Opening: Saturday, July 3rd, 7 P.M.
Press preview: Friday, July 2nd, 11 A.M.
The Badischer Kunstverein is devoting the first big exhibition in this country since Documenta11 to the Belgian artist Joelle Tuerlinckx (b. 1958, Brussels) who has invited Dutch artist Willem Oorebeek (b. 1954, Rotterdam) to join her. "S'expliquer" - explaining oneself, to each other and to the public, is the motto the two artists have chosen for their collaboration.
Visiting the Badischer Kunstverein a year ago Joelle Tuerlinckx expressed her wish to explore the specific spatial and period qualities of the premises - turn-of-the-century Neo-Baroque shot through with art nouveau elements on the second floor. "I move through rooms investigating the specific time segments as I go, attending to the ways in which the rooms reveal themselves to me. ... I observe how the rooms enter the human subject who, conversely, bears within himself blocks of time that are themselves part of the rooms they spill over from ... If seeing and walking is work, then I work seeing and walking. The difficult part is to stop. I stop, and develop forms of visibility. I go on until the floor becomes a wall and the wall doubts its qualities or simply its name "wall." I go on working until the converse appears just below the surface of the appearance, and that is the moment - whether it is my hand or body that announces it - when I become the building, this stone, this window, the very museum ... That is the moment when I stop and the exhibition begins."
Willem Oorebeek, who (with Aernout Mik) created the exhibit for the Dutch pavilion at the Venice Biennial 1997, has worked for many years with printing and printing techniques, translating printed information - posters, newspapers, postcards - into new realms of perception. Blow-ups, samplings from diverse sources, and his characteristic black-outs - prints that are overprinted with a thin layer of black - are his chosen means. "Blackouting" for Oorebeek is an act of erasure and is something positive. It is not simply that it makes a picture surprisingly aesthetic; it also changes how such a picture can be read. The picture is rescued, in Oorebeek's own words, "from a one-dimensional view."
A monograph by Joelle Tuerlinckx and Willem Oorebeek (German/French, approx. 320 pages) is due to appear for the exhibition.