Tuerlinckx Auswahl Katalogseiten

Page 1


Table of contents 5-6 7-10 13-24 25-44 45-82 85-92 93-101 102-157 165-211 213-253 254-332 333-336 337-341 343 344

Foreword Okwui Enwezor, Dirk Snauwaert, Tom Trevor In Progress Dirk Snauwaert Joëlle Tuerlinckx and the Exhibition Visual Impressions, Knowledge, Sensations Julienne Lorz Illustrated text Collected images #1 Everything and Nothing – The Pre-History of Zero Tom Trevor Illustrated text Collected images #2 Joëlle Tuerlinckx or the Sense of Possibility Catherine Mayeur Illustrated text Collected images #3 Index of works and documents Glossary of terms Joëlle Tuerlinckx Bibliography / Authors’ biographies Colophon

JOËLLE TUERLINCKX / WOR(L)(D)(K) IN PROGRESS?


Foreword In this trilogy of exhibitions, presented first at Wiels in Brussels, then at Haus der Kunst in Munich and finally at Arnolfini in Bristol, Joëlle Tuerlinckx readapts and re-elaborates her retrospective presentation for each venue, thus setting in motion a series of conversations between work, site and institution. By reprocessing and scrambling the certitudes of how an œuvre is presented and received, the changes in scale, as well as the diversions and deviations in exhibitionary discourse that are incurred, charge the work with a dynamism that retrospectives often deny. The result is three distinct exhibitions, each bearing a title that oscillates between ‘work’, ‘world’ and ‘word’ in progress; a system of repetition and difference. A core aspect of Joëlle Tuerlinckx’s experimental practice consists of the analytical investigation of spaces in their detail and totality. In this, she reflects particularly on the function and machinery of presentation and representation that characterises the contemporary art museum, its spatial and temporal character that becomes animated by the life of the artwork. Space and time are at the very basis of Tuerlinckx’s work, which, from the beginning, has been concerned with altering architectural space by proposing modifications to conventional or habitual systems of perception and interpretation, often through minimal and discreet interventions. Tuerlinckx, however, is not interested in radically changing the parameters of the architectural form in order to point out its illusions of spatial coherence, permanence, and stability, nor does she wish to modify methods of classification and categorisation favoured by museums. Rather, Tuerlinckx, in her individual taxonomies, has always developed her own systems and methods of classifying and archiving the experiments, process, materials, installations and ephemeral interventions of which her open-ended œuvre is constituted. In so doing, she invests a new temporality in her materials and works, all of which congregate in a vast archive, where her basic tools (point, line, colour, light, figure, floating forms, etc.) are co-mingled with other signs and images. Tuerlinckx’s archive and archiving process, like this trilogy of exhibitions, are perpetually in progress; the archive being a place that the artist can mine, permitting her to reformulate and reactivate certain elements in and for new projects. Accompanying this continuous progression and growth of the archive, which refers more to artistic production rather than the progressive nature of the compendium, Tuerlinckx has generated a lexicon that can serve as a guiding system for her migratory forms and signs, an important navigational tool through the unfixed horizon of her speculations. Included in this publication is a glossary, written by Joëlle Tuerlinckx herself, of terms that stem from this extensive lexicon, published on the occasion of the first exhibition at Wiels. While the title of each exhibition hints at the work/world/word in progress and perennially in process, a lexicon is, by nature, its opposite: a list of terms and their respective definitions, which expose a set of principles and common rules set up by the artist. The lexicon functions as a decoder of empirical observations and hypothetical ideas; it makes it possible to situate phenomena in their relationships, and observe elements encountered in a context. The archive and its lexicon propose a reading of the complex work, world and word, where every phenomenon, sign or work prompts its own descrip-

5

6

tion and attempt at definition. Archive and lexicon form the foundation for the enormous complexity that informs the work’s organization and constant transformation. They describe the principles by which the artist develops her ideas, identifies her materials, as well as orients her questioning of contexts and institutional conventions, while all along calling into question the reification of artistic practices and disciplines such as painting, sculpture, photography and film. This is how the shifting presentation of each of the exhibitions is to be understood: as a sceptical comment on the notion of progress. Not only in modernity, with its fixation on technology, but also in politics and economics, where the idea of growth is understood simply as the swelling of volumes and quantities, measured by statistics, massive accumulations of data, and against standards of totality. Tuerlinckx’s work has always been openly critical of production values, both in art as in economics – indeed, she has pushed the ‘economy of means’ to an extreme, employing a language of abstraction pared down to the elementary, while sidestepping the temptation toward the spectacular and the overproduced. In bringing this complex, idiosyncratic and brilliant exhibition to its present state we wish to express our profound gratitude to Joëlle Tuerlinckx, for her patience, engagement, and commitment to see through such a mammoth task. We also thank Kwinten Lavigne, responsible for presentation and production, and Ari Hiroshige, Registrar, at Wiels; Julienne Lorz, Curator, and Tina Köhler, Head of Exhibition Organisation, at Haus der Kunst; and Axel Wieder, Curator of Exhibitions at Arnolfini. In each of the different venues, the exhibition has taken on a new form and shape. A special thank you also goes to all the lenders, as well as the sponsors and funding bodies for their generous financial support of the exhibition. Okwui Enwezor Dirk Snauwaert Tom Trevor


