Joëlle TuerlinckxSummertimeaccrochage d’été avec oeuvres de la galerie
Windfiguren und Zeitfiguren auf Boden und Tisch
3 Floor Drawings made on site
+ 481 Minuten Hintergrundmusik*
(extra interludes sonores: Christoph Fink)
Exhibition
Opening / IntroductionDr. Clémentine Deliss, Associate Curator, KW Institute for Contemporary Art, Berlin
FinissageFRIDAY, 29 SEP 2023
LECTURE-VISITE D'ESPACE
Heike Eipeldauer (curator, mumok, Vienna) in conversation with Joëlle Tuerlinckx
17:30
481 MINUTEN HINTERGRUNDMUSIK
archives sonores d'atelier, été 2023 (extraits) composés et joués en live par Christoph Fink
14:00 – 20:00
LECTURE-VISITE D'ESPACE
Heike Eipeldauer (curator, mumok, Vienna) in conversation with Joëlle Tuerlinckx
17:30
481 MINUTEN HINTERGRUNDMUSIK
archives sonores d'atelier, été 2023 (extraits) composés et joués en live par Christoph Fink
14:00 – 20:00
Grünangergasse 1
1010 Vienna
8 Jul – 29 Sept 2023
read inGerman
* La matière de la Hintergrundmusik s’élabore durant tout l’été. Elle se réactualise en temps réel pour se clôturer en un ensemble conséquent de quelque centaines de minutes tel qu’annoncé. * The material of the Hintergrundmusik is in development throughout the whole summer. It will be updated in real-time to result in a track of a few hundred minutes as announced.
Installation Views
read inGerman
(…) Ainsi il en va de l’expérience qu’on peut en avoir : entre perception de réalité et représentation de réalité, entre ce qu’on voit et ce qui disparaît, ce qu’on entend et qui n’est pas ou plus là visible, au travers des registres de grandeur, de couleur, de nature, de culture, opposés et rassemblés en un même ‘moment d’espace’ (Summertime). C’est ce qu’est toute exposition : un moment exponentiel d’espace dans lequel soudain, ici on est. (…) (…) This is how it is with the experience you can have: between the perception of reality and the representation of reality, between what you see and what disappears, what you hear and what is not, or no longer, visible – through registers of size, colour, nature and culture, opposed and brought together in one and the same ‘moment d’espace’ (Summertime). This is what every exhibition is: an exponential moment in space in which, suddenly, you are here. (…)
read inGerman
« Rien n'aura eu lieu que le lieu » est ce que j’emprunte à Mallarmé, « Je ne sais ce que je vois qu’en travaillant » est ce qui me rapproche d’Alberto Giacometti. Du cinéma, je convoque l’hors-champ, du visiteur traversant l’espace, de sa perception, tout comme Serge Daney, je le vois, l’idéalise, comme ce « marcheur qui accepte cette idée que le spectacle a toujours déjà commencé ». “Nothing will have taken place but the place” is what I borrow from Mallarmé. “I don’t know what I see except when I am working” is what brings me close to Alberto Giacometti. From the cinema, I summon up the ‘hors-champ’ [Out of the Field], of the visitor crossing the space, of his perception – just like Serge Daney, I see him, I idealize him as this “walker who accepts the idea that the show has always already begun”.
