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Peter Vink
Netherlands Amsterdam Intro： Peter Vink makes works that are site-specific. He incorporates the specific characteristics of the space or environment, aiming to emphasise or strengthen what is present in order to influence and highlight our experience of the site. By breaking through our conditioned perception, Vink hopes to change the way people experience their environment. Peter Vink [De Bilt, 1974] studied at the Gerrit Rietveld Academy. He has exhibited on an international level and has realised various art commissions in the public domain. For the Government Buildings Agency [Rijksgebouwendienst] he created a work for the joint depot of Naturalis, Museum Boerhaave and the Dutch National Museum of Antiquities [RMO] in Leiden. Commissioned by Skor, he has recently realised a light installation in Enschede. Peter Vink was artist in residence at Platform China, Beijing, China Foundation for Visual Arts, Design and Architecture.
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Portfolio Peter Vink (selection 2020 - 2017)
Hengelo city hall Hengelo, 2020, Hengelo, the NetherlandsLED strips, stepper motors, aluminium / steel. 3 x 1,70 x 3 m. In search of the soul of Hengelo, that is what Peter Vink did when the municipality of Hengelo gave him a commission to make an artwork in the new city hall. The aim was to create a place to meet where the inhabitants of Hengelo should be able to identify with the place where they live.Vink came up with the idea to make the artwork in the atrium, a place where he believed there was still room for an intervention and where it would be visible for everyone. To make the Hengelo story his own, he started to investigate the city and read books about the history and stories told by the inhabitants of Hengelo.Soon the idea came to tell this story with light, driven by motors that refer to the history of the city mechanical and electric engineering industry.Ultimately, the artwork has become a technical tour de force: no less than 736 coloured LED light lines controlled by just as many motors form a building on itself. The light sculpture hangs on 3 meters height and is attached with steel cables to steel beams painted in industrial green that refer to “iron city Hengelo”. These beams are mounted at a height of 15 meters in the atrium and are designed by EGM architects.By playing with the positions and colours of the light lines, Vink has created 74 compositions that together tell the story of Hengelo. For example, Vink has incorporated elements from historical industrial companies such as Stork, Hazemeijer and Holland Signaal into the artwork, but also the half-timbered houses, nature and works of art by the painter Theo Wolvenkamp.These are just a few examples of the pictures in the artwork. The compositions change randomly between 15 - 40 seconds and can be seen daily between 6 a.m. and 12 p.m. Fietssluis Oosterpark / Linnaeusstraat Parklicht, 2019, Oosterpark, Amsterdam Aluminum profiles, LED strips, wood. 7 x 1.50 x 3 m. This light installation marks the transition from street to park, from buildings to greenery. A transition that you take for granted in daylight.The eastern entrance to Oosterpark is adjacent to the busy Linnaeusstraat. This gate consists of three fences that are positioned in such a way that cyclists have to slow down for pedestrians. (called fietssluis in Dutch) Whoever enters the park along the entrance gates, changes the bustle of the street for the silence of the greenery in Oosterpark. It is precisely this transition that marks the artwork Fietssluis Oosterpark / Linnaeusstraat.Light lines of 3 meters high have been placed on the 46 vertical bars of the fences. The light lines contained in aluminum frames are not visible from the street side. If you walk on the park side along the fence sections with their long lines of light, they seem to slide past each other: the moire effect. The interaction in the dark is emphasised by the interaction between artwork and visitor. The silhouettes of passing cyclists and walkers create a magical effect that accentuates the border between the city and the park. Hembrug 072Big Art Hembrug, 2019, Zaandam Aluminum profiles, LED strips., Steel cable, 6 x 9,5 x 14 m. The light installation “Hembrug A072” consists of LED lines that are based on the dimensions of hall 072. The work responds to the present surfaces and colours in the space. The use of blue and white light enhances the contrast between light and dark. project space @ ekwcsundaymorning @ ekwc, 2019, Oisterwijk, the Netherlandsstyrofoam, LED strips, steel cable. 3.30 x 0.02 x 3.05 m. Light sculpture developed in the digital workplace Fablab of sundaymorning@ekwc, Oisterwijk, the Netherlands. The work follows a certain form visible in the ekwc project space. In contrast to my other light sculptures, this work is erratic in shape and, moreover, feather-light due to the use of styrofoam. JOH3JOH3 gallery, 2019, Berlin Aluminium profiles, LED strips, steel cable. 