60

61


116

117


130

131


162

163


208

209


260

261


268

269


List of works and documents pp. 11, 12, 25 4 Carrés-soleil, 1976 p. 17 Archival exhibition slide material ‘Documenta11’ (Found sentences) p. 18 Archival exhibition slide material ‘Documenta11’ (Cabine d’exposition [Exhibition cabin] and Segment de Marche [Walking Segment]) p. 21 Found sentence ‘Anything. Anywhere. Fast’, archive material p. 22 Found sentence ‘Zero’, archive material p. 27 ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 (detail) pp. 28, 30 ‘around AQUI HAVIA HISTORIACULTURA AGORA 0 – a proposition for Documenta11’ (detail), in: “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002 p. 31 top: ‘Superbody Lexical Room or The Human Theater, acts I-IX’ (detail), in: “SuperBodies”, Z33, Hasselt, Belgium, 2012 bottom: Segment de Vision [Vision Segment], in: “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010 p. 32 ‘around AQUI HAVIA HISTORIACULTURA AGORA 0 – a proposition for Documenta11’ (detail), in: “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002 pp. 33-34 STRETCH FILMs Scale 1:1 – ‘Lines.Dots.Figures 2000-2001’ (detail), in: ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 p. 35 top: ‘around AQUI HAVIA HISTORIA-CULTURA AGORA 0 – a proposition for Documenta11’ (detail), in: “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002 bottom: STRETCH FILMs Scale 1:1 ‘Coloriage – série ‘le Présent absolument’, on Ecran technique [Technical screen] ‘double bord noir’, in: ‘Le Présent Absolument’, Galerie nächst St.Stephan Rosemarie Schwarzwälder, Vienna, Austria, 2008 p. 37 ‘After Architecture, After’, deSingel Internationaal Kunstcentrum, Antwerp, Belgium, 2006 (detail) p. 38 Modèle original, 2009, in: Palacio de Cristal, ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía,

Palacio de Cristal, Madrid, Spain, 2010 p. 40 Rayon noir – 107 éléments (Soleil #1) (detail), 2009, in: Palacio de Cristal, ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 41 Table d’orientation ‘Palacio del Cristal’, 2009, in: Palacio de Cristal, ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 42 top: Vitrine [showcase] with the book ‘Les trois premières minutes de l’univers’, p.4-5, in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 bottom; Study room I (detail), in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 44 top: Metrum ‘Sofía’, 2009, in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 bottom: Study room II (detail), in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 45 Collage ‘1 2 3 4’, 1978 p. 46 Vitrine-plate with ‘Moment d’exposition [Exhibition Moment], original material for invitation ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 p. 47 ‘Le visiteur parfait’, Ausstellungshalle zeitgenössische Kunst Münster, Münster, Germany, 2005 (detail) p. 48 Plate [Flat] series ‘Mur’, studio archive p. 49 ‘La Otzi. Traditional stone with natural Cross and bronze Pocket’ (NOM), in: ‘Le Présent Absolument’, Galerie nächst St.Stephan Rosemarie Schwarzwälder, Vienna, Austria, 2008 p. 50 ‘Instant Academy, a proposition for ACADEMY. Learning from Art’, (detail), in: “ACADEMY. Learning from Art”, MuHKA, Antwerp, Belgium, 2006 p. 51 Theory of Vision series ‘Vienne’ #22

p. 52 Theory of Vision series ‘Vienne’ #15 pp. 53-54 Croix-adaptés, original material for Academy Croix p. 55 Titre-salle [Room title], in: ‘Instant Academy, a proposition for ACADEMY. Learning from Art’, original material from the catalogue ‘ACADEMY. Learning from Art’, MuHKA, Antwerp, Belgium, 2006 p. 56 ‘After Architecture, After’, deSingel Internationaal Kunstcentrum, Antwerp, Belgium, 2006 (exhibition poster) p. 57 ‘After Architecture, After’, deSingel Internationaal Kunstcentrum, Antwerp, Belgium, 2006 (detail) p. 58 Mur [wall] NO IMAGE, ‘After Architecture, After’, deSingel Internationaal Kunstcentrum, Antwerp, Belgium, 2006 (detail) p. 59 Titre-salle [Room title], detail from ‘un ensemble autour de MUR’, in: ‘Inside Installations, Collectietentoonstelling’, S.M.A.K., Ghent, Belgium, 2010 p. 60 ‘1/MUSEUM’, in: ‘un ensemble autour de MUR’ – scénario 10 (detail), in: ‘Inside Installations, Collectietentoonstelling’, S.M.A.K., Ghent, Belgium, 2010 p. 61 Film Études coréennes [Korean studies], from catalogue ‘argos festival 2005’, argos, Brussels, pp. 200-201 p. 62 ‘Points de vue’, Galerie Schmela, Dusseldorf, Germany, 2005 (detail) pp. 63-64 original material for Study Films – series ‘Lignes’ in: ‘Brussels Body Speech’, Minsheng Art Museum, Shanghai, China, 2010 pp. 65-66 Study Films – series ‘Lignes’, in: “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010 p. 67 Planche explicative [Explanatory plate] ‘BILD, oder [jtwo]’ p. 68 Planche explicative [Explanatory plate] ‘BILD, oder [jtwo]’ (detail) p. 69 Theory of Vision series ‘Marcheur Homme-Cravate / Ligne Flottante’ p. 70 Theory of Vision series ‘Marcheur Homme-Cravate / Ligne Computer’ p. 71 ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 (detail)

