Anne Katrine Senstad

SEEING OURSELVES at MuseCPMI - New York

2012-02-15T00:38:00.004-05:00

SEEING OURSELVES
Curated by K J Baysa and Caitlin Hardy

MuseCPMI

· 580 Eighth Avenue

New York, NY 10018-3080

· www.musecpmi.org

2 March - 14 April 2012

Opening Reception March 10th, 7-9 pm

Anne Katrine Senstad

Title: Organ of Ideality, 2012

Size: 12 x 12 x 16 inches

Edition: 1/1

“The forehead is broad, with prominent organs of ideality”
Edgar Allen Poe, 1846

The science of Phrenology was originally developed by the German physician Franz Joseph Gall in 1792, giving his scientific discoveries on localized regions of the cerebral cortex where the innate universal faculties resided, the title “Doctrine of the skull”. With his ideas of localization, Gall was the first person to create a theory of localized mental illness, that suggested that the mental conditions could be localized in the brain.
The science of Phrenology and of the mind that Gall further developed explores the connection between the dimensions of the skull and personality characteristics organized into a systematic hierarchical classification system. By the 1830’s in America, Orson Squire Fowler developed practical Phrenology by opening the first Phrenology office at 135 Nassau Street in Manhattan where he and his assistants read heads, gave lectures and trained a fleet of bright eyed young Phrenologists.
In Victorian literary circles, writers were great fans of Phrenology and found phrenological language useful for describing personality or in dialogue. This Phrenological language can be found in the authorship of Walt Whitman, Edgar Allen Poe, Victor Hugo, Herman Melville and Charles Dickens to mention a few. By 1843 phrenology began to be referred to as pseudoscience.

Other artists in the exhibition:

Suzanne Anker, Deborah Aschheim, Christophe Bedaguet and Marie Peius with Christopher Laudamiel and Christoph Hornetz, Stefani Bardin and Toby Heys, Sophie Barrett-Kahn, Jonathan Beer, Nancy Burson, Caraballo and Farman, Simon Drouin, Greg Dunn, Scott Draves, Laura Ferguson, Angela Freiberger, Pablo Garcia-Lopez, Sara Hall, Hugh Hayden, Nene Humphrey, Elizabeth Jameson, Andrea Kantrowitz, Mark Kessell, Adrienne Klein, Bodo Korsig, Lilla LoCurto and Bill Outcault, Marcos Lutyens, Kate MacDowell, Michael Madore, Daniel Margulies and Chris Sharp, Patrick Martinez, Saul Melman, Igor Molochevski, Gayil Nalls, Natsu, Francesca Samsel, Anne Katrine Senstad, Jason Snyder, Mark Steiner, Sartre Stuelke, Visual MD, Claire Watkins, David Webster, Graham Wiggins, Virgil Wong

Exhibition closing event St Brigid's Art Center- Ottawa Febuary 17th 2012

2012-02-12T19:44:00.003-05:00

Anne Katrine Senstad: On Kinesthesia for Saint Brigid

In the following excerpt, Norwegian artist Anne Katrine Senstad provides us with the history and conceptual origins of her site-specific installation, Kinesthesia for Saint Brigid. Senstad’s stunning piece will be on view February 15th, between 5-8pm and finally, as part of thePreternatural Closing Event on Friday February 17th, 5-8pm at St. Brigid’s Centre for the Arts. Anne will give a talk at 6pm on the 17th and artists Andrew Wright, Marie-Jeanne Musiol and Adrian Gollner will also be present to take questions from the audience.

Installation view: Kinesthesia for Saint Brigid, St Brigid’s Center for the Arts, Ottawa, 2011-12. Single projection, video, sound. Music by JG Thirlwell.

In dialogue with the deconsecrated church St Brigid’s, the site, sound and time-specific installation Kinesthesia for Saint Brigid creates an environment of projected colors and sound engulfing the church organ, Romanesque columns and vaulting, in the architectural space.

The video piece Kinesthesia for Saint Brigid consisting of ever changing colors and the beautifully haunting sound composition by JG Thirlwell, enveloping the interior experience by transformations and references to the transcendental in art; that which cannot be described other than through one’s own experience. As the title refers to the condition of kinesthesia; the awareness of one’s own movement, we think of the transitional nature of the projected colors onto the space, transforming the space itself into variations of depth, lightness, shapes, a juxtaposition of the sensorial phenomena of light and color – an artificial transformation of space and time.

The poetry and polysemy of the site-specific projection brings the viewer into the authenticity of the church’s architecture. We are brought into an experience of the internal, the meditative and physically engulfing visions of pure color and sound. The kinesthesia of this dialogue, a constant movement and transportation of light through space – continues to change the church interior through time and as viewers engage with their presence.

Installation view: Kinesthesia for Saint Brigid, St Brigid’s Center for the Arts, Ottawa, 2011-12. Single projection, video, sound. Music by JG Thirlwell.

In the tradition of minimal light, space and time art, the video and sound projection installation is about creating life in a space by inserting colors, sound and light. A dissemination through the aesthetics and phenomena of the perceptive and retinal. In an attempt to understand and translate the experience of the video projection installation, it can be related to Dan Flavin’s church installation in Italy consisting of fluorescent light tubes in green, pink, gold and ultraviolet, where the statement of creating ‘living space’ in the church and merging with the architecture is key to perceiving the work.

Don Giulio Greco, priest of the Red Church (Chiesa Rossa) in Milano wrote to Flavin in May 1996 : “I’d be delighted if someone like you could help us to find an ambiance in our church. By ‘ambiance,’ I mean a living space, a place inhabited by the Word”.

Other early light and space artists that can resonate in language and objective to the video projection installation at St Brigid’s Center for the Arts, are artists such as James Turell, Douglas Wheeler and Robert Irwin amongst others, who relate the sensorial experiences of space with immersive environments, directing the flow of natural light, embedding artificial light within objects or architecture, or by playing with light through the use of transparent, translucent or reflective materials.

The transformative is a vehicle to the artwork and perceptive experience.

By inserting The Word in Don Giulio Greco’s letter to Flavin, we are reminded of the original usage of the space, here a non-de-consecrated church, a church dedicated to devotion and the spiritual. St Brigid’s center for the Arts is devoted to the arts, be it performance, installation, sound or the visual arts and is a former church, de-consecrated. The purity of site-specific work based around color, light and sound in the tradition of the light and space artists, merges the elements of art for art’s sake and restores a sense of experiential states of being; awareness and the perceptive, which is in direct dialogue with the original use of the church. The bridge between historic content, time, and space.

The installation Kinesthesia for Saint Brigid is the third projection installation in the series. The two first projection exhibitions took place in Buenos Aires in September 2011 at ThisIsNotAGallery with the solo exhibition, The Infinity of Colour, and in Norway in October 2011 at Utsikten Kunstsenter, also a solo show, entitled Kinesthesia in Kvinesdal. The exhibition Kinesthesia for Saint Brigid at St Brigid’s Center for the Arts in Ottawa marks the cornerstone for the trilogy. All installations have been unique and variable in execution with multiple projectors, 4 channel surround sound, fabrics, wind machines and video sequences projected. All music for the installations has been composed, performed and produced by JG Thirlwell. ( www.foetus.org)

Installation view: Kinesthesia in Kvinesdal. Utsikten kunstsenter, Norway. 2011. Multiple projectors, surround sound, wind machine, fabric. Music by JG Thirlwell.

Installation view: The Infinity of Colour. ThisIsNotAGallery, Buenos Aires, Argentina. 2011. Multiple projectors, surround sound, fabric. Music by JG Thirlwell.

Exhibition opening - Kinesthesia for Saint Brigid - A Site-Specific installation

2012-01-22T13:25:00.005-05:00

PRETERNATURAL PRESENTS

Kinesthesia for Saint Brigid

By Anne Katrine Senstad

Music by JG Thirlwell

Curated by Celina Jeffery

Jan. 29^th – Feb 17^th 2012 , 4-7 pm

St Brigid’s Centre for the Arts
310 St. Patrick Street 

Ottawa ON K1N 5K5 
Canada

Anne Katrine Senstadʼs site-specific video and sound projection installation Kinesthesia for Saint Brigid examines the phenomenology of light, color, sound, ocular perceptionsand spatial relations in dialogue with the deconsecrated church, St Brigid in Ottawa, Canada.The installation piece is meditative, pulsating and hypnotic in its investigation of the sensorial andexperiential.As such, Thirlwellʼs score corresponds with the journey of pure light and color projections andfrequential wavelengths in the former cathedral space. Thirlwellʼs composition careens betweensoft plucked interludes to musiq concrete visions to cinematic mind fields, with a meticulous marriage of samples and live instruments, distressed sounds of mysterious unknown quantities.

