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SOLO 10

KARIN ARINK

At Club Solo’s tenth solo exhibition, Karin Arink will be showing new work alongside works from the past twenty-five years.

Visit the website of Karin Arink (Delft, 1967), and a voice in the screen will speak out – a ‘me’, who says she wants to show ‘you’, a guest in her world, fragments of her existence. It should be noted that the line between this ‘you’ and ‘me’ fades away quickly: ‘… wat could be me, becoming you, becoming me’.

Karin Arink doesn’t hold back when it comes to removing boundaries and stretching the meaning of concepts. Cloth rags, seemingly strewn about at random, give the impression of bodies. Human, animal, male, or female bodies: as hard as they are to pin down, they are still recognisable. But every time a fold or shadow allows you some foothold, your identification is quickly undercut by a tear in the fabric, a void, or a sudden interruption of the image.

In this exhibition, Karin Arink presents her work in a way that involves the surrounding space. To her, ‘Club Solo’ is a place where collaboration and commonality make room for an artist’s ways of thinking and working solo. That is why her selection and placement of works in this exhibition are grounded in the notions of ‘club’ and ‘solo’.

On the ground floor, the focus is on the communal aspect. These works (some of them made especially for the room) are about connecting, differing, intersecting and allowing room for others. The first floor is centred on the soliloquy, and as a result, on fragmentation, since in the end, no one lives alone. In the hallway, Arink provides a connection between the upper and lower rooms: this is where there’s harmony to be heard.

VAN ABBEMUSEUM

FRANZ ERHARD

WALTHER

In response to Karin Arink’s exhibition, Van Abbemuseum has picked a work by German artist Franz Erhard Walther (Fulda, 1939). Just like Karin Arink, Walther’s works are concerned with the body and interaction between the public and private world. His demure objects are made of softly woven fabric; often cotton and linen, like in the selected work Gelber Plastischer Gesang (Einzeln, Zusammen). This is also his most monumental work in the collection of Van Abbemuseum.

PublicatiON

format A4 - 32 pages - full FC
photography AF OFF
text Liorah Hoek
text contribution about Ranz Erhard Walther by Steven ten Thije and Diana Franssen (curator Van Abbemuseum)
translation Lenne Priem
design Berry van Gerwen

€ 10,-

For sale at Club Solo or to order online. Mail us for more information or to order a publication: shop@clubsolo.nl. 

 

KARIN ARINK

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Multiple

Untitled (multiple arms), artificial leather, cut and sewn together, variable dimensions, approximately 45 cm, 2016

Trailer

At Club Solo’s tenth solo exhibition, Karin Arink will be showing new work alongside works from the past twenty-five years.

Visit the website of Karin Arink (Delft, 1967), and a voice in the screen will speak out – a ‘me’, who says she wants to show ‘you’, a guest in her world, fragments of her existence. It should be noted that the line between this ‘you’ and ‘me’ fades away quickly: ‘… wat could be me, becoming you, becoming me’.

Karin Arink doesn’t hold back when it comes to removing boundaries and stretching the meaning of concepts. Cloth rags, seemingly strewn about at random, give the impression of bodies. Human, animal, male, or female bodies: as hard as they are to pin down, they are still recognisable. But every time a fold or shadow allows you some foothold, your identification is quickly undercut by a tear in the fabric, a void, or a sudden interruption of the image.

In this exhibition, Karin Arink presents her work in a way that involves the surrounding space. To her, ‘Club Solo’ is a place where collaboration and commonality make room for an artist’s ways of thinking and working solo. That is why her selection and placement of works in this exhibition are grounded in the notions of ‘club’ and ‘solo’.

On the ground floor, the focus is on the communal aspect. These works (some of them made especially for the room) are about connecting, differing, intersecting and allowing room for others. The first floor is centred on the soliloquy, and as a result, on fragmentation, since in the end, no one lives alone. In the hallway, Arink provides a connection between the upper and lower rooms: this is where there’s harmony to be heard.
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