Produced on the occasion of the exhibition Willem Oorebeek – MONOLITH, lettered rock, at With de With, Rotterdam, 4 June–24 July, 1994.

Dutch artist Willem Oorebeek’s (1953) work is grounded in techniques from the graphic arts. He utilizes different printing processes in a special manner, fully employing the printing procedure’s inherent principles of juxtaposition and stratification in order to explore the themes of repetition, multiplication, seriality and order. Oorebeek is especially interested in how image and language can combine and lead to a unique cross of visibility and legibility. [exhibition press release]

Produced on the occasion of Willem Oorebeek’s exhibition at Culturgest, Lisbon, 28 June–21 September, 2008.

Dutch artist Willem Oorebeek’s work is grounded in techniques from the graphic arts. He utilizes different printing processes in a special manner. He is especially interested in how image and language can combine and lead to a unique cross of visibility and legibility. Over the last ten years his production consisted mainly of a series of works in which he appropriates imagery drawn from printed matter that circulates in the public sphere. This catalogue from his 2008 exhibition in Lisbon documents his work and is accompanied by essays from Wouter Davidts and Camiel van Winkel.

Produced on the occasion of Willem Oorebeek’s exhibition Bigger, Higher, Leader!, at S.M.A.K., Ghent, 6 May–30 July, 2006.

Willem Oorebeek’s work presents a reflection on the status of the image and more especially on what technical reproduction does to an image or a message. Over the last few years he has been working on his BLACKOUT series, in which he prints on existing printed matter by hand, using black ink. The images he uses are of various origins, but he appropriates them and by making them illegible also pays tribute to them. In a certain sense, Oorebeek’s work is akin to certain aspects of Pop Art, though his is more radical. [publisher’s text]

Designed by Luc Derycke & Willem Oorebeek.

Rémy Zaugg said about a work of Cezanne: “The manufacture of the image is the work of the beholder.” William Oorebeek once quoted this in one of his books, and calls his artistic interventions often “picture editing”. This is more than clear in met zonder KOP. The multitude of images and snippets of detail, of shifts, the increase of the image resources and gaps that Oorebeek uses, forces the viewer to “build a picture”, in the way we are daily forced to reconstruct the flow of images into a sensible and meaningful whole. [publisher’s note]

Produced on the occasion of the Dutch Pavilion at the 47th Venice Biennale.

*Please note this publication is secondhand and has some traces of previous ownership.

Produced on the occasion of Oorebeek’s major survey exhibition at WIELS in Brussels, this richly illustrated book presents re-readings of fifty years’ work and the materiality of production. These are numbered according to recollection, organised under headings, and translated from Dutch to English. The translations are coloured by two years of conversation with editor/designer Will Holder—accounting for ambiguity, rabbit-holes, and an [un]conscious preference for “quasi-” “ofschoon…” “enzovoort.” Repetition, alliteration, and other material, musical and metric devices are placed on the page, quite intentionally, designed “an sich” to facilitate memory and recall; complementing the book’s many scale details of work itself.