Théo Hennequin

Théo Hennequin is a Brussels-based graphic designer and visual artist with a conceptually driven practice spanning culture, music and sport. He collaborates with institutions, artists, festivals and collectives, from major museums to independent structures, to articulate distinctive positions across print, digital and motion.

His practice is rooted in the circulation of images and forms between swiss rigour, experimental layering and popular cultures, from the football stand to the mountain trail, using the distance between them as a space for inquiry.


Services

Visual identity, editorial design, motion design, web design, typeface design

Commission

Please contact me so that I can put my skills to work for you.

Collaboration

Currently available on a freelance basis for collaborations.

Contact

hello@theohennequin.com
@theohennequin
Rue Jacques de Lalaing 13, 1040 Brussels

Selected clients

Affenpinshers, Africa Museum, Argos, Entwined, Harlem Lamine, Johan Poezevara, La Bellone, Les Chantiers Battus, Les Îles Mardi, Musique Action Chaumont, Palais de Tokyo, Traumnovelle, Toestand...

About

The Grand Opening

2024

Clients: urban.brussels, Traumnovelle
Collaborator: Laurent Mbaah (graphic design)
Photographies: Severin Malaud

The Grand Opening – Intersections décoloniales is a programme deployed around the Monument to the Belgian Pioneers in the Congo, in the Cinquantenaire Park in Brussels. Audiovisual installations, slam performances, writing and text-arpentage workshops, collective readings and debates question and deconstruct the entrenchment of the heroic fiction of the Belgian colonisers in the Congo, from a decolonial, anti-racist and intersectional stance.

The visual identity borrows from the monument itself. Its stone reliefs, halftoned like an enlarged archive print, are layered over drawings of scaffolding and structures: the image of a construction site that deconstructs. The poster, treated as a pleated veil, evokes the curtain drawn back at an unveiling and lets the monument appear behind it. The title, in white capitals of a classical serif, echoes the gravity of the inscriptions carved in stone, while the palette, reduced to grey and white, remains that of the material.