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Anne-Mie Van Kerckhoven, Ni Totem, ni Tabou, 2011, digital print on PVC, 39 3/8 x 52".

Anne-Mie Van Kerckhoven

The Renaissance Society

Anne-Mie Van Kerckhoven, Ni Totem, ni Tabou, 2011, digital print on PVC, 39 3/8 x 52".

“Electric Ladyland,” the title of curator Hamza Walker’s essay for Anne-Mie Van Kerckhoven’s recent exhibition at the Renaissance Society, is a spot-on nickname for “In a Saturnian World,” the Belgian artist’s latest and nearly unnavigable gaping opus. “Electric Ladyland” also befits Van Kerckhoven’s background as a trained graphic artist who since 1981 has been both an active member of Antwerp’s experimental-music scene and someone who has long embraced an array of visual languages in the studio to explore various polemical, philosophical positions. The characterization of “electric” also literally applied to this exhibition’s intermedia work, which included computer animation, digitally derived prints, and two online interactive Quicktime works, Pluriform I and Pluriform II, both 2011. Extending this current, Van Kerckhoven interspersed a selection of bracingly vivid if clumsily

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