Press Release
read inGerman
With Summertime, Joëlle Tuerlinckx draws us into the warm haze of summers past. Oscillating between precision and playfulness, her new sculptures and collages combine rational geometry with an oneiric longing for tomorrow’s horizons. Wind and sun enter an open window in the gallery as if the outdoors was pushing for emotional space. We step over ‘dislocated’ drawings made from flat brass and aluminium plaques. These fine floor works connect to the series of Collages d’Atelier on the walls of the gallery. In one set, Tuerlinckx combines a computer-generated outline with a Chute d’Atelier. A small painting in monochrome scarlet is placed face-down, its pigment barely visible but for coloured stains that have seeped out to its edges. With others, the painted remnant is substituted by a picture postcard of a sunset or seascape. This time the illustration is turned over to reveal a title printed on the back of the card. We read phrases like “Paix du soir” [Evening tranquillity], or a line from a poem by the French poet-statesman, Alphonse de Lamartine, such as “Le soleil de demain ?” [Tomorrow’s sun?]. Today these idyllic vistas with their aftertaste of tourism and nostalgia speak another language, that of increasing unease at the degradation of the environment, the destruction of paradise. Tuerlinckx has a special relationship with photography and returns to it for the dreamlike recall it can unleash. A few years back, she papered a room in the Galerie nächst St. Stephan with an enlarged shot of a brick wall taken in her studio in Brussels. Now, for Summertime, she repeats the process, only this time with a found photograph of a centuries-old dwelling, an image she has looked at in her studio every day and which she translates into the rooms of the gallery. She deploys this found photograph as a decoy, a mnemonic lure so inherently enigmatic that it alters our experience of reality. In the same room, we find a blue kitchen table on which she places metal foils and circles cut out of transparent film. These Figures de Vent [Wind figures] swirl in the light and dance to the wind of a nearby fan as if they were moving to camera. Paintings, soaked in water and folded, protrude unevenly on the wall like sculptures. Drips of washed-out colour spot the walls and, together with the finest of copper wire, form part of a vast mural. With its subtle blue and yellow markings, it recalls the fresco painter who strokes the wall with leftover pigment to clean a brush. Meanwhile nylon thread, partially painted with colours, stretches across the room to meet tongues of paper that shake in the wind. With Lignes Café Tuerlinckx takes paper tablecloths from restaurants and marks them with optical lines, coloured like horizons. Elsewhere, a series of small works, Études de Cuisine [Kitchen Studies] resonate with a percussive quality drawn in crayon, tapped and rubbed, back and forth onto the paper for two hours or more. Tuerlinckx returns to a central challenge in her work: how to translocate the privacy of her world, that of her studio with its freedom of unresolved composition, into the hermetic frame of the gallery. With Summertime, it is sound that is charged with translocating this presence. In the distance we hear someone practising chords, perhaps a few lines from “Summertime” sung by Janis Joplin, but so faint one might be mistaken. Invisible to the eye yet located somewhere in the gallery, this sonic sculpture has a troubling presence that confuses the wavelengths between lived and imagined experience. The configured agency and unusual beauty of her artworks offer us visual oxygen. Summertime encourages us to take a pause and view the repeated fictions of our shared lives with humour and counterpoint.
read inGerman
