updated August 2019


Monique Hendriksen (1982, NL) has a background in economics. Her artistic practice is informed by the desire to radicalize the space of art as a possibility to discuss the entangled relations between art, theory, economics and thought. Her artistic studies are a combination of a theoretical approach and the development of new artworks which research the invisible behaviors and characteristics of our capitalist economy. Central to her practice is the idea of ownership and the irreconcilability of use and exchange in relation to knowledge production. In her complex composite performances, videos, texts and sound works she appropriates visual systems and pop culture references in mix with abstract configurations and thereby builds a visual vocabulary to address the invisible abstraction that precedes thought. She critically considers the complex nature of our contemporary neoliberal condition as well as the digital condition in relation to thought, and thereby knowledge, learning, and change. More recently she has been researching the potential to assemble the incompatible postulated and the manifested dimensions of reality, which both are shaped by capital. She searches for an aesthetic that can 'grab' capitals abstractions in a way thought cannot.

Monique Hendriksen studied at the Dutch Art Institute, School for Art Praxis (MFA) in 2014 and 2015. Earlier she studied Fine Arts at AKV St. Joost in 's-Hertogenbosch and Breda, Business Economics at Fontys University Eindhoven, and Philosophy at Tilburg University. Her work has among other places been shown at Casa do Povo in São Paulo, Museum of Yugoslav History in Belgrade, New Theatre in Berlin, Onomatopee Eindhoven, Stedelijk Museum 's-Hertogenbosch, Øvre fossum gård in Oslo and in public space in Addis Ababa.

Monique Hendriksen has contributed research material and new commissions to several publications, most recently in 2017 to The Economy is Spinning (Kris Dittel ed. and graphic design by Rafaela Drazic published by Onomatopee). She has curated various shows and initiated several events, such as Of No Interest, a performance event at Stedelijk Museum 's-Hertogenbosch. She has also been involved in several collaborative projects, most recently Nudging Preconditions, in 2017, a group research and residency by four artists in collaboration with artspace BB15 in Linz. Earlier in 2013 she initiated Distribution of the Sensible (Blind Mix), a two year long collaborative research by a group of seven artists on Politics of Aesthetics by Jacques Rancière from 2004, accompanied by five public moments at De Fabriek in Eindhoven. In 2011 her audio guide Eindhoven was nominated for the Brabantse Straatkunstprijs (street art price).