A selection of (multimedia-)installations that are an important part of AMVK's oeuvre.
= Basic, 1980
"I lay thin plastic on the floor and pour yellow-fluorescent water on it, it is slightly radio-active (not harmless). I hang 21 texts on the wall on different heights, fluorescent on transparent plexi, clear in what they stand for. The texts are combined by the use of thin, black electricity- wires. The combinations are made on the spot (my thoughts and interests of that very moment). There hangs a spiral for formed by a large thick sheet of plastic, in there 17 plexi-works of irregular shapes, and new as well as older images on them. It is quite possible to walk in but not out. It is necessary to walk through the water, and difficult to see a thing through the thick plastic. The lights are 4 black lights and 1 TL under the plastic. On the opening-night disturbing but aesthetically acceptable music is played. The whole has a feeling of walking into a power-field. To enter an idea."
"A new manner of perceiving can only perceive the new. Therefore I use signs who
- have the future as content
- present new ways of thinking
- stand on their own
- replace the terms form and colour as separate units.
This is the start of an investigation towards information. In how far science has influenced our future -- and in the future? In how far logics will play a role in this.
Practical use of “logics” leads to gain of time through passing over predictable processes. It is very positive to say things which one never could have thought. This means that the evolution of your way of thinking - goes on outside you without consciousness or personal intervention - certain circumstances become defining for immediate train of thought. An image only calls 1x certain thought -- sometimes an image calls the memory to that thought. Associations on 1 bit of time -- in relation to an image are unique. Everything has to be made so that the continuance is in it -- and so that it is never finished."
Komfort Über Alles!, 1981
"In some kind of modern café I hung up my 5 steps to solving a promblem. The visitors did have some problems."
Industriële Typen, 1982
"I made an attempt to the forming of ideas, through he abstract feeling around words and images, their outward forms, their meanings, their sound.
Subtle disorientation. The stream of ideas, images and associations an entertainment for the spectator. No truth, but an on the spot confirmed short remaining conclusion. Without pretensions, logical undisentanglable, but correct. On the floor lay 5 sheets of brown mousse (unstability/porous), and 5 plexi mirrors (narcism/own-importance). On calf-height a steel cable is stretched, it divides the room in 5 equal fields (boobytraps/primary importance of the individual/loss of hold).
The upper body is made out of 5 half-perished and folded pieces of grey mousse and plastic nailed in the walls each with 5 big steel nails. Each combination carries the numbering and précising of the elements of the number for which they stand (introspection/ groping/ summing up). Above head-height hang 5 combinations of 5 plexi-works in different colours, form and thickness. They each stand as a symbol for the word to which they refer. A+ B + C each time give a new a butt that leads to an (although short) order. (touchable proofs/reach over).
The whole is a result of a study of information through all well or not specialised magazines of the last 50 years.
1. whale oil -> source light -> kerosene - special skills - industry
2. development. expansion. services - research organisation
3. substitutes. industrial location affected - economy
4. tax variations. regional. national - intervention
5. capacity. location. socio-economic - challenge
As much superfluous, but relatively correct as the psychological types of Jung, I could establish 5 leading entities in our surrounding:
1. Man or the male factor in all acts.
2. Woman or the female factor in all acts.
3. Pronouncements the dissecting, associative, connecting factor.
4. Purpose which seems to be only a means.
5. Order from where the cycle starts again, always changed and refilled.
The whole always has to lead to the feeling ‘Away All Ground Under the Feet’ so that predictableness makes room for pure evolution.
As a sound-supply I made with DDV a loop-cassette on which pinched words ‘I like it in here’ and irregular tones absorbing the individual in the space.
For this exhibition a cassette + poster + plexi-multiple was edited."
Le Mal, la Morale et Sentimental, 1982
"In alignment with the outcome ‘INDUSTRIELE TYPEN’ and the investigation throughout the written and illustrated press this installation, on request, in the worn out cafeteria of the ICC in Antwerp.
This disgusting place seemed afterwards the ideal spot to present my travel through the dirty inside of the common norms, that lead to most human acts. Here I distilled the movement of the human motives behind each action that has not to do with propagation and maintaining of the species.
