16:9
Stereo
3.40 min
Stereo
3.40 min
Friday, July 25, 2014
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.
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.
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.
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.
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.
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.
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)
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
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
OR NOT Magazine - Light Writes Always in Plural
http://www.ornotmagazine.it/project/light-writes-always-in-plural/
May 8th 2014
Light writes always in plural – Anne Senstad
di Sarah Corona
Da Goethe a Octavio Paz, attraverso James Turrel, Dan Flavin
e Douglas Wheeler, per arrivare a una sola cosa: la luce in
tutte le sue forme e colori. La luce come oggetto, come
elemento architettonico, la luce come motto filosofico. La
luce come confine politico ed etico.
e Douglas Wheeler, per arrivare a una sola cosa: la luce in
tutte le sue forme e colori. La luce come oggetto, come
elemento architettonico, la luce come motto filosofico. La
luce come confine politico ed etico.
Come per dire, “La luce scrive al plurale”[1], ponendo l’accento
sul fatto che il suo raggio d’azione non ha confini. Si comporta
come l’acqua, s’infiltra dappertutto, occupa lo spazio e lo altera
fisicamente e psicologicamente.
sul fatto che il suo raggio d’azione non ha confini. Si comporta
come l’acqua, s’infiltra dappertutto, occupa lo spazio e lo altera
fisicamente e psicologicamente.
I media che Senstad usa per esprimersi variano dal neon alla
proiezione, dalla stampa fotografica all’installazione site-specific
e la land-art. Senstad si occupa di inserire la luce e/o corpi
luminosi nello spazio quotidiano – sia esterno o interno,
abitato o non. E questi corpi fungono spesso come metafora
o messaggeri di un mondo umano in cui emozioni ed esistenza
sono ridotti al minimo.
proiezione, dalla stampa fotografica all’installazione site-specific
e la land-art. Senstad si occupa di inserire la luce e/o corpi
luminosi nello spazio quotidiano – sia esterno o interno,
abitato o non. E questi corpi fungono spesso come metafora
o messaggeri di un mondo umano in cui emozioni ed esistenza
sono ridotti al minimo.
È proprio l’opera al neon “Light Writes Always in Plural” che
apre lo scenario alla produzione artistica di Senstad. Ispirata
dal titolo di Octavio Paz nel saggio sulle opere d’arte di
Marcel Duchamp “Water Writes Always in Plural”, il neon
non solo emana la sua luce bluastra dovunque, come
l’acqua, ma rappresenta anche un gioco intelligente di
parole e concetti di filosofia e vita. Sotto il tubo fluorescente
si nasconde un’attenta analisi e critica della nostra lingua,
intesa come mezzo di comunicazione di massa.
apre lo scenario alla produzione artistica di Senstad. Ispirata
dal titolo di Octavio Paz nel saggio sulle opere d’arte di
Marcel Duchamp “Water Writes Always in Plural”, il neon
non solo emana la sua luce bluastra dovunque, come
l’acqua, ma rappresenta anche un gioco intelligente di
parole e concetti di filosofia e vita. Sotto il tubo fluorescente
si nasconde un’attenta analisi e critica della nostra lingua,
intesa come mezzo di comunicazione di massa.
Alla letteratura e alla filosofia di grandi pensatori sono ispirate
anche gli altri lavori al neon. “Forget Flavin” nasce dal titolo
dell’articolo di Baudrillard “Oublier Foucault” (1977),
un’ode/critica a Foucault che è sempre rimasta senza risposta.
Senstad si appropria del concetto trasformandolo in opera
d’arte luminosa “Forget Flavin”, dichiarando all’artista
minimalista americano la sua ammirazione e antagonismo.
Tradotto in ideogrammi cinesi, la frase assume poi non
solo un addizionale valenza visiva/iconografica, ma la
relazione immagini/parola è caricata di ulteriore significato.
Un terzo esempio è “Light Owe’s it’s Existence to the Eye”,
una citazione di Goethe e un riferimento alla sua ossessione
per la luce e il colore. Le opere/ frasi al neon sono quindi
subliminali promemoria e sintomi visivi di un
concetto intellettuale/artistico, tradotti in oggetto tangibile.
anche gli altri lavori al neon. “Forget Flavin” nasce dal titolo
dell’articolo di Baudrillard “Oublier Foucault” (1977),
un’ode/critica a Foucault che è sempre rimasta senza risposta.
