Anne-Mie Van Kerckhoven (also known as AMVK) is an artist of singular complexity. Born in 1951 in Antwerp, where she still lives and works, she has been active since the 1970s as a visual artist, graphic designer and performer. She has always been a pioneer. She should, first and foremost, be considered an artist for the future. AMVK’s practice is truly interdisciplinary.

M HKA wants to introduce Anne-Mie Van Kerckhoven to a wider audience as an innovator of forms and interpreter of moods - as oxygen of the whole society.

Anne-Mie Van Kerckhoven

1998hit and run icc bezetting still2 copy
°1951
Lives in Antwerpen, BE
Born in Antwerpen, BE

Anne-Mie Van Kerckhoven (°1951) – also known as AMVK – covers a broad range of media in complex installations. Her practice contains drawings, paintings, performances, computer animations, video installations and self-published printed material.

In 1981 Van Kerckhoven founds the anarchist band Club Moral together with fellow artist Danny Devos. This experience reverberates in her subsequent work, with its activist, alternative edge.

In her critical and socially engaged oeuvre the image plays a central role, particularly the image of women – not as an innocent iconographic motif, but as a projection surface for many unresolved social, political and ideological issues. With her images of strong, confident women AMVK offers an alternative to the traditional visual understanding of seductive female nudity. Van Kerckhoven says: ‘I use the female figure specifically as a metaphor for what the world does to people, to our culture, to us.’

Among her recurring themes is the relationship between intelligence and intuition, man and animal, human and artificial intelligence. For AMVK art has an explicitly critical function when it comes to society. She questions the active power structures in the art world and in society in general.

True to her background in noise music, she sometimes combines her visual work with strong lyrics and expressive music. Her oeuvre ‘rescues’ words from their everyday context and inserts them into a new context that makes the activation of new meanings possible. Yet she primarily addresses us in images and words that are deliberately ambiguous.

 

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