艺术家Peter Vink

[2009/02/13 17:49 | 分类: Dutch Media Search | by lizhenhua ]
Open in new window
Peter Vink
Peter Vink (1974) is a Dutch visual artist based in Amsterdam, and now spending 6 months in Beijing as an artist in residence at Platform China Art Institute. The core of hisartistic research lies in investigating and challenging the common notion of space as well as the artistic potential it releases when the artist uses it as a setting of his site specific works. The manner in which space is activated by the artistic gesture, the redefinition of its identity, its shift from an ordinary to a fictionalized entity are all issues on the artistic agenda of Vink, an artist who allows no “ready-made” solutions but always engages in analyzing the specificity of every kind of space. This artistic intervention specially conceived for Platform China Contemporary Art Institute space A is an example of the artist’s ability to redesign and at some extent direct space. As in the other works by Vink, also in this case the physical space far from being a passive backdrop is transformed into the site where the real action takes place; it plays the leading role in the piece and thus transcends its triviality.

彼得·温克(Peter Vink, 1974年)是一位在阿姆斯特丹生活和工作的荷兰视觉艺术家,2008年作为站台中国当代艺术机构居住艺术家在北京生活六个月。他的艺术研究的核心,是对空间这一常见的概念,以及艺术家将空间作为特定场地作品的背景时,空间所释放的艺术潜能进行探索和研究。空间被艺术赋予活力的方式,其身份的重新界定,从普通的空间向虚构化实体的转变,均是彼得·温克艺术创作中所涉及的主题,他不赞同“现成品”的创作方法,而是致力于分析每一种空间的特殊性。此次专为酒厂艺术区设计构思的艺术项目,是艺术家具有重新设计并在一定程度上指导空间的能力的典型例证。就像在温克的其他作品中一样,具体的空间并不是一个被动的背景,而是转变成为真实的活动发生的现场;在作品中,空间扮演着至关重要的作用,因此超越了其自身的平凡状态。

Engineering Illusions ---Some thoughts on the work of Peter Vink
By Manuela Lietti

According to Henri Lefebvre, space is never absolute and neutral as it would seem at first sight. As the philosopher affirms, “an existing space may outlive its original purpose and the raison d'être which determines its forms, functions, and structures; it may thus in a sense become vacant, and susceptible of being diverted, re-appropriated and put to a use quite different from its initial one.” Space is also a social product, a complex construction based on values that reflect the meanings related to social practices and perceptions. Particular notions of space serve as tools for thought and action while being at the same time their reverberation.

On the basis of Lefebvre’s theory, when an artist approaches a certain space with a site-specific project, his/her task is complex and risky not just because he/she has to interpret the already existing nature of a certain space, with its intricate net of meanings and its socio-cultural “burden,” but also because he/she has to use his/her work to convey a new interpretation of the environment itself, adding value to what already exists and has its own specificity. In artistic terms, an artist still has to present a self-contained artwork. Only in the most successful cases, does the combination of a certain space and a certain artwork give birth to a new notion of spatiality, leading to a process of osmosis between site and work which doesn’t imply either the prevarication of one element over the other or the subsequent annihilation of one of the two elements.

The body of works of Peter Vink spans a period of almost ten years, during which the artist has painstakingly devoted himself to analyze the notion of space and to free himself from any kinds of preconceptions when facing a new environment. When Vink approaches a certain space, for him there are no ready-made solutions. Perhaps it is this openness that allowed him to operate in spaces other artists would consider too out of reach. The artist himself turns into a blank sheet of paper: through mastering technical and morphological issues he adapts to any spatial conditions, codifies the environment and releases its potential. It is as if Vink doesn’t create ex novo an environment, but through the accurate knowledge of a certain space acquired on site he offers to the viewer new tools to shed some light on those daily experiences that because are too near are often ignored. Vink’s tools happen to be his artworks that in his artistic venture act as stage props. They are a medium used to attract the attention of the viewer in the least intrusive way possible, but able to direct it resolutely towards the environment that becomes the actual site of the action.

The performance ROOK and the sound/light installation F6 specifically conceived for Beijing’s Liquor Factory are an example of Vink’s poetic and ability to redesign and at some extent direct space. The balloons patiently arranged into a chimney inside The Liquor Factory will fly away in the twinkling of an eye, the sounds and lights of the piece F6 will be soon turned off. Perhaps some people would even ask themselves if they have been confronted with an artwork. But, the spaces activated by Vink’s props/artworks will remain, apparently unchanged. Actually they will go on bearing the ethereal yet tangible traces of the unusual artistic process they underwent.

Henri Lefebvre, The Production of Space, Wiley- Blackwell Publishing, 1992.


