{"id":3582,"date":"2012-01-28T12:49:20","date_gmt":"2012-01-28T17:49:20","guid":{"rendered":"http:\/\/foetus.org\/content\/?p=3582"},"modified":"2012-01-28T12:49:20","modified_gmt":"2012-01-28T17:49:20","slug":"thirlwells-installation-works-with-anne-katrine-senstad","status":"publish","type":"post","link":"https:\/\/www.foetus.org\/content\/news\/thirlwells-installation-works-with-anne-katrine-senstad\/","title":{"rendered":"Thirlwell's installation works with Anne Katrine Senstad"},"content":{"rendered":"

\"\"<\/a>JG Thirlwell has been working in an ongoing series of collaborations with Anne Senstad<\/a> over the last eighteen months.Her video projections are site specific installations merging and intervening with architecturally unique spaces such as St Brigid’s deconsecrated Cathedral and The Locker Plant in Marfa<\/a>, Texas, and even out amongst nature as in her projections in Xilitla, Mexico.
\nTheir first piece together was Color Kinaesthesia<\/em>, where JG created a four channel audio work to accompany Senstad’s color and light video projection of the same name. A reworking of the audio, simply titled “Kinaesthesia”, appears on the Manorexia album Dinoflagellate Blooms<\/em><\/a>\u00a0 in stereo and surround sound. For a further color and light meditation, Kinaesthesia for Saint Brigid<\/em>, JG made a four channel reworking of the Manorexia classic “Chloe Don’t Know I’m Alive”<\/a>. \u00a0In a further iteration, The Locker Plant Projections<\/em> also uses the “Chloe” soundtrack, and consists of a filmed projection of the Color Kinaesthesia<\/em> piece, reprojected onto Donald Judd<\/a>‘s famous building in Marfa, TX , The Locker Plant.<\/p>\n

Senstad’s latest piece is The Sugarcane Labyrinth<\/em> . This is a film document of an agricultural Land Art project in which Senstad leased some farmland in Louisiana and grew a field of sugarcane. She then chopped a maze out of the dense growth, and documented the entire process on film, including leasing a helicopter and filming it from above. Thirlwell composed an original score for this work.<\/p>\n

The works have exhibited at Thisisnotagallery<\/a> in Buenos Aires, Utsikten Kunstsenter<\/a> in Norway, St Brigid’s Centre for the Arts<\/a> and The Canadian Museum of Nature<\/a> in Ottawa,\u00a0Centre Pompidou <\/a>in Paris, Stiftelsen 3,14<\/a> in Bergen, The Museum of Modern art of Ukraine<\/a> and elsewhere.<\/p>\n

The Locker Plant Projections<\/em> will travel to Museo Reina Sofia <\/a>in Madrid in April.<\/p>\n

“The exhibition The Infinity of Color<\/em> represents Anne Katrine Senstad\u2019s new body of work focused on light, color and sound. She has created a labyrinthian space of projections and sound that examine the phenomenology and the notions of sensorial aesthetics and experiences of light, color, sound, ocular perceptions, spatial relations and awareness of the process of perception through multi channel projections and the dimensional properties of surround sound. The piece is meditative, pulsating and hypnotic in its simplicity of light, color and sound environments.” – from exhibition catalog, Thisisnotagallery<\/a>, Buenos Aires.<\/p>\n","protected":false},"excerpt":{"rendered":"

JG Thirlwell has been working in an ongoing series of collaborations with Anne Senstad over the last eighteen months.Her video projections are site specific installations merging and intervening with architecturally unique spaces such as St Brigid’s deconsecrated Cathedral and The Locker Plant in Marfa, Texas, and even out amongst nature as in her projections in […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0},"categories":[18],"tags":[107,251,588,649,757,828,1207,1213,1229,1271,1283,1305,1374],"_links":{"self":[{"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/posts\/3582"}],"collection":[{"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/comments?post=3582"}],"version-history":[{"count":0,"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/posts\/3582\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/media?parent=3582"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/categories?post=3582"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.foetus.org\/content\/wp-json\/wp\/v2\/tags?post=3582"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}