CLÉMENTINE DELISS is an independent curator and cultural historian. She studied art and anthropology in Vienna, London, and Paris and lives and works in Berlin. She is Associate Curator at KW Institute for Contemporary Art in Berlin where she is preparing the forthcoming exhibition, “Skin in the Game” – opening 13 September 2023 – with artworks and a collaborative choreography by Joëlle Tuerlinckx.
Featured Works
Joëlle Tuerlinckx
Table bleue 'Sonnen-, Wind- und Zeitfiguren'
Table bleue à Figures de temps solaire / Figures de vent, 2023kitchen table, brass weights, chromed metal, galvanized metal, foil polypropylene (Figures de temps solaire); brass rods (Figures de vent)
110 x 70,5 x 76,5 cm
Joëlle Tuerlinckx
Fenêtre 'alu-laiton, point rouge/bleu’
Fenêtre ‘point rouge/ point bleu’ ou Fenêtre aluminium-laiton, 2021objet trouvé, Bruxelles, 2021
162,5 x 107,20 x 20,8 cm
Joëlle Tuerlinckx
‘Mural Summertime bleu Giotto’, 2023
school chalk on wall, plastic tape, woolen thread, staples, postcard and foil
variabel
Joëlle Tuerlinckx
‘Mural Summertime rose Giotto’, 2023
school chalk on wall, plastic tape, staples
variable
Joëlle Tuerlinckx
Balles, boule, Ballon été 2023, 2023
rubber ball, plaster of paris, acrylic, 2 tennis balls, tape, fan
variable
Joëlle Tuerlinckx
Fausses gouttes ou Fils et gouttes de pluie, 2023
thread, epoxy resin, edition of 5
length until 7 m
Joëlle Tuerlinckx
Floor Drawing ‘Theory of vision’ (‘Figure solaire aluminium 3x6m’), 2023
polished aluminum
variable p.e.: 460 x 240 cm
Joëlle Tuerlinckx
Floor Drawing -serie Theory of vision ‘Figure solaire laiton 3x3m’, 2023
brass
6 parts, total 310 x 411 cm
4 parts, each 303 x 3 x 3 cm
1 part 225 x 3,5 x 3 cm
1 part 315 x 206,5 x 3 cm
Joëlle Tuerlinckx
Floor Drawing ‘Theory of vision’ (‘Figure solaire laiton 1x1m (II)’), 2023
brass
102,5 x 114 cm
Joëlle Tuerlinckx
Floor Drawing ‘Theory of vision’ (‘Figure solaire laiton 1x1m (II)’), 2023
brass
82,5 x 82,5 cm
Joëlle Tuerlinckx
Projet pour ‘La vague’ ou Still Figure prototype laiton/plastique, 2023
brass, acrylic glass, plastic foil
302 x 8 x 1 cm
Joëlle Tuerlinckx
4 x 1 extrait La constellation du peut-être, 2018
galvanised iron
4 elements, dm 38 cm
Joëlle Tuerlinckx
‘Révolution Décoration’ ou Langue de plafond flottante I, 2023
textile ribbon, staples
variable
Joëlle Tuerlinckx
Barre d’ombrage noire 101 cm ou Barre d’ombres , 2023
casein-acrylic paint on wood
133 x 3,5 x3 cm
Joëlle Tuerlinckx
Chic Vision, 2023
toilet paper, fans
variable
Joëlle Tuerlinckx
‘Gouttes blanche sur fond noir’ ou Summertime Painting #2, 2005-2023
casein acrylic paint, tylose, gesso on metal
61 x 87,5 cm
Joëlle Tuerlinckx
Frottage ‘mur d’atelier noir’, 2007-2023
paper, latex, chalk (from studio wall), acid-free Japanese tape, aluminum
74,2 x 109,2 cm
Joëlle Tuerlinckx
Tache post-it oder Summertime Painting #2, 2023
yellow wall dispersion pigments on paper, magnets
86 x 60,5 cm
Joëlle Tuerlinckx
Feuilles vertes, 2023
acrylic on paper
2 parts, approx. 115 x 125 cm and 115 x 160 cm, total approx. 115 x 285 cm
Joëlle Tuerlinckx
Etude pour Summertime (III) ou Galvanisé Summertime (III), 2023
water and felt-tip pen on paper, acrylic glass, galvanized metal
41 x 37 x 3 cm
Joëlle Tuerlinckx
Etude rose pour Summertime (IV) ou Galvanisé Summertime rose (I), 2023
water and gesso on colored paper, acrylic glass, galvanized metal
51 x 40 x 3 cm
Joëlle Tuerlinckx
Etude pour Summertime (I) ou Galvanisé Summertime (I), 2023
water and Japanese ink on paper, acrylic glass, galvanized metal
41 x 31 x 3 cm
Joëlle Tuerlinckx
Collage magnétique ‘Exhibition view (1997) /Tarte-palette rouge Hermitage (2015’), 2023
invitation cards, acrylic paint
14,9 x 23,3 cm and 15,7 x 23 cm, framed 31 x 39,8 cm (can be installed in both directions)
Joëlle Tuerlinckx
Etude verte pour Summertime (V) ou Galvanisé Summertime vert (I), 2023
colored paper, felt-tip pen, acrylic glass, galvanized metal
60,8 x 41 x 4 cm
Joëlle Tuerlinckx
Rond lanoline, 1988-89
lanoline and water on paper
