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.
Collection artworks included in the exhibition
From 14 May, 2020
With Three Wounds, I
From 13 April, 2020
Before the Threshold
18 December 2019 - 2 November, 2020
Ignacio Gómez de Liaño
22 November, 2019 - 1 June, 2020
This Has Happened
6 November, 2019 - 1 June, 2020
Miguel Ángel Campano
11 October, 2019 - 30 August, 2020
Time Is Mute
25 September, 2019 - 27 July, 2020
Delphine Seyrig and the Feminist Video Collectives in France in the 1970s and 1980s
From 5 December, 2018
The Poetics of Democracy
Images and Counter-Images from the Spanish Transition
From 21 February, 2020
Kontakt with Guy Schraenen
Artists’ Publications, Sound, Films, and MoreMuestras documentales, Biblioteca y Centro de Documentación