Thursday, September 8, 2016

Sonic Architecture - Museum of Transitory Art

SONICA - a sonic architecture exhibition organized by MOTA - Museum of Transitory Art in Ljubljana, Slovenia Sept 27 - Oct 1, 2016.

I will be participating in SONICA with Gold Guides Me, which part of my ongoing research project Capitalism in The Public Realm, 2014, and was originally commissioned by the Bruges Art and Architecture Trienniale 2015 in Belgium. For SONICA will be installed on the roof of the new MoTa Lab. Dimensions: 22 meter x 2 meter, LED lights, Aluminum and yellow plexiglas. The Museum of Transitory Art installation will be a non-LED light version of the original piece.

Photo: Sarah Bauens.

The new MoTA Lab is situated in a glass-concrete construction, which was built in the seventies, as one of the lesser-known off-springs of the architectural style known as structuralism. Similar buildings with muchroom or umbrella like roof structures include gas stations on Tivolska road, designed by the architect Edvard Ravnikar (near the railways) and Milan Mihelič.  

Wednesday, August 31, 2016

Bærum Kunsthall

Bærum Kunsthall 

October 13th – 30th, 2016

Everything Else is Too Narrow
Anne Katrine Senstad, Christine Istad and Anna Marit Staurset

Curated by Sarah Walko

Bærum Kunsthall
Odd Nansens vei 19
1360 Fornebu, Norway

Opening Reception October 13th
6-9 pm

Everything Else is too Narrow brings together the work of three contemporary Norwegian artists. The title is derived from a poem titled All Things by Hadewijch of Brabant (or sometimes called Hadewijch of Antwerp) who lived in the 13th century in what is now Belgium and often referred to as one of the greatest names in medieval Flemish and Dutch literature. The poem begins with the lines “All things are too small to hold me” and it was this tone that came to mind in relation to the works in this exhibition. Although the artists vary in mediums, processes and approaches there is a search and an act of discovering an essence in form in the works. Each piece hovers somewhere in the process of becoming or decreation but also transcends temporal cycles of birth and decay. They instead are like suspended threshold occasions, revealing a visual process of when something moves away from one thing to become another.

The ancient Greek word Poïesis is the root of our modern word "poetry" however it was first a verb. It was an action. The action referred to anything that transforms and continues the world, but not in technical production or in a romantic sense. It referred to an action that reconciles thought with matter. An action that reconciles time and person with the world. The works carry this tone of both reconciliation and awe. They seem to strive not to generate meaning, but rather to simply reveal the meanings that are already there.

Christine Istad's large-format photographs are mounted between two layers of Plexiglas. She uses the camera as her tool for finding painterly motifs, pulling patterns and elemental structures from her immediate reality. The photographs are not manipulated in any way and present the observer with an in-depth study of small fragments of reality. In her work she is always striving for a sense of universality; how things relate to each other, how they fit, and how they somehow hang together. Her works focus on architectural structures however, the architecture is often only sensed and she pulls out the abstraction in the concrete forms and they begin to become like landscapes with geometry.

The photographic work of Anne Katrine Senstad is a series titled Sonoptic Parallels and it is informed by an understanding of an amalgamation of sensations - sound, color, light and optical phenomena. She is parsing out how sound and color inhabit space so differently despite many scientific and experiential similarities. Senstad’s work also often has a close relationship with architectural structures but she often adds a poetic element, creating a world that envelops the subconscious and subliminal. All of her work deals with perception — how what we see, including the colors around us, shapes how we feel. The stimuli are objective but the experiences are subjective, mirroring ourselves, our brains, and our psyches. Senstad’s work follows this complex investigation of what is physical versus what is psychological, and where these lines blur. It does so generously, seeing truth on both ends of the spectrum and at many points in between.

In the work of Anna Marit Staurset, degradation is her interest, part of the search and the process. Every piece of collage has its own history and they come together with an expanded history, like sections of a quilt. In this way the material is stripped of its original meaning and given a new life, like stories that are told and shared. There is a strong element of neutralizing the past and these layers of multiple histories in physical sediments of time then transform to convey new meaning.The material is mainly paper but becomes sculptural with a very tactile surface. She focuses on the process of decaying that occurs in nature and highlights time, revealing an essence of what remains after a lived life and a cyclical return to begin anew.

All things
by Hadewijch

English version by Jane Hirshfield

All things
are too small
to hold me,
I am so vast

In the Infinite
I reach
for the Uncreated

I have
touched it,
it undoes me
wider than wide

Everything else
is too narrow

You know this well,
you who are also there

Sarah Walko is a curator, director, visual artist and writer. She is currently the Director of Arts Programing at Marble House Project, a nonprofit arts organization in New York City and Dorset, Vermont. Recent curatorial projects include Decomposing Hierarchies, Manhattan Bridge Anchorage, NY 2015, The World and its Things in the Middle of Their Intimacy, Fridman Gallery, NY and A Cage Went in Search of a Bird at Radiator Gallery, NY. She also writes for the contemporary art blogs and journals Hyperallergic, Eyes Towards the Dove and Drain Magazine Journal of Art and Culture.

Friday, July 8, 2016

Textile Topography in Norway

Textile Topography at Storhødn by Anne Senstad. A site specific fabric intervention at 1482 meters on the mountain peak of Storhødn in Hemsedal, Norway - with wind, rocks and land. The photographic c print on fabric stems from a video still from Senstad's video piece Color Synesthesia 2014 that has been included in various large scale installations and exhibitions internationally.

The fabric intervention is a continuous project integrating specific cultural topographic elements in various countries and landscapes, with Senstad's use of color, sculptural re interpretations, nature, gestural movement and placement of the artists intervention and the natural behavior of the material itself when intersected into nature, a performative approach to re interpreting nature, examining the experience of nature , and as a participatory element, resulting in documentation material such as photographic material  and video pieces.