p. 72 Theory of Vision, since 1990 p. 73 Theory of Vision, from 1990 p. 74 Theory of Walking series ‘Electrostatique’, 2010 Theory of Walking series ‘Prolongation’, 2012 p. 75 Original material for catalogue ‘Catalogue D.D.’, 1999. (Exhibition: ‘NIEUWE PROjECTEN/ Nouveaux Projets D.D.’, Museum Dhondt-Dhaenens, Deurle, Belgium, 1999) p. 76 ‘Un coup de dés’, Generali Foundation, Vienna, Austria, 2008 (detail) pp. 77-78 A THEORY OF WALKING, exhibition material, from: “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002 p. 79 ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 (detail) p. 80 Original film material ‘STRETCH FILMs – série coloriage journal Toronto’, 2005, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 81 Theory of Walking series ‘le présent absolument’ p. 82 Planche archivale [Archival board] – original material STRETCH FILMs (detail), in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012. p. 83 Pre-Theory of Walking A(B), 1990 p. 84 Pre-Theory of Walking A(B), 1990 (‘facsimile’ verso) p. 93 Overhead Projection ‘Found Sentence’ (detail), in: ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 p. 94 Barres de langage [Language bar], Barre d’infini [Infinity bar], in: ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 p. 95 A THEORY OF WALKING, exhibition material “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002. p. 96 ‘a-a Vitrine’ (Belgium version) (detail), in: ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006. p. 97 ‘a - a’, since1995, in: catalogue ‘Rift / Gap / Hinge A’, Verlag Scheidegger & Spiess AG, 2010, pp. 66-67

333


334

p. 99 from the Drawing archive, 1994-1995 p. 100 ‘stukjes stukjes en dingen, dingen dingen en stukjes’, in: “WATT”, Witte de With and Kunsthal, Rotterdam, The Netherlands, 1994 (detail) p. 101 ‘Pas d’Histoire, Pas d’Histoire’, Witte de With, Rotterdam, The Netherlands, 1994 (detail) p. 102 Catalogue ‘this book, LIKE A BOOK’, SDZ, 1999, p. 44 (detail). p. 103 Zero, in: “Inside the Visible”, ICA, Boston, USA, 1996 p. 104 Frames ‘fiches [cards]’, in: ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 (detail) p. 105 from series ‘Grand Homme Depressif / Dessin sous zéro CR1’. p. 106 Theory of Walking 1990 pp. 107-108 Writing machine drawing series ‘Copy Bougés’. pp. 109-111 fiches [cards] Dessin sous zéro #5 p. 112 Planche [board] ‘BILD, oder’ and Dessin sous zéro pp. 113-115 fiches [cards] Dessin sous zéro #5 p. 116 Theory of Vision Portrait Parlant / Dessin sous zéro #24 p. 117 Archive material, spiral bound collection Figure baroque (mural) [Baroque (Mural) Figure] with Figure de Temps [Time Figure] and Dessin sous zéro) p. 118 Catalogue ‘joëlle Tuerlinckx Study Book’, 2007, p. 134 pp. 119-120 ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 (detail) pp. 121–124 from series ‘Grand Homme Depressif / Dessin sous zéro’ p. 125 ‘a’-lettre, 1992 p. 126 Barre de langage ‘a’ [Language bar ‘a’], in: ‘un ensemble autour du MUR’ – scénario 3 (detail), in: “Inside Installations, Collectietentoonstelling”, S.M.A.K., Ghent, Belgium, 2010 (detail) p. 127 Scottish STILL-SCULPTURE ‘a a’, 2010 p. 128 Podium of language with Volumes d’air [Air volumes], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012

