#EVIDENCE (solo)

Casemore Kirkeby , San Fransisco

January 11, 2017 – February 25, 2017


AHEAD (solo)

Centro de La Imagen, Mexico City

March 30, 2017 – July, 20th 2017


Solo at Organ Vida, Zagreb Croatia

September 12, 2017 -


Solo at Escougnou Cetraro, Paris

October 1, 2017 -


solo at solo at FOAM Amsterdam 

November 17, 2017 – January 28, 2018


OBJECTIVISM [Visual Philosophies]

March 23, 2017 – April 22, 2017

KARST Projects, Plymouth, Devon, UK

Clare Strand, Sara VanDerBeek, Anouk Kruithof, Sokoon An, Nico Krijno, Blommers Schumm, United Visual Artists curated by Faye Dowley

OBJECTIVISM will bring together a variety of emerging artists working with themes of sensorial, metaphysical and cognitive experience at the heart of their artistic investigation. The works are curated under the a framework of 'mind + matter' - wherein analytical, representational, and philosophical perspectives provide new portals into the interpretation and experience of the world around us.


You can tell I’m alive and well because I weep continuously

January 13 2017 – February 26, 2017

Knockdown Center, New York City 

David Court, Erin Diebboll, David Horvitz, Anouk Kruithof, Amanda Turner Pohan, and Steven Zultanski. Curated by Alison Burnstein

You can tell I’m alive and well because I weep continuously.

Given that an average person, in a lifetime, sheds about 4,167.921 cubic inches of tears, and that I’m somewhere around 1/3 of the way through my life, then we can assume that, so far, I’ve shed about 1,373.034 cubic inches of tears.

Since water makes up 60% of a human body, and the volume of the average body is 5,064.97 cubic inches, then we know that the volume of water in an average human is 3,038.982 cubic inches.

And so, so far, in my lifetime, I’ve shed about 45.181% of my body’s water in tears.

Since tears are mostly water.

Let me see here.

Steven Zultanski, Agony (2012)

Taking up the processes of formal alchemy that lie at the core of the book-length poem Agony by Steven Zultanski, You can tell I’m alive and well because I weep continuously. is an exhibition that traffics in transformative acts.The show brings together the work of five artists whose techniques resonate with Agony’s provocative alchemical idiom: these artworks quantify bodily and affective features, apply logical and scientific reasoning to absurd ends, and manipulate the linkages between language and things. By placing the objects in proximity to one another and in relation to the connective tissue of Zultanski’s text, the exhibition format effects its own dynamic shift, conjuring poem-as-exhibition.You can tell I’m alive and well because I weep continuously.invites viewers to inspect examples of morphed materiality within and between the elements on view, and thereby creates opportunities to consider the potential (and celebrate the futility) of giving stable form to ephemeral traits or experiences.


Au-delà de l’image (III)

Galerie Escougnou-Cetraro, Paris

November 17, 2016 – December 22, 2016

Michael Jones McKean, Anouk Kruithof, Gaia Fugazza & Haroon Mirza, Muriel Leray, Laura Porter, Andrés Ramirez, Florian Sumi, Romain Vicari

“Images are like nomads wandering through time, from one medium to another.”Hans Belting

Au-delà de l’image (Part I), a collective exhibition presented at Escougnou-Cetraro Gallery (ex See Studio Gallery) in November 2014, was the beginning of a reflexion on the photographic medium and its possible variations in the art field. The exhibition focused on questioning the topical processes of hybridization between imagery and fine arts, considering the image as a construction material, as a structural component of artistic actions, and questioning its limits and possible manipulations. Au-delà de l’image (Part II), presented in November 2015, further advanced the reflection on the materiality and specialization of images already initiated in the first edition, with particular emphasis on the moving image. The artists challenged the visibility conditions usually allowing the viewer to see the images, through the cohabitation of various video installations sharing an immersive environment, both liquid and structural, stating the possibility of a simultaneousness between physical space and mental space. The third edition, Au-delà de l’image (Part III), partially deviates the research path towards the materialisation processes involved in digital images, and more generally in the virtual, the intangible, the immaterial, exploring the close link between digital art and the sculptural and pictorial practices. The exhibition emerges from a certain kind of electricity becoming the plastic material holding the art works in tension within the gallery space. Following the previous editions’ framework, we experience a rematerialization of artistic thought.



October 8, 2016 – January 22, 2017  

Shortlisted artists: Alexis Blake, Jan Hoek, Anouk Kruithof, Jay Tan, Evelyn Taocheng Wang together with and previous winners and public-prize winners of the Volkskrant Beeldende Kunst Prize


Group-exhibition ME, MYSELF, & IRL

DAAP Galleries, Meyers gallery, University of Cincinnati, USA

October 9, 2016 – December 4, 2016

Carlin Brown, Blaise Cepis, Anna KE, Anouk Kruithof, Florian Meisenberg, Rick Silva, Katie Stienstra, and Jordan Tate. Curated by Austin Radcliffe

Me, Myself, & IRL investigates the tension between material and immaterial, and calls into question the authenticity of an image in the era of Photoshop and the Internet. The tension between material and immaterial space has become a site of investigation in how lived experiences are being defined and cultivated. The ongoing evolution of technology and its seamless integration into daily life has challenged how we define ourselves and relate to a progressively digital world. We continuously reassess identity, skirting the line between presentation and performance—expectations met, shattered, or desired. Reality has become obscure as its representation, temporality, and authenticity take on new dimensions. The artists in this exhibition present altered realities using experimental methods of image-making, which explore the current state of uncertainty both in our interaction with technology and state of existing in a technologically-mediated world.