6,08 x 2,32 x 2,90 m. Light sculpture specially developed for the JOH3 gallery. The architecture of the J. Mayer H. Architects building and the proportions in the gallery itself determined the shape of the artwork. Mr. J.J. van der VeldebrugAmsterdam Light Festival, Amsterdam, 2018 LED strips, acrylc tubes, steel profiles ,180 x 6 x 16 m. “The principle is simple; the outcome is complex.” That’s how Peter Vink describes his installation, which he named after the location it is placed in, the bridge 'Mr. J.J. van der Veldebrug'.The bridge is made up of two arches for walkers and cyclists and a drawbridge for shipping traffic, but it was the many triangles that formed the starting point for Vink’s design. He traced the lines of the triangles with bright white light and extended them into and out of the water, almost like bringing back the lines that the original architects erased from the drawing board during the design process. This is how the bridge’s skeleton formed the basis of his very large and impressive light sculpture. Designed in 1992 to connect the Oosterdokseiland with the IJ tunnel and the city centre, the architects deliberately opted for a relatively light, open steel construction to keep the view of the Oosterdok as unobstructed as possible. That’s why the bridge is quite modest. Vink reverses that and transforms the bridge into a striking piece of art, a real beacon of light in the Oosterdok. As is usually the case with Vink’s work, this artwork could not exist in any other place – it is interwoven in the structure and the shapes of the bridge. Since the 1960s artists have opted for more monumental buildings for their artworks and have attempted to transform the environment in which they are located. Where the famous artist Christo, for example, chooses to draw attention to buildings by wrapping them up (like he did with the Reichstag in Berlin), Vink highlights the shapes and lines of the bridge by illuminating and extending them. Not only does he give the Mr. J.J. van der Veldebrug a whole different look using light, but the entire area of Oosterdok too. Text by Roos Hollander / all photos by: Janus Van Den Eijnden Muziekkoepel OosterparkParklicht, Amsterdam, 2018UV Lasers, 150 x 3 x 5 m. Light installation that connects the Muziekkoepel in the Oosterpark and the royal entrance of the Tropical Institute. The arch shape present in the music dome transforms in the air into a triangle that end up on the roof of the Tropical Institute by the use of laser light. Kalverstraat Bijlmerbajes Big Art Bijlmerbajes, Amsterdam, 2018 LED strips, aluminum profiles, nylon cables. 4.80 x 1.02 x 1.90 m. Installation consisting of LED lines that are hanging in the Kalverstraat of the Bijlmer Bajes, a hallway in a former prison.The lines are suspended in the extension of two windows and are based on the light at this specific spot. The light lines start from both sides and meet in the middle of the corridor.The light shines towards each other, this creates an enclosed space, but also a new perspective towards freedom. Bois de Ligne, no. 23 Sites en Ligne, 2018, Silly, Belgium LED strips, aluminium profiles, battery, 77 x 0.40 x 2.57 m. Light installation made for the symposium d'intégration and environment natural in Silly, Belgium. The artwork covers a specific part of the Bois de Ligne that consists of rows of planted trees.The light lines are placed on the trunks of a straight line of 28 trees over a length of 77 meters. The light lines emphasize the vertical lines and the rhythm of the trunks. Because of the changing sunlight during the day, this light installation gave a constantly new experience of this piece of forest.By walking along the installation, the public became aware of the marked distance they traveled, the change of light, the position and the form of the artwork. Tropen HotelParklicht, Oosterpark, Amsterdam 2017LED blacklight, aluminium profiles, fluorescent tape, controllers.17 x 10.5 x 2.10 m. Light installation situated on the first floor of the Tropen Hotel in Amsterdam. The entire basic structure of the building is visible in this open space. By the use of a framework of blacklight LED lines on the floor and fluorescent tape on the walls and pillars, a new layout was created in the space. The light lines were controlled by a program that created different patterns and new layouts in the existing space. Kattenburgerstraat 5 Amsterdam Light Festival, Marinetrerrein, Amsterdam 2017 LED light, aluminium profiles, steel. 40 x 12 x 8,5 m. The enormous lines that make up Peter Vink’s installation Kattenburgerstraat 5 refer to the special tympanum that you will find above the 17th century entrance gate of the Marineterrein. The tympanum includes a relief of the arms of the navy’s forerunner, the Amsterdam Admiralty, as well as several depictions of shipbuilding tools that were used by the workers who entered the shipyard through this gate. With his installation, Vink therefore not only pays attention to the shape and dimensions of the gate as it was designed by city architect Daniel Stalpaert (1615-1676), but also to its original function and the history that it symbolises.Vink's tympanums accentuate the entrance of the gate, including the underpass itself. As you walk under the gate, it is as though the whole space bends towards you - just like time, space and light in our universe do. Einstein described it in his famous theory of relativity: when space and time are curved by the gravity of, for example, a black hole or planet, the massless light bends with it. And so, Vink's light marking transform an age-old, everyday walk into a place that might be much more than that. AquabitAquabit Art Gallery, Berlin, 2017Led strips, aluminium profiles, steel cables. 11 x 0,97 x 2,15 m. Light installation made in the Aquabit Art Gallery in Berlin. The entrance to the backroom was the starting point of this installation. A frame of light was placed in this entrance. This frame was repeated in the space in two directions, creating a tunnel of light. Due to the difference in levels in the gallery space, frames were hanging on steel cables in the frontroom and the frames in the back space were standing on the floor. By using the stairs the public could enter the installation and walk through the "light" frames in the backroom. Due to the reflection of the window in the frontroom, the installation seemed to repeat forever to the outside world. The artwork had a public function because the artwork was visible from the street.