These motives always include a starting point
(1), an elaboration (2), and a conclusion, as well as the fact that in the elaboration (2) of things always the sum of the starting-point (1) includes the starting-point plus the conclusion (1 + 3) and the elaboration itself.
1. Le mal - vertical movement - stand
- Temper 1’. We want power
- Fit 2’. We want knowledge
- Dream 3’. We want followers
2. La morale - oblique movement - sit
- Lust 1’. Big power
- Despise 2’. Challenge
- The soul 3’. Fertile.
3. Sentimental - horizontal movement - lay
- Family-embargo 1’. Movement
- Structure of 2’. Attitude
- Identity 3’. Direction.
I have made sure by means of the pictural illustrations to make clear that each number 2 is equal to 1 + (1 + 3) + 2. This goes as far as the spectator adults. At the opening CLUB MORAL took care of an accompying hypnotic effect by the use of sounds and reciting texts on trance.
1. Aggressivity by stiffness
2. Weakness by love of ease
3. Power by bottomlessness
The under-development zone of misthoughts forms the right coordinates to - definitions as occasionable tables and false ceiling to - in brief, intuition is the perfect timing concerning tourism, folklore + politics of the mind!"
De 5de Kracht [The 5th Force], 1989
"The starting-point for the “The 5th Force” installation was the making of a cult-room in which different moral survival systems exist simultaneously. To get a picture of what defines us, Westerners, in most of our behavior and rational development. Atheist as well as religious ideologies, Rosicrucians, black magic, freemasons, information-cults, evolutionary cults, pagan incantations, popular culture, artificial intelligence, it is all somewhere. This is an attempt to re-unify what was torn apart by civilization, by consciousness." — AMVK
39 Steps vs 19 Keys, 1983
"Installation with 20 transparant xerox prints in 10 plastic holders hung on rubber wires like laundry..."
Stress = (proviand+politik) x (jugend+poison), 1981
"15 x paint on Plexiglass, 5 x marker on leatherette, 5 x blueprints on paper. The installation deals with sex, numbers, signs, texts, and recent developments in politics, agriculture and economy. I made it for a group-exhibition in Kleine Ausstellungraum, Kunstlerhaus Hamburg."
About the installation at Paleis voor Schone Kunsten, Brussels (BE), September 1981, 'Prijs Perspectieven 81':
"A. From the ceiling, off the wall, I presented 5 relations between notions:
- On plexi-plates (13,5 x 28 cm), sex, numbers. (acryl, marker)-transparent.
- Paintings on plexi-plates (pin-ups) completed with one of the notions stress, proviand, ... -the sum came in big on the wall. (tape, acryl, marker).
- 5 plexi-plates (black) and 5 florescent pieces of plastic with the most elementary parts of ‘life’, in form of signs and text in German and Esperanto.
- On the floor 5 sheets of blueprint, printed from light to dark (100 x 150 cm) with each 5 identical establishments about development of polities, agriculture, economy.
- On the floor also 5 white cards each with one combination of stress, proviand, ...
B. As well horizontal as vertical these elements were to be seen in series.
C. With black electricity-wire 1 connected the vertical series each different, so that the space was completely divided in a problematic way.
D. On the other side on the wall I wrote explaining texts, which were although not in direct relation with the series but maintaining the same train of thought.
E. For the audience an information-sheet was available."
De Goddelijke 3-1heid / Sex /De Kunstgeschiedenis van 1990-'45 [The Devine Tri-unity / Sex / Art History 1900-'45], 1989
"Painting/collage on Trovicel: 3 main characters of the London SM scene, tied together with their nose-piercings, moddeled for me for the male-protecting art world, presenting itself as a sex-obsessed, self-contained pseudo-religion."
