Thursday, March 16, 2017
Thursday, December 1, 2016
UltraModerne - Good Children Gallery
ULTRAMODERNE / Anne Senstad
Good Children Gallery
4017 St Claude Avenue
New Orleans, LA 70117
www.goodchildrengallery.com
January 14 - February 5, 2017
Opening Reception Saturday January 14th, 6-9 pm
Ultramodernism, a term which Robert Smithson used in his writings tests the limits (etymologically, “ultra-” is an equivalent for “beyond”) of the autonomy of visual arts regarding meaning.
- Yann Ricordel, The Infinite Referent
The window reminds us that we are captives of the room, by suggesting both flight and confinement... The meaning of the window makes one aware of absolute inertia or the perfect instant, when time oscillates in a circumscribed place. The window prevents movement by setting up a transparent barrier...
— Robert Smithson, Ultramoderne, 1967
The Pink Room Has No Walls
- Anne Senstad, 2007
The exhibition UltraModerne offers a view of
Anne Senstad’s discourse on perception and the phenomenology of light, color
and space. These recent works consist of video installation, textile sculpture, neon sculpture and photography that seek to examine immateriality and the experiential domain of
the senses through processes of re-materialization, geometry and
reinterpretation of form. Circling back to the source, there is a re-conceptualization
, reconsideration and reinvestigation of inhabited space and the realms of essence
and origin. All of the works in the exhibition are interconnected through a
shared source; projections of light and color inhabiting space through time, a
total removal of object and ontological experience of the sources. The title
stems from Robert Smithson’s text on the modernist city as representation of a
non-objective world, pursuing
what lies beyond the observable to find truths in nullification and antimatter.
Senstad’s geometric neon sculpture Soft Geometry #
011, derives from preparatory sketches for her reclaimed modernist sculpture
series Universals, creating an illusion of object, volume and dimension. Soft
Geometry is by way of light and color structuralizing and solidifying the
inhabited corner one observes in projections and light beams. A soft geometric
structure, where light expands providing contradictions of form.
There
is a narration in the amalgamation of colors transpiring time and projected
onto corners and walls in the video installation Color Synesthesia VII, where
pure color fields exist between mind and matter. The video is the seventh in the video series with a
composition by electronic sound pioneer and mathematician C.C.Hennix. In dialogue with the video installation,
photographic works deriving from these very projections represent
materialization of the immaterial non-object, arresting alogon and harnessing
it onto the decisive moment’s celluloid surface of color film. Similarly the very same light and color
immateriality creates the substance of the sculptural walls fabrics,
objectifying and materializing that which cannot be held and re organizing
light and color into folds of the physical, the ephemeral into entity and a
phoneme shaping of time.
The exhibition is organized by Good Children Gallery board members Generic Art Solutions. In the Good Children Gallery Project room Generic Art Solutions will jointly be exhibiting Our Mortal Souls consisting of ice sculpture self portraits and video installation which will be recorded as the ice melts during the length of the exhibition, disintegrating the idea of the self and our ecological future.
With Generous support from The Royal Norwegian Consulate General Houston.
Friday, October 14, 2016
OSLO + PARIS Shoot Gallery Norway
Video stills: The Vanity of Vanities All is Vanity, 2013. By Anne Senstad. Single channel video. 6.27 min. Sound by JG Thirlwell.
We have the great pleaseure of inviting you to our new space in Barcode celebrating with an opening show presenting the core of our ambition;
Presenting high quality Norwegian Fine Art Photography in combination with high quality International artists. This time represented by some of our finest Norwegian masters side by side with a french master of the ancient Ambrotype (wet plate collodion photography). We also have the pleasure of introducing video in the gallery for the first time, represented by the New York based artist Anne Katrine Senstad.
ANNE K SENSTAD (VIDEO), N
TOM SANDBERG, N
PER MANING, N
DAG ALVENG, N
ERIC ANTOINE, F
ANNE KATRINE SENSTAD (VIDEO), N
Anne Katrine Senstad is a Norwegian artist based in New York. She was educated at Parsons School of Design and The New School for Social Research in New York. Senstad works in the multidisciplinary intersections of installation art, photography, video, site and performative specific work, text interventions and land art. She is concerned with sensorial aesthetics, perception and the transformative, the transcendental ideas of art and philosophical practice, and social-political awareness. Spatial and topographic considerations of light, sound and color are a foundation for her explorations in the experiential and experimental. Her sources lie in literature, philosophy, technology and cultural phenomena.
