Wednesday, May 10, 2017

Topologies for a Vertical Sound
























On the occasion of the 57th Venice Biennale: 
Displaced Exhibitions in Absentia - From the Rooms 
of the Void Centro Culturale Don Orione Artigianelli


Anne Katrine Senstad 
Topologies for A Vertical Sound
with Catherine C. Hennix



May 10 – August 6th 2017



Topologies for a Vertical Sound serves as a midcareer survey of light and space artist Anne Katrine Senstad in collaboration with composer, philosopher and mathematician Catherine C. Hennix.

Topologies for a Vertical Sound presents Anne Katrine Senstad’s practice on the phenomenology of perception of light, sound and space, aesthetic relations, immersive architectural site specific practice and social-political installation art in conjunction with Senstad’s ongoing collaborations with Catherine C. Hennix. Hennix’s poetic essay SONOILLUMINESCENCES will at this time be published virtually in concurrence with the exhibition, highlighting the historic significance of Hennix’s specialized authorship in the areas of philosophy, mathematical theory, sound, religion, science and art. The text is conceived as a poem with accompanying illustrations and calligraphy by Hennix. 

Honouring Hennix’s extensive in depth practice and knowledge as a profound inspiration, the title for this exhibition is extracted from her texts and mathematical work on the infinitesimal as scientific, philosophical and spiritual concepts in relation to devotional sound, which was originally written to accompany her recording The Electric Harpsichord from 1978.  The indestructible moment of Silence, The Empty Sound, relates to the void, absence of the exhibition as a void space, inviting the viewer to experience the dialectical phenomena of the art but not the physicality of presence. 

The piece inspired Senstad to create her sensorial, experiential multiple projection, sound, fabric and aroma installation Sonoptic Parallels – The Infinitesimal, 2014-17, which includes the composition from Hennix’s live performance Catherine Christer Hennix and Chora(s)san - Time-Court Mirage: Blues Dhikr Al-Salam (Blues Al Maqam) from the Grimm Museum in Austria and is the main interior large scale installation piece as part of this exhibition.

The Verticality of light and sound talk about the connection between elements, forces, realms of consciousness, universality of allness and the direct path of dialogue with the Universe. As discourses found in her site specificity and here in the void space, Senstad has developed an architecturally perceived light and color line sculptural space, drawing in space as we travel through it, yet in response to the charged resonances of archetypal devotional hierarchy. In working with technology, the analogue and narration of the space simultaneously, Senstad’s employment of the veiled as a state of ideology or reality, emphasizing the hidden, or the subjective, seductive and the mysterious. Black fabrics engulfing the hallways of the devoted, yet displaying and enforcing the minimal light structures as symptomatic of the sensorial and intimate, involves - no requires - another territorial reclamation to experience in full. She suggests a merged light and spatial narrative, simultaneously exalting the perception of the historic charged space through suggestive black veils conveying a psychological space while referencing omnipresence of cultural and religious dogmatic ideas.

The semi transparent plexi glass sculpture seemingly hidden in the corner, yet as an obstacle, entitled Time Arc, 2016, refers to Senstad’s ongoing work with semi transparent and translucent materials, the immateriality of light and attempts of solidifying light and unveiling elements of the transparent plane. Light exists as time and science creates arcs in space. Sound operates in arcs as do all wave forms, forces of nature and electronic recordings of the verbalized intent and spoken language. The aesthetic experience of the arc is a pleasant space of contemplation between the line, mathematical ideas of time and the void where the idea of the black hole illuminates the infinitesimal.

In these realms of ideas of the void, two women artists work in multiple complex states, echelons and practices, in each their disciplines, yet across their generations we find an amalgamation of exploration and contemplation, and a humble approach through creative action, an understanding and compassionate thought.

The exhibition examines ways of rethinking the exhibition as industry. It takes place virtually where authorship is shared by social media and websites as a continuous intellectual creative process and the meditative virtual plane when immersed in the experiential. Lastly, it examines the non-objectified space of the void institution (here the case of the Centro Culturale Don Orione Artigianelli). The physical location of this exhibition represents a void space replacing art, housing emptiness. In this manifested emptiness, the displaced art points to the existence of an essence, purity and spirit of the authentic will and the artists labour towards authorship. Today, as a former place of devotion and public service, the corporate art institution and its subjects represent the commerce and capital of culture as a currency of spectacle and the de-sanitized globalization on the individual’s ethical compass. The exhibition serves as a staged action and takes on the role of the rogue storyteller and of contradictory histories to be exposed, the displacement of authenticity and oeuvre.

Design by Nugamshi Nu

3D Illustrations by Markley Boyer

Link to video of immersive installation, still images below


TOPOLOGIES FOR A VERTICAL SOUND - Anne Katrine Senstad - Displaced Exhibitions in Absentia - From the Rooms of the Void Centro Culturale Don Orione Artigianelli