按照亨利·列斐伏尔(Henri Lefebvre)的说法,空间永远不是像第一眼看上去那样,是中性的和绝对的。正如这位哲学家所断言的:“一个现有的空间可能超出其原有的目的以及决定其形式、功能和结构的存在理由;因此从某种意义上讲,它可能变成空白,很容易便受到转化和重新利用的影响,并被用于同起先完全不同的用处”。空间也是一种社会的产物,一个以反映社会实践和感知相关意义的价值体系为基础的复杂构架。具体的空间概念被视为思想和活动的工具,而同时也是其折射。




About my work:

I make works of art whose creation is entirely determined by the conditions of the environment in which they are situated. These installations are mostly architectural in character and make use of the entire room in which they are constructed, which is why they are large in scale. The process of creation of these installations has come to be an important component of the work itself. In addition, my most recent works are time-related. I will take my work ‘Schakels’ [Links](2006) as an example to elucidate this process.

I created the work ‘Schakels’ when I was invited for the ’10,000 euro show’ in w139 Art centre, curated by Constant Dullaart. Looking for leads in the various spaces of the basement of the Post CS building (the temporary location for w139) I chanced upon the modular ceiling in the bar room of w139. It did not take long to conceive the idea of using this material to construct a new installation, partly because the bar room was to be redecorated anyway.

After removing the entire modular ceiling, I moved all its components to the exhibition room. There I found that the size of one ceiling module exactly matched that of the concrete columns in that room (60x60cm). I built the entire installation on the basis of this one fact. Opposite each column I constructed a copy of that column from the ceiling modules and the metal strips of the ceiling. Next, I connected the four ‘artificial’ columns to the four concrete columns with a connecting wall of the aforementioned material.  Strengthening the existing architecture was the guiding principle of this project.

The spotlights and striplights of the modular ceiling were incorporated in this installation as well. I placed the light boxes in such a way that each part of the room would receive its own lighting. Finding the light too static and seeking a counterreaction to my own severe and logical architecture (and that of the exhibition room itself), I programmed the lights using computer controlled relays. The entire programme lasted 19 minutes and was then repeated (looped). I also incorporated a number of the light boxes already present in the exhibition room. This made me even more the director of the room, with the sound of the striplights switching on and off as a subtle overtone.

The work ‘De Pekelzaal’ [The Brining Room](2006) was a continuation of my endeavour to strengthen my ideas through light. In the former brining room of the dairy factory of the KIK Foundation in Kolderveen [ Domestic Studios Fund of the Dutch Foundation for Visual Arts] I took the supporting structure of the ceiling as my starting point. By suspending from them two layers of beams of the same size, 130 in all, the existing structure was emphasized visually. I put motion sensors on the bottom layer of suspended beams. The motion sensors switched on the lights for five seconds, temporarily indicating the route traversed by visitors. This installation was inspired by the exhibition’s theme: ‘Travel across My Room’.

Apart from installations I made video work, based on the same ideas as described before: strengthening the conditions already physically present in the room and emphasizing these. In the case of the video work ‘The Traffic Collection’ (2005), the video is framed by physical space, the passing traffic the subject. The passing traffic is collected outside the video image, forming a spiral around it. The video is getting smaller and smaller to make way for the ever growing collection of vehicles. After 12 minutes there is a zoom into the video image and the video starts again. These 12 minutes were recorded in real time, I did no editing in the video itself, it is as it was at that particular moment.  

This touches on the essence of my work: emphasizing what is already present so the viewer will look again. With that I do not only mean physical conditions, but also, for instance, other conditions such as the theme of an exhibition or art institutions that want to do something with their bar room. Seeing what you are offered at a given moment and making the most of it.



我是在受邀为w139艺术中心的10,000欧元艺术展工作的时候创作了'Schskels',策展人是Constant Dullaart。为Post CS楼(w139的暂时场地)的地下室的广阔空间寻找创作思路的时候,我偶然注意到了w139酒吧间的组合式天花板。没多久我就萌生了利用这种材料来创作装置作品的想法,也是因为酒吧间本来就要重新装修。



作品'De Pekelzaal'[盐浸室](2006年),延续了我尝试运用光来加强创作的想法。在Kolderveen [荷兰视觉艺术基金会的国内工作室]的奶厂盐浸室,我把天花板的支撑结构作为我创作的出发点。将两层同样大小的总共130根梁木悬挂在天花板上,现有的建筑结构被视觉化地强调出来。我把运动传感器放在悬木的底层。这个运动传感器会使光维持5秒钟,从而象征着短暂时间里观众所跨越的路线。这个装置作品的灵感来自于展览的主题:“穿越我的房间”。



Youtube: 升艺术项目彼得·温克 (Peter Vink)现场采访-艺术眼ARTSPY
荷兰艺术家彼得•温克 (Peter Vink)专为站台中国当代艺术机构A展厅所创作的特定现场装置http://www.cl2000.com/detail.php?iInfoID_10140.html

Comments(0) | Trackbacks(0) | Reads(3487)