Rosa Menkman was born in Arnhem on April 3rd 1983. Menkman is known for being a Dutch theorist and a curator, but is mots recognizable for being a visual artist that specializes in glitch art. She graduated from the University of Amsterdam with two Masters, a Master of Fine Arts and a Research Master of Arts. Jodi, who are a Belgian-Dutch artist duo, is one of Rosa Menkman’s biggest influences. Their goal is to exploit the weaknesses in digital technology in their art projects. Rosa Menkman actually wrote a master thesis about one of Jodi’s works called, UNTITLED GAME, an artistic mod of the computer game called Quake. In October of 2009, she went back to school to get her Ph.D. at Goldsmiths College in London.
After completing her master thesis, Rosa Menkman decided to explore artists who use fluxes and faults in computer software as the foundation for visual work. At the time, anomalies in music based on software errors were already described as “glitch music.” Menkman decided to broaden the horizons of the artistic concept of “glitch” and applied the term to visual arts as well.
Menkman describes the historical backgrounds of glitch art in many of her works. The “glitch method,” had already transpired in celluloid by filmmaker Len Lye, in the digital art copy of Cory Arcangel and in the video art of Nam June Paik, according to Menkman. Menkman is often referred to as a glitch theorist in many academic publications.
Rosa Menkman’s research about the glitch art genera was published as a book entitled The Glitch Moment(um), in 2011 at the University of Amsterdam, by the Institute of Network Cultures. Also, in 2011, Menkman wrote the Glitch Manifesto. Virtueel Platform, the sector institute for e-culture in the Netherlands, awarded Glitch Manifesto as “best practice”.
Rosa Menkman’s drive behind her work is the simple fact that every technology acquires its own inherit accidents. Most of the visual art that Menkman makes are the product of glitches, compressions, feedback and other forums of noise. Instead of perceiving these accidents as a negative experience, Menkman emphasizes their positive consequences.
Menkman unifies her abstract pieces within a grand theory of artifacts, by conjoining both her academic and as well as her practical background. Besides her construction of the recognized Vernacular of File Formats, within her standing work, she also creates work in her acousmatic videoscapes. Her main goal in these videoscapes is to associate both sound and video artifacts conceptually, technically and sometimes narratively.