The track was then dismantled and the result of the recording was played as an installation on eight different record players. The artist called it ‘My Abbey Road moment’. The sound of the cycles racing around the track and the reverberations that echoed through the Horta Hall were recorded on the record HORTA x PISTE. Constructed over two days, the track was inaugurated during a performance given before a select audience. On this occasion, the track served as the starting point for another work. Ginckels built the same wooden track as his contribution for the Young Belgian Art Prize at the Paleis voor Schone Kunsten in Brussels, but this time took a different approach. The piste, or track, was both a sculptural object and a vehicle for performances. The work acted as a kind of trigger around which all kinds of activities and events were held, both in the art venue, and the public space. In Netwerk Aalst, Ginckels built a wooden cycling track and he and a group of friends animated the structure, to great public applause. PISTE is also a sort of ‘situation’ that requires public participation to complete the work although, in a strict sense, the same applies to every work of art. MuZEE in Oostende also acquired the installation for its permanent collection. 1000 BEATS / ONE BEAT went on tour, appearing in different configurations in a variety of galleries and museums. Played on a different number of record players and in a different venue each time, every presentation of the installation was unique. The record was played simultaneously on different record players loaned by members of the public to the art institute where the work was installed (in return for which the lenders each received a copy of the record). Ginckels contacted Norwegian designer Magnus Voll Mathiassen to design the sleeve. The 1-second track was played continuously in a loop on a specially made vinyl record. He asked his musical hero, the renowned techno musician and producer Cristian Vogel, to make a piece of music lasting 1 second. Partly because, as an individual artist he missed the dynamic of a music group, he conceived the vinyl project 1000 BEATS / ONE BEAT. In his early career, the artist explored themes relating to rock music (for instance in the Sonic Youth poster, into which he Photoshopped his face above the drummer’s), but as his oeuvre progressed, it expanded to include other, far broader, themes such as how we interact with new technologies. OFFICE, made a composition using different record players and built a cycling track, or PISTE. The oeuvre of Pieterjan Ginckels is both broad and varied. PIETERJAN GINCKELS: ARCHEOLOGIST OF THE NEAR FUTURE
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