Exhibition catalogue published by Punctum books, Brooklyn, NY

Contact: info@preternatural.ca

For further information please visit www.preternatural.ca

With Generous support from:

The Royal Norwegian Embassy Ottawa

St Brigid's Center for the Arts

The Canadian Museum of Nature

Canadian Arts Council

University of Ottawa

Grand opening of The Wolfe Center for the Arts at BGSU with Public Art Commission THE ETERNAL

2011-12-15T13:22:00.001-05:00

Grand openining of The Wolfe Center for the Arts at BGSU, Ohio December 9th 2011. Unveiling of public art commission for the lobby wall entitled The Eternal - funded by Ohio State Arts Council, Percent for the Arts Program.

BGSU mens choir perform at the grand opening

With Craig Dykers and Elaine Molinar from Snøhetta Architects NYC who designed the Wolfe Center for the Arts.

External view of lobby entrance with view of lobby art work

THE ETERNAL - Lobby art for the Wolfe Center at BGSU, Ohio

2011-12-04T23:09:00.002-05:00

Public Art Commission for The Wolfe Center for the Arts at BGSU in Ohio. Art work title is: The Eternal. Size 28x86 ft and consists of 39 photographic pieces, aluminum and plexiglas. The Building is designed by award winning architectural firm Snøhetta.

Rencontres Internationales Paris/Berlin/Madrid

2011-11-10T23:35:00.003-05:00

Rencontres Internationales Paris/Berlin/Madrid - International film and video festival
The Locker Plant Projections - w music by JG Thirlwell.
8.20 min. single channel video,stereo version, 2011 - The Locker Plant Projections will be screened :
Saturday, November 19 - 4 pm

Centre Pompidou, Cinéma 2
Place Georges Pompidou - 75004 Paris
Rencontres Internationales will take place in Paris from November 18 to 26, at Centre Pompidou and Gaîté Lyrique.

http://art-action.org

The Sugarcane Labyrinth Film

2011-11-10T15:13:00.007-05:00

The Sugarcane Labyrinth will premier as part of the exhibition Preternatural, curated by Celina Jefferey at The Canadian Museum of Nature in Ottawa. December 9, 2011, to February 12, 2012.

http://preternatural.ca/

Exhibition catalogue is available for purchase from Puntum Books December 2011.

http://punctumbooks.com/titles/preternatural

The Sugarcane Labyrinth by Anne Katrine Senstad

Soundtrack composed and performed by JG Thirwell as both 4:1 surround sound and stereo versions.

A short film about the making and experience of The Sugarcane Labyrinth located in Theriot, Louisiana. The Sugarcane Labyrinth is a 1,4 acre Time, Site and Process specific Agricultural Land Practice piece created through 2009. The piece was made in collaboration with sugarcane farmer Ronnie Waguespack, Triple K & M Farms - Thibodaux and agricultural economist Alexandre Vialou.

11.22 min
HD Video

Funded by : Norwegian Visual Artists Remuneration Fund/Billedkunstnernes Vederlagsfond
©annekatrinesenstad 2011

Preternatural

Curated by Celina Jeffery
Dec. 9th, 2011 to Feb. 17th, 2012, Ottawa, Ontario

The Museum of Nature:
9th Dec., 2011 to 12th Feb., 2012
Marie-Jeanne Musiol, Mariele Neudecker, Anne Katrine Senstad, Sarah Walko and Andrew Wright

St. Brigid’s Centre for the Arts:
Adrian Göllner, 10th-17th Dec., 2011
Avantika Bawa, 7th-19th Jan., 2012
Anne Katrine Senstad, 29th Jan. – 17th Feb. 2012

Patrick Mikhail Gallery:
Shin Il Kim, 4th Jan. – 7th Feb., 2012

The natural, unnatural and supernatural collide in an exhibition of contemporary art that will be launched at the Canadian Museum of Nature on 9 December. Preternatural will span three venues over three months and include artists from Ottawa, Hull, UK/Germany, USA, Norway, India and Korea.

Une série d’expositions qui prend pour objet l’en delà du monde naturel sera inaugurée le 9 décembre 2011 au Musée canadien de la nature à Ottawa. Préternaturel se déploiera dans trois lieux en plusieurs temps et présentera des artistes d’Ottawa, de Gatineau, du Royaume-Uni/Allemagne, des États-Unis, de la Norvège, de l’Inde et de la Corée.

Talks and Catalogue:

Talks with the artists and curator Celina Jeffery are planned throughout the course of the exhibition, full details will be available from the website www.preternatural.ca.

An accompanying catalogue will be published by publisher punctum books and will feature essays by curator Dr. Celina Jeffery and philosopher Levi R. Bryant.

Des discussions avec les artistes et la commissaire sont prévues pendant la durée de l’événement et les détails seront affichés sur le site web www.preternatural.ca. Le catalogue de l'exposition sera publié sur demande par l’éditeur punctum (punctumbooks.com) et comprendra des textes de la commissaire Dr. Celina Jeffery et du philosophe Levi R. Bryant

Exhibition Catalogue : Preternatural

2011-10-21T08:33:00.003-04:00

punctum books ● brooklyn, ny

Preternatural

The preternatural, as explored by these artists, disturb the ontological boundaries of art, nature and metaphysics. They exist within the folds of classificatory thresholds: both beyond and between nature and supernature; human and animal; vegetable and mineral; living and dead. The confusion between animate and inanimate is a primary concern, a surreality which unites with the preternatural’s love for reveling in the mysterious: bizarre fragments, unreadable words, objects of absurd scale, and distortions of the relativity of time and space flourish throughout this exhibition.

by Celina Jeffery

Preternatural is the catalogue for a multi-site art exhibition (9 December through 17 February, 2011, in Ottawa, Canada) that draws from the idea that art itself is a form of preternatural pursuit, in which the artists participating explore the bewildering condition of being in between the mundane and the marvelous in nature. It questions a world that understands itself as accessible, reachable, and ‘knowable’ and counters it with a consideration of this heterogenous proposition.

At St. Brigid’s, a deconsecrated church Adrian Göllner (Canada), Avantika Bawa (India/USA) and Anne Katrine Senstad (Norway) explore the preternatural as a phenomenological condition through the investigation and exploration of perceptual illusions, the appearance of apparitions, and synaesthetic effects. In Adrian Göllner’s site-specific installation, puffs of white smoke appear and then dissipate in time with Handel’s Messiah from the ornate vaulted ceiling, gesturing at an ethereal presence. Avantika Bawa seeks to subvert, tease and create a play of artifice in an otherwise unique and extraordinary place with her interventions that involve the placement of yellow plastic wrapping along the pews, a yellow ramp on the altar, and the playing of the musical key of ‘e’ from a ‘boom box.’ Anne Katrine Senstad further investigates the tradition of mystical melody with The Kinesthesia of Saint Brigid, a video projection which frames the organ at the rear of the church.

At the Canadian Museum of Nature, there is both reverence and mystery in Mariele Neudecker’s (UK/Germany) works which capture, invert, and re-make nature. Informing Neudecker’s work is the preternatural’s ability to subvert the logic of that which is both strange and familiar, a condition which is shared by Andrew Wright (Canada), who addresses the landscape of the Arctic as a heterotopic space that is disorienting, bewildering, and curious. Marie-Jeanne Musiol’s (Quebec, Canada) electromagnetic photographic technique is used to create a herbarium, in which spectral images reveal microcosmic concerns through tiny particles of light that emanate through the darkness. Sarah Walko’s (USA) It is least what one ever sees is a highly intricate installation that comprises many hundreds if not thousands of tiny, disparate sculptural and live objects that seek to exist outside of ‘natural’ logic. In The Sugarcane Labyrinth, a video by Anne Katrine Senstad (Norway), we encounter the making of a labyrinth on a farm in Theriot, Louisiana, USA which engages with local farming strategies in an act of sustainability, recovery, and rejuvenation. Lastly, Shin Il Kim’s (Korea/USA) work at the Patrick Mikhail Gallery bridges the spectral inquiry at St. Brigid’s and the subversions of the natural world at the Museum of Nature exhibit.

