Anne-Mie Van Kerckhoven, also known as AMVK, is an artist of singular complexity. She is born in 1951 in Antwerp, where she continues to live. She has always been a pioneer – a female, collaborative, cerebral forerunner in a male-dominated, sales-oriented, visibility-crazed art world – and should therefore be considered an artist for the future.

AMVK’s practice is truly interdisciplinary. Her first arena was drawing and graphic design, but she also soon made herself at home in installation and performance art, painting, filmmaking, music and writing. She has collaborated with cutting-edge computing experts for more than 40 years. In 1981, she and artist Danny Devos founded the noise band Club Moral, which has been performing in different forms on a regular basis ever since. Under the same title, the pair organised numerous events in Antwerp until 1993 and published the magazine Force Mental since 1982.

Such collaborations aside, self-analysis and self-articulation are fundamental to AMVK’s work. Her creative commitment to artificial intelligence and other contemporary manifestations of mysticism cannot be disentangled from her social thought and political engagement. More often than not, her works are constellations of imagery and text. To make them she uses the tool kit of commercial graphics: Plexiglas, silkscreen paint, professional-grade printing.

To contemplate the entire work of AMVK is to enter an idiosyncratic world, littered with fragments and sketchy representations from the arts, is to be confronted with abstractions, clusters of ideas and quotations ranging from occult philosophies to advanced sciences and technological concepts.

An extremely ambitious project is taking shape, one that is not satisfied with a sensitive, aesthetic representation of the world, but has set itself the task of confronting the limits of the logical and the transparent of the rational with the obscure, its unthinkable, normative opposite. A dialectic project, therefore, that cannot easily be described or organised. As dense and multiform as her techniques and performances are and as challenging as the ideas and concepts she incorporates into them, an acquaintance with her work is more like a journey through an oeuvre, which in itself is an adventurous trip through the fields of interest and focal points that have marked the counterculture over the past forty years.

She is represented by Zeno X gallery in Antwerpen and Galerie Barbara Thumm in Berlin. From 1975 her work has been visible on a regular base all over the world, where she also lectured on her work.

Her work has been shown worldwide; she had solo exhibitions at the Fridericianum in Kassel (2018), M HKA in Antwerp (2018), Kunstverein Hannover (2017), Museum Abteiberg in Mönchengladbach (2016), Kunstverein München (2015), Mu.ZEE in Ostend (2012), The Renaissance Society in Chicago (2011), FRAC Pays de la Loire, Carquefou (2009), Kunsthalle Nürnberg (2009), WIELS in Brussels (2008), Kunstmuseum Luzern (2008), DAAD galerie Berlin (2006), Kunsthalle Bern (2005), amongst many others.

Public collections:
Centre National des Arts Plastiques, Paris (FR)
De Vleeshal, Middelburg (NL)
FRAC des Pays de la Loire, Carquefou (FR)
FRAC Normandie Rouen, Rouen (FR)
Kunsthalle Bern, Bern (CH)
M HKA, Museum of Contemporary Art Antwerp, Antwerp (BE)
Muzeum Sztuki, Lodz (PL)
Mu.ZEE, Kunstmuseum aan Zee, Ostend (BE)
Museum of New Zealand Te Papa Tongarewa, Wellington (NZ)
RMFAB, Royal Museum of Fine Arts of Belgium, Brussels (BE)
S.M.A.K., Municipal Museum of Contemporary Art, Ghent (BE)
Städtisches Museum Abteiberg, Mönchengladbach (DE)
Teylers Museum, Haarlem (NL)
University of Chicago, Chicago (US)