p. 129 Theory of Walking [jtwo] (image: Willem Oorebeek) p. 130 Archive material ‘a a’. p. 131 ‘ä’, in ‘Le Visiteur Parfait’, Ausstellungshalle zeitgenössische Kunst Münster, Münster, Germany, 2005 (detail) p. 132 ‘A’, in ‘After Architecture, After’, deSingel Internationaal Kunstencentrum, Antwerp, Belgium, 2006 (detail) p. 133 Theory of Vision series ‘Le Présent Absolument’ p. 134 Photograph archive (Bel Horizonte, Brasil, 1996) p. 135 Fiche [Card] ‘Tache ‘A’’, 1995 p. 136 ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 (found sentence: Willem Oorebeek) pp. 137-140 Theory of Walking, since 1990 p. 141 ‘Le Noyau dur du rien’ [The Hardcore of Nothingness], first scale model p. 142 ‘Mots’ [Words], material for overhead projection, ‘un ensemble autour du MUR’, in: “Inside Installations, Collectietentoonstelling”, S.M.A.K., Ghent, Belgium, 2010 p. 143 zwart OBjEKT, part of ‘Un coup de dés’, Generali Foundation, Vienna, Austria, 2008, in “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010. p. 144 Vitrine-plate with Rond-Contour [Outline round] and Barre d’infini [Infinity bar] pp. 145-146 ‘Time Table (SPACE)/EMIT/ (Time)SPACE/…’, in: “TIME SPACE POKER FACE”, Be-Part, Waregem, Belgium, 2013 pp. 147-150 Titres-salle [Room titles], in ‘64 expositions-minute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007 p. 151 Fiche de langage [Languagecard], archive material p. 152 Original exhibition material, detail from publication ‘Theory of Walking’ p. 153 Titre-salle [Room title] ‘La collection fondamentale’ (original page 122 from exhibition catalogue) p. 154 Titre-salle [Room title] ‘La collection fondamentale’ (original

page 124 from exhibition catalogue) p. 155 Archival exhibition material ‘un ensemble autour du MUR’, in: “Inside Installations, Collectietentoonstelling”, S.M.A.K., Ghent, Belgium, 2010 p. 156 Archival exhibition material from ‘A-exposition’, in: “Time festival 1995”, Opus Operandi, Studiecentrum Hedendaagse Kunst, Ghent, Belgium, 1995 p. 157 from edition box-set ‘Chicago Studies: les étants donnés, volume #1 – Content of Words’, argos, Brussels, The Renaissance Society, Chicago, 2003 pp. 158-164 ‘La ponctuation suit la logique de ma pensée. Certaines phrases resteront sans point’ [The punctuation follows the logic of my thoughts. Some sentences will remain unpunctuated] (sentence by jT, work by Willem Oorebeek), in ‘Les Films eux-mêmes: joëlle Tuerlinckx par Willem Oorebeek’, argos, Brussels, Belgium, 2007 pp. 167-170 Photocopy of the ‘press release’ (French version), detail of ‘CRYSTAL TIMES. Reflexión sin sol/ Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 171 Bâton [Stick] ‘Documenta11’, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 172 Mètre credible [Credible metre] ‘Bouleau’, in: ‘LA TRIANGULAIRE DE CRANSAC ‘MUSÉE DE LA MEMOIRE’ – PROPRIETE UNIVERSELLE®’, permanent work realized within the programme of Nouveaux commanditaires, Fondation de France and La commande publique/Ministère de la culture – DRAC Midi-Pyrénées, city of Cransac, France p. 181 ‘Pas d’Histoire, Pas d’Histoire’, Witte de With, Rotterdam, The Netherlands, 1994 (detail) p. 182 ‘Commerce boulettes d’aluminium’, original material from ‘Pas d’Histoire, Pas d’Histoire’, Witte de With, Rotterdam, The Netherlands, 1994 pp. 183-184 ‘Discover the mystery’ (recto, verso), original exhibition material ‘After Architecture, After’, deSingel Internationaal Kunstencentrum, Antwerp, Belgium, 2006 p. 195 Photograph of the installation of “Vacanza permanente”, NICC, Antwerp, Belgium, 2012 (with original exhibition material ‘Congé annuel/jaarlijks Verlof’,

Stella Lohaus Gallery, Antwerp, Belgium, 2010) p. 196 Invitation card (recto) ‘Geologie einer Arbeit’, Galerie Christian Nagel, Berlin, Germany, 2011 p. 197-198 Invitation card (recto, verso) ‘Congé annuel/jaarlijks Verlof’, Stella Lohaus Gallery, Antwerp, Belgium, 2010. p. 203 Simone Martini, Equestrian portrait of Guidoriccio da Fogliano, between 1328 and 1330, Palazzo Publicco, Siena, Italy. p. 207 Cover of ‘The j.t.’s Parallel Drawing Papers # ICI UN TROU édition/editie 2000’, 2006. p. 208 Multiple ‘The biggest-surfaceon-earth scale 1:1, The MoMA Metamatériel’, in: ‘Een, twee, veel, singles, doubles and multiples under glas and vitrines’, Fries Museum, Leeuwarden, The Netherlands, 2009 p. 209 Gardien de salle [Room Guard], in ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 213 Monument ‘MUSÉE DE LA MEMOIRE’ – PROPRIETE UNIVERSELLE®’, in: ‘LA TRIANGULAIRE DE CRANSAC ‘MUSÉE DE LA MEMOIRE’ – PROPRIETE UNIVERSELLE®’, permanent work realised within the programme of Nouveaux commanditaires, Fondation de France and La commande publique/Ministère de la culture – DRAC Midi-Pyrénées, city of Cransac, France p. 214 ‘Press releases’ (English, French, Spanish versions), in: ‘CRYSTAL TIMES. Reflexión sin sol/ Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 215, 217 Carton-titre [Title card] GRIS NEUTRAL KODAK for ‘Salle gris neutral’ [Neutral grey room], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 216 ‘Gardien de salle’ [Room guard], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 218 ‘Press release’ (French version) (detail), in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 219 ‘Corde rouge’ [Red cord], in: ‘Pas d’Histoire, Pas d’Histoire’, Witte de With, Rotterdam, The Netherlands, 1994 p. 220 ‘Brucola T4’ (Boussole [Compass])carried according to the instructions in a school