This exhibition retains the preternatural’s engagement with prodigies: the exceptional and wonderful in the context of the natural, while acknowledging its critical unravelling of nature as art and art as nature. As such, it accepts the bizarre and incongruous nature of its etymology, in which art, nature, and comprehension collide and asks: what may be the experience of the preternatural in contemporary art?

The catalogue includes a Foreword and an Introduction, “Beyond Nature,” by Celina Jeffery, as well as an essay by Levi R. Bryant, “Wilderness Ontology.”

FORTHCOMING in December 2011.

Celina Jeffery is an art historian, curator and educator. She received a Ph.D. in Art History and Theory from the University of Essex (2002), is Associate Professor of Art History and Theory, and the Chair of the Visual Arts program at the University of Ottawa. She is the co-editor (with Gregory Minissale) of Global and Local Art Histories (2007) and the co-founder and editor of Drain Magazine: A Journal of Contemporary Art and Culture (2004-present). She has curated more than fifteen international exhibitions, including: Lines of Flight, at Hunter College, NYC, 2007; Afterglow (featuring Ghada Amer, Alfredo Jaar and Bill Viola, among others) in Lacoste, France, 2007; Wangechi Mutu: The Cinderella Curseat the ACA Gallery, Georgia, USA,; and Hold On, co-curated with Avantika Bawa at Gallery Maskara, Mumbai. Her research interests include globalization, navigation and cartographies, the ‘spiritual’ experience in art, and the history and practice of curating. She is currently compiling the edited anthology The Artist as Curator, to be published by Intellect.

Kinesthesia in Kvinesdal

2011-10-07T04:30:00.001-04:00

Kinesthesia in Kvinesdal - an exhibition and installation at Utsikten Kunstsenter

Exhibition title: Kinesthesia in Kvinesdal
Location: Utsikten Kunstsenter, Kvinesdal - Norway
Organised by Torill Haugen, Director Utsikten Kunstsenter
Music for installation video by J G Thirlwell
Music for video works in the exhibition composed, produced and performed by J G Thirlwell and St Cecilie

Kinesthesia in Kvinesdal exhibition documentation video: 8.53 min

Exhibition dates: October 9th - December 10th 2011

The video shows the exhibition installation consisting of multi projections, fabric and 4 channel surround sound. The first installation of this exhibition entitled The Infinity of Colour, took place at Thisisnotagallery in Buenos Aires, Sept 2011 - however the installation at Utsikten Kunstsenter is unique to the location and site specificity.

Special thanks to:
Torill Haugen - Director Utsikten Kunstsenter
Utsikten Kunstsenter
Utsikten Hotell
Kvinesdal kommune
PNEK

Interview on Ohio TV for installation of Public Art at BGSU The Wolfe Center for the Arts

2011-09-28T14:22:00.001-04:00

Interview on WBGU- TV from the completion of the Public Art Mural at The Wolfe Center for the Arts , Bowling Green State University in collaboration with Snøhetta Architechts, BSGU and Ohio State Arts Council.

The Infinity of Colour - a projection installation at THISISNOTAGALLERY

2011-09-21T19:08:00.005-04:00

The Infinity of Colour is a documentation of the multiple projection and surround sound installation at THISISNOTAGALLERY in Buenos Aires, Argentina, with the same title. The exhibition opened September 16th 2011 with a performance by Norwegian artist St Cecilie who is responisble for the composition for the video work The Venus Chapter. The soundtrack for this piece is by J G Thirlwell and is the soundtrack for the main video works in the exhibition.

THISISNOTAGALLERY
Cabrera 5849, Palermo
Buenos Aires - Argentina
thisisnotagallery.com

The Infinity of Colour Anne Katrine Senstad
Sept 16- Oct 03 2011

The exhibition The Infinity of Colour represents Anne Katrine Senstad’s new body of work focused on light, color and sound. She has created a labyrinthian space of projections and sound that examine the phenomenology and the notions of sensorial aesthetics and experiences of light, color, sound, ocular perceptions, spatial relations and awareness of the process of perception through multi channel projections and the dimensional properties of 5:1 surround sound. The piece is meditative, pulsating and hypnotic in its simplicity of light, color and sound environments.

The exhibition presents the video works: Colour Kinesthesia (2010), Colour Synesthesia Variation I and II (2010-11), KInesthesia for Saint Brigid (2011), The Locker Plant Projections (2011) and The Venus Chapter (2011).

Juanele Ar - Art Critic Blog Buenos Aires

2011-09-17T14:02:00.002-04:00

Link to : The Venus Chapter, featured on Juanele Ar
.
Link to: Review in English or Spanish

Hues of time and space

by Gabriela Schevach

Criss-crossing beams of light in Anne Katrine Senstad’s newest installation transform This is Not a Gallery into an alternate experience of space — turning the old industrial warehouse into a theatre of lights, colors and music, housing a troupe of fantastic and transparent images that appear and multiply in the big room, which nevertheless stays strangely empty.

Anne Katrine Senstad, The Infinity of Colour, Installation View

There are no reflected objects or persons in the room. In the huge warehouse, three video projectors stand almost at floor level and four transparent cloths hang in parallel to the walls. The cloths are tied to the girders of the tall ceiling and fall vertically towards the floor, without touching it. They form an ethereal square that floats in the middle of the gallery. Each video projector, located in a corner of the hall, projects its light onto the transparent fabric diagonally in front of it. It beams the same image, which multiplies, appearing seven times on different surfaces, on the fabric and the walls, at different sizes, and passes through the transparent material to reach the parallel wall, where it projects the same image, only bigger.

Senstad’s installation art in this old warehouse creates an atmosphere of immersion, where the soft and constant movements of light, color, and music encourage a different perception of time and space.

Cecile Richard performing in Senstad's installation The Infinity of Colour

The video piece Color Variations II creates differently colored beams that range from diffuse sparkles that spread and flood the room to abstract geometric images, looking like flags of imaginary nations. The outline of a modernist construction suddenly appears in different colors and shades in The Locker Plant Projections, another of the video works. In another piece, The Venus Chapter, a woman walks along the shore at night as if the wind doesn’t exist. The space of the gallery has been turned into an enchanted stage — a site for the abstract coexistence of historical and imaginary periods of time, inhabited by a mix of ghosts and shadows of visitors and characters.

Anne Katrine Senstad, The Infinity of Colour, Installation View with guests

At the show’s opening, the sense of the spectral intensified during the performance of St. Cecile, a.k.a. Cecile Richards. The singer, who collaborates and composes the music for many of Senstad’s video pieces, moved among the cloths and videos in a long, white, flowing dress. Her slow movements recalled the image of the birth of Venus, just out of the sea. It invested her figure with a voice, a sound coming from the depths of her body. While the tone varied from low to high, it flooded the room with sound and echoes. Her voice articulated no recognizable word — it remained as abstract as the music and the pure color of light. The empty space housed this solid, snow-white character transmitting this mysterious, floating voice, powerful enough to transport us to a nocturnal scene outside of time where wind is only an image and music is a liquid in which to swim and dance.

St. Cecile performing in Senstad's installation The Infinity of Colour

2011-09-13T23:01:00.000-04:00

http://svae.as/

ANNE KATRINE SENSTAD

17. september - 9. oktober 2011

Kinesthesia for Saint Brigid, 2011
Single channel video, 8,21 min
Edition: 6
Musikk: JG Thirlwell

KURATOR CHRISTINE ISTAD

Videoverket Kinesthesia for Saint Brigid tar for seg de perseptuelle og sensoriske erfaringer man opplever gjennom farger, lys og lyd. Som retinale visjoner i fenomenet The Prisoner’s Cinema, beveger fargene seg i pulserende og hypnotiske strukturer og former, hvor lyd og farger forenes i en koloristisk og artifisiell sfære. Kinesthesia for Saint Brigid er videoverk nummer fire i serien Colour Kinesthesia og Colour Synesthesia, Version I & II, 2010-11 - hvor serien ble vist for første gang i Norge ved Stiftelsen 3,14 i Bergen, sommeren 2011.
Senstad har samarbeidet med musiker, produsent og komponist JG Thirlwell, kjent som mannen bak Foetus, Wiseblood og Manorexia prosjektene. Thrilwell har komponert et dimensjonalt og cinematiskt lydbilde til Senstad’s video arbeider.

