For her retrospective exhibition WOR(L)D(K) IN PROGRESS, Joëlle Tuerlinckx has compiled a lexicon with a series of stock terms for her practice. These are not straightforward definitions. The lexicon is a navigation tool in a complex world where every phenomenon, sign or work prompts its description. Tuerlinckx’s lexicon, like her exhibitions, cuts against the grain of what such academic tools are used for, and turn it into poetic statements, reminiscent of notebook entries that convey the nature of a complex and long-term artistic research process.
AQUARELLE [WATERCOLOUR] designates works on paper, water- or pigmentbased, or based on various ingredients (chocolate, …). usually made using water ‘found on the spot’ (stream, lake, faucet), these can also be found under the name: local Watercolours.
BACs d’ARCHIVEs / BACs d’EXPOSITIONs [ARCHIVE DISPLAY / EXHIBITION DISPLAY] display to be affixed to the wall or set on the floor. each contains an organized set of ‘exhibition remainders’, which vary in their genus (they are composed using the materials specific to each exhibition they represent), and vary also in their species: thus, one is as likely to find a letter, or piece thereof, as a paper ball, an image, a booklet or an extract from the documentation offered by the museum. the BAC d’EXPOSITION is itself a metonymy: it is like the most representative part (even if it is sometimes a chance construction using found elements) of, and a ‘memorial’ for, a vaster set of objects, subjects and spaces. it constitutes a selective memory of an entire exhibition proposal.
BARRE de COULEUR [COLOUR BAR] found colour bar (sticks used to mix colour in a pot).
BARRE, BÂTON de LANGAGE [BAR, LANGUAGUE STICK] bearing every mention, a report of the title, report of an expression ‘((tagessprüch)) gute morgen’; handwriting ‘OBJECT’ ‘OBJECT’, ‘O’, Letraset (small bar a); in some cases, a language bar can be considered as a title-BAR. the large pink bar shown since 1999 (exhibition ‘This book, LIKE A BOOK’, S.M.A.K., Ghent (BE), 1999), which bore traces, mentions, and baroque exhibition figures on each of its sides.
BOULE, BOULETTE [BALL, PELLET] BOULEs and BOULETTEs prepared, fashioned, made onsite, during the mounting of an exhibition. more often than not, the BOULETTEs are made using found materials or residues left on the floor. these are then spread out, arranged in a certain way on the floor, on a tabletop, or even in an exhibition display case. with every new exhibition, the arrangement respects how they had been packed up and kept, the storing away itself keeping the memory of the specific sites evoked in the wording of the title. the latter in effect indicates the places where the balls of the categories BALLs and PELLETs were made. in certain, rarer, cases, there are two places of production.
… the balls covered the floor of two large rooms on the second floor of Witte de With, during the exhibition ‘Pas d’histoire Pas d’Histoire’, Witte de With, Rotterdam (NL), 1994. there were also some on and in display cases. the plasticine balls were re-kneaded, mixed and confronted with other balls, some quite large and others very small, tiny pellets even, made out of paper, aluminium foil, polystyrene balls, and carnival confetti. when they were exhibited again later, their arrangement on the floor respected the way in which they had been packed up and stored (in this case, a double site of production: some of the balls in the exhibition had already been made using the remains of low construction walls 4 constructions, in Horta colours, presented earlier, during the exhibition “L. Bianconi, J-P. Deridder, S. Eyberg, J. Tuerlinckx, C. Vandamme”, Antichambres, Palais de Beaux-Arts, Brussels (BE), 1993).
BOULE, BOULETTE d’ARGENT [BALL, SILVER PELLET] made out of aluminium foil, placed in jars, floating in water. object of a trade based on the indexed coefficient of gold, which changes from day to day. a numbered jar, with weighed aluminium and free water
CARRÉ de CONVERSATION [CONVERSATION SQUARE] (see LIGNE de FAX) the square is sent and received by fax: what results, as with the line, is a constitution of an exponential and double originality.
CHAMBRE SOLAIRE (see SOLAR ROOM) the usual lighting of an exhibition room is replaced by UV lighting. the air in the room or exhibition room with ultra-violet rays. although not visible to the naked eye, these have a considerable impact on the hues of the works, the colours of the walls and furniture, and they change the visitor’s skin colour. lingering in the space means changing one’s look, vary one’s skin colour. a sign recommends short visits (on medical advice). the exhibition can be visited in groups or singly, with or without protective glasses
COLLECTION FONDAMENTALE [FUNDAMENTAL COLLECTION] the unique, never-undertaken collection of objects: of stones — picked up in a city’s landscape, or the countryside’s, during an exhibition (to explore the ground), received, and, very rarely, bought. the stones are sometimes used to define the ground of the exhibition (a cobblestone from Brussels on the floor of MAMCO, in Geneva), and exploited for their tint, origin, and age on the TABLEs-PAYSAGE, on the PLATEAUx-PAYSAGE, on the PLANCHEs-COULEUR for their power, among other things, to dilate space-time.
