NEWS
Opening Saturday 3 November 5 - 7pm
until 22 February 2013
until 22 February 2013
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Galerie de Expeditie
Zsa-Zsa Eyck
Leliegracht 47
1016 GT Amsterdam
Wed - Sat 1 to 6pm
The gallery closes 21 - 24 Nov
whilst participating in
Contemporary Istanbul and Pan
t. +31-20-6204758
f. +31-20-6246220
galerie@de-expeditie.com
www.de-expeditie.com
Zsa-Zsa Eyck
Leliegracht 47
1016 GT Amsterdam
Wed - Sat 1 to 6pm
The gallery closes 21 - 24 Nov
whilst participating in
Contemporary Istanbul and Pan
t. +31-20-6204758
f. +31-20-6246220
galerie@de-expeditie.com
www.de-expeditie.com
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(image: Into The Wild iPod)
MickeyMinniePlutoHeweyLouieDeweyDonaldGoofySacramento
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MickeyMinniePlutoHueyLouieDeweyDonaldGoofySacramento; a title derived from the literal translation of the requirement for creating a password “8 characters and at least one capital”. An anecdote that reached Pieterjan Ginckels through Facebook. With a sense of humour tinged with gravity, Ginckels (1982, lives and works in Brussels) works on an intelligent oeuvre that toys with elements that typify his era: internet, spam, electronic music, fixed gear bikes, slow coffee. He refers to his work as ‘families’ of artwork: installations with pronounced circular, multi-layered and cooperative aspects that function as generator of metaphors in sound and image.
The family of new works in this exhibition has its roots in digital media, internet, spam, and Facebook and is fed by popular visual culture. The works engage with a means of appropriating meanings, constructions and objects by investing them with an autonomous, new life. Take, for instance, the iPad Cowboy series. Using an iPad, Ginckels photographed a series of pre-existing images, ranging from landscape paintings he found on the wall, to visuals sourced from the internet which he photographed from the screen of his laptop. With a few simple finger swipes of the screen, Ginckels turns them into new images and sends them straight to the printer. These images, each offset-printed 300 times, are stacked and held together with zip ties to form a unique miniature.
The artist blows up a tiny picture of Ed Ruscha’s famous piece A Blvd. Called Sunset into a coarsely pixelated image the size of the original, replacing ‘Sunset’ with ‘Anspach’ written in heavy black letters: Anspach is the name of the central avenue where Ginckels lives and works, the urban axis running north to south through Brussels.
In combination with these digital hand-made drawings, the exhibition also features a sequence of sculptures and photographs in which Ginckels exploits the first generation iPod, the model that pre-dates today’s touchscreen generation of mediaware; a distinct design notable for its rectangular screen and circular click-wheel. In Into The Wild iPod, for example (see picture), Ginckels alienates this contemporary consumer gadget by taking it just after the iPod had reached its commercial peak, and positioning it within a conceptual context. Ginckels literally enlarges the iPod, magnifying it into what he refers to as a wePod or, in other words, a simple composition he introduces into the landscape. The artist takes the idea of compositionally liberating a cultural object further in the series SKINS, which appears to be an attempt to re-invent the original composition.
Pieterjan Ginckels numbers among the latest generation of artists whose work is not tied to a specific medium. With a sense of the comedic, Ginckels reveals that his choice of medium is founded on subjective and banal choices in the piece Why I Don't Like To Paint (2005) in which, without further ado, he lists his reasons for not painting in writing, on a canvas. Ginckels first designed his characteristic ‘families’ of artworks in 1000 Beats (first built in 2008) and PISTE (2010). The artist eradicates boundaries between performance, installation and conceptual art completely and consistently communicates an artistic idea on a level that viewers can physically experience.
Ginckels received the BOZAR Center for Fine Arts Award in the Young Belgian Painters Award in 2011.
The family of new works in this exhibition has its roots in digital media, internet, spam, and Facebook and is fed by popular visual culture. The works engage with a means of appropriating meanings, constructions and objects by investing them with an autonomous, new life. Take, for instance, the iPad Cowboy series. Using an iPad, Ginckels photographed a series of pre-existing images, ranging from landscape paintings he found on the wall, to visuals sourced from the internet which he photographed from the screen of his laptop. With a few simple finger swipes of the screen, Ginckels turns them into new images and sends them straight to the printer. These images, each offset-printed 300 times, are stacked and held together with zip ties to form a unique miniature.
The artist blows up a tiny picture of Ed Ruscha’s famous piece A Blvd. Called Sunset into a coarsely pixelated image the size of the original, replacing ‘Sunset’ with ‘Anspach’ written in heavy black letters: Anspach is the name of the central avenue where Ginckels lives and works, the urban axis running north to south through Brussels.
In combination with these digital hand-made drawings, the exhibition also features a sequence of sculptures and photographs in which Ginckels exploits the first generation iPod, the model that pre-dates today’s touchscreen generation of mediaware; a distinct design notable for its rectangular screen and circular click-wheel. In Into The Wild iPod, for example (see picture), Ginckels alienates this contemporary consumer gadget by taking it just after the iPod had reached its commercial peak, and positioning it within a conceptual context. Ginckels literally enlarges the iPod, magnifying it into what he refers to as a wePod or, in other words, a simple composition he introduces into the landscape. The artist takes the idea of compositionally liberating a cultural object further in the series SKINS, which appears to be an attempt to re-invent the original composition.
Pieterjan Ginckels numbers among the latest generation of artists whose work is not tied to a specific medium. With a sense of the comedic, Ginckels reveals that his choice of medium is founded on subjective and banal choices in the piece Why I Don't Like To Paint (2005) in which, without further ado, he lists his reasons for not painting in writing, on a canvas. Ginckels first designed his characteristic ‘families’ of artworks in 1000 Beats (first built in 2008) and PISTE (2010). The artist eradicates boundaries between performance, installation and conceptual art completely and consistently communicates an artistic idea on a level that viewers can physically experience.
Ginckels received the BOZAR Center for Fine Arts Award in the Young Belgian Painters Award in 2011.
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