Fra kunstkritiker Tommy Olssons anmeldelse av Senstad’s utstilling Is Her Name Red? på Stiftelsen 3,14 i Bergen - Morgenbladet 8/7 2011.

En blå stemme?

Farger finnes ikke, vi lever våre fattige liv i mørke.

På puten. Det er selvfølgelig ikke det som skjer her, der flatene legger seg tett opp mot den mer stille grenen av abstrakt ekspresjonisme som best representeres av Mark Rothko. Dette dreier seg overhodet ikke bare om rødt, eller rosa, men hele malerskrinet – selv om det fremst er primærfargene som blir observert. I videoprojeksjonene Colour Kinesthesia og Colour Synesthesia, plassert i 45 graders vinkel fra hverandre i et hjørne, med sitteputer på gulvet for publikum (selvfølgelig bare meg, og ingen annen, en solsenkt tidlig ettermiddag i Bergen) skifter disse fargene i ultrarapid og gir ikke noen unødvendig informasjon fra seg, siden den uansett ikke finnes. Der jeg sitter på puten og funderer over hvordan jeg i alle dager skal klare å reise meg opp igjen noensinne legger jeg spesielt merke til lydbildet. Det er, selvfølgelig, monotont og brummende, og ville fort fått meg til å grine og mislike i håpløs fortvilelse hadde det ikke vært for at det er nok komplekst og gjennomført til at det skal løfte seg over den gjengse standardlyden til nær sagt hvert eneste meditativt videoarbeid som er produsert noensinne. Det viser seg at en gammel helt står bak denne lyden; JG Thirlwell, for noen bedre kjent som Foetus, mannen som under 1980 tallet ga desperat industriell kakofoni en struktur få av hans samtidige var i nærheten av. Selvfølgelig måtte det til noen av det kaliberet for å ikke ødelegge hva som i utgangspunktet faktisk bare er litt gult, blått og rødt i poetisk bevegelse.

Anne Katrine Senstad er en Norsk kunstner basert i New York og har hatt et langt og internasjonalt kunstnerskap. Hun er representert i internasjonale samlinger, bl.a. Zendai Moma i Shanghai, Gary Snyder Fine Art i New York og private samlinger i USA, Norge, Seoul, Brasil og Frankrike.

TIME OUT BUENOS AIRES

2011-09-13T22:42:00.000-04:00

Time Out Buenos Aires

Norwegian visual artist Anne Katrine Senstad has exhibited her work across the globe: from New York to Brussels, Shanghai to Monaco. Now she brings her installation "Infinity of Colour" to Buenos Aires at ThisIsNotAGallery. Senstad combines surround sound, colour, and light projections to investigate sensory experience. The opening reception takes place this Friday at 19h with a performance by St. Cecile. (Cabrera 5849)

http://www.timeout.com/buenos-aires/

The Infinity of Colour

2011-09-06T15:30:00.008-04:00

THISISNOTAGALLERY
Cabrera 5849, Palermo
Buenos Aires - Argentina
http://www.thisisnotagallery.com

The Infinity of Colour Anne Katrine Senstad

Sept 16- Oct 03 2011

Opening reception Sept 16 th 7-9 pm with performance by St Cecile at 7.45 pm

The exhibition The Infinity of Colour represents Anne Katrine Senstad’s new body of work focused on light, color and sound. She has created a labyrinthian space of projections and sound that examine the phenomenology and the notions of sensorial aesthetics and experiences of light, color, sound, ocular perceptions, spatial relations and awareness of the process of perception through multi channel projections and the dimensional properties of 5:1 surround sound. The piece is meditative, pulsating and hypnotic in its simplicity of light, color and sound environments.

The exhibition presents the video works: Colour Kinesthesia (2010), Colour Synesthesia Variation I and II (2010-11), KInesthesia for Saint Brigid (2011), The Locker Plant Projections (2011) and The Venus Chapter (2011).

With generous support from:

Real Embajada de Noruega

Nicholas Silver

Video production:

Manuel Sander

Benny Mouthon CAS
Adrinadrina

Arts Council Norway

The music composed by J G Thirlwell (of Manoriexia,Foetus and Wiseblood), as 5:1 surround sound, creates a physical dimensional sound that moves cinematically from channel to channel within the physical space. The symphonic ambient mindfields of Thirlwell´s compositions strongly corresponds with the visual journey of Senstad's pure light and color.

The music composed by St Ceclie for the video piece; The Venus Chapter, is a journey through sensual and emotional spaces that echo the visual experiences of transformations of light and colors, shapes in nature and the human figure. A live performance of St Cecilie's composition will take place at the opening reception.

KUNST Magazine - Norway

2011-09-02T11:11:00.000-04:00

UTSIKTEN KUNSTSENTER

2011-09-01T20:22:00.009-04:00

ANNE KATRINE SENSTAD - KINESTHESIA IN KVINESDAL
Utsikten Kunstsenter
Oct 9th – December 11th 2011
www.utsiktenkunstsenter.no

A multi channel video installation at Utsikten Kunstsenter located in Kvinesdal in a fjord on the west coast of Norway.
Four channel surround sound by J G Thirwell. The main exhibition will contain the works Colour Kinesthesia, Colour Synesthesia Variation I and II, 2010 and Kinesthesia for Saint Brigid, 2011 - music by J G Thirlwell. Showing in the interior project room; The Locker Plant Projections, 2011 with music by Thirlwell and The Venus Chapter, 2011 with music by St Cecilie.

Galleri Svae

2011-08-29T14:40:00.003-04:00

Opening Reception September 17th, 2011

KINESTHESIA FOR SAINT BRIGID

Anne Katrine Senstad

Single Channel HD Video

Music composed by J G Thirlwell

September 17th - October 10th 2011

Galleri Svae

Kauffeldts plass 2

2815 Gjøvik

Ph : + 47 61 17 30 05

http://www.svae.as

The Venus Chapter

2011-08-26T16:34:00.000-04:00

A video work by Anne Katrine Senstad
Music by St Cecilie
In collaboration with AdrinAdrina

4 Channel Surround Sound
6.56 min
Edition of 6
© AKS 2011

Public Art Commission - Wolfe Center for the Arts

2011-08-25T15:45:00.009-04:00

Final installation of Mural for Lobby Public Art at Wolfe Center for the Arts, BGSU, Ohio

Eternal

Installation of Public Art Commission for the Wolfe Center for the Arts at Bowling Green State University, Ohio. The installation is commissioned by Ohio State Arts Council - Percent for Art Program, Snøhetta Architects and BGSU.

Title: Eternal
Size : 28 x 86 ft
Medium: Photographic C-Prints, Plexiglas and Aluminum Brackets
The piece consists of 39 panels total, 71 1/4 inches x 94 inches with 2 inches between each panel.

Opening of building: December 9th 2011

The Wolfe Center for the Arts is designed by Snøhetta Architects, NYC

Wolfe Center for the Arts, Designed by Snøhetta Architects, NYC

BGSU Wolfe Center for the Arts Lobby, 39 Panel Mural on left, Mural located above staircase is entitled Horizon B4

Exhibition Review in Morgenbladet July 8 2011 by Tommy Olsson

2011-07-10T14:58:00.001-04:00

Exhibition Review in Morgenbladet July 8th 2011 by Tommy Olsson

En blå stemme?

Farger finnes ikke, vi lever våre fattige liv i mørke.

Så, for å gå tilbake litt; jeg anbefalte vel denne for en eller to eller syv uker siden, av ren intuisjon mer enn noe annet. Eller kanskje det var en ekko fra tidligere røde monokromer et sted i bakhodet som var

avgjrende? Spiller ingen rolle – det blir uansett noe ganske annet enn man tror når man virkelig oppsøker det.