Her video work has been shown at Centre Pompidou in Paris, Haus Der Kultur Der Welt, Berlin, Beirut Art Center, Lebanon, The Canadian Museum of Nature, Museum of Modern Art Ukraine in Kiev, Dallas Aurora TX, Video Arte Internacional Buenos Aires, Eva Peron Museum, Argentina, Oslo Screen Festival, Bærum Kunsthall, ATHR Gallery in Jeddah, Saudi Arabia, and ISEADubai2014.
The video work for this exhibition "The Vanity of Vanities All is Vanity" refers to the biblical term and is a reflection on ethics and the illusions of superiority over nature; a state of vanity. The piece was first shown in Senstad's solo exhibition during the 56th Venice Biennale 2015 at El Magazen dell'Arte, as an immersive installation. The piece is accompanied by a soundtrack by JG Thirlwell, who has composed numerous sound works for Senstad's video installations.
The video work for this exhibition "The Vanity of Vanities All is Vanity" refers to the biblical term and is a reflection on ethics and the illusions of superiority over nature; a state of vanity. The piece was first shown in Senstad's solo exhibition during the 56th Venice Biennale 2015 at El Magazen dell'Arte, as an immersive installation. The piece is accompanied by a soundtrack by JG Thirlwell, who has composed numerous sound works for Senstad's video installations.
TOM SANDBERG, N
Tom Sandberg (1953-2014) is one of the most acknowledged Norwegian photographers today, exhibited internationally over the last three decades. His exhibition at P.S.1 Contemporary Art Centre/MoMA in 2007 was the first solo exhibition of work by a Norwegian artist in a New York museum for nearly twelve years. Working exclusively with large format, black-and-white film, Sandberg has produced a remarkable body of work that is consistent in its vision and imbued with a sense of mystery and great depth of feeling. Whether he depicts sublime snow-covered mountains, a car parked in the street, the head of an infant, or a spectral house shrouded in fog, his pictures are about what it means to be alive. Many of Sandberg’s pictures are aerial views—the earth seen from above, in a sense, in a state of suspension. One of his most hauntingly beautiful pictures is that of a plane seeming to hover just a few feet above a runway. Sandberg's work is about photography, about the act of seeing, and ultimately about being in the world. Focusing on a single object or person in each photograph, and steeping them in a murky, wintry light, Sandberg draws out soft tones and moody atmospheres from his subjects to create a pervasive complicity between them and the surrounding landscape. He captured the inner nature of photography with a sober technique.
PER MANING, N
Per Maning (b. 1943) is one of the most appreciated modern artists in Norway. He is particularly known for his animal-themed photography and video works.
The key focuses of Maning’s art are human nature, identity and otherness. His works contribute to the topical discourse in modern art on the relationship between human beings and other species. According to Maning, our identity is not dependent solely on race, gender or nationality. It is also based on our ability to acknowledge ourselves as a species among other species.
Maning was the first artist to represent Norway in the Venice Biennale with Photography in 1995.
DAG ALVENG, N
Dag Alveng was born in Oslo in 1953. His work has been shown in solo and group shows around the world. His photographs are in the permanent collections of major museums in America and abroad, including the Metropolitan Museum of Art, New York; the Museum of Modern Art, New York; Museum Folkwang, Essen; Sprengel Museum, Hannover; Stedeijk Museum, Amsterdam; Moderna Museet, Stockholm; Museet for Samtidskunst, Oslo; DNB Art Collection and Henie-Onstad Kunstsenter, Bærum.
Alveng has published several books, among them ASYLUM (1987), THE SHIPYARD AT SOLHEIMSVIKEN (1990), LAYERS OF LIGHT (1995), SUMMER LIGHT (2001) RACING (2012) and WILSE (2015). He has organized many exhibitions. Between 1986 and 1996 he commuted between Oslo and New York, and now lives in Oslo.
Alveng has published several books, among them ASYLUM (1987), THE SHIPYARD AT SOLHEIMSVIKEN (1990), LAYERS OF LIGHT (1995), SUMMER LIGHT (2001) RACING (2012) and WILSE (2015). He has organized many exhibitions. Between 1986 and 1996 he commuted between Oslo and New York, and now lives in Oslo.
ÉRIC ANTOINE, F
We have the pleasure of launching the French artist Éric Antoine for the first time in Norway.
Éric Antoine was born in 1974. At the age of 21 he left France to live in New York where he found his passion, exploring the possibilities of analog photography.
His images are the product of the painstaking wet collodion process. Returning to the origins in order to create a new future is a common process. For Éric Antoine it meant focusing on nature and simple activities, but also going back to the origins of photography itself, by using one of the earliest and purest techniques. Without being too nostalgic or backward looking, the photographer has chosen a more sedentary photography in a less productive manner, ‘just a few glass plates against the endless flow of digital images’.
