Sunday, October 5, 2014

The Nature of Now - Prospect 3
















PROSPECT 3 New Orleans Biennial 

October 24, 2014 – January 24th, 2015

I'm pleased to announce I will be exhibiting The Sugarcane Labyrinth as an immersive multi sensory installation and premiering the video piece The Swamp, both installations with sound composed by  JG Thirlwell. Located in a 1920's New Orleans theatre, the exhibition The Nature of Now serves as a new tapestry; a multi-sensory experience of aesthetic thread, woven together to create a lyrical story focusing on the impasse of nature and man.

Opening reception October 24th, 6-9 pm, 2014
Dance Party 9-11 pm


3308 Magazine Street, New Orleans

Curated by Pamala Bishop


Wednesday, September 17, 2014

Material Way opening September 30th 2014




Material Way

Curated by Kathleen Kucka 
SHIRLEY FITERMAN ART CENTER
Opening Reception: Tuesday September 30, 6-9pm
ON VIEW: SEPTEMBER 30 – DECEMBER 1, 2014
81 Barclay St
New York, New York 10007
Today 12:00pm - 6:00pm
Phone (212) 220-8020

For many artists, materials and process are the starting point from which the work is made. These fourteen artists delight in their materials: using everything from paint, canvas, tables, coffee cups, thread and plastic. They experiment with scale, engage the viewer’s sense of play, and transform their materials with unique processes, offering us a startling new vision.”

Artists: Kellyann BurnsDon ChristensenLauren Clay

Diana CooperPeter FoxLisa HokeJae KoHolly Miller

Nicholas MoenichPaul PagkAnne Senstad

Sandi Slone, Wendy Small, Jan Maarten Voskuil



Thursday, August 28, 2014

Gallery nine5 opening September 20th 2014




















Graphic: of or relating to visual art

Opening reception September 20, 6-8 pm
September 18 - October 29, 2014

gallery nine5
24 Spring Street, 
New York, NY 10012 
T 212 965 9995 
www.gallerynine5.com

Artists: Rubin415,  Ye Hongxing, Anne Senstad, Jessica Lichtenstein, Jeremy Flick,  
Oona Ratcliffe

Graphic: of or relating to visual art examines the influence of the digital age on art. Whether through the changing of mediums, as in the prevalence of video art to document concepts, or in the use of new colors that appeared first on a computer screen, artists have responded to the social changes that currently surround us. A new language of shapes and palettes has entered into the artistic dictionary; though their relevance is debatable, their presence is permanent. By presenting this presence without judgment, gallery nine5 continues to manifest its mission to accept and analyze art from all spectrums and angles.

Friday, July 25, 2014

The Swamp excerpt


The Swamp by Anne SenstadMusic composed and performed by JG Thirlwell.
16:9
Stereo
3.40 min


video


Thursday, May 8, 2014

Berlin Art Link April 8 2014 by Sarah Corona

Anne Katrine Senstad:

Light Writes Always in Plural


Article by Sarah Corona in New York; Tuesday, Apr. 8, 2014
From Goethe to Octavio Paz, from James Turrell and Dan
Flavin to Douglas Wheeler, they are all trying to get to one 
thing: light, in all its shapes and colours. Light as an 
object, as an architectural element. Light as a
philosophical motto. Light as a political and moral frontier.
That is to say, “Light writes always in plural,” for its range
is boundless. It occupies space and seeps everywhere — like 
water – altering it physically and psychologically.


The media that Anne Katrine Senstad uses to express
her ideas range from neon installations to projections, 
from photographic printing to site-specific land art. 
Senstad inserts light and luminous bodies in everyday 
spaces, whether exterior or interior, inhabited or not. 
And these physical places often serve as messengers 
from a world in which human emotions and 
existence are reduced to a minimum.
And it’s precisely the neon work Light Writes 
Always in Plural which opens the discourse on 
the artistic production of Senstad. Inspired 
by the title of Octavio Paz’s essay “Water Writes
Always in Plural,” on the art of Marcel Duchamp
the neon work not only emanates its bluish
light into all crevices, but it is also a witty play
on words and concepts about philosophy and life. 
Underlying this florescent tube is a careful 
analysis and critique of our use of language
as a means of mass communication.


