Roos Theuws

[3][4] Roos Theuws was closely related to the Association of Video Artists who helped shape the creation of Montevideo / Time Based Arts in 1986.

[6] Witte de With organized the group exhibition Negen (Nine) in 1991 to present the qualities of contemporary art in the Netherlands at the time.

The artworks in the show were exceptions and transcended “such vague notions as regionalism and nationalism.”[7] After its debut in Rotterdam the exhibition travelled to three other venues in Europe: the Museo d’Arte Contemporanea Luigi Pecci in Prato, the Kunstverein in Düsseldorf and the Provinciaal Museum in Hasselt.

[8] According to Lynne Cooke most participating artists were involved in continuing a longstanding tradition centering in on seventeenth-century Dutch art.

Lynne Cooke claimed the visual inspection, empirical curiosity and the objective scrutiny of the eye explored in the artworks were “directed to ends that bypass symbol and allegory, leaving apprehension in the realm of sensation, of the seen.”[10] Curator Jan van Adrichem claimed that the installations by Roos Theuws expressed the artist's interest in the visual properties of light.

For the exhibition, René Coelho brought together the work of 14 Dutch artists who all believed that the creative potential of contemporary technology should be explored.

[12] At the end of the twentieth century artists wanted to show that the "efficient, dominating and massifying products of electronics" could be used for more beautiful and imaginative purposes.

[14] The catalogue of the exhibition contains a dialogue between sociologist and media researcher Volker Grassmuck and economist and philosopher Asada Akira.

The collaboration also went the other way, with Glowicka's live performance Quasi Rublev (2009) being accompanied by visuals from video artists, including by Roos Theuws.