Anne Katrine Senstad har bygget opp utstillingen med verk fra to nokså forskjellige serier av arbeider. The Pink Project, som består av en serie nesten monokrome fotografier (jeg tror det er fotografier,

de oppfører seg i hvert fall sånn, selv om de i grunnen adresserer maleriets selve fundament; fargen). Dette gir oss ordet «Red» i utstillingens tittel. Ved siden av dette en serie portretter av norske kvinner

i forskjellige aldrer – ofte i bunad – under tittelen The Norwegians – Women. Dette gir oss like selvfølgelig ordet «Her» i utstillingens tittel. Da gjenstår ordene «Is», «Name» og et spørsmålstegn. Er navnet hennes «Rød»? Bortsett fra at jeg har en venninne som opererer under pseudonymet «Red» på

Facebook kan det virke som dette hinter til en ganske utbredd oppfatning rundt hva fargene representerer eller hva vi lar de representere. Egentlig finnes det ikke farger, og vi lever våre fattige liv i totalt mørke der vi krabber rundt i et permanent skiftningene i prismet finner sted er det fort gjort å tillegge nyansene betydninger som ikke nødvendigvis er fundert i noe annet enn en emosjonell respons. Og det er ikke særlig til å stole på, så da ender du opp med rødt som stoppsignal, samtidig som det får representere alt fra sinne til kjærlighet via et mareritt av blod og jordbær.

På puten. Det er selvfølgelig ikke det som skjer her, der flatene legger seg tett opp mot den mer stille grenen av abstrakt ekspresjonisme som best representeres av Mark Rothko. Dette dreier seg overhodet

ikke bare om rødt, eller rosa, men hele malerskrinet – selv om det fremst er primærfargene som blir observert. I videoprojeksjonene Colour Kinesthesia og Colour Synesthesia, plassert i 45 graders

vinkel fra hverandre i et hjørne, med sitteputer på gulvet for publikum (selvfølgelig bare meg, og ingen annen, en solsenkt tidlig ettermiddag i Bergen) skifter disse fargene i ultrarapid og gir ikke noen unødvendig informasjon fra seg, siden den uansett ikke finnes.

Der jeg sitter på puten og funderer over hvordan jeg i alle dager skal klare å reise meg opp igjen noensinne legger jeg spesielt merke til lydbildet. Det er, selvfølgelig, monotont og brummende, og ville fort fått meg til å grine og mislike i håpløs fortvilelse hadde det ikke vært for at det er nok komplekst og gjennomført til at det skal løfte seg over den gjengse standardlyden til nær sagt hvert eneste meditativt videoarbeid som er produsert noensinne. Det viser seg at en gammel helt står bak denne lyden; JG Thirlwell, for noen bedre kjent som Foetus, mannen som under 1980 tallet ga desperat industriell kakofoni en struktur få av hans samtidige var i nærheten av. Selvfølgelig måtte det til noen av det kaliberet for å ikke ødelegge hva som i utgangspunktet faktisk bare er litt gult, blått og rødt i poetisk

bevegelse.

Så vidt friksjon. Portrettene av de norske kvinnene er så klart noe ganske annet, men legger seg også komfortabelt til rette i en godt definert tradisjon. Spørsmålet blir, i forhold til begge disse seriene, om

det egentlig er litt for komfortabelt. Her kan det uansett se ut til at det er denne nå litt daterte fikseringen ved det norske som atter en gang resirkuleres en ekstra runde, idet bunader passerer revy. Men det er og noe tidstypisk ved denne iscenesettelsen – de står ute i en skog og ser oftest rett inn i kamera. En av dem mener jeg å ha truffet for ikke så lenge siden. Men kan slike bilder løsrive seg fra den nostalgien som ser ut til å følge med alt som lukter av nasjonal identitet? Det «norske» ser som oftest ut til å sitte fremst i

presentasjonsformen, eller lett gjenkjennelige visuelle koder. Men det som virkelig forstyrrer, og derfor også vekker min genuine interesse, er kombinasjonen.

Utstillingen gjør med dette grepet rede for to distinkte strategier innenfor den samtidige kunstdiskusjonen, som hver for seg graviterer ned mot et nullpunkt innenfor sitt eget avgrensede – eller ok, muligens ubegrensede når vi forholder oss til fargeflatene for hva de er heller enn hva de sier oss innenfor institusjonens vegger – univers. Så langt fra hverandre at det bare så vidt oppstår en friksjon ved

møtet, bare akkurat nok til å utfordre en nerve bak øyeeplet til den som ikke er fargeblind. Og akkurat nok til at du skal notere så vel farger som ansikter med et litt mer oppgradert blikk når du går ut i den solstenkte byen etterpå. Vi får vel se hvor lenge det varer. Solbrillene må jo uansett på igjen.

tommy olson

Komplekst: Anne Katrine Senstads The Pink Project følges av et brummende lydspor.

Art critic Tommy Olsson's recommendations - Morgenbladet Newspaper

2011-07-03T18:04:00.000-04:00

Olsson anbefaler
Tommy Olsson gir deg hver uke sine kunstanbefalinger.
Morgenbladet 24 Juni 2011

Anne Katrine Senstad Is Her Name Red?
Stiftelsen 3,14, Bergen
Rødt er en jentefarge, det vet man jo. Selv fikk jeg dette gnidd inn av min far da han foraktfullt omtalte en arbeidskollega som hinsides femi, siden denne ikke bare hadde blitt sett i byen med en paraply(!), men på toppen av alt hadde valgt seg en paraply som var rød! Dette, skjønte jeg, var fryktelige ting, og selv når jeg bodde i Bergen brukte jeg bare paraply når det ble tvunget på meg, og en gang i en kritisk fortid så ... nei, jeg vil fortsatt ikke tenke på det. Men, altså, en farge er jo aldri bare en farge i denne verden der vi tilskriver de minste nyanser betydninger som ikke nødvendigvis fantes der før oss. Og rødt er aldri bare rødt heller, hvis du nå innbilte deg det. Regner med en koloristisk sjokkterapi her.

Review of exhibition Is Her Name Red? - Kunstkritikk July 1- 2011

2011-07-01T14:23:00.004-04:00

Nasjonens farge?

Av Arne Skaug Olsen

Anne Katrine Senstad, Colour Synesthesia Variation I & II og Colour Kinethesia, installasjonsfoto. (Foto: Arne Skaug Olsen.)

IAnne Katrine Senstads utstilling forsøker hun seg på en sammenføring av fenomenet farge med nasjonsidentitet, eller snarere av farge som utgangspunkt for erfaring av en slik identitet. Videoverket Colour Kinesthesia and Colour Synesthesia – Variation I and colour Synesthesia, Variation II er veiledende for utstillingen i så måte. Begrepet kinestesi betegner kroppens evne til å oppfatte sin egen plassering i rom gjennom bevegelse, mens synestesi betegner en kognitiv erfaring av korrelasjon mellom forskjelligartede fenomener. Tittelen antyder sterkt at farge er et materiale Senstad bruker for sette betrakteren i bevegelse, både fysisk og mentalt. Det som beveger betrakteren sterkest er allikevel kanskje lydsporet komponert av J G Thirlwell. Det gamle bankhvelvet verket vises i settes i bevegelse når de forskjellige frekvensene resonnerer i videorommets vegger, noe som skaper en erfaring av kroppslig stilstedeværelse som oppleves mer umiddelbar enn de visuelle arbeidene.

Anne Katrine Senstad, fra The Pink Project.

The Pink Project består av en serie fotografier av ulike graderte fargeflater. Utover å være glossy godteribilder skriver de seg inn i en representasjons-problematiserende praksis. Det optisk fangede og kjemisk fikserte fotografiet står i en særstilling når det brukes abstrakt eller nonfigurativt; det kan aldri løsrive seg fullstendig fra link til verden, slik maleriet kan. Bildene fremstår som krysninger mellom to representasjonsregimer. Det fotografiske med sitt avtrykk av verden på den ene siden, og fargesynestesien som skal fremkalle arbitrære men konsistente assosiasjoner hos betrakteren på den andre. Det er i hvert fall meningen, men spørsmålet er om man som betrakter er med på spillet eller om man blir stående på utsiden. Bergen er en så liten by at byoriginalene preger bybildet. En av disse går under navnet Fargedamen. Hver dag har for henne en egen farge, og derfor kler hun seg utelukkende i gult den ene dagen, grønt den andre, rødt den neste. Fargedamen ville kanskje vært den rette til å anmelde denne utstillingen. For besøkende med dårligere utviklede synestetiske evner risikerer prosjektet å bli både for cerebralt, banalt og kitchy på samme tid.

