欧洲 过去两个世纪里的场景建筑而创造的，使人联想到完全围绕着观众 的无止境的景观。 传统景观结合了三维前景与背景画。 ‘场景(6)’却是一个完全的 造型景观，设有人造雾和灯光。作品的基本构架包括一个大型圆柱 形建筑，高4米，直径18米。圆柱体包含一个有夸张角度的错视景 观，加强了对深景的感知。观众可以通过一个狭长的走廊到达中央 观景台来观看景观。从一个坐着的位置，参观者由全景窗口看到辽 阔的雪域和光秃的树木。景观，观景台及其内部全是白色的。 这个巨大的雪景装置，更新了绘制全景的传统。 然而，与那些早期的形式相反，这个装置不打算进行娱乐或教 导。相反，汉斯·欧普·德·贝克利用远景的无限性来吸引参观者的 眼睛进行内观沉思的自我。 除了大型装置外, 汉斯·欧普·德·贝克展出的‘构建’是他新的 黑白水彩画系列,有大小不同尺寸。大多数这些作品阐述主题的是构 造出的沉默——我们用许多不同的方式创作的图像是为了制造一种 冷漠的，逃避现实和丧失自我的感觉。系列中的其他作品是对废弃 的城市景观和变迁的地区的相关描绘。人物也是这儿的特色，尽管 是用谨慎的方式来描绘。有些在睡觉，在等待或在路上，其他的一些 人物则默默地营造或构造出现实的表述 。 该系列反映了无限和瞬间的多种原型，包括描绘断壁残垣，战后
的景观，海的夜景及田园诗般的山色的水彩画。这些是传统浪漫主 义的画卷，自然景观成了一个冥想的场所，一个进行反思地方。 汉斯·欧普·德·贝克同时也展出用作冥想的当代建筑场所，比 如枯燥的机场休息室。当前对每个流动个体来说，这些在现代生活 里的没有人情味的过渡场所是无所不在的。这些场所使我们的行为 及身份不再明显，成为被动的生活观察者而不是参与者。 汉斯·欧普·德·贝克还为此展览创作了一个新的动画影片，使 用的黑白水彩画来源于网络上的照片、和纪录片或科教片里的画 面。在内容方面，该动画影片把文化及次文化的仪式，科学和技术处 理成为人类身体的延伸，以及人们对科技进步无止境的信仰的具象 表现，是既有拯救力又含伦理性的质疑。艺术家对身体的延伸下了 广泛的定义。身体的延伸既可以包括物体如电脑，武器，扫描仪，假 肢，或者是大型建筑物如购物中心或休息室－任何似乎使西方的生 活更轻松的事物，用于使生活系统化和自动化，并以数据，网络和模 块形式体现出来。 汉斯·欧普·德·贝克的作品在许多地方展出，包括索非亚女王 美术馆（马德里），泰特现代美术馆（伦敦），斯科茨代尔当代美术 馆(亚利桑那州)，十和田艺术中心(十和田)，ZKM艺术与多媒体博物 馆(卡尔斯鲁厄)，SMAK比利时根特市立现代美术馆(根特)，MACRO Future (罗马)，美图驿站 (纽约)，第6届上海双年展 (上海)，汉诺 威艺术协会 (汉诺威)，白教堂艺术画廊 (伦敦)，P.S.1 (纽约)，玛尔他 博物馆 (赫尔福德)，安特卫普当代艺术馆 (安特卫普)，20008新加坡 双年展。2009年，新项目将在威尼斯，巴黎，马德里，新加坡，上海 及柏林展出。
与艺术家相关的作品，出版物及文章:
www.hansopdebeeck.com
Room (1) + (2) + (3) since 2007, ongoing series of Lambda prints mounted between Dibond and Plexiglas, 180 x 110 cm each 房间 (1) + (2) + (3) 2007年至今, 连续制作的Lambda数码冲印系列 , 铝塑复合板和有机玻璃 , 每幅180 x 110 厘米
photographic works (the ‘Room’ series) 摄影作品 (“房间”系列)
Destructed Landscape 2008, Aquarelle on Arches paper in wooden frame, 244,5 x 133,8 x 4,3 cm Nocturnal Sea 2008, Aquarelle on Arches paper in wooden frame, 245,1 x 132,6 x 4,3 cm Terminal 2008, Aquarelle on Arches paper in wooden frame, 190,1 x 132,55 x 4,3 cm Copy of a ruin 2008, Aquarelle on Arches paper in wooden frame, 100,4 x 81 x 3,55 cm 被破坏的景观 2008, 水彩, 水彩画纸 , 木制画框 , 244,5 x 133,8 x 4,3 厘米 夜海
2008, 水彩, 水彩画纸 , 木制画框 , 245,1 x 132,6 x 4,3 厘米 终点站
2008, 水彩, 水彩画纸 , 木制画框 , 190,1 x 132,55 x 4,3 厘米 废墟的拷贝
2008, 水彩, 水彩画纸 , 木制画框 , 100,4 x 81 x 3,55 厘米
