PIETERJAN GINCKELS
WORK        ABOUT        SHOP
wePod

Diverse materials
254 x 1000 x 600 cm
2013



From the wePod press release:

Pieterjan Ginckels plays with the coolness of the things of his time such as slow coffee, fixies, locked groove vinyl records, Facebook and spam messages. He isolates and alienates these objects, like a sculptural alibi, and releases them in a conceptual setting, right after their commercial peak.

In Into The Wild iPod Ginckels works with the first generation iPod, recognizable by its rectangular screen and circular click-wheel. This 'found composition' - made almost extinct through touchscreen technology - is blown up to monumental proportions in wePod, a sculpture and pavilion that was recently completed at DordtYart. Here, the quasi classical composition of the 'old' iPod surface has been transformed into two cuts through the thin ceiling, making for a double patio space.


— FAUX MARBLE

For the cladding Ginckels falls back on a disappearing renaissance technique that - despite being imitation - is truly authentic. Ginckels commissioned an artist to produce four marble paintings prepared in such a way that the veins of the marble appear continuous in various panel configurations. High quality scanning and printing allow him to apply the paintings as the pavilion's skin - moving between image and reality, between screen and artefact.


— AFTERLIFE

After DordtYart wePod will be divided into 20 modules, each becoming an autonomous, abstract work. The resulting family of wall pieces and sculptures will be distributed into the various settings of 20 new owners or hosts, and in a subsequent exhibition project be brought together again as a whole of fragments. Typical for Ginckels' projects is this engagement of networks.

At DordtYart wePod is accompanied by a series of small sculptures, the Dumbphones. Additionally, during the final exhibition weeks Ginckels and common room (NYC and Brussels) will stage a series of situations in wePod, initiating Technologies Of Togetherness.


Photos by Olmo Peeters



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