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AMVKAnne-Mie van Kerckhoven (Belgian artist)
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Federico Acal, Nina Beier, Goda Budvytyte, Liudvikas Buklys, Frank Chu, Trisha Donnelly, Peter Fischli & David Weiss, Ceal Floyer, Isa Genzken, Halflifers (Torsten Zenas Burns & Anthony Discenza), Euan Macdonald, Mahony (Andreas Duscha, Stephan Kobatsch, Clemens Leuschner and Jenny Wolka), Eva Marisaldi, Giovanni Oberti, Julie Pee ters, Post Brothers, Rosemarie Trockel, Anne-Mie Van Kerckhoven, Erik Wysocan
"Electric Ladyland," the title of curator Hamza Walker's essay for Anne-Mie Van Kerckhoven's recent exhibition at the Renaissance Society, is a spot-on nickname for "In a Saturnian World," the Belgian artist's latest and nearly unnavigable gaping opus.
The first exhibition at the Kunsthalle Bern under its new director, the young Belgian curator Philippe Pirotte, was Anne-Mie van Kerckhoven's "Europaisches Zentrum fur Futuristische Kunst" (European Center for Futuristic Art), which employed a multitude of media, ranging from quill drawing to photographic print, wall painting, video projection, and interactive computer.
This news item was the starting point for Anne-Mie Van Kerckhoven's latest project, "Anti-Sade." Paraphrasing the news report but changing terms like "the standard model of physics" and "antimatter" into "the standard model of moral philosophy" and "anti-Sade," the content acquired at times a subversive, allusive, and above all ironic tone.