watercolours 水彩作品
Paradigm (1) + (2) since 2008, ongoing series of individual sculptures, mixed media, 1,96 x 0,76 metres, 2,30 metres in height each Attack 2008, sculpture (incl. pedestal and Plexiglas cap), polyamide, 60 x 60 cm x 134 cm height Medusa 2008, sculpture (incl. pedestal and Plexiglas cap), polyamide, 60 x 60 cm x 147 cm height Splitting 2008, sculpture (incl. pedestal and Plexiglas cap), polyamide, 60 x 60 cm x 180 cm height Observatory 2008, sculpture (incl. pedestal and Plexiglas cap), polyamide, 60 x 60 cm x 134 cm height Social Housing 2008, sculpture (incl. pedestal and Plexiglas cap), polyamide, 60 x 60 cm x 186 cm height Panoramic Construction (1) + (2) + (3) + (4) 2008, four individual sculptures, mixed media, approx 1,30 x 1,55 x 1,30 metres; 1,06 x 1,15 x 1,85 metres; 1,25 x 1,40 x 1,80 metres; 1,28 x 1,20 x 1,85 metres 示例 (1) + (2) 2008年至今, 连续制作的独立雕塑系列 , 混合材料, 每个1,96 x 0,76米 , 2,30 米高 攻击
2008, 雕塑 (含底座和有机玻璃盖 ), 聚酰胺 , 60 x 60厘米 x 134厘米高 美杜莎
2008, 雕塑 (含底座和有机玻璃盖 ), 聚酰胺 , 60 x 60厘米 x 147厘米高 分裂
2008, 雕塑 (含底座和有机玻璃盖 ), 聚酰胺 , 60 x 60厘米 x 180厘米高 观察台
2008, 雕塑 (含底座和有机玻璃盖 ), 聚酰胺 , 60 x 60厘米 x 134厘米高 社会住房
2008, 雕塑 (含底座和有机玻璃盖 ), 聚酰胺 , 60 x 60厘米 x 186厘米高 全景建筑 (1) + (2) + (3) + (4) 2008, 四个独立雕塑 , 混合材料, 约1,30 x 1,55 x 1,30 米 ; 1,06 x 1,15 x 1,85米 ; 1,25 x 1,40 x 1,80 米 ; 1,28 x 1,20 x 1,85米
sculptural works 雕塑作品
Location (1) 1998, sculptural installation, mixed media, 3,2 x 4 metres, 5 metres ceiling height Courtesy: MuHKA – Antwerp and Collection of the Flemish Community (Belgium) Location (4) 2001, sculptural installation, mixed media, 10 x 12 metres, 5 metres ceiling height Location (5) 2004, sculptural installation, mixed media, sound, 9,6 x 14 metres, 6,2 metres ceiling height Location (6) 2008, sculptural installation, mixed media, mist and artificial light, 18 metres diameter x 4 metres high (cylinder) Coproduced by Holland Festival, Amsterdam (The Netherlands) 场景（1） 1998, 雕塑装置 , 混合材料, 3,2 x 4米 , 5米高 感谢: 安特卫普当代艺术馆和佛兰芒共同体收藏协会( 比利时) 场景(4) 2001, 雕塑装置 , 混合材料, 10 x 12米 , 5米高 场景(5) 2004, 雕塑装置 , 混合材料, 声音, 9,6 x 14米 , 6,2米高 场景(6) 2008, 雕塑装置 , 混合材料, 人造雾和光源 , 18米直径 x 4米( 圆柱形) 由荷兰庆典 , 阿姆斯特丹 ( 荷兰)联合制作