Senstad si appropria del concetto trasformandolo in opera
d’arte luminosa “Forget Flavin”, dichiarando all’artista
minimalista americano la sua ammirazione e antagonismo.
Tradotto in ideogrammi cinesi, la frase assume poi non
solo un addizionale valenza visiva/iconografica, ma la
relazione immagini/parola è caricata di ulteriore significato.
Un terzo esempio è “Light Owe’s it’s Existence to the Eye”,
una citazione di Goethe e un riferimento alla sua ossessione
per la luce e il colore. Le opere/ frasi al neon sono quindi
subliminali promemoria e sintomi visivi di un
concetto intellettuale/artistico, tradotti in oggetto tangibile.
Un aspetto più politico assumono le installazioni nella natura,
o land art. Un’opera esemplare è “The River of Migration”
(2010) realizzato nella bassa California e fatto di 72 luci
piantate nel paesaggio collinare, in modo da creare un
una linea spaziale che interferisce con quella geografica.
Non si tratta solo di un intervento nella geografia, ma di
un forte gesto di opposizione alle politiche di migrazione:
un’opera/monumento silenziosa a quelli che hanno perso
la vita cercando di fuggire oltre il confine del Messico.
Le lampade a energia solare rappresentano le vittime del
2010, anno di realizzazione del progetto. La sequenza delle
luci ricorda l’atto di processione migratoria, il raggruppamento
dei membri secondo età, stato di salute, compito nel gruppo.
Il fenomeno di luce artificiale in un paesaggio naturale e
incontaminato riflette sulla nozione di giorno e notte, luce
e buio, proponendo un pretesto d’intenzionale interazione.
o land art. Un’opera esemplare è “The River of Migration”
(2010) realizzato nella bassa California e fatto di 72 luci
piantate nel paesaggio collinare, in modo da creare un
una linea spaziale che interferisce con quella geografica.
Non si tratta solo di un intervento nella geografia, ma di
un forte gesto di opposizione alle politiche di migrazione:
un’opera/monumento silenziosa a quelli che hanno perso
la vita cercando di fuggire oltre il confine del Messico.
Le lampade a energia solare rappresentano le vittime del
2010, anno di realizzazione del progetto. La sequenza delle
luci ricorda l’atto di processione migratoria, il raggruppamento
dei membri secondo età, stato di salute, compito nel gruppo.
Il fenomeno di luce artificiale in un paesaggio naturale e
incontaminato riflette sulla nozione di giorno e notte, luce
e buio, proponendo un pretesto d’intenzionale interazione.
Le opere nelle quali però riesce a catturare maggiormente
l’attenzione dello spettatore sono le grandi installazioni
ambientali. Attraverso la proiezione di luce colorata tinge
interi ambienti di rosso, blu, giallo, verde e tutte le loro
sfumature intermedie. Combinato a suoni prodotti appositamente,
si crea una poesia visiva e lo spettatore è indotto a
un’esperienza sensoriale che, attraverso visioni di puro colore
e suono, confina a un fenomeno sinestetico. Senstad spiega:
“È la percezione oculare che si sperimenta in natura, combinata
a un’illusione ottica vissuta fisicamente, perché avvolti da campi
di colore, forme e suoni artificiali, a creare momenti di totale
sinestesia.”
l’attenzione dello spettatore sono le grandi installazioni
ambientali. Attraverso la proiezione di luce colorata tinge
interi ambienti di rosso, blu, giallo, verde e tutte le loro
sfumature intermedie. Combinato a suoni prodotti appositamente,
si crea una poesia visiva e lo spettatore è indotto a
un’esperienza sensoriale che, attraverso visioni di puro colore
e suono, confina a un fenomeno sinestetico. Senstad spiega:
“È la percezione oculare che si sperimenta in natura, combinata
a un’illusione ottica vissuta fisicamente, perché avvolti da campi
di colore, forme e suoni artificiali, a creare momenti di totale
sinestesia.”
Cosi è l’opera “Kinesthesia for Saint Brigid” (2011-12),
un’installazione composta da una continua proiezione
di colori in una chiesa sconsacrata ad Ottawa (Canada).