manual from Cransac, 2009, in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010 p. 221 Etude d’ombre (à la grande échelle) [Shadow study (Largescale study)] and Volume d’ombre [Shadow volume] (detail), in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 222 top: Invitation card (recto) for ‘In Real Time’, South London Gallery, London, United Kingdom, 2002 bottom: Pocket Room, in: “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010. p. 223 Combi de la nuit [Night Cabin] (view from inside), in: “Manifesta 3”, Ljubljana, Slovenia, 2000 p. 224 First ‘Barre de couleur’ [Colour bar], 1973 p. 225 Solar room, Volume d’ombre [Shadow volume] and 1m3 WIELS ‘in progress’, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 226, 228, 230 top: ‘Dacht en Nacht. Museum Open 24/24’, Provinciaal Museum, Hasselt, Belgium, 1997 (detail). bottom: Faux soleil [Fake sun], in: “Orbis Terrarum. Ways of Worldmaking”, Museum Plantin Moretus and surroundings, Antwerp, Belgium, 2000 (detail) p. 227 Volume d’ombre [Shadow volume], 1m3 WIELS ‘in progress’ and Coin d’ombre [Shadow corner], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 229 Coin d’ombre [Shadow corner], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 231 Solar room vitrine, in: “Once Upon a Time… A look at art in Belgium in the Nineties”, MuHKA, Antwerp, Belgium, 2003-2004 p. 232 ‘5 Tables/Tafels, 2 Vitrines/ Vitrines, 3 Planches/Panelen, 1 Socle/Sokkel’, Prepatory sketch on the gallery’s floor map for ‘Stella Lohaus Gallery Plates 2005-2006 de/van joëlle Tuerlinckx’, Stella Lohaus Gallery, Antwerp, Belgium, 2006 p. 233 Drawing on the glass entrance door, in: ‘Stella Lohaus Gallery Plates 2005-2006 de/van joëlle Tuerlinckx’, Stella Lohaus Gallery, Antwerp, Belgium, 2006

p. 234 ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 (detail) p. 235 Cover of ‘The j.t.’s Parallel Drawing Papers # premier collage 1963’, 2006. p. 236 ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 (detail) p. 237 Project for ‘Floating Page WOR(L)(D)(K) IN PROGRESS?’, 2013 p. 239 ‘After Architecture, After’, deSingel Internationaal Kunstencentrum, Antwerp, Belgium, 2006 (detail). pp. 240-241 Pages from the scenario and publication ‘Le visiteur parfait’, 2005. p. 242 ‘Vitre d’écoute [Listening window] ‘Le visiteur parfait’, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 243 Page flottante [Floating page], exhibition material ‘LA TRIANGULAIRE DE CRANSAC ‘MUSÉE DE LA MEMOIRE’– PROPRIETE UNIVERSELLE®’, permanent work realised within the programme of Nouveaux commanditaires, Fondation de France and La commande publique/Ministère de la culture – DRAC Midi-Pyrénées, city of Cransac, France p. 244 Original material for lecture and folder ‘LA TRIANGULAIRE DE CRANSAC ‘MUSÉE DE LA MEMOIRE’– PROPRIETE UNIVERSELLE®’, permanent work realised within the programme of Nouveaux commanditaires, Fondation de France and La commande publique/Ministère de la culture – DRAC MidiPyrénées, city of Cransac, France p. 245 Theory of Walking ‘Des masses d’air maritime’, 1990–2012 p. 246 Original material for ‘AREAAERA’, since 1995 p. 247 ‘AREA-AERA’, since 1995, in: “Densité ± 0”, Ecole nationale supérieure des Beaux-Arts, Paris, France, 2004 p. 248 Drawing overhead projection, in: ‘Pas d’Histoire, Pas d’Histoire’, Witte de With, Rotterdam, The Netherlands, 1994 pp. 249-250 ‘3 dés j.t. – figure du 18.07.2008’ (remake of a first ‘coup de dés’ [throw of the dice] in: ‘Pas d’Histoire, Pas d’Histoire’,