暗不暗——记Peter Vink的艺术 暗不暗——记Peter Vink的艺术 By LingGU
暗不暗——记Peter Vink的艺术By LingGU F6,北京酒厂艺术园 “要有光，于是便有了光”。暗，日无光也；不暗，日可无光，而使生光。穿行在暗夜的城市中心，侧旁高楼的林立窗格好似无数眼睛，一些眼睛被灯光点亮。电灯不同于摇曳烛火，但凡电网所及，荧亮不息。白昼恰灿烂，然而在地下一隅，上了年纪的蹒跚四壁，被猩红的镭射光线勾勒出横平竖直的轮廓，200多个红色激光射线装置与特殊定时的日光灯给予展厅人工的夜晚和白昼；这张三维建筑蓝图引向地上一隅，门推开，小巧狭长的会客室赫然现于自然光。艺术家在外墙边的沙发椅上坐定，墙高处的一方小窗泻下俏皮的正午阳光落在Peter Vink脸上，好似是为我介绍——“瞧，这是他”。这名时年37岁的艺术家依然保持着来自童年的两件宝贝：帅真的笑和灵巧的手艺。从小喜欢摆弄电子器具的Vink在1997年入读阿姆斯特丹GerritRietveldAcademie学院VAV（视听艺术）之前，还曾专门研修过电子技术相关课程，这为他今后创作实施上的游刃有余建立了良好基础。 Schakels,w139,Amsterdam,2006.System ceiling materials,PC,21x6x3m 在逾十年的创作历程中，灯光装置初现于2006年并延续至今，成为Vink的主要创作形式。首件名为Schakels（链接,2006）的大型装置作品诞生于阿姆斯特丹w139艺术中心那百余平米的高敞地下空间。由于艺术中心的食堂本就要翻修，于是Vink决定先卸下整个天花板；随即他发现天花板的单片铺砖边长正好与混凝土立柱的表面宽度吻合，便将天花板铺砖镶嵌在金属柱上复制了四根立柱并将之与原有立柱通过襄有白炽灯管的矮墙连接起来，重新排布了空间回路，从而强调了空间的原有建筑结构。原本嵌在天花板上的小圆聚光灯和条形白炽灯也被挪移至矮墙之上，使空间的每一部分都得以照明；通过对继电器编程从而控制灯光群伴随着预先编排的节奏忽明忽暗。整段程序长达19分钟，并反复循环。对Vink而言，创作过程本身就是作品的重要构成，诸多重要的作品理念都是在动手制作过程中逐渐清晰明朗从而外化。这一过程自然天成，作品的意义也在每一个细节调试优化中浮出水面。Vink的大多数作品要求观众亲临现场，为当地建筑、空间度身考量，并从建筑、空间本身汲取元素与灵感，并投射到作品构成中；所以几乎每件现场作品都是独一无二、无从复制，且空间本身对其作品而言扮演着至关重要的角色。这也是为什么我们很难在Vink的作品中发现任何“现成品”的痕迹。此外，Vink并不过多考虑空间本身的文化象征或引申寓意，而是相对纯粹地就空间存在本身进行创作。 Raamsteeg 2,36x3.6x4m,Aluminium,plexiglas,LED light Stadsdeelhuis Oost,16x16x3m,paper,mirrorball motors,2009 对上述评论的最佳佐证，当数Raamsteeg 2(2010)，这件受荷兰自然历史博物馆委托的作品将建筑本身的外墙黄砖挪进了室内，星罗棋布的方块状黄色灯光沟通了建筑内外。黄色方块依照预置的程序逐次缓缓点亮，有如马灯，澄黄的灯光日以继夜，谱写着时间流逝，不失为对历史博物馆的美妙注脚。艺术家更将其形象地比喻为博物馆中的展架。另一同是委托定制的作品是StadsdeelhuisOost（市政府东楼，2009，标题即委托方）。Vink同样借用了建筑外墙金属笼状结构并转化至其室内灯光装置上，多串白色长条轮次旋转，天花板上交错流动有如涟漪的投影来自沿着窗户一字排开的简易射灯。这种如假包换的动感其实在Vink多数作品的灯光切换中均有所感。 N 52 14.053,E 6 53.796 - N 52 13.247,E 6 53.738,Green Laser, 2x2mm,1530m 这类室内空间与开放空间的沟通在Vink的室外作品中得以放大。其2011年的新作N 52 14.053,E 6 53.796 – N 52 13.247,E 6 53.738——一条每晚不定时出现在荷兰Enschede市夜空的绿色镭射激光线被艺术家称为“文化一公里”（Cultuurmijl），这件永久灯光装置将逐渐融入当地的城市生活并演变为其组成部分，射线所经之处均为当地最重要的文化场所。