Anne Katrine Senstad, fra The Norwagians. Sara Marielle Gaup.

The Norwegians er en serie med fotografiske portretter av norske kvinner, vist som et slideshow. De fleste modellene er fotografer med en temperert natur som bakgrunn, i parker eller hager, noen mot hvit bakgrunn. Både formalt og i tittelen er det en tydelig link til August Sander, som med Menschen des 20. Jahrhunderts skapte en katalog over mellomkrigstidens tyske befolkning. Portrettene iThe Norwegians er stort sett av kulturarbeidere, men også politikere, embetskvinner, militære, forskere, atleter i forskjellige typisk norske kostymer. Felles for de alle er at de er en del av en post ‘68 generasjon kvinner som på hvert sitt vis framstår som gode forbilder, et minste felles multiplum av kvinnelig, urban, borgerlig og kulturell middelklasse med ambisjoner.

Det springende punktet er om de abstrakte arbeidene i utstillingen bidrar til det potensielt kritiske prosjektet den figurative delen av utstillingen legger opp til. Fargearbeidene framstår i denne sammenstillingen som mindre komplekse enn portrettene, men også som mindre akutt viktige. The Norwegians er en hyllest til den kulturelle middelklassens kvinner, men tilbyr også et kritisk blikk på de nasjonale symboler og kulturelle koder som kjennetegner dem. I utstillingens tittel refereres det til et henne som muligens har rød som farge, og i teksten som følger utstillingen er den underliggende påstanden at Norges farge er rød. Dette spørsmålet trekker utstillingen opp fra den kognitiv-emosjonelle bakevja og inn i en mulig sosial og politisk kritikk av nasjonalt selvbilde, og den type kritikk kan vi aldri få for mye av i en tid hvor Norge er i krig og den borgerlige offentligheten forvitrer.

Installation views from Is Her Name Red? at Stiftelsen 3,14

2011-06-27T09:22:00.009-04:00

From the exhibition Is Her Name Red? at Stiftelsen 3,14 in Bergen, Norway

June 25th - August 14th 2011.
Curated by Malin Barth, Director Stiftelsen 3,14.

Gallery view 1 of the video trilogy installation Colour Kinesthesia and Colour Synesthesia Variation I and II, 2010-2011.
Music by J G Thirlwell. Technical support Benny Mouthon and Manuel Sander.

Gallery Installation view 3 of slide show of The Norwegians - Women, 2009 (no sound) and Gallery entrance showing 2 photographic pieces from The Norwegians - Women

Gallery installation view 3 : From the lens based series The Pink Project, 2004-07

Is Her Name Red? Opening Reception June 24th - Stiftelsen 3,14 Bergen, Norway

2011-06-16T14:28:00.004-04:00

Exhibition Catalogue Essay by Malin Barth, Director 3,14

It is very exiting to present the world of artist Anne Katrine Senstad. Her exhibition provides an extensively glimpse into her visual universe and all it has to offer. She represent the very new generation of self exiled Norwegian artists who is settled in New York - for this group of artists it has become true nature to work internationally. Only within the last couple of years alone she has exhibited in numerous institutions and galleries across 3 continents. She still keeps Norway close at heart in her artistic exploration and as a starting point from where to draw inspiration for investigation of contemporary notions of identity. The motives are endorsed with expectations and contradictions, as well as contrasts and transitions. The work introduces ambiguity on one hand, and intrigue on the other.

Senstad holds a unique ability to work across artistic styles and media. She moves freely between photography, video, and installation. For her solo exhibition at 3,14 we present three distinct strains of work that share a concern with the photographic portrait as well as abstract light and color recordings. Each work provides viewers with clues about an expansive scenario, but reveals nothing conclusively. The combination and placing of works making us study the impact of both the figurative as well as the abstract language. She has explored minimalist aesthetic and the possibility of abstract minimalism in photography alongside her other more resonant figurative images which richly drawn from the history of photography. Cross genre collaboration introducing sound as an important aspect also become significant in her recent work.

What creates the link between Senstad´s diverse works in this exhibition might not be apparent. By giving it some time to contemplate the work one might want to unite characteristic elements that add up and summarize markers of individual and cultural identity. Portraiture is recognized and established as revelatory of identity. A portrait can set forth to articulate an experience of our existence in time and space. What determines us as individuals, at a profound level, is the visible. It is the gaze that is from outside ourselves, and it is through the gaze we enter light and it is from the gaze that we receive our realization. From within we experience light and color as both objective and subjective. Color and light is fundamental visual element and part of defining the human experience. It influences us physically, psychologically, and socially; aspects of determining identity.

For the exhibition at 3,14 - consider Senstad`s work in a context of the force of globalization.

Globalization frequently leads to disorientation for both national and individual identity. Norway has a longstanding tradition characterized by the quest in the historic period of 1814 to 1905 to locate and promote something purely Norwegian--something which Norwegians would like to identify with in order to legitimize an independent Norway. Skiing, combined with healthy sportsmanship and polar re-search became significant and pivotal then, and are still at the core of the identity in the present day as well. Senstad has included facets of this in her photographic portrait series. In The Norwegians, Volume Two, we are presented with Grete Waitz, the legendary marathon runner and advocate for woman athletes, Bente Erichsen, The Director of the Nobel Peace Center is featured in her training attire and hiking boots and the Musician Cecilie Hafstad Richards with her daughter in traditional cross country skiing jacket. Portrayed in a typical red anorak is also the explorer Liv Arnesen, who looks like she “is going on a hike”, a deep cultural obsession in Norway. Due to renewed interest and focus on media debates about immigration and national identity as a whole and “what is typically Norwegian” , here locally the codified national traits and activities are receiving increased analytical distance. Norwegians have in the last couple of decades been more frequently brought into contact with people whom they define as different through their own travels, influx in tourism, and entry of immigrants, and are thus brought to reflect on their own identity. They must be able to reflect why they describe themselves as Norwegians. Furthermore, the “shrinking” of the world imposed by globalization seems to lay pressure on their identity as something distinctive. The old and rather familiar is successively being replaced by the new and somewhat alien. It seems to threaten one´s uniqueness. On the other hand, the force from cultural complexity and globalization can play a major part of a modern identity crisis, that simultaneously should be understood as resolutions to dissolution of rigid borders. In Senstad´s abstract minimalist video and photography projects of color and light, she works with one of the most fundamental and essential elements in art. There are several universal meanings and collective unconscious reactions to colors, as well as biological reactions; for example to ensure survival like recognizing the color of ripe food. Today´s multicultural society shares global color significance on a number of things such traffic lighting where red means “stop” and green means “go” etc., but individuals from various cultures assign diverse meanings to color still, despite rapid globalization. Colors obtain symbolism through cultural references in the culture one grew up in, shaping human thought, emotions, and conduct. By looking closer at the color yellow one discovers it signify qualities such as hazards and coward in the West; reliability and strength in Saudi Arabia; royalty in China, while courage and love in Japan; commerce in India; mourning in Mexico and Egypt. Gender, age, class also play a major role in how people react to color on a visceral level, and with which color they associate themselves with. Pink is thought to have a calming effect in Western culture and should be “the” symbolic color of Norwegians, who like to identify themselves with “peace and quiet”. But her name is red.

I wish to express my gratitude and special thanks to the artist, Anne Katrine Senstad, for her enthusiasm in exhibiting with us at 3,14. Thanks to all the effort she has put into making this exhibition a success and supporting the curatorial take on her work. The works in this exhibition represent an in-depth view of her artistic production and the artist´s development in recent years. This exhibition can be seen in relation to a string of recent shows at 3,14 with focus the individual person in our globalized world.