Witte de With, Rotterdam, The Netherlands, 1994) , in: ‘Un coup de dés’, Generali Foundation, Vienna, Austria, 2008 p. 251 Catalogue ‘this book, LIKE A BOOK’, SDZ, 1999, p. 101 p. 252 Three clippings from De Witte Raaf #129 with the interview ‘Kunst en het museum: een gesprek met joëlle Tuerlinckx’, 2007 (in the clipping: personal notebook/organizer jT, in ‘64 expositions-minute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007) p. 253 Poche d’atelier bleue [Blue Studio pocket] (detail from ‘ensemble pour/for The Singel Pixel, in: “Radical Autonomy. Nieuwe werelden van niks”, Netwerk – Centrum voor Hedendaagse Kunst, Aalst, Belgium, 2011) , in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 254 ‘Galva’ archive with ‘mots de travail [work notes]’, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 255 Planche explicative [Explanatory Plate], in: “Accrochage”, Stella Lohaus Gallery, Antwerp, Belgium, 2011 pp. 256-259 ‘64 expositions-minute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007 (detail). p. 260 Aquarelle-computer [Computer-watercolour], Écran-test [Screen-test], Titre-salle [Room title], … extracts collected from MURs D’EXPOSITION – RECONSTITUTION (‘64 expositionsminute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007’), in: “Manières noires”, Musée des Beaux-Arts, Mons, Belgium, 2010 (detail) p. 261 Grand carré blanc flottant [Big white floating square], in: “Merz in Februar”, :emyt, Berlin, Germany, 2008 p. 262 Study for ‘Drawing Inventory’, The Drawing Center, New York, USA, 2006 p. 263-264 ‘Carrés noirs’ [Black squares] p. 265-266 Found image, archive material p. 267 Theory of Vision ‘Carré noir / l’objet’ p. 268 ‘Rouleau carré’ [‘Roll square’], original material for STRETCH FILM – ‘ROLL’ pp. 269-270 Écran technique [Technical screen] and Écran mural [Wall screen] with Film abstrait [Ab-

stract film], in: ‘64 expositionsminute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007 p. 271 ‘Le Présent Absolument’, Galerie nächst St.Stephan Rosemarie Schwarzwälder, Vienna, Austria, 2008 (detail) p. 272 Image from ‘Conférence sur Art, Argent et Abstraction’ [Lecture on Art, Money and Abstraction], in: ‘64 expositions-minute’ (with Willem Oorebeek) p. 273 Page flottante [Floating page] 1:1, from artist book ‘Moments d’espace’ (version ‘Too yellow’), Secession, 2011. p. 274 STUDY FILMs – ensemble ‘Crystal times II’, 2009, in: ‘CRYSTAL TIMES. Reflexión sin sol/Proyecciones sin objeto’, Museo Nacional Centro de Arte Reina Sofía, Palacio de Cristal, Madrid, Spain, 2010. (Duration: 59’13’’) p. 275 ‘64 expositions-minute. sur mesure, échelle variable’, MAMCO, Geneva, Switzerland, 2007 (detail). p. 276 ‘Chicago Studies: les étants donnés’, The Renaissance Society at The University of Chicago, Chicago, USA, 2003 (detail) p. 277 ‘Les Films eux-mêmes: joëlle Tuerlinckx par Willem Oorebeek’, argos, Brussels, Belgium, 2007 (detail) p. 278 ‘Grande palette murale #1 – 12 élements [Big mural pallet #1 – 12 elements], 2008 pp. 279-280 Planches explicatives [Explanatory Plates], in: ‘Geologie einer Arbeit’, Galerie Christian Nagel, Berlin, Germany, 2011 p. 281 Planche explicatives [Explanatory Plate] (detail), in: ‘Geologie einer Arbeit’, Galerie Christian Nagel, Berlin, Germany, 2011 p. 282 Planche explicative [Explanatory Plate], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 283 Catalogue ‘joëlle Tuerlinckx Study Book’, 2006, p. 47 p. 284 Écrans mural [Wall screens], in: ‘Solar Room’, in: “Once Upon a Time … A look at art in Belgium in the Nineties”, MuHKA, Antwerp, Belgium, 2004 (detail) p. 285 Theory of Walking ‘the best in our business’ p. 286 Caisses d’exposition [Exhibition boxes], in: ‘WOR(LD)K IN

335


336

PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 287 Exhibition slide material, ‘joëlle Tuerlinckx’, Galerie des BeauxArts, Brussels, Belgium, 1996. p. 288 Caisse d’exposition [Exhibition box], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 289 Exhibition slide material, ‘Drawings*’, Stella Lohaus Gallery, Antwerp, Belgium, 2002 p. 290 Fiches-cube ‘mouillés’ [‘Moist’ Cube-cards] pp. 291–292 Caisse d’exposition [Exhibition box], in: ‘Geologie einer Arbeit’, Galerie Christian Nagel, Berlin, Germany, 2011 p. 293 Theory of Vision [jtwo] #4 and #8 (clippings: Willem Oorebeek) p. 294 Caisse d’exposition [Exhibition box], in ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 295 Study material for ‘LA TRIANGULAIRE DE CRANSAC ‘MUSÉE DE LA MEMOIRE’– PROPRIETE UNIVERSELLE®’, permanent work realised within the programme of Nouveaux commanditaires, Fondation de France and La commande publique/Ministère de la culture – DRAC Midi-Pyrénées, city of Cransac, France, studio archive p. 296 Volume d’air [Air volume], in: “Locus Dolus Domesticus”, A.VE.NU.DE.jET.TE – INSTITUT DE CARTON, Brussels, Belgium, 2012 p. 297 Volumes d’air [Air volumes] ‘1m 3 ’ (detail), in: ‘TOUT CE QUI N’EST (ALLES WAT NIET IS) (ALL THAT IS NOT)’* – 9 objets ‘1M³’, in: “Tumulus”, MOT International, Brussels, Belgium, 2012 p. 298 Theory of Vision series ‘Grande Blanche d’atelier’ p. 299 Volume d’air [Air volume] ‘Grand objet’, original material from ‘Film-poème’, 1999 p. 300 Three Volumes d’air [Air volumes] and Fiche-titre [Title-card], in: ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 p. 301 Planche explicative [Explanatory plate] (detail) p. 302 Original material for Planche explicative [Explanatory plate] and exhibition showcase.

