K4 Gallery - TIME BEYOND PLACE September 29

TIME BEYOND PLACE, 2017 - by Anne Senstad
Score composed by JG Thirwell.
14.39 min loop

The video will premier at K4 Galleri in Oslo, Sept 29th, 2017. Curated by Bjørn Hatterud. 

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K4 er stolte over å vise et nytt videoverk av Anne Katrine Senstad: TIME BEYOND PLACE.

Verket vises:
29. September kl. 20-22 
30. September kl. 15-17
01. Oktober kl. 15-17
06. Oktober kl. 18-20
07. Oktober kl. 15-17

De andre dagene er verket tilgjengelig etter avtale. 


Anne Katrine Senstad er norsk, bosatt i New York, og arbeider innen ulike medier, teknikker og uttrykk. De siste to årene har hun jobbet mye i Saudi-Arabia. Der har hun gjennomført en serie av prosjekter: tekstilarbeider, fotodokumentasjon, relasjonelt arbeid, land-art og video.

I prosjektet TIME BEYOND PLACE har hun invitert saudiske kvinnelige kunstnere til å samarbeide, som likestilte deltakere i et kunstnerisk kollektiv. Sammen med Dr Zahrah Al Ghamdi, Ghada Da og Jameelah Mater har Senstad arbeidet med performance og installasjoner, i et mangfoldig arbeid rundt kjønn, identitet, re-fortelling og re-fortolking av etnologisk og folkloristisk tradisjonsmateriale. Særlig opptatt har hun vært av bygningsvern og Qut, den tradisjonelle saudiske kvinnekulturen.

Råmaterialet til videoverket er delvis hentet fra Senstads tekstilinstallasjoner og performancer i saudiske landskaper, delvis fra tradisjonell saudisk geometrisk maleri fra Asir regionen sør i Saudi-Arabia. Performancene og tekstilverkene kommer som et ønske fra Senstad om gi den tradisjonelle kulturen et beskyttende lag av tekstiler, enten disse er lokalt laget eller Senstads egenproduserte. Hun går inn i eldgamle bygningsmiljøer og kulturlandskaper og vi ser disse på nytt. Sentralt i disse ligger sporene etter Qut – gjennom geometriske veggmalerier.

De geometriske veggmaleriene har en historie som strekker seg tilbake til før Islam. Selve håndverket er alltid utelukkende blitt utført av kvinner, overført fra generasjon til generasjon gjennom sosiale felleskap. Disse maleritradisjonene har Senstad selv fått tatt del i samarbeid med lokale utøvere som del av en Qut-workshop hun arrangerte i landsbyen Abha.

Ornamentikken ble tradisjonelt malt på veggene som en fortellende, men abstrakt nedtegning av generasjons historikk. Men den ble også malt som beskyttelse av hjemmet og familien mot ondskap. Det metafysiske aspektet ved denne kunstformen er i dag ikke lagt vekt på i Saudi-Arabia, og blir sett på og behandlet som overtro. Denne siden ved veggmaleriene minner oss om at selv Saudi-Arabia har en historie som like gjerne er preget av brudd som av kontinuitet.

Når Senstad nå arbeider i landet, som kvinnelig kunstner kan man si at hun arbeider i dialog med landets rike kunstneriske kulturhistorie. Hun setter søkelyset på kvinners ofte uskrevne rolle i kulturhistorien – både i Saudi-Arabia og generelt. Hun gjør arbeider der hun speiler, løfter og vinkler den lokale kulturhistorien, gjennom den samtidige konteksten som samtidskunst gir.

Senstad setter de saudiske tradisjonsmaterialene i nytt lys: Hun får oss til å tenke rundt hva som faktisk er tradisjon og brudd, kontinuitet og modernitet. Både i Saudi-Arabia og ellers. Og med det blir vi litt klokere.

