Dear clarette-ga;
Thank you for allowing me an opportunity to answer your interesting
question.
Joëlle Tuerlinckx appears to be, in every essence of the word, and
enigma. What makes her tick, what inspires her to create the works of
art that she is known for and her reasoning behind seemingly simple
yet astonishingly complicated subjects is most likely known but to
her. She is undeniably an artistic intellectual whose mysterious
explanations about her creative motivations are as difficult to
rationalize, as they are to understand. Tuerlinckx says she strives to
create works that are moment of time somewhere between two points
“between a and a”. A space, she says, that could cover many different
realities; uninterested in trajectory and realization. “I observe how
these spaces come to me”, she says, “In fact I observe how space
crosses human kind and how human kind contains these blocks of time
that are contained themselves or overrun these spaces. I work to
understand the phenomenon of time metric, more than measuring or
evaluating these spaces.”
So you see, Joëlle Tuerlinckx herself appears to be the mystery behind
the work.. She tries to convey a message in her art that is far more
complex than the frame in which it is placed. She used the chaotic
appears of words, paper, signatures and other peripheral aspects that
must be read but remain succinct and cannot be narrowed down or
categorized by any single point of view. What one makes of the words
and objects that appear in her art are unique, and perhaps meaningful,
to each beholder. A fragile balance exists in her art between real and
surreal, meaningless and pointless. In fact, her first large solo
exhibition was aptly titled “Pas d’histoire, Pas d’histoire” (“No
Story, No History”) Oct. 12, 1994 – Dec. 31, 1994.
The complexity of Tuerlinckx's work is created by a total suspension
of the perceivable world. The simple images depicted in her art become
more real than the actual reality of them. She displaces our
perception of the world and invites each viewer to envision his own
position if he were to be placed in the empty spaces of the work
himself. “Empty spaces”, she says, “have the capacity of resurrecting
a part of humanity; an exhibition is a way to recount it in visible
form.” Tuerlinckx's exhibitions have a kind of global perspective and
transcend cultural boundaries. The words in her art, regardless of
their origin, need little translation and their meanings irrelevant,
since their mere appearance becomes art itself. No single object in
her work appears more profound than any other, and the words
themselves become subjects of art rather than conveyances of
information.
Joëlle Tuerlinckx has been compared to such diverse artists as
Australian Destiny Deacon and eighty-one-year-old Frédéric Bruly
Bouabré from the Ivory Coast are not irrelevant to the found sentences
of the young Belgian Joëlle Tuerlinckx. These three artists, who
incidentally have shared exhibitions in the past, share the modesty
and the ethics of an overt economy of means. Deacon often caricatures
various stereotypes and offers them back to us in reconstructed form
so that we see more clearly how unusual it is to perceive one another
on the basis of appearance or behavior. Bouabré interprets
pictographic messages common objects and sources such a cloud, fruit,
and food. Items that are common when seen haphazardly in their
standard form but profound when interpreted as having meaning. In this
same way Joëlle Tuerlinckx uses politics and language as her medium of
perception.
I do hope that my research has exceeded your expectations. If you have
any questions about my research please post a clarification request
prior to rating the answer. Otherwise, I welcome your rating and your
final comments and I look forward to working with you again in the
near future. Thank you for using Google Answers.
Best regards;
Tutuzdad-ga
INFORMATION SOURCES
“Joëlle Tuerlinckx Classe Culturelle College Universite”
(See rough drafts of her work featuring single word usage)
http://www.ac-reims.fr/datice/artsplastiques/classeculturelle/JTuerlinckx.htm
“Past exhibitions”
http://www.argosarts.org/exhibition-tuerlinckx.html
“Chronologie – 1994 Exhibition - Joëlle Tuerlinckx”
http://art-contemporain.eu.org/base/chronologie/1572.html
“Manifesta”
http://www.manifesta.org/manifesta3/a_joel.html
“Canadian Art”
(Excellent comparison made here)
http://www.canadianart.ca/articles/Articles_Details.cfm?Ref_num=54
“Stella Lohaus Gallery”
http://www.stellalohausgallery.com/artist.asp?id=9
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“Joëlle Tuerlinckx”
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Tuerlinckx |
Clarification of Answer by
tutuzdad-ga
on
16 Dec 2002 07:00 PST
These are the origin of the quotes:
http://www.argosarts.org/exhibition-tuerlinckx.html
http://www.stellalohausgallery.com/artist.asp?id=9
I can't offer anything of quality on the comparison as much of the
information avialable appears to be in Dutch and Italian (in which I
am not fluent). You can search on Magritte Broodthaers using this
link:
://www.google.com/search?hl=en&lr=&ie=UTF-8&oe=UTF-8&safe=off&q=Magritte+Broodthaers
By Wittgenstein, I assume you mean philosopher Ludwing Wittgenstein,
on whose studies many conceptual artists have dwelt. Wiggenstein, as
you probably already know, looked at the function of language as a way
to engage in philosophical discourse. In doing so he offered these two
thoughts: "The meaning of a word is its meaning" and "The meaning of a
word is its use." These two relatively simple ideas seem self-evident
until one tries to figure out what constitutes meaning and what
constitutes use within in any language form that evolves, permutates
and dies. This is the basic underlying theme of Structuralism and
Deconstruction and it helps to understand the motivation of both
themes when applied to Conceptual Art.
In that regard, Wittgenstein may well be worth considering as a source
for understanding the motivations involved in the creation of
conceptual art.
Regards;
tutuzdad-ga
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