p. 303 Figure flottante [Floating figure], in: ‘No’w’ (no Rest. no Room. no Things. no Title)’, The Power Plant Contemporary Art Gallery, Toronto, Canada, 2005 (detail) p. 304 Ligne flottante [Floating line], in: ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 p. 305 Page from Theory of Walking publication, exhibition material, “Doppelbindung – Linke Maschen”, Kunstverein, München, Germany, 1996. p. 306 Report d’espace échelle 1:1 [Space transfer scale 1:1], exhibition material ‘around AQUI HAVIA HISTORIA-CULTURA AGORA 0 – a proposition for Documenta11’, in: “Documenta11”, Fridericianum Museum, Kassel, Germany, 2002 p. 307 Ligne flottante [Floating line], in ‘BILD, oder MIT DEM FUSS IN DER REALITäT:’ (with Willem Oorebeek), Badischer Kunstverein, Karlsruhe, Germany, 2004 p. 308 Disque d’exposition [Exhibition disk] ‘Drawing Inventory’ with Figure flottante [Floating figure], in: “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010 p. 309 Theory of Walking series ‘Bougés’ pp. 310-312 Studies for Volumes d’air [Air volumes] with ‘Barres de couleur [Colour bars]’, studio archive p. 313 Still-sculpture ‘noir-blanche’, 2010, studio archive pp. 314–315 Voumes d’air [Air volumes] on Plate [Flat], studio archive p. 316 3D Studies, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 317 3D studies, studio archive pp. 318-319 3D studies, in: ‘Stella Lohaus Gallery Plates 2005-2006 de/van joëlle Tuerlinckx’, Stella Lohaus Gallery, 2006 pp. 320–326 Barre des RONDs [Bar of ROUNDs], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 327 Mur des RONDs [Wall of ROUNDs], Gardien de salle [Room guard], Planches explicatives [Explanatory boards] ‘Formats normalisés, formats DIN’, in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012

p. 328 ‘Planche d’atelier [Studio board]’, 2012 p. 329 RONDs ‘Mur atelier’ [‘Studio wall’ ROUNDs], in: ‘WOR(LD)K IN PROGRESS?’, Wiels, Brussels, Belgium, 2012 p. 330 View from Cabine d’exposition [Exhibition cabin], in: “Brussels Body Speech”, Minsheng Art Museum, Shanghai, China, 2010 p. 331 Étude d’eau/lumière [Water/ Light Study], archive material p. 332 Trous de mur [Wall holes], in: ‘In Real Time’, South London Gallery, London, United Kingdom, 2002

Colophon This publication is released on the occasion of the exhibitions: WOR(LD)K IN PROGRESS?, WIELS, Brussels, Curator Dirk Snauwaert 22 September 2012 to 6 January 2013 WORLD(K) IN PROGRESS?, Haus der Kunst, Munich, Curator Julienne Lorz 9 June to 29 September 2013 WOR(L)D(K) IN PROGRESS?, Arnolfini, Bristol, Curators Tom Trevor and Axel Wieder 7 December 2013 to 9 February 2014 © 2013 Joëlle Tuerlinckx, WIELS, Haus der Kunst, Arnolfini, authors and Verlag der Buchhandlung Walther König, Köln Studio Joëlle Tuerlinckx Exhibitions WIELS and Haus der Kunst team of assistants and friends Matthieu Bollaert, David Catherall, Anthoni Dominguez, Laurent Dupont-Garitte, Valentin Fayet, Christoph Fink, Alice Gadrey, Nicolas Geiser, Quentin Gubin, Marie Lécrivain, Hannelore Mattheus, Catherine Mayeur, Patrice Neirinck, Emmanuelle Quertain, Juliette Thomas, Caroline Wolewinski WIELS Contemporary Art Centre npo Director Dirk Snauwaert team Devrim Bayar, Emiliano Battista, Wim Clauwaert, Martine de Limburg Stirum, Michael Dewit, Caroline Dumalin, Nadia Essouayah, Elena Filipovic, Eva Gorsse, Fredji Hayebin, Ari Hiroshige, Kwinten Lavigne, Micha Pycke, Sophie Rocca, Michèle Rollé, Cédrik Toselli, Frédéric Versaen, Tine Verschaeve Avenue Van Volxemlaan 354 B-1190 Brussels, www.wiels.org WIELS Contemporary Art Centre is supported byVlaamse Gemeenschap, Fédération Wallonie-Bruxelles, Région de Bruxelles-Capitale/Brussels Hoofdstedelijk Gewest, Vlaamse Gemeenschapscommissie BrusselBruxelles, Loterie Nationale/ Nationale Loterij, Levis, Wilgelover, the WIELS Club and the WIELS Business Club The exhibition was realised thanks to the generous support of BNP Paribas Fortis. The publication received generous support of the Willame Foundation.

