艺术家Peter Vink

[2009/02/13 17:49 | 分类: Dutch Media Search | by lizhenhua ]
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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.

创造幻像——彼得·温克作品的几点看法
玛瑙著

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。

根据列斐伏尔的理论,当一位艺术家用特定场地的计划来处理某个空间时,他的任务既复杂又充满了风险,这不仅是因为他必须阐释某个具有错综复杂的意义及其社会文化“负担”的空间现有的本质,而且他还必须运用自己的作品来传达对这个环境本身的全新阐释,为业已存在并且有其自身特殊性的一切增添新的价值。就艺术家而言,艺术家仍然必须呈现一件独立的艺术作品。只有在最成功的案例当中,某个空间和某件艺术作品的结合促成了新的空间概念,导致了场地与作品之间渗透融合的过程,这并不意味着一个元素压倒了另一个元素,或者两个元素当中之一最终彻底灭绝了。

彼得·温克的作品跨越了大约十年的时间,其间艺术家勤勉地致力于分析空间的概念,使自己在面对一个新空间的时候摆脱任何一种偏见。当温克处理某个空间时,对他来说并没有现成的解决方案。也许正是这样一种开放性,使他能够在其他艺术家也许认为无法把握的空间当中游刃有余。艺术家本人变成了一张白纸,通过他对技术和形态的把握彼得·温克可以适应任何空间条件,“解读”每一种环境,并释放其潜力。这就好像温克并未创造什么亘古未有的环境,而是通过他在现场获得的对于一个空间精准的认识,为观众提供新的工具,使他们从一定程度上理解那些因为离我们太近而常常被忽略的日常空间。温克的工具恰好是他的艺术作品,在他的艺术冒险事业当中充当了舞台道具。它们是用来以可能最不冒昧的方式吸引观众的一种媒介,但是又能够毅然将观众的注意力引向已经成为这一活动真实现场的环境上去。

专门为北京酒厂空间设计构思的行为艺术品《升ROOK》以及声光装置F6,是温克所具有的诗意的典型例证,也展示了他具备重新设计并且在某种程度上指导空间的能力。耐心地安放在酒厂空间内部一座烟囱中《升ROOK》作品的气球,将会在眨眼之间放飞而去,而作品F6的声光效果也很快就会关闭。也许有人会自问,自己刚才面对的,是不是一件艺术作品。但是温克所赋予活力的空间仍然存在着,显然丝毫没有改变,尽管它们还要继续承载着一个非同寻常的艺术过程的缥缈但却真切的痕迹。

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.

关于我的作品:

我总是根据具体的环境条件来创作艺术。大部分的装置作品都是建筑形态的,它们充分利用了建筑的整体空间,因而规模都比较大。创作这些装置的过程本身就是作品的重要构成。此外,我最近的作品都是与时间相关的。我将以作品'Schakels'(2006)为例来介绍这个过程。

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。

在拆掉了整块组合天花板之后,我把所有部件都搬到了展览室。我发现天花板组件的尺寸与房间的混凝土柱子(60x60cm)完全匹配。整个装置作品的构想是基于这个事实。我用天花板的组件和金属条在每一个柱子的对面制作了类似的柱子。接着,我用前面提到的材料,把这四个'人工'柱与四个混凝土柱用一面墙连接起来。这个项目的指导原则是加强现有的建筑结构。

组合式天花板的聚光灯和长条状灯也被纳入到了此次装置作品中。我用特别的方法放置灯箱,使得房间的每部分都能得到照明。由于灯光过于静态,我尝试寻找朴素而逻辑化的建筑风格(和展览室本身的建筑风格),我用电脑控制的继电器来为灯光系统编程。整个程序历时19分钟,然后重复(循环)。我还使用了一些展览室本来就有的灯箱。作为一种微妙的隐喻,长条状灯反复开关的声响使我更像展览室的导演。

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”。

我不但创作装置,也创作视频,我的视频作品也是基于上述的类似想法:加强利用房屋本身自然的物理条件并对其进行强调。在视频作品“交通集合”(2005年)中,物理空间、流动的车辆和物体构成了视频的内容。视频图像之外的流动的车辆被收集起来,从而形成视频的螺旋式循环。视频变得越来越小,使得收集的车辆越来越多。12分钟之后视点会跳回到视频图像,然后视频重新开始播放。这12分钟的图像是实时录制的,我并没有在视频里做任何剪接,于是视频就像是在某个特殊时刻录制下来的。

我的作品本质在于:强调已然存在的东西,因此观众会对其进行再次审视。当然我不只是指物理条件,同时也指其他条件,例如展览的主题或本来就想要动动酒吧间的艺术机构。在某一特定时间观察你所拥有的空间,并最大程度地利用它。

Youtube: 升艺术项目彼得·温克 (Peter Vink)现场采访-艺术眼ARTSPY
http://www.youtube.com/watch?v=57mRXKiWsrI
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

整理、翻译:丁燕萍(www.bjartlab.com)
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