to the life and works to the works and life to a works life to a life's work AN INTRODUCTION, a general view, a fragment until now ln the beginning there is movement where am I ? A story of stories of stories. l1's not always clear where the work starts ... started. there is (was) a series of actions ( I run through experiences) until now there is the walking the biking the air travelling the car travelling the train travelling the boat travelling
there is a specific chosen period in the flow of life experience
is it now? before? orafter?
through urban and other land scapes and their contents ... like a sight ... a passing story ...
ACTING OUT OF NOT KNOWING (out of fascination) Jaime Tuerlinckx very intensive notations (first materialisation) + collected materiais, elements are or is if one experience ? analysed, sythetisized, reconsidered, reworked, an attempt to reconstruct the experience, the complexity of that experience
what is my place in art ? in the w orld? not as
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I ", but as human being
certain systems are used, which are constantly modified according to my fascination touching time, touching space, touching an experience: vou take it, describe it, turn it around, observe it attentivly, vou touch it again, ... and you're completely surprised by the undiscribable, the untouchable; a short moment of very intensive consciousness
I hope to comunicate this what we could call 'complex beauty'. spiritual enrichment.
drawings, sculptures, soundscapes, vídeo, si ides, ... a materialisation of a certain dematerialisation ? THE RESULTS OF THE WHOLE WORK ARE CERTAINLY NOT LlMITED TO THE MATERIALlSATION maybe it has also to do with respecting the landscape or the need to respect the landscape landscape in the large sense of the word Experience as an artistic behaviour, Charles Ives wrote a romantic essay about sitting in a rocking chair on a terrace, looking out towards the mountains, "Iistening"to your own symphony" John Cage It can be many ways It can be many things People have great difficulty paying attention to something they don't understand (. ..) many people think that art has something to do with understanding, but it doesn't, it has to do with experience John Cage 9 : 48' 17
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pm = O : 03 ' 00
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october 4. 1995 on a train comming back from Venice to Ghent (fragment) 9 : 38 ' 30 magnificent dramatic heavy rain clouds close to the deep green peinetreetops. The grass is fresh-green (also dark, as a dark as fresh-green can be dark) 10: 05' 50 almost standing still; the micropart of the macro landscape becomes visible, paddles, pieces of old railway tracks, little railway crossings, leafs, branches, stonegrit, ... II
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(. .. ) And year by year the landscape grow (. ..) V.S. Naipaul, A Way in the World Christoph Fink, June
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July 1996
lIIustrations 9 pictures: white working, detai/s from scu/ptures, drawings and so on ... photographs: Joelle Tuerlinckx, Maria B/ondee/, Oirk Pawe/s, Cristoph Fink. Gotthardpass, Switzer/and, Europe, 08.06.1995 - 9.30' am bikeride, 4th day, 492.2 km, since Venice, 12th day, 1853.6 km, since Ghent, two hours ride a/ready that day. photograph: Christoph Fink time perspective drawing (detai/), circ/e wa/k around Brusse/s, Be/gium, Europe, autumn, 1995. 38: 03' 51 " photograph: Christoph Fink