The artist draws attention to what we tend to neglect due to lack of time, and denounces sensationalism in all its forms. Each and every image is shot with no rush, with long exposures yet in a modern way, in a place just a little remote from the world. Éric Antoine takes a stand against modern society and its obligations.
Antoine's contemplative aesthetic has been achieved by exploring different definitions of time: historical time, exposure time, measured time. These photographs, whose large formats require careful staging, are imbued with ambiguity, suggesting that the stories hinted at in each image have yet to be completed.
Éric Antoine's photographs are now shown in several galleries in Europe and he is opening his 4th solo show in Paris November 4.
Thursday, September 8, 2016
Sonic Architecture - Museum of Transitory Art
SONICA - a sonic architecture exhibition organized by MOTA - Museum of Transitory Art in Ljubljana, Slovenia Sept 27 - Oct 1, 2016.
I will be participating in SONICA with a text based site specific installation piece Gold Guides Me, part of my ongoing research project Capitalism in The Public Realm that started in 2014, and was originally commissioned by the Bruges Art and Architecture Trienniale 2015 in Belgium as a center piece of the Trienniale. The installation on the late socialist architectural structure talks about the transformation of the former eastern block into a hybrid form of capitalist utopia merged with a state of nostalgic yearning for the past, and ideologies succumbing to materialism. Gold Guides Me is a word play on Boethius's sentence on ethics; Hope Guides Me, from The Consolation of Philosophy.
Dimensions of the original piece are 22 meter x 2 meter, LED light, Aluminum and yellow plexiglas. For SONICA a new smaller version will be installed on the roof of the new MoTa Lab. The Museum of Transitory Art
The new MoTA Lab is situated in a glass-concrete construction, which was built in the seventies, as one of the lesser-known off-springs of the architectural style known as structuralism. Similar buildings with mushroom or umbrella like roof structures include gas stations on Tivolska road, designed by the architect Edvard Ravnikar (near the railways) and Milan Mihelič.
Wednesday, August 31, 2016
Bærum Kunsthall
October 13 - 30, 2016
Opening Reception October 13th 6-8 pm
Everything Else is Too Narrow:
Anne Katrine Senstad, Christine Istad and Anna Marit Staurset
Anne Katrine Senstad, Christine Istad and Anna Marit Staurset
Curated by Sarah Walko
Everything Else is too Narrow brings together the work of three contemporary Norwegian artists. The title is derived from a poem titled All Things by Hadewijch of Brabant (or sometimes called Hadewijch of Antwerp) who lived in the 13th century in what is now Belgium and she is often referred to as one of the greatest names in medieval Flemish and Dutch literature. The poem begins with the lines “All things are too small to hold me” and it was this tone that came to mind in relation to the works in this exhibition. Although the artists vary in mediums, processes and approaches there is a search, an act of uncovering the essence in form in each of the works. Each piece hovers somewhere in the process of becoming or decreation but also transcends temporal cycles of birth and decay. They instead are like suspended threshold occasions, revealing a visual process of when something moves away from one thing to become another. The ancient Greek word poïesis is the root of our modern word "poetry" however it was first a verb. It was an action. The action referred to anything that transforms and continues the world, but not in technical production or in a romantic sense. It referred to an action that reconciles thought with matter and the individual person in time. The works carry this tone of both reconciliation and awe. They seem to strive not to generate meaning, but rather to simply reveal the meanings that are already there.
Christine Istad uses the camera to pull out patterns and elemental structures from her surroundings. All pieces in this exhibition are large format printed on brushed aluminum and are in-depth studies of small fragments of reality. In her work she is striving for a sense of interconnection; how things relate to each other and how they fit together. She focuses on architectural structures, however the architecture is often only sensed and she pulls out the abstraction from the concrete forms. In her process she is interested in discovering, the discovery of a motif or something surprising or noteworthy in the surroundings. Her photographs are never manipulated; they are taken as they are seen. Istad’s broader focus is on the relationship between humans and modern society. Franz Kafka wrote about what many have termed “modern man’s cosmic predicament”, the struggle of the individual within cities during his time. Istad’s work elicits a similar investigation with the themes of finding beauty and space for contemplation within alienation and searching for a place and transformation within present day architectures and super cities. She presents these slivers of space in a way that evokes an element of surprise and in doing so creates a perceptual shift ushering in a recognition that things, in fact, are not exactly as they seem and solid, stable structures can be windows into new narratives and new spaces.