De Mens In Het Dier, 1985
Editor: Greta van Broeckhoven
Translation: Nadine Malfait
Images: Luc Wauman, Antwerpen
Print: Van In, Lier
Graphic design: Gemma van Dijk, Berchem
Montage en post-production film: Lu-group, Deurne
Internatinaal Cultureel Centrum, Antwerpen
Ministerie van de Vlaamse Gemeenschap
Legal deposit: D/1985/1540/2
Catalogue number: 254
Belgisch Spleen, 1992
"Combinations mono-print and paintings on transparent Plexiglass and PVC: self-portraits made for my installation “Belgisch Spleen” in Parbleu, Antwerpen. At first “Belgian Spleen” (in accordance to “Spleen de Paris” by Charles Baudelaire) was a Brepols agenda for cash income and expenditures, that I filled with my handwritten thoughts and reflections from 1974 until 1992. Iclassified the notes by the day of the year to find out whether subjects and thoughts returned at certain periods within the year, hoping to find a system and evolution in this chaos of swirling and storming thoughts. The self, confronted continually with its own image, tends to become alienated and poetic, a living hybrid of languages."
Morele Herbewapening/Moral Rearmament, 1996
"The entrance door of the exhibition space is divided in dark and bright: up to you to make the choice.
My concept was: the Kunsthalle Lophem is a giant head divided in 2, the subconscious and the conscious. Behind the middle, on the floor, 12 plexiglass mirrors of 1 by 2 meters, lying there as an ego, special self-reflection.
The installation consisted of a computer animated large screen projection in opposite to the bright side which was partly occupied by a 30 meter iron strip on which 96 magnetic plexiglass and polystyrene plates.
The 30 meter iron strip is made of 12 separate iron plates.
I show 96 women images that are items out of my databank; I connected them with words of texts on the capacity of internal self-organization, on thermodynamics, on order in systems in a state of non-equilibrium, on connectionistic networks and on representation of concepts and associations in general.
The women associated were 1. showing their breasts while looking in the spectator’s eyes (36), 2. completely nude except for a belt (29), 3. about to take of their knickers (15), 4. touching breast and sex simultaneously (4), 5. in various states of undress (9), 6. with dress wide open like a butterfly (3).
Behind the mirror, on a black and white stapled floor ( freemasonry), 3 monitors, the dissection of a man’s conversation on easy making money. Title: “Il faut convaincre les investisseurs “, the first sentence of the actual discussion.
The installation is dedicated to Baubo, obscene goddess of the past, looking through her nipples, talking with the vulva, dancing in such a dirty way that all melancholic and depressed women were filled with joy again.
I thought: let’s make an installation to fill everybody, men and women, with joy again, and this by redefining a lot of heavy-duty words, giving people an agreable mental massage.
When leaving the space you come across a small TV-clock with a black and white reminder, an after-image of what’s been shown in the dark."
We Are Watches, So I Never Come Too Late, 1979
"In the hall of a theatre I hung large plastic and rubber curtains (4m by 2m). They were combined with harsh-coloured plexi-works. The images on them abstract with suggestions of dirt, dust and uncontrolableness. The whole was framed with insipid, sentimental texts. The opening night was graced by ‘Stalag 6’, a Brussels punk-band which vomited aggressive sounds and body-art.
On the occasion of this show a folio with silk-screened strips was published, these define a sphere of disorientation and impotence within the exposition."
Future : Logics = Art : Science, 1979
"In a small space of 6m by 5m hung 37 plexi-works by big steel nails; ceiling and walls, thus forming a figured out chaos. The works all had different shapes, they didn’t hung parallel to the wall, and not on a comfortable height to look at. It was almost impossible to look at the works without injuring oneself.
The exposition was a conclusion made by me after reading 2 year-volumes of ‘New Scientist’, older scientific sources, and Wittgenstein."
Only the Green Moments Make It All So Acceptable, 1980
"A. I hang 39 plexi-works on the walls, all in different colours and formats.
B. I also hang 7 European thoughts about ‘thinking’ on the walls.
C. On the floor are 6 combinations consisting out of : 1, a piece of used American bath-carpet, pink-fluorescent. 2, a Thrifties plastic bag, filled with yellow radioactive water. 3, a European thought on brainwork, red-fluorescent. 4, covered with thin transparent plastic fastened to the wall with black electricity- wire. 5, all overwhelmed with an American publicity-text.
D. I combine the 6 combinations through thin green- fluorescent tape with one of the European thoughts on the walls. But the tape never reaches the thought.