Stiftung Haus der Kunst München, gemeinnützige Betriebsgesellschaft mbH Director Okwui Enwezor team Tina Anjou, Stephan N. Barthelmess, Daniela Burkart, Sylvia Clasen, Arnulf von Dall’Armi, Patrizia Dander, Elena Heitsch, Tina Köhler, Anton Köttl, Isabella Kredler, León Krempel, Teresa Lengl, Anne Leopold, Julienne Lorz, Iris Ludwig, Karin Mahr, Marco Graf von Matuschka, Miro Palavra, Glenn Rossiter, Andrea Saul, Anna Schüller, Martina Schmid, Cassandre Schmid, Ulrich Wilmes Prinzregentenstr. 1, D-80538 Munich, www.hausderkunst.de We would like to thank our shareholders for their annual support of the program: Freistaat Bayern, Josef Schörghuber Stiftung, Gesellschaft der Freunde Haus der Kunst e.V.

Arnolfini Director Tom Trevor team Samuel Aldridge, Celia Archer, Lisa Ashman, Lucy Badrocke, Peter Begen, Roxanne Brennan, Juliet Burke, Al Cameron, Snoozie Claiden, Charli Clarke, Katarina Complova, Jenny Cooper, Charles Crosley-Thorne, Aimee Davies, Helen Davies, Nick Dixon, Fraisia Dunn, Jamie Eastman, Rosie Faragher, Charles Farina, Andy Field, Christopher Fleming, Anton Goldstein, Helen Grant, Rowan Green, Mark Harris, Jon Hill, Rose Jackson, Ellie Jeffs, Lauren Jury, Catherine Knott, Jamie Lewis, Ewen Macleod, Judy Mazillius, Rose Mazillius, Brenda McLennan, Chloe Mills, Suzanne Moon, Christian Naylor, Carl Newland, Lucy Odlin, Phil Owen, Ali Pothecary, Faisal Rahman, Rose Robbins, Jessica Robins, Kate Robinson, Jess Rolls, James Sargent, Ed Sheppard, Roz Stobart, Savannah Theis, Kamina Walton, Rob Webster, Axel Wieder, Ellen Wilkinson, Caroline Willatt, Vicki Woolley 16 Narrow Quay, UK-Bristol BS1 4QA, www.arnolfini.org.uk Arnolfini Centre for Contemporary Arts is supported by Arts Council England and Bristol City Council

Editor: Julienne Lorz Authors: Julienne Lorz, Catherine Mayeur, Tom Trevor, Dirk Snauwaert, Joëlle Tuerlinckx Copy-editing: Uta Hoffmann (English), Myriam Ochoa-Suel (French) Translators (French to English): Emiliano Battista (Glossary) and Claire Cahm (Catherine Mayeur) Proofreading: Jenifer Evans Concept & Design: Thomas Desmet and Joëlle Tuerlinckx Production: DZA Druckerei zu Altenburg GmbH Published by Verlag der Buchhandlung Walther König, Köln Ehrenstr. 4, 50672 Köln T +49 (0) 221 / 20 59 6-53 F +49 (0) 221 / 20 59 6-60 verlag@buchhandlung-walther-koenig.de Bibliographic information published by the Deutsche Nationalbibliothek. The Deutsche Nationalbibliothek lists this publication in the Deutsche Nationalbibliografie; detailed bibliographic data are available on the Internet at http://dnb.d-nb.de. Printed in Germany ISBN 978-3-86335-380-3 Distribution Switzerland AVA Verlagsauslieferungen AG Centralweg 16 CH-8910 Affoltern a.A. Tel. +41 (44) 762 42 60 Fax +41 (44) 762 42 10 verlagsservice@ava.ch UK & Ireland Cornerhouse Publications 70 Oxford Street GB-Manchester M1 5NH Fon +44 (0) 161 200 15 03 Fax +44 (0) 161 200 15 04 publications@cornerhouse.org Outside Europe D.A.P. / Distributed Art Publishers, Inc. 155 6th Avenue, 2nd Floor USA-New York, NY 10013 Fon +1 (0) 212 627 1999 Fax +1 (0) 212 627 9484 eleshowitz@dapinc.com Credit Photo: Joëlle Tuerlinckx, Galerie nächst St. Stephan Rosemarie Schwarzwälder, Vienna and Galerie Nagel Draxler / Carine Demeter (Galerie Stella Lohaus, Antwerp), Roman Lores (Reina Sofía, Madrid), Karen Reimer and Tom Van Eynde (Renaissance Society, Chicago), Serge Verheylewegen (archive images) and Christoph Fink (H.B. 50!).