The photographic work of Anne Senstad is a series titled Sonoptic Parallels and it is informed by an understanding of an amalgamation of sensations - sound, color, light and optical phenomena. She is parsing out how sound and color inhabit space so differently despite many scientific and experiential similarities. Senstad’s work also often has a close relationship with architectural structures but she adds a poetic element, creating a world that envelopes the subconscious and subliminal. Her photographic Universal Foldouts are extensions of this exploration however they also contain a kind of rational flattening of these concepts, similar to breaking things down to laws of physics and zero’s and one’s. But in doing so, the work presents the ideas that consciousness and emotions cannot be captured by theories at all because they are subjective experiences and even how describing what happens in your body while it experiences an emotion doesn't tell you what the subjective experience is. Senstad's video installation is the 7th in a series she began in 2009 and has been shown worldwide as various forms of immersive installations. it is titled Colour Synesthesia VII and is a 25.30 minute loop. The sound is the electric harpsicord by Catherine Christer Hennix recorded live in 1976 at the Museum of Modern Art Stockholm. All of her work deals with perception — how what we see, including the colors around us, shapes how we feel. The stimuli are objective but the experiences are subjective, mirroring ourselves, our brains, and our psyches. Senstad’s work follows this complex investigation of what is physical versus what is psychological, and where these lines blur. It does so generously, seeing truth on both ends of the spectrum and at many points in between.
In the work of Anna Marit Staurset part of the search and interest is the deterioration of materials. Every piece of collage has its own history and they come together into an expanded history, like sections of a quilt. In this way the material is stripped of its original meaning and given a new life, like stories that are told and shared. There is a strong element of neutralizing the past through these physical sediments of time and layers of multiple histories. She transforms them to convey new meanings. This act creates a cultural catharsis in the pieces and an element of reclamation. The material is mainly paper but becomes sculptural with a very tactile surface. She focuses on the patterns of life, death, and decay revealing an essence of what remains after a lived life and a cyclical return to begin anew. Her use of materials contains a paradox in itself for applying the burden of history to a light material and this aspect of the work aids in the transformation from cultural weight to transcendence and release. In relation to the title in the poem, the works have a tone of solitude in their differing investigations on the relationship between self and states of being. This tone is a true solitude, solitude as a struggle against alienation, as deep witness and response. The response seems to be an awareness of or need to break things down to their essence in a time of over complication and countless distractions. This solitude is not the same as withdrawal, which has negative connotations. It is an awareness that does not hold the world at arms length but rather walks us right into it and is expressed by entering into the world fully through these immersive and sensorial works.
All things
by Hadewijch
English version by Jane Hirshfield
All things
are too small
to hold me,
I am so vast
In the Infinite
I reach
for the Uncreated
I have
touched it,
it undoes me
wider than wide
Everything else
is too narrow
You know this well,
you who are also there
Christine Istad uses the camera to pull out patterns and elemental structures from her surroundings. All pieces in this exhibition are large format printed on brushed aluminum and are in-depth studies of small fragments of reality. In her work she is striving for a sense of interconnection; how things relate to each other and how they fit together. She focuses on architectural structures, however the architecture is often only sensed and she pulls out the abstraction from the concrete forms. In her process she is interested in discovering, the discovery of a motif or something surprising or noteworthy in the surroundings. Her photographs are never manipulated; they are taken as they are seen. Istad’s broader focus is on the relationship between humans and modern society. Franz Kafka wrote about what many have termed “modern man’s cosmic predicament”, the struggle of the individual within cities during his time. Istad’s work elicits a similar investigation with the themes of finding beauty and space for contemplation within alienation and searching for a place and transformation within present day architectures and super cities. She presents these slivers of space in a way that evokes an element of surprise and in doing so creates a perceptual shift ushering in a recognition that things, in fact, are not exactly as they seem and solid, stable structures can be windows into new narratives and new spaces.
The photographic work of Anne Senstad is a series titled Sonoptic Parallels and it is informed by an understanding of an amalgamation of sensations - sound, color, light and optical phenomena. She is parsing out how sound and color inhabit space so differently despite many scientific and experiential similarities. Senstad’s work also often has a close relationship with architectural structures but she adds a poetic element, creating a world that envelopes the subconscious and subliminal. Her photographic Universal Foldouts are extensions of this exploration however they also contain a kind of rational flattening of these concepts, similar to breaking things down to laws of physics and zero’s and one’s. But in doing so, the work presents the ideas that consciousness and emotions cannot be captured by theories at all because they are subjective experiences and even how describing what happens in your body while it experiences an emotion doesn't tell you what the subjective experience is. Senstad's video installation is the 7th in a series she began in 2009 and has been shown worldwide as various forms of immersive installations. it is titled Colour Synesthesia VII and is a 25.30 minute loop. The sound is the electric harpsicord by Catherine Christer Hennix recorded live in 1976 at the Museum of Modern Art Stockholm. All of her work deals with perception — how what we see, including the colors around us, shapes how we feel. The stimuli are objective but the experiences are subjective, mirroring ourselves, our brains, and our psyches. Senstad’s work follows this complex investigation of what is physical versus what is psychological, and where these lines blur. It does so generously, seeing truth on both ends of the spectrum and at many points in between.
