PINK BIFURCATIONS - A documentation of a site specific installation by Anne Katrine Senstad in Sian Ka'an, Mexico - in collaboration with Gem & Bolt.
2.29 min ©AKS 2012
Friday, May 4, 2012
Pink Bifurcations - An installation at Sian Ka'an, Mexico
PINK BIFURCATIONS - A documentation of a site specific installation by Anne Katrine Senstad in Sian Ka'an, Mexico - in collaboration with Gem & Bolt.
2.29 min ©AKS 2012
Monday, April 16, 2012
The Guarding of the Lamb
The Guarding of the Lamb
By Anne Katrine Senstad
2012
8.17 min
Single channel DV
No Sound
Friday, April 13, 2012
Wednesday, February 15, 2012
SEEING OURSELVES at MuseCPMI - New York
Seeing Ourselves
Curated by KJ Baysa and Caitlin Hardy
MuseCPMI
850 Eighth Avenue
New York, NY 10018
www.musecpmi.org
March 2 - April 14th 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.
“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, Stephen Auger, Christophe Bedaguer and Marie Pejus with Christophe Laudamiel and Christoph Hornetz, Stefani Bardin and Toby Heys, Jonathan Beer, Nancy Burson, Naomi Campbell, caraballo-farman, Joyce Cutler-Shaw, Scott Draves, Simon Drouin, Greg Dunn, Laura Ferguson, Angela Freiberger, Pablo Garcia, Sarah Elise Hall, Hugh Hayden, Pinkney Herbert, Nene Humphrey, Elizabeth Jameson, Sophie Kahn, 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, Max Steiner, Satre Stuelke, Visual MD, Claire Watkins, David Webster, Heron Werner MD with Professors Jorge Lopes dos Santos and Ricardo Fontes, Graham Wiggins, Virgil Wong with Jessica Lacson and Akshay Kapur
Sunday, February 12, 2012
Exhibition closing event St Brigid's Art Center- Ottawa Febuary 17th 2012
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: 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.
Installation view: The Infinity of Colour. ThisIsNotAGallery, Buenos Aires, Argentina. 2011. Multiple projectors, surround sound, fabric. Music by JG Thirlwell.
Sunday, January 22, 2012
Exhibition opening - Kinesthesia for Saint Brigid - A Site-Specific installation
PRETERNATURAL PRESENTS
Kinesthesia for Saint Brigid
By Anne Katrine Senstad
Music by JG Thirlwell
Curated by Celina Jeffery
Jan. 29th – Feb 17th 2012 , 4-7 pm
St Brigid’s Centre for the Arts
310 St. Patrick Street
310 St. Patrick Street
Ottawa ON K1N 5K5
Canada
Canada
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
Thursday, December 15, 2011
Grand opening of The Wolfe Center for the Arts at BGSU with Public Art Commission THE ETERNAL
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
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