Malin Barth, Director Stiftelsen 3,14

The Colour Kinesthesia Soundtrack

2011-05-27T10:23:00.010-04:00

Video Soundtrack:
Colour Kinesthesia and Colour Synesthesia I and II

JG Thirlwell's new Manorexia CD entitled Dinoflagellate Blooms, features a remix of the composition Kinesthesia Thirlwell made for my video installation Colour Kinesthesia and Colour Synesthesia Variation I and II, just released on Entopic Ent. The video installation premiered at The Museum of Modern Art of Ukraine in April as part of the exhibition Neurodiversity curated by KJ Baysa and will also be shown at Stiftelsen 3,14 in Bergen, Norway opening June 23 2011 as part of my one person exhibition Is Her name Red? curated by Malin Barth, in Buenos Aires at ThisIsNotAGallery opening Sept 16 2011, a one person exhibition entitled The Infinity of Colour, curated by Carlos Baragali, and at Utsikten Kunstsenter, Norway opening Oct 9th 2011 in a one person exhibition entitled Kinesthesia.
Supported by Art Council Norway and Royal Norwegian Embassy Argentina.

http://www.thisisnotagallery.com
http://www.stiftelsen314.com
http://utsiktenkunstsenter.no

Manorexia: Dinoflagellate Blooms

EctEnts034

Listen Stereo CD and 5.1 DVD  Dinoflagellate Blooms features eleven compositions composed, produced and performed by JG Thirlwell. The package includes a CD of the album in stereo, and a DVD with the album in glorious, immersive 5.1 surround sound.

The album careens between soft plucked interludes to full blown symphonic frenzy, from musiq concrete nightmares to cinematic mindfields, with a meticulous marriage of samples and live instruments, distressed sounds and mysterious unknown quantities.

http://foetus.org/content/shop/cds

The Locker Plant Projections

2011-04-28T22:15:00.003-04:00

The Locker Plant Projections

A Video by Anne Katrine Senstad

Music by J G Thirlwell
4 Channel surround sound
8.20 min

This video piece part of a site specific projection series of my video-installation piece Colour Kinesthesia. It can be thought of as an auto referential documentation piece.

The Locker Plant is a former butcher and meat packing plant, one of a group of buildings Donald Judd acquired in Marfa, TX - it is now part of The Chinati foundation.

Still images from the video:

Is Her Name Red? at Stiftelsen 3,14 in Bergen, Norway

2011-04-21T15:31:00.017-04:00

Is Her Name Red? at Stiftelsen 3,14
A One person exhibition - 06/24/11 – 08/14/11
Curated by Malin Barth - Director, Stiftelsen 3,14
Opening reception June 24

Stiftelsen 3,14
Vaagsallmenningen 12
5014 Bergen, Norway www.stiftelsen314.com

I will be showing the video installations Colour Kinesthesia and Colour Synesthesia I and II with a 4 channel surround sound composed piece by JG Thirlwell, Photographic works from The Pink Project and The Norwegians - Women, an installation.

PINK GALLERY - PAST AND PRESENT

2011-04-20T14:56:00.010-04:00

Pink Gallery

서울시 서초구 서초동 1460-21, 2층

Seoul, SuChoKu SuChoDong 1460-21, 2nd Fl, South, Korea

82-70-8887-6388

http://www.pinkgallery.org/

Past and Present - 17~20c Master's drawing and 21c 3 Women Arists

과거와 현재 - 17~20세기 마스터의 드로잉/판화 와 함께 보는 21세기 여성3인전.

Artists :
피카소 Pablo Picasso
샤갈 Marc Chagall
마티스 Henri Matisse
클림트 Gustav Klimt
마네 Édouard Manet
램브란트 Rembrandt
아나 샌스타드 Anne Senstad
그래이스 림 J. Grace Rim
김혜연Hey-Youn Kim

Pink Gallery Hours: 7 days a week (월요일 부터 일요일) 11am - 6pm
infopinkgallery@gmail.com
Phone 82.70. 8887.638

Dates : 05/24 – 07/24 2011

Museum of Modern Art of Ukraine - Neurodiversity

2011-04-04T19:04:00.001-04:00

AUT 2011 Neurodiversity at Museum of Modern Art of Ukraine

2011-03-02T13:33:00.002-05:00

Showing my video piece Colour Synesthesia Variation 1, 2011
8.53 min
Music: J G Thirlwell
4 channel surround

AUT 2011 - Neurodiversity
Curated by Koan Jeff Baysa and Tatiana Gershuni
Opening and reception: April 7, 6PM

Exhibitions dates: through May 7, 2011

Venue: Museum of Modern Art of Ukraine
Hlybochitska str. 17, Kyiv, Ukraine http://modern-museum.org.ua/

Stills from video

MY PERSONAL FLAG - MARFA, TX

2011-02-22T16:59:00.003-05:00

My personal flag - at Fancy Pony Land, Marfa - TX
A group show of flags - I will be showing The Sugarcane Labyrinth Flag

Opening March 18th, on view through May
Curated by Lorna Leedy

Fancy Pony Land
Box 1252
Marfa, TX 79843
http://www.fancyponyland.com

2011-02-14T22:27:00.012-05:00

LOVE IS A RIVER

Estuary Gallery

39 Front Street, Loft 7

Beacon, NY 12508

Ph Gallery: 845.765.0747

http://beaconarts.org/second-saturday

http://estuarygallery.wordpress.com/

Opening reception Saturday March 12th 2011
March 12th - May 1st 2011

I will be showing the video piece THE RIVER OF MIGRATION - A documentary video piece on my permanent Light and Land installation piece at Life is Art Foundation West October 2010.

4.53 min

HD DVD

Edition of 6

AHAF HK 2011- Asia Top Gallery Hotel Art Fair

2011-01-03T02:12:00.002-05:00

Anne Katrine Senstad showing with PINK Gallery - Seoul, Korea
HAF HK 2011- Asia Top Gallery Hotel Art Fair
http://www.hotelartfair.kr/

MANDARIN ORIENTAL HONG KONG February 25 to February 27, 2011
5 Connaught Road, Central Hong Kong Tel: +852 2522 0111

AHAF 香港2011 - 亚洲顶级画廊酒店艺术画展，在亚洲艺术网的主持下，将于2011年2月25日~2月27日在香港文华东方酒店举行。亚洲艺术交流网致力于统合亚洲艺术市场，继第一次举办成功2008年东京新大谷饭店以来，陆续在2009年首尔和2010年香港举办了画展。从2010年开始重生为AHAF SEOUL, AHAF HK，致力于活跃亚洲主要城市的艺术市场。

THE BIENNIAL WINTER SALON 2010

2010-11-13T13:45:00.003-05:00

B j ö r n R e s s l e A r t P r o j e c t s
at Elga Wimmer Gallery
526 West 26th St. #310
New York, NY. 10001

THE BIENNIAL WINTER SALON 2010
December 11th, 2010 - January 22nd, 2011
Curator: Bjorn Ressle
Associate Curator: Hee Yuen Chun

Showing works from the lens based series Colour Kinesthesia 2010

Ok Hyun Ahn, Lawrence Anastasi, William Anastasi, Carl Andre, Stuart Arends, Maria José Arjona, Augusta Atla, Chan Hyo Bae, Robert Barry, Joseph Beuys, Nancy Brett, John Cage, John Chamberlain, Jinkee Choi, Sangah Choi, Chuck Close, George Condo, Linda DiGusta, Robert G. Edelman, Jacob El Hanani, Ron Gorchov, Hans Haacke, Jene Highstein, Gary Hill, Sook Jin Jo, Neil Jenney, Alex Katz, Miru Kim, Songyi Kim, Linda Karshan, Sol Kjok, Melissa Kretschmer, Tadaaki Kuwayama, David Lachapelle, Zaun Lee, Sol LeWitt, Gerard Malanga, Robert Mangold, Robert C. Morgan, Gerard Mossé, Oliver Mosset, Rakuko Naito, Richard Nonas, Dennis Oppenheim, Keun Young Park, George Quasha, Robert Rauschenberg, Lovisa Ringborg, Cordy Ryman, Ethan Ryman, Robert Ryman, Will Ryman, Fred Sandback, Julian Schnabel, Anne Katrine Senstad, Andres Serrano, Maxwell Stevens, Danielle Tegeder, Yuken Teruya, Richard Tuttle, Cy Twombly, Ali Van, Bernar Venet, Merrill Wagner, Joan Waltemath, John Waters, Marjorie Welish, Mark Wiener, Leah Yerpe, Mark Zimmermann

Title: CK8A9 - 2010
Edition: 6
Medium: Photographic C-Print
Size: 11x14 inches and 50x60 inches

The River of Migration Video

2010-10-23T11:40:00.005-04:00

The River of Migration, a Light and Landworks installation by Anne Katrine Senstad at Life is Art Foundation West in California. The Land Art piece is a permanent installation created for the inaugural opening of Life is Art Foundation West - an extension of KK Projects in New Orleans, October 2010. Curated by Kirsha Kaechele. Video by artist Anne Katrine Senstad. 4.54 min

The River of Migration

2010-09-23T17:11:00.013-04:00

The River of Migration by Anne Katrine Senstad

A permanent Light and Land installation curated by Kirsha Kaechele

Opening October 15th 2010

http://lifeisartfoundation.org

www.annesenstad.com

The inaugural exhibition opening of the land art foundation, Life is Art Foundation West in Sonoma, CA, Oct 15th 2010 will include 10 international artists.