Accompagnata da un sottofondo musicale incalzante,
composito da JG Thirlwell, l’opera dà origine a
un’esperienza d’arte trascendentale. “Si tratta di creare
vita in uno spazio chiuso e inabitato” dice Senstad.
Evoluzione di quest’opera è “Universals” (2013), esposta
nell’ambito della 55. Biennale di Venezia del 2013. Un
poligono realizzato con tubi di plexiglass trasparente
abita il centro dello spazio espositivo ed è continuamente
esposto a campi di luce colorati. La scultura nasce
dalla scissione dei campi di proiezione di luce, e la
seguente ricomposizione in un solido. L’opera sfida i
confini dell’architettura, del video e dell’idea tradizionale
di scultura nell’ambito di uno spazio chiuso e definito
ed evidenza il tentativo di solidificare lo spazio che
luce e colore abitano. E chiusi e ben definiti sono
anche le sue stampe digitali nelle quali possiamo
osservare piante d’ipotetiche sculture, solidi impossibili
fatti di raggi colorati e visibili. Come direbbe Goethe,
“visibili solo grazie a una perfetta combinazione tra la
distribuzione dell’ombra e della luce riflessa da un
oggetto trasparente.”
un’installazione composta da una continua proiezione
di colori in una chiesa sconsacrata ad Ottawa (Canada).
Accompagnata da un sottofondo musicale incalzante,
composito da JG Thirlwell, l’opera dà origine a
un’esperienza d’arte trascendentale. “Si tratta di creare
vita in uno spazio chiuso e inabitato” dice Senstad.
Evoluzione di quest’opera è “Universals” (2013), esposta
nell’ambito della 55. Biennale di Venezia del 2013. Un
poligono realizzato con tubi di plexiglass trasparente
abita il centro dello spazio espositivo ed è continuamente
esposto a campi di luce colorati. La scultura nasce
dalla scissione dei campi di proiezione di luce, e la
seguente ricomposizione in un solido. L’opera sfida i
confini dell’architettura, del video e dell’idea tradizionale
di scultura nell’ambito di uno spazio chiuso e definito
ed evidenza il tentativo di solidificare lo spazio che
luce e colore abitano. E chiusi e ben definiti sono
anche le sue stampe digitali nelle quali possiamo
osservare piante d’ipotetiche sculture, solidi impossibili
fatti di raggi colorati e visibili. Come direbbe Goethe,
“visibili solo grazie a una perfetta combinazione tra la
distribuzione dell’ombra e della luce riflessa da un
oggetto trasparente.”
Tuesday, May 6, 2014
Downtown Art Fair, NY May 8-11 2014
http://www.downtownfair.com
No Longer Empty, May 8-11 at the new Downtown Art Fair in NY during Frieze Art Fair.
Adr: Downtown Armory, 68 Lexington Avenue at 25th Street, NY
Curated by Sarah Corona
Anne Katrine Senstad
Title: Tears on a Coffin, 2013.
Neon, transformer, Size: Variable.
Curtesy of Gallery Nine5, NY
http://www.gallerynine5.com
Friday, March 14, 2014
AIVA Video Art Festival
Screening of The Coop with Oslo Screen Festival on tour:
AIVA - Video Art Festival
May 28-31 2014
Finspång
Sweden
AIVA - Video Art Festival
May 28-31 2014
Finspång
Sweden
The Coop is a video piece about the imagined narrative ongoings in a chicken coop. Subjectively examining the nature and territorial behavior of chicken, roosters and hens in a coop, we see through the camera placed at a birds eye view inside the coop the unfolding of feathered characters. The piece is created mostly in slow motion, but with chops in speed and an introduction of an outsider animal towards the end. The well known sound of the rooster has been distorted to the unfamiliar, creating a disturbing effect.
The video is shot on an eco farm upstate New York.
The video is shot on an eco farm upstate New York.
16:9
8.40 min
Stereo
8.40 min
Stereo
Monday, December 30, 2013
Manifesto Magazine China
Video stills and essay on The Locker Plant Projections featured in Manifesto - a design and architecture magazine published by Chinese Architecture firm The Design Republic in Shanghai, December 2013
manifesto
宣言 | 中国上海市徐汇区余庆路88号 邮编200030
88 yu qing road shanghai china 200030
www.thedesignrepublic.com
Friday, December 20, 2013
Tears on A Coffin Documentation video
Tears on a Coffin by Anne Katrine Senstad
A site specific public art installation that took place in Sunnyside, Queens, NY October 2013. Organized by the art foundation No Longer Empty, NY. Curated by Sarah Corona for No Longer Empty.
