With this publication, Joëlle Tuerlinckx guides us through the studio’s archives, and through the development of a thought process and culminates in the inventory of the M.M. collection (Musée de la Mémoire” or “Museum of Memory). Building on the great classic of the inventory catalogue and encompassing “all of J.T.’s work”, she presents “a museum in itself”.

While the book is originally connected to La Triangulaire de Cransac, a monumental work of art in the small town of Aveyron, it also puts into perspective the evolution of the museum in its relationship with the artist and the book. Joëlle Tuerlinckx reminds us that if the museum is compared to a book because of its internal organisation, then a book can be compared to a museum because of its systematics and its method of contemplating the object.

“The works of Joëlle Tuerlinckx can be typified as experiments in which destructive and constructive impulses simultaneously redeem each other. That which is destroyed—or gives that impression to be—is readily rearranged. Some of Tuerlinckx’ work is suggestive of images that fell to pieces. And yet, even those are not ruins, unrestrainedly delivered to the hands of time. In this ample volume the artist endeavours to put forward an inventory of her film and video work up to the present day, ’un travail d’archivage en cours’. Soon this book abandons its attempt at drawing up an inventory in favour of an autonomous rearrangement, a rereading of a myriad of videos, films and film fragments, installations and contexts. A very impressive document.”—Argos

Produced on the occasion of Joëlle Tuerlinckx’s exhibition Nothing for Eternity at Kunstmuseum Basel, 15 October, 2016–17 April, 2017.

Many of Tuerlinckx’s works originate in the artist’s gigantic archive. In addition to her own drawings, collages, photographs, and texts, it also contains objets trouvés, newspaper photographs, and the bric-a-brac of everyday life. Employing artistic approaches that Tuerlinckx, who was born in Brussels in 1958, describes in a dedicated “lexicon,” she alters the materials, dimensions, and appearance of these objects, transforming their reality and purport.

Flyer produced on the occasion of Apropos Papier: Willem Oorebeek, Joëlle Tuerlinckx, Heimo Zobernig at the Leopold Hoesch Museum, 7 April–7 July, 2019

Apropos Papier is an exhibition series that started at the Leopold Hoesch Museum in 2018 to coincide with the reopening of the neighbouring Paper Museum in Düren. This series presents international artists whose work is characterised by the examination of paper, an important material for the city of Düren.

This publication follows the exhibition : by collective artist gerlach en koop with the collection of the Bonnefantenmuseum Maastricht in 2016, at the invitation of curator Paula van den Bosch. This publication also follows the catalogue cubics by architects and designers Slothouber and Graatsma from 1970, such that it served as support for the artworks in print, just like their cubic system of blocks supported the artworks in the exhibition. All exhibited artworks are included in this publication, works by Francis Alÿs, Joseph Beuys, Marcel Broodthaers, Bethan Huws, Agnes Martin, Willem de Rooij, Lily van der Stokker, Joëlle Tuerlinckx, Franz West and many others, plus several anonymous objects of different provenances and different times. The publication contains a long interview with the artists by a ghosted ghostwriter, in Dutch and English. Designed by Charles Mazé and Coline Sunier in collaboration with gerlach en koop.