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View of “Joëlle Tuerlinckx: Nothing for Eternity,” 2016–17. Floor: Works from the series “‘ATOMIC AMALGAME ANNÉE 58’ – FLOOR FIGURE ‘RONDs-DE-SOL’” (‘Atomic Amalgam Year 58’ – Floor Figure ‘Floor Discs’), 2002–16. Photo: Gina Folly.

Joëlle Tuerlinckx

Kunstmuseum Basel | Gegenwart

View of “Joëlle Tuerlinckx: Nothing for Eternity,” 2016–17. Floor: Works from the series “‘ATOMIC AMALGAME ANNÉE 58’ – FLOOR FIGURE ‘RONDs-DE-SOL’” (‘Atomic Amalgam Year 58’ – Floor Figure ‘Floor Discs’), 2002–16. Photo: Gina Folly.

SEVERAL PIECES OF PAPER in Joëlle Tuerlinckx’s recent exhibition have the words NOTHING FOR ETERNITY stamped on them. To stamp something is to mark it aesthetically, temporally, geographically. A stamp confers a reassessment of that to which it is applied, introducing a reflective moment. And we also stamp objects in order to send them or, more precisely, to circulate them as ideas. The exhibition itself—also titled “Nothing for Eternity”—is concerned with precisely this circulation of ephemeral ideas, moments, reflections: the substance and temporality of a “nothing” that only becomes something when we perceive it in space, as we move around and among the various groups of objects, images, paper, and words.

As we entered this fugitive configuration, we thus embarked on an open-ended process that defines so much of Tuerlinckx’s work. The show, curated by Søren Grammel,

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