Prosjektet er et samarbeid med Dr Zahrah Al Ghamdi, Ghada Da, Jameelah Mater, Jawaher Mater, Fatimah Hassan, Ali Moghawi, Nadine El-Khoury, Al Bandari Assiri, Afaf Al Ghtani, Aisha Al Shahrani og det er del av ITHRA kulturprogram organisert av Culturunners. Prosjektet er har mottatt støtte fra OCA, NBK og King Abdulziz Center for World Culture.

TIME BEYOND PLACE er kuratert av Bjørn Hatterud. Lyd komponert av JG Thirlwell. 


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TIME BEYOND PLACE by Anne Katrine Senstad at K4 Galleri, Oslo. www.k4galleri.no 

Screenings:

September 29, 8-10 pm

September 30, 3-5 pm

October 1, 3-5 pm 

October 6, 6-8 pm

October 7,  3-5 pm

The initiative TIME BEYOND PLACE - The Cultural Bridge was established by Anne Katrine Senstad in Saudi Arabia in 2016 as an all-women cross cultural art production platform examining ways of responding to preservation of cultural heritage, vernacular architecture, entropy, memory codes and domesticity through contemporary art practices such as performance art, site specificity, installation art and sculpture as well as Qut wall painting workshops in Asir. The artists work acts as transformer between the anthropocene and timeless nature.

Senstad's video work presents a visual narrative of artists Dr Zahrah Al Ghamdi, Jameela Mater, Ghada Da as well as Senstad's thematic engagements in the Asiri cultural history. This journey is a visual portal into the artists performed narrative while honoring cultural traditions of women artisans Asir in southern Saudi Arabia across the generations dating back to pre islamic culture. 

Sound is composed and produced by acclaimed New York based composer JG Thirlwell, with additional soundscapes created by Anne Senstad with archival Asiri sound material and a local song by Ali Moghawi.

TIME BEYOND PLACE project is part of Ithra's cultural program, organized by Culturunners and Senstad. The project has been supported in part by Office for Contemporary Art Norway/OCA and Norske Billedkunstnere/NBK (2016). Special thanks to Nadine El-Khoury, Ali Moghawi, Khalid Alassiri, Jawaher Mater, Fatima Hassan, JG Thirlwell and all the amazing Saudi women artists in Asir.

New York based Norwegian artist Anne Katrine Senstad works in the intersections of installation art, photography, video, neon and site specificity, with a focus on the phenomena of perception, light, sound and colour. She draws on critical and poetic text based works to address ethics, literature and philosophy. In her ongoing field projects, she engages in cultural, social and political interactions to create a wider educational and collaborative platform between diverse ideologies. Through this, Senstad seeks to develop the possibility for what she sees as a new folklore and an amalgamation between post-modern individualism and internationalism.

JG Thirlwell is a composer/producer/performer based in Brooklyn,NY.  Born in Melbourne, he moved to London in 1978, then relocated to NYC in1983, where he has been based ever since.  As well as his own name, he works under many pseudonyms including Manorexia, Foetus, Steroid Maximus and Xordox.

He has released over thirty albums. If there is a common thread to his varied musical styles, it is a dramatic intensity and an evocative, cinematic quality. Thirlwell has also featured as producer, remixer, collaborator or arranger for a wide variety of artists including Karen O, Noveller, Excepter, Zola Jesus, Hal Willner, Melvins, Swans, Nine Inch Nails, Lydia Lunch, Coil, Z’s, Nick Cave and many more.

JG has completed commissions for Kronos Quartet, Bang On A Can, Thyssen-Bornemisza ArtContemporary, Experiments in Opera, Zephyr Quartet. Great Learning Orchestra, Jeffrey Zeigler, James Ilgenfritz and League of Electronic Musical Urban Robots, and is a member of the“freq_out”  sound-art collective, curated by CM Von Hausswolff, who create on-site sound and light installations. He is also an acclaimed graphic artist. In 2010, he received a fellowship from New York Foundation of the Arts in sound / composition.

He has created solo sound installations which have exhibited in Santarcangelo, Italy and Kaliningrad, Russia. He often performs live with a chamber ensemble version of his Manorexia project.