THE RIVER OF MIGRATION STATEMENT

The River of Migration, consists of 72 solar power run lights, that are placed on a mountainside in a long consecutive line, creating a light contour of the landscape. The representational land and light piece creates a spatially drawn line and a geographical mapping of the Californian landscape, as well as a gesture to the politics of migration. The intention of light, represents a river of light and a human river of the nameless. The lights are placed as a gesture to those who failed to cross the US-Mexican boarder, or have been murdered in the process. This permanent installation brings attention to the current US boarder politics, the erection of the boarder wall towards Mexico, the fact that California was once Mexican/native American, the violent deaths of people attempting to cross the boarder, as in the murder of the 72 individuals from various Central and South American countries who resisted being used as drug traffickers in 2010.

As the solar panel lights are lit from dusk till dawn, when most people cross the boarders illegally, that physical practicality will serve to establish the phenomena of non-governmentally controlled migration. The notion of a long line of lights down a hillside, talks about the nature of migration, how bodies of peoples crossing long distances, will naturally walk in a sequential manner according to age, physical health, group importance and their task within the group.

The phenomena of artificial lights in a natural untouched landscape, talks about the notion of light and darkness, nature and the artificial, the environment and the untouched landscape providing a scenario for interaction and intention. The use of solar power lights emphasizes environmental and sustainable concerns by using light to create light.

The London Art Book Fair

2010-09-21T15:14:00.005-04:00

The Norwegians Volume Two will be presented at London Art Book Fair 2010 with FFF/Forbundet Frie Fotografer, Norway

Designed by Pure + Applied, NY

Essays by Kjetil Røed and Malin Barth

The London Art Book Fair 2010 will take place at the Whitechapel Gallery from 11am on the 24-26 September 2010.The London Art Book Fair is an annual event devoted to international art publishing. Hosted by the Whitechapel Gallery in association with Marcus Campbell Art Books, The London Art Book Fair presents the work of individual artist publishers, galleries, magazines, colleges, arts publishing houses, rare book dealers and distributors alongside a wider associated programme of talks and events. Exhibitors have been selected by an advisory board comprisingMarcus Campbell (rare book dealer); Tacita Dean (artist);Franz König (publisher & bookseller); Farshid Mousavi (Co-founder, Foreign Office Architects); and Soraya Rodriguez(Director, Zoo Art Fair) who have ensured that the fair includes representatives of the most vibrant, stimulating and diverse art book production. The fair will include a special preview on Thursday 23 September 2010 for booksellers, distributors, collectors, and the arts and literary press.

http://www.whitechapelgallery.org/exhibitions/the-london-art-book-fair

VERWERTUNG Interdisciplinary Arts Festival Berlin

2010-06-21T14:54:00.011-04:00

Showing :

"Light Writes Always in Plural - Light Displacement, Section Three" 2009, at VERWERTUNG

June 25th - July 5th 2010

STATTBAD WEDDING

Gerichtstraße 65
13347 Berlin

Video Screenings "Verwertung"

CURATORS LAILA EVENSEN & PAUL PRENDERGAST

Paul Prendergast and Laila Evensen are co-curating two film/video programs for the Verwertung Arts Festival. The two different screenings will draw on artists interpretations of “Verwertung” within the framework of further sub categories.

All works are experimental shorts from an international artist base, with the aim to present a full picture of the current movements and trends taking place in contemporary film/video practice and also an educational glance back to rarely seen older work.

Presented Artists:

Bob Levene (UK), Alex Pearl (UK), Ina Helen Otzko (NO), Anne Senstad (NO), Rob Gawthorpe (UK), Christopher Gladwin (UK), Ben Gwilliams (UK), Peter MC Partlan (UK), Jo Millett (UK), Veronica Mota (MX), Daniela Gast (DE), Michael Smyth (IE), Paul Prendergast (IE), Laila Evenson (NO), Jennifer Baumeister (DE), Thad Povey(USA), Sylvia Schedelbauer(DE/JAP), John Smith (UK), Venessa Renwick (USA), Venessa Renwick (USA),Thorsten Fleisch(DE), Ronnie Close(IE), Yvonne Bucheim(DE), Craig Baldwin(USA), Gareth Kennedy and Sarah Browne(IE).

Ecoartspace Benefit Exhibition at Exit Art

2010-04-07T01:04:00.003-04:00

Ecoartspace first NYC benefit exhibition "What Matters Most?".

The show and benefit party will be hosted by Exit Art in NYC from April 15 – 28th, 2010.

Report on The Reason for my Life

2010-03-22T17:33:00.006-04:00

The Reason for My Life - an installation by Anne Katrine Senstad at Museo Evita, Buenos Aires - Argentina

The Video Report on The Reason for My Life is a documentation on Senstad's installation and happening at The Eva Peron Museum/Museo Evita in Buenos Aires Nov 25-29 2009, in collaboration with VIBA Festival.

The Reason for My Life is a site specific and situation piece based on Eva Peron's autobiography and a play on

de- and re-construction of words and language (English, Spanish and Chinese).

The project was curated by Andrew Utt and produced by Carolina Montejo.

In collaboration with:

VIBA

Museo Evita

ThisIsNotAGallery

Embajada de Noruega

The Norwegian Cultural Council/Fond for Lyd og Bilde

Diaspora USA Chapter

2010-03-01T11:15:00.010-05:00

1. Site specific installation The Light House at KK Projects in St Roch, New Orleans, curated by Koan Jeff Baysa Nov 2007- Feb 2008

2. Installation piece Diaspora USA Chapter at The Lab - NY, curated by Koan Jeff Baysa and Matt Semler May 2009

THE LAB (for installation + performance art)  

501 Lexington Avenue  New York, NY. 10017  

Diaspora USA Chapter - An installation by Anne Katrine Senstad

May 8 – 29th 2009

Curated by Koan Jeff Baysa

Diaspora USA Chapter

Senstad’s installation Diaspora USA Chapter is based on the remains of a hurricane Katrina damaged shotgun cottage in New Orleans. The original derelict cottage is the home of Senstad’s site specific installation The Light House at KK Projects, curated by Koan Jeff Baysa 2007/08, and the source for the video piece, Light Writes Always in Plural – Section Three, 2009. The video trilogy Light Writes Always in Plural – Section One, Two and Three is projected onto cardboard boxes, a suitcase and rubble in the space.

“The items used for the installation are arranged from memory of the remains of that particular cottage, and I have collected objects and paraphernalia from local sources that recreate a social/economic status of the displaced inhabitants”, says Senstad. The walls serve as the exterior of the cottage with a floodwater line and spray painted inspection signature that still remains in New Orleans to this day. TFW (which stands for Task Force Wildcat – a national Guard Unit) with indications of date of inspection, number of dead people found in house, number of dead people removed from house, and name of agency that performed the inspection.

The 4 ft office lights are arranged in a similar pattern as in the video and original installation. The objective for reference to the original installation, is based on aesthetic documentation and re-use of materials as a source for this new installation.

The Lab Video coverage on youtube of installation process:

http://www.youtube.com/watch?v=5w07EYiDYLI

http://www.youtube.com/watch?v=N2Q6a6n6vss

http://www.youtube.com/watch?v=PnX1Z4j6gog