Monique Thomaes

Biography

 
2011 Art in public space : interactive lightinstallation hospital St. Andries Tielt (B)
2008 E-POS Project – Exchange with flemish and south-african artists and writers – Kaapstad/Stellenbosch/Pretoria
2007 Scenography for and in collaboration with the music project Muzische Huis Antwerp
2006 E-POS Project – Exchange with flemish and south-african artists and writers, Johannesburg – Lecture Wit’s University Johannesburg
2005 art in public space Gent (Belgium) – interactive light sculpture
2004 art in public space Berlin-Prenzlauerberg – interactive light sculpture
2001 art in public space Brussels, Huis Vlaamse Volksvertegenwoordigers 
1998–2001 visiting professor at the Higher Institute for Fine Arts Flanders, Belgium
1998 Grant Vlaamse Gemeenschap, Ministerie voor Kunst en Kultuur, Belgium
1997 Grant Vlaamse Gemeenschap, Ministerie voor Kunst en Kultuur, Belgium
1997 Grant Senatsverwaltung für Wissenschaft, Forschung und Kultur, Berlin
1996 Brazil-project – 12 artists from Brasil, Brandenburg and Berlin
1995 participation at the Summerschool Salzburg with Nan Hoover
1994 artist in residence in the Villa Romana, Florenz
1993 participation at the Summer Academy, Berlin, with Peter Erskine (L.A.)
1993–1998 guest teacher HDK-Berlin
1992 starting photography / dia / videoworks and installations
1990 Künstlerinnenprojekt Goldrausch, Berlin
1988 move to Berlin, guest auditor HDK Berlin
1986–1988 teacher, in sculpture, Rotterdam
1985–1986 studies in didactics and pedagogics, Akademie for fine arts, Rotterdam
1985–1986 assistant at the Vrije Akademie, Den Haag
1975–1982 study at the Vrije Akademie, Den Haag
Monique Thomaes lives in Berlin and Antwerp

Monique Thomaes was born in Belgium, she has been living in the Netherlands since 1965, in Berlin since 1988. From 1998 to 2001 she worked as Guest Professor at the Higher Institute for Fine Arts – Flanders, Antwerp. 2001 sees her living in Berlin as well as Antwerp.

“If one wanted to concisely connect two important points of her artistic biography and, in an analogous manner, span a kind of bridge, one could maintain that out of the serial components of the earlier sculpture developed the successive pictures of a film sequence: her sculpture’s transparent glass, combining transparency and qualities of mirror-like reflection, has now become the celluloid stripe or magnetic tape. Light, in the way that a free-standing sculpture requires it, now illuminates the picture turning it into a negative. Rather than meaning the extensive area required for static objects, space exists now as a platform for continuously flowing images. Thomaes ‘videowork can be seen as an observation of/ reaction on/ spaces, light, time, movement. Meditative, slow, poetic works alternate with work in which the original sound is converted into dynamic choreographs by using or misusing editing technics.”

(Angelika Stepken, Berlin/Florenz – translation John Epstein, Berlin)

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