CONTAINER de NUIT / COMBI-UNIT-NUIT / NIGHT CABIN [NIGHT CONTAINER / NIGHT COMBI-UNIT / NIGHT CABIN] the COMBINUIT is an isle of the night, a machinery to see night by day. a construction-site container (combiunit) with automatic closing door, solar films and wall inscription, that has come from ‘elsewhere’ and has been placed for a while in one or another part of the city, in a landscape. the text hanging on the cabin door announces:
THE ROOM OF THE NIGHT
AN ISLE OF THE NIGHT
or: how to see the night by day
the windows of the cabin are tinted in such a way that, from inside, one sees the park (the castle) (the river) (the buildings) (the trees), as if, having entered the NIGHT CABIN, one had — suddenly and in fact — been literally plunged into the night: the sun appears like the moon, the grass is purplish, a man plays ball with his child on the lawn, others sunbathe — and yet, everything happens as if at night, under the bright light of the moon.
LIGNE de CONVERSATION [CONVERSATION LINE] of variable length, transmitted by fax. by the fact of its transmission, the line is an instantaneously split original: in effect, each redispatched line of correspondence is continuously multiplying its originality. depending on the mode of production and on the apparatus itself, it is developed as a roll-up or a sheet of paper.
LIGNE de TEMPS [TIME LINE] a line — manual, mechanical, digital, dotted, of every size and degree of enlargement — that measures space in terms of time. they are found on the cards and in the books of the COLLECTIONs PARALLÈLES, among which are the COLLECTIONs THEORY of WALKING (series MASStab’, tied to exhibitions.
OBJET (voir aussi VOLUME d’AIR, OBJET OBJET) [OBJECT (see also VOLUME d’AIR, OBJET OBJET)] by object, I understand a visible and palpable manifestation of my thought. at bottom, these are tools that help me see, and which I end up naming and grouping under the generic term OBJECT. examples: Bars, Sticks, Volumes, Balls, Pellets, … (‘collection LIVRET# INVENTAIRE des/of NOMS pour/for MATIÈRES/MATÉRIAUX, 1988-2002’) among these, the VOLUMEs d’AIR return regularly, under the name VOLUME or OBJET d’AIR.
ONE PIXEL ou/or THE SINGEL PIXEL we can understand thereby, detached from all the thousands of pixels that compose the image (‘The Pixel Screen Ballet’, ‘Atlas Eclipticalis J. Cage, Atlas Eclipticalis’, deSingel Internationaal Kunstcentrum, Antwerp (BE), 2010), a pixel of radical autonomy (title of an exhibition at the Netwerk/Centrum voor Hedendaagse Kunst, Aalst (BE), 2011). the pixel, once projected, paradoxically adapts itself to every given context, until it exhausts the forms (plinth, moulding, curtain fold).
POCKET ROOM ou POCHE d’ESPACE [POCKET ROOM or SPACE POCKET] ‘porous’ space or room in which one advances without the bearing of the four usual walls, and which allows one to see, by the unusual texture of its inner walls, what lies on its other side. the inner walls of the POCKET ROOM are constituted of a mat black membrane fabric, which adheres to the wall of the space that hosts it; the fabric fastened to a door frame or an existing opening: when one stretches the fabric, one can see what there is on the other side of it, the side of heard sounds and objects felt through the thickness of the black fabric. POCKET ROOM is this ‘dark’ and ‘soft’ room, this outgrowth that is constantly forming space, its forms irregular and variable depending on the imprint one gives it.
ROND: the large dimensions
rond: the smaller sizes
SALLE X ANS d’ÂGE [ROOM X-YEARS OLD] space marked by time, obtained by any procedure that artificially accelerates the aging process (yellowing, cracking). see SALLE-THÉ (or SALLE au THÉ).
SALLE-THÉ [TEA-ROOM] (see the SALLE X ANS d’ÂGE) a tea-treated room, so that it looks as if it had been yellowed by time. this classic procedure for artificially accelerating the aging process, used by museums in the restoration of artworks, is here applied to the architecture: the walls are painted (covered, distempered) with tea, either entirely, or only up to a certain height from the ceiling, thereby accentuating the possibility of applying it to an angle of the room.
SURCOLLAGE [OVER-COLLAGE] it’s when a drawing, a gouache, an ACQUARELLE, a PAPIER SOLAIRE (marked by time) is glued to the bottom of multiple ‘mats’, each of which is itself made of history: a page from a notebook of a previous publication covered by the GRIS NEUTRAL ‘Chicago 2003’, or by the yellow post-it ‘SMAK 2000’, of by the pink ‘Présent absolument’ Vienna 2007, … the SURCOLLAGE, in an excessive miseen- abyme of the bottom below the pattern, attempts the study of its incidences, of how the bottom exalts, reveals or disturbs the balanced motif by the sudden advance of a new background. beyond the central pattern of the collage, the SURCOLLAGE condenses parallel times (narratives), of which each ‘mat’ can stand bail for. seen from the angle of sculpture and its tradition, the SURCOLLAGE is nothing other than a pedestal. it assembles two or more moments of works, studio periods that are a priori without relation, which it fixes by the successive layering (touches) in a tray of assembled works (sculpture).
VOLUME d’AIR [AIR VOLUME] a parallelepiped structure, made out of various materials, that can be placed on a BASE, a BASE BARRÉ, and can receive the thinnest BARREs de MESURE or BARREs de DESTINÉEs. the VOLUMEs d’AIR are called ‘volume’ or ‘air volume’ or ‘object’, or ‘air object’. they are geometrical volumes, ‘ideas themselves’ of objects, materialized through the sole means of their edges. they are made of materials ‘borrowed’ from the premises of exhibition itself: glass from the windows, PVC from conduits and pipes, metal from a clothes line, bamboo from the garden … all in thin sections of 1,2, or maximum 5mm.