- 02.07.2021 VPRO Nooit Meer Slapen, Pieter van der Wielen
- 02.03.2021 Radio NPO4 Het Gesprek, Opium – Andrea van er Pol
- 26.04.2021 Springvossen, AmsterdamFM – Robert Van Altena
- 25.02.2021 KLARA Pompidou Chantal Pattyn, Sergio de Beukelaar, Anouk Kruithof
- 14.11.2017 VPRO Nooit Meer Slapen Pieter van der Wielen
25.08.2021 Studio encounter by Nienke Coers for Sea Foundation
17.02.2021 From the amazon to 254Forest: Change is the only constant in life by Koert Snoekx for BRUZZ
08.02.2021 Anouk Kruithof stelt je blik weer scherp met ‘Universal Tongue’ in de Gentse Vooruit by Yasmin van ’t Veld for DE LAGE LANDEN
01.09.2020 In the studio: Earth is already crying by Jesse van Winden for COLLECTORS AGENDA
23.10.2018 Een plasticsoep van beeld by Maarten Buser for TUBELIGHT
01.09.2018 Dubbele lagen in Beeld by Evelien Lindeboom for PF MAGAZINE
17.11.2017 Anouk Kruithof – ¡Aguas! CAHIER (English or Dutch) by Hinde Haest for FOAM
01.10.2017 Conversation with Anouk Kruithof by Joline Platje for GLAMCULT
01.10.2017 Fluent Sculptures by Camille Tallent for STEIDZ
01.03.2017 Introduction on Anouk Kruithof by Etienne Hatt for ART PRESS
01.07.2017 Collect and sort by color by Julia Geerlings for TUBELIGHT
01.12.2016 Interview with Anouk Kruithof by Sebastian Thewes for LIGHTRA
01.03. 2016 A Day With Anouk Kruithof by Paola Paleari for YET
28.02.2016 Happy Birthday To You, an interview with Anouk Kruithof by Joanna Cresswell for The Photographers Gallery
20.05.2015 Interview with Anouk Kruithof by Zippora Elders for FOAM
30.03.2015 Anouk Kruithof Talks Books, Travel, Feminism & More by Jessica Posner for LIGHTWORK
01.08.2015 Shifting Realities by Dan Rule for VAULT
01.08.2015 Anouk Kruithof by Sophie Wright for OFF THE AFTERNOON
11.05.2015 Sweaty Sculptures by Ashley McNelis for BOMB
01.12.2014 Anouk Kruithof – A Modern Flaneur by Alessandro Teoldi for PAPER JOURNAL
18.02.2014 Future Great: Anouk Kruithof by Jason Evans for ART REVIEW
01.06.2013 Coming from age, Anouk Kruithof (32) by Colin Pantall for BPJ
21.03.2012 A Conversation with Anouk Kruithof by Jorg Colberg for CONSCIENTIOUS
25.05.2012 Analog Interactivity and the Photography of Anouk Kruithof by Paul Moakley for TIME magazine
25.10.2011 Breaking the Wall by Alex Soth for LBM
05.07.2011 Anouk Kruithof, artist-in-residence in Het Vijfde Seizoen by Lise Lotte ten Voorde for METROPOLIS M
Born 1981 in Dordrecht, the Netherlands, Anouk Kruithof is a visual artist. She lives and works between Brussels Belgium, the Netherlands and her wooden house in the middle of the Amazon Rainforest in Botopasi Surinam.
Her multilayered, transdisciplinary approach encompasses photography, sculpture, installation, artist-books, text, performance, video, animation, websites and (social) interventions in the public domain. Kruithof’s work explores a ‘contemporary schizophrenia’ which can be seen as an indelible mental disease of contemporary life. By continually navigating between the digital and physical experiential sphere, Kruithof investigates a collective state of mind that is not solely grounded in the material world, but more and more often in the relentless flow of images in an amorphous digital world. She contemplates a world consisting of a relentless stream of edited, constructed, spliced-together images that have lost their credibility: reality today is thoroughly scripted and subject to permanent post-production.
Her work depicts the transience and the chaos of this world, which the artist skillfully addresses by mixing urgent societal issues with personal experiences that simultaneously represent this state prevalent in our society today. Kruithof tries to reveal ‘the nerves of the time’ by deftly identifying social, psychological and ethical dilemmas. Observing, analyzing, collecting, acting and reacting inform her playful and personal work method, which does not at all detract from her serious approach as a social and political agent; the personal has become political in this time and Kruithof formulates a highly personal and idiosyncratic view of this world.
The scope of her world view extends from environmental pollution and the consequences of global warming to government surveillance practices, privacy to protest, and anonymity to signs of nervousness such as stress and exhaustion, shame and social discomfort, all in an effort to address a collective consciousness of human failing towards planet earth, at large.
Kruithof is acutely aware of her double role as image maker and image consumer. Her paradoxical relationship to the medium (as maker and receiver, but also manipulator and manipulated) informs her work in several ways. Performances, sculptures, publications, videos and installations: they are all part of Kruithof’s attempt to bridge the gap between physical human experience and how this is expressed or depicted in the digital world. Kruithof highlights the dissonance between the gravity of the situation and the often aestheticized and fleeting manner in which it is presented and unthinkingly circulated in cyberspace. Just like the visual culture in which we live, her work method is heart-warming and revealing, personal and universal, uplifting and oppressive, light-hearted and dystopian. This paradoxical layering, which characterises both the medium of photography and the human individual, forms a common theme that runs throughout her work (extracts from text by Hinde Haest).