In the work of Anna Marit Staurset part of the search and interest is the deterioration of materials. Every piece of collage has its own history and they come together into an expanded history, like sections of a quilt. In this way the material is stripped of its original meaning and given a new life, like stories that are told and shared. There is a strong element of neutralizing the past through these physical sediments of time and layers of multiple histories. She transforms them to convey new meanings. This act creates a cultural catharsis in the pieces and an element of reclamation. The material is mainly paper but becomes sculptural with a very tactile surface. She focuses on the patterns of life, death, and decay revealing an essence of what remains after a lived life and a cyclical return to begin anew. Her use of materials contains a paradox in itself for applying the burden of history to a light material and this aspect of the work aids in the transformation from cultural weight to transcendence and release. In relation to the title in the poem, the works have a tone of solitude in their differing investigations on the relationship between self and states of being. This tone is a true solitude, solitude as a struggle against alienation, as deep witness and response. The response seems to be an awareness of or need to break things down to their essence in a time of over complication and countless distractions. This solitude is not the same as withdrawal, which has negative connotations. It is an awareness that does not hold the world at arms length but rather walks us right into it and is expressed by entering into the world fully through these immersive and sensorial works.
All things
by Hadewijch
English version by Jane Hirshfield
All things
are too small
to hold me,
I am so vast
In the Infinite
I reach
for the Uncreated
I have
touched it,
it undoes me
wider than wide
Everything else
is too narrow
You know this well,
you who are also there
Installation views, Top: Sonoptic Parallels triptych # 03, 2013-16
Centre, Anne Senstad, Anna Marit Staurseth, Christine Istad
Bottom: Fabric Wall Sculptures, 2014-16
Below: Sonoptic Parallels # 07 and # 08, 2013.
Sarah Walko is a curator, director, visual artist and writer. She is currently the Director of Arts Programing at Marble House Project, a nonprofit arts organization in New York City and Dorset, Vermont. Recent curatorial projects include Decomposing Hierarchies, Manhattan Bridge Anchorage, NY 2015, The World and its Things in the Middle of Their Intimacy, Fridman Gallery, NY and A Cage Went in Search of a Bird at Radiator Gallery, NY. She also writes for the contemporary art blogs and journals Hyperallergic, Eyes Towards the Dove and Drain Magazine Journal of Art and Culture.
Friday, July 8, 2016
Textile Topography in Norway
Textile Topography at Storhødn by Anne Senstad. A site specific fabric intervention at 1482 meters on the mountain peak of Storhødn in Hemsedal, Norway - with wind, rocks and land. The photographic c print on fabric stems from a video still from Senstad's video piece Color Synesthesia 2014 that has been included in various large scale installations and exhibitions internationally.
The fabric intervention is a continuous project integrating specific cultural topographic elements in various countries and landscapes, with Senstad's use of color, sculptural re interpretations, nature, gestural movement and placement of the artists intervention and the natural behavior of the material itself when intersected into nature, a performative approach to re interpreting nature, examining the experience of nature , and as a participatory element, resulting in documentation material such as photographic material and video pieces.
Sunday, June 12, 2016
Hope Guides Me in Arabic Calligraphy
1000 pounds of Calligraphy - Words set in stone and as the third step entering a natural marble pool.
Hope Guides Me in Arabic text carved into Marble is extracted from the book The Consolation of Philosophy/De consolatione philosophiae by Boethius, (480–524 AD). The marble slab was then submerged into a natural marble pool as a permanent installation. Produced during artist residency at The Marble House Project in Vermont, July 27-August 14, 2015. The marble slab is 40 x 10x 4 inches.
Hope Guides Me in Arabic text carved into Marble is extracted from the book The Consolation of Philosophy/De consolatione philosophiae by Boethius, (480–524 AD). The marble slab was then submerged into a natural marble pool as a permanent installation. Produced during artist residency at The Marble House Project in Vermont, July 27-August 14, 2015. The marble slab is 40 x 10x 4 inches.
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