E. From each combination come 4 green tape-lines.
F. For light there is the bright L.A.light, it makes the space very white and bright.
G. The music ‘Radio in Another Room’ was made by Willy Tielemans."
Hoeren en Profeten, 1983
"Whores and Prophets I presented in a hind-quarter of the building. The space was filled with enormous piles of dirt from wood carton and paper. The installation was made out of 5 elements, which I placed in a certain circuit through which the spectator was led.
The 1st element was formed by arranged dirt around an imaginative laying figure, which was in its turn completed with plexi-tables on which images of naked women. The head was made of an assemblage of a great leaning backward woman figure.
The 2nd element were 3 graves ; piles of dirt on which portraits of false prophets, prototypes of their kind: Ernst, Orwell/ Huxley, Beckett.
The 3rd element as a 50m long paper loop on which 2 fights are repeated over and over: 2 male wrestlers and a copulating man + woman.
The 4th element was a Super8 film loop : a drawn animation of 4 dogs that undergo a rhythmic over-excitation. Thereby the words EXCITATION - INHIBITION.
The 5th element were drawings in rubber on PVC-plates. Images of contact-points and rejection-points.
The whole of the installation was finished with the smell of sulpher and my whispering voice shrouding in low frequencies : I ENJOY YOU!
The opening was graced by a music-performance by Club Moral.
The whole goes parallel with the essay “La théorie écologique et la transmission des fantômes “, San Sebastian, 28 April 1981. R. Guardans.
This theory represents the contemporary structure of a society in which, through a puzzled out exploitation of the fear and a clear erotic code, has in it each transport of information, images and phantasms (“the transfer of chimeras”) in a control able manner each future through a puzzled out development and allowing inventions.
“In an ecologic view the transfer of chimeras is now what earlier used to be in their time gutters and asylums; places where shit and dirt flew into each other and where the future was whitewashed.
The trade, the economy has all means to part the clean from the dirty. All collective dirt, which remains in our hands after the gutters, the concentration camps and other desinfectants from above, thàt is the ‘colonialism’, the ‘inquisition’.
The anti-inventing of these practises, productors of pub1ic and private shit, is the kind of ecological theory that interests me.”
"The importance of Transmarginal Inhibition in 5 steps:
1. Whores. Tables. Cross.
2. 2fights. Transport.
3. 3Prophets. Grave
4. 4Dogs. FLexor. Relax.
5. Bodies. Wander."
De 4 Uitersten, 1984
De Mens in het Dier, 1985
"The laws of thought, moral strength, the power of the image... A central screen shows in image, drawing and text, personal interpretation of Aristoteles’ Laws concerning being and not-being. At each side of the screen stands a smaller monitor on which surveillance images of spectators looking at 3 two-sided paintings in another room. On interpretation and re-interpretation."
Verdeel en Heers, 1989
"I call this a mystic work because my main motive is the liquidation of adversary, the re-unification of what was torn apart in the beginning of mankind. 2 eyes, 2 ears, 2 halves of the brain, 2 hands, 2 feet. One always needs 2 to experience depth, to enter anything profoundly, including consciousness.
The pain which removes the Self from oneself is called consciousness.
By showing all this together I try to liquidate these divisions which refrain us to exceed certain limits. More specific the limits which refrain us from feeling the unity with all that’s been created.
This is a work in progress, in other words, this work evolves every time it is shown, it is refined, replenished and amplified, it becomes clearer and completer. I see this work as a melting pot of all elements I’ve been working with in the past 20 years."
"In “Eclips” Anne-Mie Van Kerckhoven uses a disturbed fragment from Michelangelo Antonioni’s film-classic “L’eclisse”, in which the actress Monica Vitti turns her back to the camera. The turn is slowed down and digital manipulated by the artist. By augmenting the contrast in the images Van Kerckhoven creates exorcising figures, characterized by her graphic and nervous style.
Vitti’s opponent in the film, Alain Delon, figures as an almost unrecognizable shadow in a layered editing in which close-ups of a fish are the most impressive image. Now and then, there are some moments of obstruction in which a void occurs. For Van Kerckhoven, images are forces, powers. They exorcise the forces behind the visible, the forces behind the conventions."