Her work has been exhibited internationally at institutions such as: Museum of Modern Art, New York; Museum Folkwang Essen, Centro de la Imagen, Mexico City, The Stedelijk Museum, Amsterdam; TATE London, Kunsthaus Vienna, FOAM, Amsterdam, VOO?UIT, Ghent Belgium, MBAL Switzerland; The Xiangning Art Museum, Shenzhen China; Multimedia Art Museum in Moscow, Erarta Museum, St. Petersburg; Culture and Arts Center, Daegu Korea; Capitain-Petzel Gallery, Berlin: KIT (Kunst Im Tunnel) Düsseldorf; Temporare Kunsthalle, Berlin, Autocenter Berlin; Fotoforum, Bolzano, Knochkdown Art Center, New York, bitforms gallery, New York, ICP, New York; Capricious Gallery, New York, Higher Pictures Gallery, New York, Museum het Domein Sittard, the Netherlands; Escougnou Cetraro gallery, Paris,; The Netherlands Photo Museum (NFM), Rotterdam; MARCA Museum Catanzaro, Italy; MAMAC La Boverie, Liege Belgium, among others.
Anouk Kruithof’s work was selected for The Gallery of Honour of Dutch photography at Nederlands Fotomuseum, Rotterdam in 2021 and she was shortlisted for the Lumen Prize in 2019 & Cinekid Media Award in 2018 and won the public prize of the Volkskrant Beeldende Kunstprijs in 2016, the Meijburg Art Commission in 2015 and won in 2014 the Charlotte Köhler Prize in the Netherlands. She has also received an Infinity Award of the International Center for Photography in New York in 2012 and the Jury Grand Prize of Festival International de Mode et de Photographie in Hyères in 2011.
Her works are included in public collections such as; SF MoMA San Fransisco, Het Stedelijk Museum Amsterdam, Fotomuseum Winterthur Switzerland, Museum Folkwang Essen, Museum Voorlinden Wassenaar, Aperture Foundation New York, Carnegie Museum of Art (CMOA), Nederlands Fotomuseum Rotterdam, Museum het Domein Sittard, FOAM Amsterdam, MBAL Le Locle Switzerland, Pier24 library San Fransisco, Ioannis Christoforakos Collection (ICC) Athens/Munchen, MOMA library New York, ICP library New York, New York Public Library, Grimmuseum Berlin, Ministerie van Buitenlandse Zaken NL, VU Amsterdam, Menzis, KRC, AMC, ART 21, DOK, NFGV, Meijburg, Robeko + several private collections.
In addition to her art practice Anouk Kruithof also writes, lectures, gives workshops, teaches, curates, and participates in social projects. She is co-creator, director and jury member of The Anamorphosis Prize, which awards $10,000, no strings attached, to the creator of the best self-published photo-book from the previous year. The prize was launched for the first time in spring 2015 and celebrated 3 editions.
Geminis don’t die, they fly and multiply. I am a Gemini, extrovert and introvert at the same time. My work, as well, is full of paradoxical layering. It is at once confusing and revealing, personal and universal, liberating and oppressive. Light-hearted and dystopian. Colorful and black&white. Social and isolated.
I have no children; I raise my art. I am queer and my practice is fluid. My work is forever shapeshifting, from a color-changing chameleon into all the different tentacles of an octopus.
I am open and limitless. I have a transformative approach to everything. Be like water is my formula and an accurate metaphor for both life and work. Water, being fluid, bold and flexible always finds its way and is capable of coping with change. And change, to me, is the only constant in life. Change can bring forth fear as well. The world around me is full of questionable contradictions, therefore paradoxicality became a common thread in my practice. I perceive transformation and creativity to be essential for change and utterly important for the future of planet Earth and humanity.
I am curious. The stamina of my curiosity drags me all around the world and my antennas are permanently set to receive in order to see, learn and feel. I change my base often and as the context of my life changes, so do my lovers, friends, collaborators and colleagues. Just like light and time do, too. While living and working in the Netherlands periodically, there were longer intervals when I was settled in Berlin, New York, Mexico City and Suriname. Currently I am spending a lot of time in my lockdown studio in Brussels.
My interdisciplinary practice, simultaneously spatial, social and research based, allows me to work across various media and leads me to question the world in all its hardness, beauty and mysteriousness. My versatile practice is my signature statement. It reflects on the difficulties in understanding this diverse, multilayered and complex world. I am optimistic without being naive and I believe in a more inclusive world with limitless exchange and understanding for each other and the constantly changing environment and identities. I love that art can be a moment of alienation for the maker and a challenging space of otherness for the viewer.
I am turned on by anything unfathomable. My inner engine starts with things that I can not fully comprehend and I am challenged by ambiguity that reveals the cracks in the mirror of the world.
I am a sponge. In my working process I absorb a huge amount of information & knowledge about the topic of my research. First, I manically collect working material, which can vary from thoughts and dreams to objects, photographs and videos to raw or recycled physical materials. Then I examine this heterogeneous group of ingredients and process it in my inner emotional laboratory, as well as through experiments in my physical studio. In this two-step process, I develop and finalize my works, which can take on a form of a photograph, sculpture, (site specific) installation, collage, artist-book, video, text, performance, and (social) intervention. While the start of my work is always concept and research based, in the process of working I compose new narratives and belief-systems that are open for interpretation.
I am serious, but I love to play. A playful component in the working process is a necessity to me. Playfulness shines through art and no matter how serious or heavy the subject matter is, play can make anyone relate to it. Play allows art to breathe. I want my art to keep breathing while exposing the nerves of the world around me.