The project was supported by The Royal Norwegian Consulate General New York, Gallery Nine5, 419 Neon and Sunyside Shines BID.
The installation consisted of Anne Katrine Senstad's Neon sentence, a funeral car, a mariachi band playing funeral songs (not included in the video), a video installation in P.J.Horgan's Irish Pub consisting of scrolling biblical texts, random pub goers, and passerby's. The Neon sentence was later installed in the pub for the remaining weeks of the installation.
©AKS New York 2013.
Tears on a Coffin – Curatorial text; by Sandra Cerisola
Mexico city
Mexico city
Tears on a Coffin is a site specific performative work that was originally planned to take place in Mexico City. It was however conceived as a traveling piece, adapting to a local environment, in this occasion in NYC.
The main focus of the artwork consists of Anne Katrine Senstad’s white Neon sentence - 'Tears on a Coffin', simulating the artist's handwriting and mounted on the roof of a funeral car, referencing advertisement aesthetic in the public realm. The funeral car would circulate through key areas of Mexico City while being filmed, establishing a dialogue with a national context; political, social-economical and historical.
The routes and performances would reference the national political panorama during the last presidential election in Mexico. The first route was planned to pass symbolic national monuments. The performative character of the piece, would have added an aspect of spatial-temporal precision, reactivating representational sites and buildings of Mexican history. Here, the work suggests the 'death' of political utopias - ranging from colonial to modern - in direct relation to the city as fluctuating and in motion.
The second route was planned in the area of Santa Fe; a relatively new urban area containing headquarters of multinational corporations, a huge exclusive shopping mall, upper social-economical residential areas and a private university, all built on the remains of a large garbage dump where extreme poverty continues to co-exist in radical contrast. For this route a traditional rural orchestra was to play in procession following the funeral car. These bands are used for poor people's funerals in rural Mexico. The songs are simple and rough (usually out of tune).
At this stage Tears on a Coffin, was intended to involve a transgressive act in a sterile environment. Spontaneous reactions of people would have been part of the piece, both as regular passerby’s and as participants in the procession. This performance, was meant to stress the existent contrast between two Mexican post-colonial realities represented in the video by the city garbage dump inhabitants, both old and new, and the band with the the new urban opulent development as background.
The visual hyperbole of the neon on the large black funeral car circulating, is ironically suggestive of the evident phenomena in Mexico in this case, where it has been historically common that people react with a closed eye to the abuse of power.
The main focus of the artwork consists of Anne Katrine Senstad’s white Neon sentence - 'Tears on a Coffin', simulating the artist's handwriting and mounted on the roof of a funeral car, referencing advertisement aesthetic in the public realm. The funeral car would circulate through key areas of Mexico City while being filmed, establishing a dialogue with a national context; political, social-economical and historical.
The routes and performances would reference the national political panorama during the last presidential election in Mexico. The first route was planned to pass symbolic national monuments. The performative character of the piece, would have added an aspect of spatial-temporal precision, reactivating representational sites and buildings of Mexican history. Here, the work suggests the 'death' of political utopias - ranging from colonial to modern - in direct relation to the city as fluctuating and in motion.
The second route was planned in the area of Santa Fe; a relatively new urban area containing headquarters of multinational corporations, a huge exclusive shopping mall, upper social-economical residential areas and a private university, all built on the remains of a large garbage dump where extreme poverty continues to co-exist in radical contrast. For this route a traditional rural orchestra was to play in procession following the funeral car. These bands are used for poor people's funerals in rural Mexico. The songs are simple and rough (usually out of tune).
At this stage Tears on a Coffin, was intended to involve a transgressive act in a sterile environment. Spontaneous reactions of people would have been part of the piece, both as regular passerby’s and as participants in the procession. This performance, was meant to stress the existent contrast between two Mexican post-colonial realities represented in the video by the city garbage dump inhabitants, both old and new, and the band with the the new urban opulent development as background.
The visual hyperbole of the neon on the large black funeral car circulating, is ironically suggestive of the evident phenomena in Mexico in this case, where it has been historically common that people react with a closed eye to the abuse of power.
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