"LE PRÉSENT ABSOLUMENT"
Friday, 25 APR 2008
Sabine Folie, Direktorin der Generali Foundation, Wien
26 APR - 28 JUN 2008
5 SALLES FLOTTANTES EXTRAORDINAIREMENT EXCEPTIONNELLEMENT RÉUNIES EN UNE CONFIGURATION 'GALERIE NÄCHST ST.STEPHAN ROSEMARIE SCHWARZWÄLDER' + 1 SAL- LE GRATUITE
"LE PRÉSENT ABSOLUMENT"
Joëlle Tuerlinckx works with materials and situations. Her installations include paper works, slides, films, and materials often taken from the exhibition site. Her visual vocabulary consists of books, glass showcases, video screens, and, ultimately, the rooms themselves. Through Tuerlinckx' so-called "stretch" method they are doubled as 1:1 models, as voids of time and space whose walls and floors are furnished with markings that allow the viewer to perceive their bare factual certainty. To do nothing more than what has already been done ("everything already exists") is one of her declared intentions.
Joëlle Tuerlinckx articulates herself between image and word, space and thought. Through "walking and thinking and walking" she develops forms of visibility in space, whereby the best place in the room is the edge, "never the center." It is an emptying of space in order to avoid the character of representation. What spins off of this is an independent entity of facts and thoughts with a hypothetically infinite character; the work develops as a situation, not as an object, image, or expression.
The inclination towards overabundance takes the form of parataxis. Objects, found or reproduced material, quotes, and ephemera are placed next to each other in a neutral way, linked non-hierarchically. These systems of rhizomatic multiplicity (Michael Newman) are also applied in Tuerlinckx' - naturally infinite - series "Theory of Walking Page." It is about twofold infinity: one of elements and one of the possible relations between elements. In this case the elements have been freed of their features and specific qualities. They are, like the colored markings, indications in the room.
For our exhibition, Joëlle Tuerlinckx traces the contours of the rooms. They can be viewed together in a glass case in the last room as models of different scale, as the compression of space and time from an otherwise impracticable outside perspective. Rubbings of the gallery floor are scanned and printed onto cloth. The blue of the Danube and the hallmark pink of the pastry shop Aida are used on the walls, an X marks the spot where a picture could hang, and another one appears on a stone, special lighting situations represent natural or also "false" shadows.
With her combination of different systems of symbols Tuerlinckx continues the tradition of her compatriot Marcel Broodthaers. Through the equal treatment she gives to the original and the reproduction, to references as well as appropriations, to both image and word, she undermines the identity constructions of art and in a poetic way expands the possibilities of artistic reception.
JOËLLE TUERLINCKX, born in Brussels in 1958, lives and works in Brussels. Exhibitions (selection): 2008 „Un coup de dés - Bild gewordene Schrift", Generali Foundation, Vienna; 2007 MAMCO, Geneva; 2006 Drawing Center, New York; "Nichts," Schirn Kunsthalle, Frankfurt; 2004 Badischer Kunstverein, Karlsruhe (with Willem Oorebeek); 2003 The Renaissance Society, Chicago; 2002 Documenta 11, Kassel; 2001 Bonnefantenmuseum, Maastricht; 2000 "Manifesta 3," Ljubljana; 1999 Museum Dhondt-Daenens, Deurle; Stedelijk Museum voor Aktuele Kunst, Ghent; 1996 "NowHere," Louisiana Museet, Humlebaek; "Inside the Visible," Whitechapel Art Gallery, London, and National Museum of Women in the Arts, Washington D.C.; 1994 Witte de With, Rotterdam