Saturday, 30 January 2021

Katleen Vinck / Gordon Matta-Clark

Gordon Matta-Clark
Office Baroque
101 x 50 cm 

Gordon Matta-Clark
detail from a poster for Office Baroque

Gordon Matta-Clark
View of Office Baroque, Antwerp 


I am Katleen Vinck and live in Antwerp, Belgium. In my work I combine architecture and sculpture. 

I must have been 16 and I saw one of the first contemporary art exhibitions in my life. It was my first year at art school and we visited an exhibition in Muhka, the museum of contemporary art in Antwerp.

One wall was reserved for 'Office Baroque', a work of Gordon Matta-Clark. I never have real heroes, but his work, and especially 'Office Baroque', has remained in my head over the years.

These photo montage and drawings of 'Office Baroque', played an important role in the museum because it formed the basis for the creation of the museum. It was an initiative of Flor Bex who invited Gordon Matta-Clark. Later Flor became director of Muhka. The fact that this work was realized in 1977 and had such an impact on the art scene in the city where I studied and discovered contemporary art, was mythical to me at that time. When I discovered this work, the building / sculpture was already demolished and only drawings and photos remained.

At that time, I already had a great interest in both architecture and sculptural work. The way Gordon Matta-Clark combined both in a very natural way was new to me. Both disciplines worked together and blended completely in a way I never saw before.

Gordon Matta-Clark was given a building close to the current museum to realize 'Office Baroque'. It was there, for the first time, that he could work in such a large spatial structure. For me, by making different cuts in the floors, he exposed the real structure, the skeleton and history of the building and environment. The building has a kind of boat-like ground plan; in various places he created views and transparency through the cuts and made the structure an accessible sculpture. It’s a search for the origin of a place.

This is something that keeps recurring in my work; the analysis and origin of a form, structure and the sculptural intervention on this, although I do this in a completely different way. The natural combination of architecture and sculpture is also embedded in my work.

What also fascinates me in this is the idea of time and the cycle a building, an environment and by extension life, undergoes. The building that stood there for years, had a whole history in it and was transformed into a sculpture in that year. An intervention that also took time and was a performance or action that added an extra layer to this history. It underwent a transformation and could continue in this form for a while. After the demolition only the documents remained. But yet another new building has been erected in the same place which contains the whole history … the cycle never stops.

The starting point of an existing architecture, and the cycle that it undergoes through time, nature or human intervention, also forms the basis of my work, although I will reconstruct and transform it and I will not work with the original form. For me, the intermediate form that then arises is indebted to Gordon Matta-Clark.

Katleen Vinck, 2021

Katleen Vinck
A fluid 
350 x 270 cm

Katleen Vinck
Het aardmassief

250 x 150 x 75 cm

Katleen Vinck (BE)
120 x 75 cm

Saturday, 16 January 2021

Ivo Ringe / Josef Albers


Josef Albers

Change Directions


oil on chipboard

66 x 80,5 cm 

acquired 1989 © The Josef and Anni Albers Foundation / VG Bild-Kunst, Bonn 2020




'The concern of the artist is with the discrepancy between physical fact and psychological effect.' 

Josef Albers, quote from: 'Albers Paints a Picture' Elaine de Kooning, Art News 49, November 1950, p. 40; as quoted in Abstract Expressionist Painting in America, W.C, Seitz, Cambridge Massachusetts, 1983, p.67


'For me, abstraction is real, probably more real than nature. I'll go further and say that abstraction is nearer my heart. I prefer to see with closed eyes.' 

Josef Albers, quoted in: Arts/Canada, Vol. 23 (1966), p.46


I think these pictures clearly show my connection to Josef Albers. Very clearly the avoidance of the vertical and horizontal and the 90 degree angle. Okay, Albers later returned to the 90 degree angle and the vertical/horizontal in the square. Now the square, i.e. the 1:1 proportion, is also the proportion of wealth and money. He was living in the USA during this time. 

For me the earlier years are more interesting. When he researched even more into the diversity of forms and not just into the diversity of color values, on which he later focused his research.


Ivo Ringe, 2020

Ivo Ringe (DE)

St. Yves


30 x 24 cm

oil on linen