The Individual Parallel – Bilderberg Utopia (2014)

Willem Oorebeek

photo Jannes Linders

photo Jannes Linders

photo Jannes Linders

photo Jannes Linders

photo Otto Snoek

photo Otto Snoek

The artwork

On 23 September 2014, Mayor Aboutaleb unveiled The Individual Parallel – Bilderberg Utopia by adding the final dot to a pattern covering the entire facade of the Park Hotel. With the unveiling of this artwork by Willem Oorebeek, the hotel sealed the completion of a major transformation of the first floor. The Individual Parallel – Bilderberg Utopia is a monumental artwork formed by a grid of dots that subtly light up in the dark. The dots are placed in the reading direction on the plane. A full dot runs along the left and top edges while open line ends become visible on the right and bottom. An important game rule was that no cut-off dots could be used, as they would evoke a reference to the outside. Thus, window openings are cut out of the grid with the omission of all intersected dots, creating a striking ragged opening. Around the letters of the Bilderberg Park Hotel, this creates an unevenness in the confrontation of the grid with the letters of the logo.

Oorebeek says of his work, “In my work, which deals with perception, the dot grid is an abstraction, capable of definition, and the exact opposite of the image. However, when the grid of dots is applied to something, it itself becomes image and merges with the plane on which it is applied, as definition. Strictly speaking, what we perceive then becomes an image of SELF. So represented as a graphic definition of the facade of the hotel, the grid forms an image of the hotel itself.”

Year
2014
Location
Rochussenstraat 33A
Dimensions
heigth 30 m
Material
composite
Client
Bilderberg Parkhotel Rotterdam
Owner
Gemeente Rotterdam

The location

The Individual Parallel – Bilderberg Utopia is a monumental intervention on the facade of the Bilderberg Parkhotel, which is located at the spot where Westblaak, Rochussenstraat, Westersingel and Eendrachtsplein converge, right in the heart of the city center. This places the hotel at the intersection of two important traffic arteries: the Westersingel, which leads from Central Station towards the Maas River, and the Blaak, which connects the west side of the city with the east; in the artist’s words. The Bilderberg Parkhotel is located on the art axis and sculpture route of Sculpture International Rotterdam and cherishes the ambition of being a cultural hotel in addition to being a business hotel.

Willem Oorebeek on the assignment at this site: “At the intersection of two distinguished directions north/south and east/west, the Bilderberg/Parkhotel forms a very captivating dynamic urbane cluster, where permanent traffic of all speeds merge in a well-orchestrated manner. Seen on a scale larger, the hotel forms exactly a beacon coming from Central Station and the view of the north facade on Eendrachtsplein takes on an almost cinematic zoom in as a result. I followed this part of the hotel’s construction daily on my way to the studio in the 1980s, which is why I feel lightly connected to the building as a beacon.”

Willem Oorebeek

Willem Oorebeek

The work of Willem Oorebeek (Pernis, 1953) is largely based on the field of tension between the individual and the public domain. Oorebeek uses the medium of ‘printed matter’ to make manifestations to and in the public domain, and the way in which the individual relates to it, known in inimitable ways and, if necessary, polarized. In a seemingly dry formalization of the organizational form of printed matter, he analyzes the mechanisms of visual communication and forms new constellations in the perspective of individual perception.

The procedures he employs  which generally involve his manual processing of material through lithography − often lead to a delay in perception that allows questions regarding the position of the viewer (as an individual) to arise. In various publications, the circulation of images and ‘messages’ in his work becomes an unpredictable (nor easy to read) resonance of repeated afterimages, like echoes in an endless stream of self-reproducing mechanisms. The book is a telling example of this, and the partnership he has established for it with Belgian artist Joëlle Tuerlinckx is a prime example of the absorption into a collective (temporary) form of organization he has sought since his student days.

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