sculptural installations (the ‘Location’ series) 雕塑装置 (“场景”系列 )
Merry-go-round (2) 2005, sculptural installation, mixed media, sound, 8 x 16 metres, 5 metres ceiling height T-Mart 2004-2005, sculptural installation, mixed media, sound and video projection, 8 x 9 metres, 1,40 metres in height Table (1) 2006, sculptural installation, mixed media, 3 x 8 metres, 1,70 metres in height Courtesy: ARARIO, Seoul-Beijing and private collections Extension (2) 2007, sculptural installation, mixed media, electronics, 5,50 x 3,50 metres, 1,90 metres in height 旋转木马(2) 2005, 雕塑装置 , 混合材料, 声音, 8 x 16米 , 5米高 T-Mart
2004-2005, 雕塑装置 , 混合材料, 声音和视频投影, 8 x 9米 , 1,40 米高 桌子(1) 2006, 雕塑装置 , 混合材料, 3 x 8米 , 1,70 米高 感谢: 阿拉里奥画廊，首尔-北京和个人收藏家们 延伸(2) 2007, 雕塑装置 , 混合材料, 电子器件, 5,50 x 3,50 米 , 1,90 米高
other installations 其它装置
客户后提供的pdf
animated films 动画影片
客户后提供的pdf
video works 视频作品
editorial coordination Federica Beltrame Stijn Maes Federica Mantoan graphic concept Shine Gao Jasper Lutin Hans Op de Beeck text Studio Hans Op de Beeck translation Laura Festa Qiu Keman Shen Yan Laura Watkinson Lisa Zhang exhibition coordination Federica Beltrame Kurt Geraerts Adrien Macera Federica Mantoan Francesca Simonetti Lisa Zhang exhibition production Bernard Babette Kurt Geraerts Serge Lacroix setting up Federica Beltrame Liu Haichen Federica Mantoan Qin Haibo Shen Yan Koma Wan Wang Jianming Lisa Zhang Zhang Mingxin
编辑协调 白飞德 史坦恩·莫斯 曼飞飞 画册设计 高杉 贾斯波·鲁丁 汉斯·欧普·德·贝克
special thanks Federica Beltrame, Mario Cristiani, Francesca Simonetti and the whole staff of GALLERIACONTINUA / BEIJING
Bert Heytens and Gert Op de Beeck Mr Fumio Nanjo LICHTblick (Germany) and Holland Festival (The Netherlands) all images and text © the authors
文章 汉斯·欧普·德·贝克工作室 编辑与翻译 罗兰 邱可曼 沈燕 劳拉·瓦克森 张世英 展览安排 白飞德 库尔特·杰拉尔茨 亚德里安·马赛拉 曼飞飞 弗郎切斯卡·佛萨提 张世英 展览制作 贝尔纳德·芭贝特 库尔特·杰拉尔茨 塞尔日·拉克鲁瓦 展览安装 白飞德 刘海臣 曼飞飞 秦海波 沈燕 宛利杰 王建明 张世英 张明信
Published by GALLERIACONTINUA / BEIJING Printed in China
特别鸣谢 白飞德 , 马里奥, 弗郎切斯卡·佛萨提 北京常青画廊全体员工 郝福·黑藤斯, 格特·欧普·德·贝克 南条史生 LICHTblick (德国) 荷兰庆典 ( 荷兰) 图片文字提供 © 作者 北京常青画廊 出品 中国印刷
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