JG also creates the musical score of the Adult Swim / Cartoon Network show The Venture Bros and the FX show Archer, and has created several motion picture scores for directors including Tony Oursler, Eva Aridjis and Richard Kern. He has been completing a residency at Elektronmusikstudion in Stockholm.

For more information, please contact : k4galleri@gmail.com

The Mosaic Rooms Lecture Aug 24th 7 pm

TIME BEYOND PLACE by Anne Senstad at The Mosaic Rooms in London. A lecture on the all women cross cultural platform Senstad initiated in Saudi Arabia in 2016-17 in collaboration with artists Dr Zahrah AlGhamdi, Jameela Mater and Ghada Da. In partnership with ITHRA and co produced by CULTURUNNERS.

For recording of lecture and slide show please click here

Presentation by artist Anne Senstad on founding Time Beyond Place – The Cultural Bridge, a crosscultural, all-female platform where artists create work about the preservation of cultural heritage, domesticity and memory in Saudi Arabia.

New York based Norwegian artist Anne Senstad works in the intersections of installation art, photography, video, neon and site specificity, with a focus on the phenomena of perception, light, sound and colour. She draws on critical and poetic text based works to address ethics, literature and philosophy. In her ongoing field projects, she engages in cultural, social and political interactions to create a wider educational and collaborative platform between diverse ideologies. Through this, Senstad seeks to develop the possibility for what she sees as ‘a new folklore and an amalgamation between post-modern individualism and internationalism’.

Time Beyond Place – The Cultural Bridge is an ithra initiative, coordinated by CULTURUNNERS.

FREE, rsvp@mosaicrooms.org

Gold Guides Me - Øya Festival Aug 8-12 2017

GOLD GUIDES ME - Øya festival Aug 8-12, 2017

Øya festival August 8-12, Oslo, Norway

Kunst på Øya proudly presents GOLD GUIDES ME by Anne Katrine Senstad. The text based light sculpture serves as a welcoming statement above the festival entrance area. The monumental site specific light and text based sculptural work was initially installed on the roof of the UNESCO protected Gistfabriek as part of the inaugural Bruges Contemporary Art and Architecture Triennale in 2015.

Gold Guides Me is inspired by the roman philosopher and statesman Boethius’s literary work The Consolation of Philosophy, while simultaneously a word play on God Guides Me, and commercial advertising aesthetics. The statement leads us to contemplate financial and political economics, greed, ethics and western values systems. What happens when we exchange GOD with GOLD?  When our inner compass is no longer guided by collective or spiritual values, but the desire for individual wealth, power and ownership?

GOLD GUIDES ME is part of a larger project by Senstad entitled “Capitalism in the Public Realm”, that examines ethics and the public space. The artwork was produced for the Bruges Contemporary Art and Architecture Triennale in collaboration with Brugge Plus. 

Norwegian artist Anne Katrine Senstad is based in New York and educated at Parsons School of Design and The New School for Social Research, NY. Senstad’s practice is anchored in interdisciplinary practices with a focus on site specificity and social-political concerns while simultaneously engaged in the disciplines of perception, light, color and sound. 

Notable exhibitions include "Topologies for aVertical Sound - Anne Senstad, a midcareer survey", Venice Biennale 2017, "TIME BEYOND PLACE", a cross cultural platform Senstad established for and with fellow Saudi Arabia female artists in collaboration with King Abdulaziz Center for World Culture, Cultrunners and ITHRA, "Kinesthesia in Kvinesdal" at UtsiktenKunstsenter, Kvinesdal, "Is Her Name Red?" at Stiftelsen 3.14, Bergen and "Light Words" at Zendai MOMA, Shanghai. Public Art commissions include the lobby art for The Wolfe Center for the Arts at BGSU, USA, designed by Snøhetta Architects. 
 

Art E-Now

http://www.e-artnow.org/announcement/article/ACTION/12892/

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.

