Heidi Linck My present whereabouts are unknow

Heidi Linck, And we watched the world go by #1

tekst Alex de Vries (15), auteur en adviseur op het gebied van kunst en  cultuur, is verbonden aan het bureau Stern/ Den Hartog &De Vries in Den Haag. Hij was medeoprichter van Metropolis M., schreef tal van teksten over hedendaagse kunst  en verzorgt maandelijks kunstenaarsgesprekken voor de NBKS in museum De Pont. 


engelse vertaling Sara van Otterlo-Butler, 

duitse  vertaling Michael Jacobs, Köln. 

fotografie Heidi Linck 

vormgeving Cecile van Wezel, Grafisch Atelier Wageningen 

lithografie Wim van Hof, BvBeeld 

drukwerk Drukkerij Modern, Bennekom 

aantal exemplaren 700 

uitgever Galerie Wit, Hamelakkerlaan 38, 6703 EK Wageningen 

Voorbeeld bestand: 
1 dec 2008
works | werk | arbeiten 2006-2008

Heidi Linck makes sculptural objects and spaces that move. They emerge spontaneously and hit the road. They are ideas rather than objects, that have become mobile. Heidi Linck’s work is a reflection of the way she thinks. In Art House Syb in Beesterzwaag she laid a wooden floor in a small room in a dilapi- dated house. The next day the planks flew up against the walls, and started to make their   way through the other rooms. She tracked the floor closely: where did it go? For her, building and architecture are not static, but involve a lively exchange of light and space.  Before starting at the Art Academy in Arnhem, she studied methods and techniques of the social sciences at Wageningen University. In Arnhem she focussed on photography. She was curious whether she could employ the scientific research methods she had learned at university to develop autonomous images. It worked, but it resulted in images not known to the contemporary visual arts. Heidi Linck considers architecture and spatial planning as manifestations of social and political structures. 

The structures are intended to provide order, predictability and safety, but their spatial manifestations are prone to chaos and change. Everywhere she perceives spatial shapes and the voids between them. She records them in her slide collection of places where she’s been. Where the spaces have formed, where they have gone and how they regain their form: these are the questions that inform her work. 

Who she is, artistically speaking can be read from her slide collection, it constitutes the DNA, the fingerprint, the iris scan of the artist. Light entering a room casts a distorted projection of window frames on the walls and floor. Those projections form possible new spaces in the room. Then Heidi Linck realizes them by sawing them out in the floors and walls, thus creating a new building: not a shell but a space bounded by ideas upon which it was based. 

Heidi Linck sees spaces moving about, and follows their journey. What do they look like if you leave them to their own devices? She does not pin them down, but traces their tracks and tracks their traces. She draws black spaces that merge into each other in all shades of black Indian ink on paper. Her drawings reflect the kind of fascination the Impressionists had with light, but in her case with darkness. Her work is a manifesto for spatial thinking, the concept of space and spatial concepts. She challenges herself and the world to dematerialize concrete space and to work out the thought process involved.