Anne Katrine Senstad – “Light Writes Always in 
Plural” (2008), neon tubes, transformer

The literature and philosophy of the great thinkers
have inspired other neon works by Senstad.Forget
 Flavin comes from the title of Baudrillard‘s 
“Oublier Foucault” (1977), simultaneously an
ode to and critique of Foucault that remains 
unanswered. Senstad appropriates Baudrillard’s 
concept, declaring through the artwork her
admiration and antagonism of the American 
minimalist artist. Translated into Chinese 
characters, the title takes on a significance 
beyond visual translation that reflects 
the charged relationship between image
and word. A third example is Light Owes 
Its Existence to the Eye, a quote from Goethe
and a reference to his obsession with light 
and colour. The works and phrases in neon
become a subliminal reminder and visual 
symptom of an intellectual concept, 
translated into tangible objects.
Senstad’s installations in nature, or land art,
take on a political twist. A prime example is 
The River of Migration (2010), comprised of 
72 lights planted in a hilly Californian landscape 
in order to create a line that interferes 
with the local geography. It is not just an
intervention in the landscape, but a strong 
gesture of opposition to the policies of 
migration — a silent memorial to those who have 
lost their lives trying to cross the U.S.-Mexican 
border. The solar-powered lamps represent the 
victims of 2010, the year she realized the project. 
The long line of lights down a hillside talks about 
the nature of migration and how bodies of people 
crossing long distances will naturally walk in a 
sequential manner according to age, physical 
health, group importance, and their delegated task. 
The phenomena of artificial lights in a natural, 
untouched landscape evokes notions of light and 
darkness, nature and the artificial, the environment
and the untouched landscape, providing a scenario 
for interaction and intervention.


Anne Katrine Senstad – “The River of migration”, 
(2010), video still, 4.53 min

The works with which Anne Senstad most captures 
the attention of the viewer are the large environmental 
installations. Through the projection
 of coloured lights, she tints entire spaces 
in red, blue, yellow, green, and all shades in between. 
Combined with specifically composed sound, 
the visions of colour create a visual poetry leading 
the viewer to a sensory experience approaching a 
synaesthetic phenomenon. “The optical illusions 
experienced when physically enveloped in artificially 
projected colors, shapes, and sound,” Senstad 
explains, “give way to the momenta of 
kinesthesia.” Such is the experience of her work 
Kinesthesia for Saint Brigid (2011-12), an 
installation consisting of a continuous 
projection of colours in a former church in 
Ottawa (Canada). Accompanied by pulsating 
background music, composed by JG Thirlwell
the work gives rise to a transcendental experience 
of art. “It’s about creating life in an 
enclosed and uninhabited space,” says Senstad. 
Inspired by Plato’s “Cave and Pharmakon,” the 
sensory and perceptive aesthetics are 
combined with spatial relations, structures of 
architectonic spaces, and retinal experiences of 
the prisoner’s cinema.


Anne Katrine Senstad – “Kinesthesia for Saint Brigid”
(2011), video still

Evolving from this work is Universals (2013),
exhibited as part of the 55th Venice Biennial of 2013. 
A polygon made of transparent plexiglass tubes inhabits 
the center of the exhibition space and is continuously 
exposed to fields of coloured light. Divisive fields of
projected light, and the subsequent re-assembling 
into a solid, create the sculpture. The work challenges 
the boundaries of architecture, video, and traditional
 concepts of sculpture and strengthens Senstad’s ideas
of using light and colour to solidify space. A similar 
concept is expressed in her photographic 
prints, where we can observe foldouts of hypothetical
sculptures — impossible solids made of coloured rays, 
visible only “thanks to a perfect combination 
between the distribution of shadow and light
reflected from a transparent object.” (Goethe)
_______________________________________________________________________________
Sarah Corona holds a BA in Fine Arts and a MFA
in Communication and Management of Art 
(University of Bologna). Based in New York, she 
works as independent curator, art historian and
journalist for international art magazines with a 
focus on the intersections between technology 
and art. www.sarahcrown.com