29,7 x 21 cm, framed 39,8 x 31 cm (can be shown portrait and landscape)
Joëlle Tuerlinckx
‘Boule d’eau (I)’, 2002
felt-tip pen and water on paper
28 x 20,7 cm, framed 39,8 x 31 cm (can be shown portrait and landscape)
Joëlle Tuerlinckx
Ronds double (eau/charbon) (I), 1988-89
charcol on paper
21 x 30 cm, framed 31 x 39,8 cm
Joëlle Tuerlinckx
‘Boule d’eau (II)’ , 2002
felt-tip pen and water on paper
21 x 30 cm, framed 31 x 39,8 cm (can be shown portrait and landscape)
Joëlle Tuerlinckx
‘Etudes d’immersion/niveau d’eau’ (#2), 1984
watercolor, pencil on paper
9 x 14 cm, framed 30,5 x 21,5 cm
Joëlle Tuerlinckx
‘Petite étude niveau d’eau noire’, 1984
water colour, pencil on paper
13 x 16 cm, framedt 30,5 x 21,5 cm (can be installed in both directions)
Joëlle Tuerlinckx
‘Etudes d’immersion/niveau d’eau’ (#3), 1984
pencil on paper
18 x 28 cm, framed 31 x 39,8 cm
Joëlle Tuerlinckx
‘Etudes d’immersion/niveau d’eau’ (#4), 1984
pencil, coloured pencil on paper
18 x 28 cm, framed 31 x 39,8 cm
Joëlle Tuerlinckx
‘Etudes d’immersion/niveau d’eau’ (#5), 1984
pencil on paper
18 x 28 cm, framed 31 x 39,8 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série blanche A2 ‘Tout ce qui n’est/Bruxelles ’,2023 (#1), 2023
Collage (postcards (archives d’atelier), laser printing on paper, aluminum frame)
59,4 x 42 cm, framed 61,5 x 44,1 x 3 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série blanche A2 ‘Tout ce qui n’est/Bruxelles ’,2023 (#3), 2023
Collage (postcards (archives d’atelier), laser printing on paper, aluminum frame)
59,4 x 42 cm, framed 61,5 x 44,1 x 3 cm
Joëlle Tuerlinckx
Ligne-Bar #1, 2023
paper table mat, pastel, oil pastels, felt-tip pens (Japanese ink and fluo), aluminum frames with anti-reflective glass
30 x 45 cm (11 3/4 x 17 3/4 in.), framed 32 x 47 cm (12 1/2 x 18 1/2 in.) (can be shown portrait and landscape)
Joëlle Tuerlinckx
Ligne-Bar #4, 2023
paper table mat, pastel, oil pastels, felt-tip pens (Japanese ink and fluo), aluminum frames with anti-reflective glass
30 x 45 cm (11 3/4 x 17 3/4 in.), framed 32 x 47 cm (12 1/2 x 18 1/2 in.) (can be shown portrait and landscape)
Joëlle Tuerlinckx
Ligne-Bar #7, 2023
paper table mat, pastel, oil pastels, felt-tip pens (Japanese ink and fluo), aluminum frames with anti-reflective glass
30 x 45 cm (11 3/4 x 17 3/4 in.), framed 32 x 47 cm (12 1/2 x 18 1/2 in.) (can be shown portrait and landscape)
Joëlle Tuerlinckx
Ligne-Bar #16, 2023
paper table mat, pastel, oil pastels, felt-tip pens (Japanese ink and fluo), aluminum frames with anti-reflective glass
30 x 45 cm (11 3/4 x 17 3/4 in.), framed 32 x 47 cm (12 1/2 x 18 1/2 in.) (can be shown portrait and landscape)
Joëlle Tuerlinckx
Collage Theory of Vision –série noire usletter ‘lever/coucher du soleil-verso’ (2023) #1, 2023
collage
28,3 x 21 cm (11 1/8 x 8 1/4 in.), framed 30,1 x 22,8 x 3 cm (11 7/8 x 9 x 1 in.)
Joëlle Tuerlinckx
Collage Theory of Vision –série noire usletter ‘lever/coucher du soleil-verso’ (2023) #13, 2023
Collage
28,3 x 21 cm, framed 30,1 x 22,8 x 3 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série blanche usletter ‘lever/coucher du soleil-arbres’ (#2), 2023
Collage
28,2 x 21 cm, framed 30,1 x 22,8 x 2,5 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série blanche usletter ‘lever/coucher du soleil-arbres’ (#9), 2023
Collage
28,2 x 21 cm, framed 30,1 x 22,8 x 2,5 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série silver usletter ‘lever/coucher du soleil-rochers’ (#3), 2023
Collage
29,7 x 22,4 cm, framed 30,1 x 22,8 x 2,5 cm
Joëlle Tuerlinckx
Collage ‘Theory of Vision –série silver usletter ‘lever/coucher du soleil-rochers’ (#5), 2023
Collage
29,7 x 22,4 cm, framed 30,1 x 22,8 x 2,5 cm
Joëlle Tuerlinckx
Accidental error black ou Petite erreur double, 2023
tinted paper, laser printing, toner powder, adhesive paper, plexiglass
29,5 x 21,5 cm
through the eyes of the artist
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