Monique Thomaes

1995 | au lieu de

au lieu de

Parochialkirche Berlin 1995
installation display cases / blue / white glass / natural light


This installation in the “Parochialkirche” consists of twelve empty museum display cases in front of the church’s windows. In each of them two blue tinted glass plates are placed which are covered by two transparent glass plates set at a certain angle. With the movement of the spectator and influenced by the changing light the reflections and refractions flow with the observer: a “light sculpture” showing the church’s whole architecture cast in a horizontal plane through the glass plates.

1995 | v-ivre


1995, 2 parts, each 10’, b/w, dv
Galerie Bostoen, Kortrijk, Belgium 1996


Luk Lambrecht about the work
“The two ascetic videotapes show a ten minute sequence depicting inhalation and exhalation, taking place around the neck area of the artist.

The slowly moving, black and white self-portraits are, at first glance, not recognizable as such, but instead show a great similarity with abstract, three-dimensional texture. The video images are played back with a coarse grain; thereby results an aura of fundamental unfamiliarity and doubting concerning that which is perceived. Owing to effects of close-up’s, the pictures take on an incorporeal aspect and within the context of an art exhibition may be interpreted as gently rising, almost draped pictorial representations. They are forceful pictures because the observer is simultaneously aware of both video images; consequently life’s rhythm becomes distinctly conscious, an effect which is further emphasized by the occasional insertion of still-video pictures which thereby gives rise to short pauses during the run of the video.”

Luk Lambrecht
Angelika Stepken

1995 | plaatsen / lieux / spaces part #01

plaatsen / lieux / spaces part #01


1995, 3 parts, each 8’, b/w, dv
Première: CCNOA Brussels 2007
shooting place: Salzburg/Hallein 1995

A camera is statically pointed toward a large room. Gradually and successively the camera’s aperture is opened. Initially, the picture in the monitor reveals merely a narrow slit of light located at the lower edge, in appearance somewhat similar to a drawing placed upon a dark background. Slowly but surely the line fills out to a re-cognizable room volume, until ultimately in a glistening white this figure loses both its dimensions and contours and is reduced to an empty surface. An opening and a closing-up of the room/image to vision, a gentle process.
(Angelika Stepken in the book “the passage – monique thomaes” 1998)

A comment of Christoph Tannert in the catalogue “de passage”: What patience such a room needs!


Brigitte Hammer
Angelika Stepken
Christoph Tannert