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