射线每次连续呈现10分钟，随即消失，每晚总计呈现一小时，但出现时间并不固定；这种不可预测性赋予了装置某种“自然属性”，有如闪电或雷鸣。人们不经意抬头时瞥见它，好似巧遇某自然景观，而它又恰恰串联起城市中的人文景观，慢慢沉淀为日常。Vink如是评价其作品的本质：“我的作品强调已然存在者，因此观众会对其再次审视…在某一特定时间观察你所拥有的空间，并最大程度地利用它。”归根结底，其创作是为空间所作的描述。人们常会从Vink的作品中读出其建筑的天分与逻辑，因为它们通常都充分利用了建筑整体空间且均颇具规模。由于室内灯光装置本身可保留的属性，他还经常收到各类公共空间的邀请创作永久性的定制作品，比如上文提及的Raamsteeg 2(2010)。虽然Vink对任何空间都抱着开放态度，但他还是更偏爱易被忽视的、日常的、为多数艺术家所不喜的空间（如地下室等暗淡空间），由此他将怀着更浓厚的兴趣与激情进行创作。他不认同将其作品归入所谓新媒体或多媒体艺术，因为他所选用的媒材实际并不“新”，他也不追求通过高新技术来表达其创作理念。“重要的是作品想要表达的，而非形式或技术，后者只是为了实现作品呈现所使用的工具而已。”他将自己的艺术归入时间轴艺术（Time-based Art Department），突出其作品的时间属性，这也是为什么他将上午艺术空间的作品在开幕之后又进行了重新调整：开幕时，空间的骤亮时间极短，凸显了跌入黑暗红线空间的晕眩感，这并非艺术家的理想效果；调整后，空间的照亮时间延长，使观众得以舒适地过度并适应空间的原始状态，并得以更好地观察、体会、比较作品生效前后的空间本身。 Space A [Qingjin],2008,TL lights,spot lights,PC,iron wire,10x4x3m Rook,jiuchang art complex,beijing,China,red balloons,2008 de Fabriek, [deDragers] ,2007,18x20x4m.spotlights,PC,controller,amplifier Vink与中国结缘始于2008年在北京站台中国长达半年的驻地项目，根据站台中国建筑的门厅度身定制的灯光装置请进（Qingjin，2008）呼应了展厅本身的中规中矩；另一组实为艺术家独立策划完成的作品升（Rook,2008）和F6设于北京酒厂艺术园。开幕现场，预设的两万只红色气球从已废弃的工业烟囱中冉冉生气，在把功能性还给烟囱的同时也赋予其轻盈的诗意。酒厂地下空间间隔出的一溜排穴状空间围立着高头大鼓，鼓沿架设了一圈小型聚光灯，开关时的闪烁声响描画出击鼓节奏，现场宛若变身为一场没有击鼓人的击鼓表演，而舞美效果恰来自击鼓系统（灯光装置）本身。这件被描述为“声光装置”的作品可以追溯回de Dragers（载体，2007），在这又一地下空间中声音部分得到强化，并被赋予强烈的舞台效果。这一昏暗的展厅空间中所有18根立柱均被聚光灯包围，它们快闪着好似一群疯狂的相机快门创造出一条飞速推伸的时光隧道，反复的开关声通过音响放大并满溢于整个空间有如影片声效。想必身临现场，定会有跌入时间空洞的幻觉与快感。然而几乎所有的声响效果都并非源自Vink的刻意追求，而是材料工具本身的附带属性，但恰是这份不经意让这些声响在艺术家的作品中扮演起不容忽视的角色。它们随着作品的诞生而不可避免地发生（发声）。由于其作品的立体与现场，照片不足以完整记录其作品，于是Vink经常用纪实录像来保存再现其作品。谈及与其他领域艺术家的合作，如有舞蹈艺术家对在F6现场进行合作创作提出兴趣，Vink并不拒绝，也对这类合作报以好奇，但他仍然强调其创作的独立性，坚持灯光装置的空间表达之圆满性。2011年4月Vink再次受到另一家北京画廊“艺术通道”的邀请进行了为期一个月的驻地项目，并将为画廊庭院空间创作一件大型雕塑作品，预计于明年春季完成。Peter Vink灯光装置展——上午艺术空间驻地艺术家项目展期: 7月20日至 9月10日地址: 上海市静安区奉贤路 50号B (近石门二路)关于Peter Vink:Peter Vink(1974年)，艺术家，生活工作于荷兰阿姆斯特丹。