About Anne Katrine Senstad: 
Anne Katrine Senstad was educated at Parsons School of Design and The New School for Social Research in New York. Senstad works in the intersections of installation art, photography, video, neon sculptures, landart and site specific work, with a focus on the phenomena of perception, light, sound and color, as well as critical and poetic text based works on dialectics and transformative ideas adressing language, literature and philosophy. The inherent lyricism in her work, creates a bridge between psychological elements, materiality and thematic concerns. In her ongoing field work, she engages in cultural, social and political interactions through active, organic and personal involvement for a wider educational and collaborative platform between diverse ideologies, developing a new folklore and amalgamation between post-modern individualism and internationalism. 
Notable exhibitions include her controversial In Absentia exhibition Topologies for a Vertical Sound with C.C. Hennix displaced from the voided Centro Culturale Don Orione Artigianelli during the 57th Venice Biennale, a one person exhibition at El Magazen Dell'Arte during the 56th Venice Biennale, and at Officina Delle Zattere , Collaterali Eventi 55th Venice Biennale. In 2015 she produced a 90 ft long text based LED sculpture commissioned by the Bruges Art and Architecture Triennale in Belgium entitled Gold Guides Me(Capitalism in the Public Realm). In 2010 she created a 1,5 acre agricultural landart sculpture in collaboration with a Louisiana farmer entitled The Sugarcane Labyrinth. In 2011 she completed a major public art commission in collaboration with the internationally renowned architecture firm Snøhetta, at The Wolfe Center for the Arts, Ohio which consisted of a 28x86 ft mural for the lobby based on her post minimalist photographic works. 
Future rojects and exhibitions include a commissioned public art light sculpture for the Bruges public Library in Belgium with Studio Farris Architects to be unveiled October 2017, and in February 2017 Senstad launched a cross cultural womens platform entitled Time Beyond Place – The Cultural Bridge with King Abdulaziz Center for World Culture in Saudi Arabia that was spearheaded by Senstad in 2016 with CULTURUNNERS and will exist as an open collaborative initiative. 

About Catherine Christer Hennix, composer: 
Catherine C Hennix (1948) was among the pioneers in Sweden experimenting with main-frame computer generated composite sound wave forms in the late '60s (Still Life, Q*: Fylkingen Records, 1970 (vinyl), 2004 (cd)). In the '70s she led the just intonation live-electronic ensembles Hilbert Hotel and The Deontic Miracle. In 1978 Henry Flynt formulated what, subsequently, became known as the concept of an Illuminatory Sound Environment (ISE) on the basis of Hennix' performance of The Electric Harpsichord at the Moderna Museet in Stockholm,1976 (released by Die Schachtel, Milano, 2010). For the next 20 years Hennix devoted much of her time to mathematical research at the insistence of her late Nada Guru, Sri Faquir Pandit Pran Nath, serving as a professor of mathematics and computer science and assistant to and coauthor with A.S. Yessenin-Volpin for which she was given the Centenary Prize-fellow Award (2000) by the Clay Mathematics Institute, Cambridge, USA. In 2003 she returned to computer generated composite sound wave forms now called Soliton(e)s of which Soliton(e) Star was the first result. Subsequently she formed the just intonation ensemble The Choras(s)an Time-Court Mirage which performs Blues Dhikir al- Salam (Live at the Grimmuseum, vol. 1, Berlin, 2011, Important Records 2012). In 2012 Hennix realized a 4-channel composition, Rag Infinity/Rag Cosmosis, her first 4- channel computer assisted composition since 1969. A beta-version has been made available for the ZKM Subraum installation. The world premiere, version 1.0, took place at the Project Room, Brooklyn, NY, in June 2013. This is Hennix ́most complex electronic composition since returning to the avant-garde music scene - so far. In April 2014 Hennix returned to the Issue Project Room with her ensemble Choras(s)an Time-Court Mirage performing Blues Alif Lam Mim. Senstad and Hennix have collaborated on multiple exhibitions and installations internationally.

Topologies for a Vertical Sound

On the occasion of the 57^th Venice Biennale: 

Displaced Exhibitions in Absentia - From the Rooms 
of the Void Centro Culturale Don Orione Artigianelli

Anne Katrine Senstad 

Topologies for A Vertical Sound

with Catherine C. Hennix

May 10 – August 6^th 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