° Reet, Belgium 1976

lives and works in Antwerp — Belgium


Katleen Vinck participated at Coup de Ville 2013. This text was published in the catalogue.


In her work, Katleen Vinck often makes use of scale models in which she relates the characteristics of sculpture, architecture and theatre scenography to one another. Her education in architecture, art and scenography makes such an overarching approach obvious yet challenging at the same time. Vinck focuses on phenomena that occur spontaneously in nature. However, once man has assimilated them, it becomes a matter of ‘staging the natural’, which results in new meanings. In terms of content as well as form, the artist investigates archetypal structures from nature that can be rediscovered in culture like an echo.


Her interest in the landscape gravitates to forms such as caves, cliffs, hills, trees... She inquires about their possible function, symbolism and the way in which they are processed by humankind. For instance, she interprets the bunker as a sublimated form of shelter that can be typologically reduced to the cave: an archetypal form. Similar to the contrast (or relationship) between cave and bunker, Vinck develops systems of oppositions and models through which she perceives reality and which form the basis of her artworks. Strict ordering and classifications are usually made difficult by exceptions and intermediate positions. Consequently, Vinck’s attention is drawn to the notion of ‘realia’, a term from library scionce for things that do not fall within a normal classification system. They hover somewhere between or fit into several categories, leading to a status of indefinability.


For Coup de Ville, Vinck addresses the relationships between interior/exterior, architecture/nature: relationships that she deliberately reverses or clusters. The concept of the baroque Italian Villa Aldobrandini hereby serves as a historical example of the merging of nature, art and architecture. In the house where Vinck realises her intervention, she installs trees as if they are ‘natural’ components in the interior and manoeuvres architectural elements to the high-walled garden: “I am now thinking about making a clearly visible constructed base and composing the tree on top of this from different parts with real, treated bark. Only by closer observation will people see that it is an artificial construction.”