List of selected artworks. Maps for the tour in the museum

Preview

Search

Joëlle Tuerlinckx

Crystal Times. Reflexión sin sol/Proyecciones sin objeto

October 9, 2009 - February 22, 2010
/
Sabatini Building, Floor 3 and Palacio de Cristal, Parque del Retiro, Madrid

Joëlle Tuerlinckx (Brussels, 1958) presents her first individual exhibition in Spain with the installation created for the Palacio de Cristal, in Madrid's Retiro park, whereby she recreates and modulates the exceptional lighting conditions in the Pavilion through a trio of “beams”. The exhibition is concluded in the Edificio Sabatini with a display of archive material and diverse works related to the Palacio de Cristal project and to Tuerlinckx' working process and reflections.

The experience of space and time - in more specific representations rather than as general forms - underpin Tuerlinckx' artistic practices. Her interventions are evasive and modest inasmuch as the viewer does not discern the rays of sun until they approach the Pavilion, seeing as they move closer to each one that a compass is located at the base. One of the compasses is kept in a cabinet with a table, on the surface of which the floor of the building can be discerned. The other compasses, arranged on the floor, all form representations in their handcrafted and improvised state. The different directions, universally indicating north on spheres of the compasses, cannot be accurate; none can be used for orientation in this space, nor can they map movement, meaning it will be necessary to turn to other forms of perception.

The three light beams fall on different angles on the floor, and each are made with a different material. Although theoretically the combination of sun beams and a compass can be used as a reference to time, rather like a sundial, the reality is that it can never be used as an accurate medium. Instead of the mechanical forms of calibrating the passing of time, they are perceived as experience and conjecture; thus Tuerlinckx' work puts forward alternatives to the dependence on scientific instruments.

In tandem, Tuerlinckx has constructed her archives in the two small galleries in the Edificio Sabatini. Playfulness permeates into the way she approaches the lexis of her artworks and the reference books assembled in this archive. The visual inventiveness, rhyme and wordplay, at times verging on absurdity and contradiction, represent the hallmark of the artist's work and reflect the profound irreverence encapsulated in the way she sees conventional forms of meaning.

Exhibition´s details

Organized by: 
Museo Nacional Centro de Arte Reina Sofía
Curatorship: 
Lynne Cooke

Share

Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections

  • Exhibition view. Not Yet. On the Reinvention of Documentary and the Critique of Modernism, 2015
    February 11 - July 13, 2015

    Not Yet

    On the Reinvention of Documentary and the Critique of Modernism