Work
Monique Duurvoort
In collaboration with
Galerie Kruitberg
Open Ateliers Zuidoost
With special thanks to Reinier van Brummelen, Em'kal Eyongakpa and Studio Patrick Jakhari Sanders.
In December 2024, the exhibition 'Identity Pieces' was shown at Galerie Kruitberg in Amsterdam Zuidoost.
In Identity Pieces, Monique Duurvoort explores the complexity of identity, background and perception. Themes such as heritage, cultural identity, self-image and symbolism are expressed through movement and form.
Monique's installations and choreographies reveal personal and universal stories, inviting (self-)reflection.
Exhibited work
Video 'Enforced by reason IIII'
Dancers: Laquelle D. Galdey and Vincent Verburg
Photos and plaster cast
Made based on one specific movement from the dance film 'Armazoen', part of Art Project Armazoen.
Fragments from the installation 'Heinde en ver'
With the installation Heinde en ver, I explored the Black-and-white family line on my mother's side, placing them side by side for comparison within the installation. Made for 'LANGSTME', the third triennial of Beetsterzwaag, organised by Kunsthuis SYB. Singing voice: Eva Nijman van Zanten (my mother).
Videos 'Vlag I' and 'Vlag II'
Both made as an ode to the perception of my Dutch identity.
Poem 'Mirror Mirror on the wall'
Fragment from the dance performance ODE, created for the opening of the exhibition and the launch of the art book INSIDE BLACK.
Chapter 'A Diary of Reflection' (part of the book INSIDE BLACK)
For the book INSIDE BLACK, I wrote the chapter A Diary of Reflection, in which I reflect on certain experiences from my life in professional dance. How I was raised within ballet, how I learned, from within the context of (the aesthetics of) ballet, to look at myself and my surroundings, and how my view of that has changed over the years.
The book INSIDE BLACK was designed and compiled by Leslie Browne. Editor: Joan Gannij.
Installation 'Sleeping/Woke Beauty'
Having been shaped, from the age of nine, within professional academic dance — that is, ballet — to meet the standards of 'superior' excellence, through training, the reshaping of the body, internalisation, embodiment, and living within an elusive framework that values my whiteness over my Blackness — does that make me a 'domesticated' artist?
Is my goal to decolonise my own perception of aesthetics in movement vocabulary?