The rapid change in today’s art world requires solutions that upend the old models. Galleries and exhibition spaces must evolve to find the best ways to exhibit work that merit the artist’s expression, intent, and medium of creation and communication.
Conceived within this framework and part of the necessary, emerging evolution, Die Plek is a new exhibition platform for artists working in the liminal space within photography and contemporary art.
Die Plek’s founding approach makes a bold claim: the work will find its own time and place. Travelling across multiple destinations and diverse, nontraditional sites, Die Plek is born without a fixed address. Upending the classic notions that an artist’s work must fit within the rigid gallery framework and architecture, the space for every exhibition will be custom selected.
Work will be installed and exposed at irregular periods of time. This scheduling follows the artist’s calendar and not the market calendar. Even as the location and format changes, the conceptual ideas remain constant. Die Plek does not cease to exist when an exhibition closes, a location changes, or an address cannot be found. This freedom allows for input and inspiration to be discovered around the globe. Die Plek conceives the best building blocks for artists and their projects, with an organic approach toward clients and collectors in a less rigid schedule.
With a focus on photography, Die Plek aspires to reposition the medium. By both putting a stress on it (celluloid or digital matter) and at the same time ignoring the knowledge what materials were used to make the piece of art, Die Plek possesses a revised singular, holistic approach of the visual arts without typecasting it as the commonly-phrased category “art and photography”.
The combination of exhibiting and providing commercial avenues for contemporary photography in an ever-changing selection of diverse architectural spaces around the globe makes Die Plek unique.
Die Plek, translated in English as The Place, is a creative project founded by Kaat DeJonghe.
(c) Karin Borghouts