Hans Op de Beeck (Belgian, 1969), In Silent Conversation with Correggio (Lounge), 2009. Aquarelle on Arches paper in wooden frame, 80 1/3 x 52 1/2 x 1 3/4 in.
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“Hélène” (2023), MDF, polyester, and coating, 90 x 142 x 110.5 centimeters.
Enigmatic Figures Are Frozen in Time in Hans Op de Beeck’s Lifelike, Monochromatic Sculptures
All images © Studio Hans Op de Beeck
Detail of “We were the last to stay.” Photo by Blaise Adilon, © Biennale de Lyon 2022
“Gesture (laurel wreath)” (2022), polyester, polyamide, and coating, 55 x 54.5 x 20 centimeters
“Danse Macabre” (2021), installation of steel, aluminum, wood, polyester, polyamide, polyurethane, PVC coated nylon, plaster, and coating, 11 x 11 x 6.5 meters
“The Horseman” (2020), polyester, steel, polyamide, brass, coating, and bronze, 215 x 92 x 243 centimeters
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2023 Lyon, usine Fagor
Biennale de Lyon Manifesto of fragilité
• We were the last to stay, 2022 Hans Op de Beeck (détail)
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Hans Op de Beeck (Belgian, 1969), Idyll, 2008. Watercolour on wove paper, 93.5 × 98 cm.
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Dreamscape 1
Op de Beek, H. (2013). The Settlement.
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I went to Amos Rex today to see the Hans Op de Beeck The Silent Parade exhibiton. (10/10 would reccomend btw) It was great but one thing stole the whole show:
This freaking statue of a skeleton child with a collared seal. It's as close to perfection that humans can reach.
LOOK AT THAT F A C E
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Hans Op de Beeck – Staging Silence (3)
Third part of a series of monochrome films in which two pairs of anonymous hands construct and deconstruct different miniature interiors and landscapes
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