Anne Katrine Senstad
18 x 21 x 2 in
Senstad’s practice lies in the multi disciplinary intersections of installation art, photography, video, neon sculpture, immersive installation, landart and site specificity, with a focus on the phenomena of perception and the cognitive system in response to the properties of light, sound and color, as well as her hybridized critical and poetic text based works on dialectics, literature, language and philosophy through use of signage and commercial materials and commodities. Senstad is concerned with sensorial aesthetics, perception and the transformative - the transcendental ideas of art and philosophical practices. Through advanced in depth research she has examined spatial, topological and scientific phenomena of light, sound and color since the mid 1990’s, a foundation for her explorations in the experiential, participatory and experimental. The inherent lyricism in her work, creates a bridge between psychological elements, materiality and critical 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.
Senstad’s forthcoming 2021 book on her light art practice Neon Guides Me will be published by Praun & Guermouche in Stockholm, Sweden.
Senstad’s work is represented in galleries, institutional, corporate and private collections worldwide.
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Anne Katrine SenstadMarxist, 2021Neon, plexiglass45.7 x 53.3 x 5.1 cm$ 12,500.00
18 x 21 x 2 in -
Anne Katrine SenstadLiquid Assets, 2021Neon, plexiglass35.6 x 71.1 x 5.1 cm$ 12,500.00
14 x 28 x 2 in -
Anne Katrine SenstadAscension/Descension Graph # 01 (Blue), 2020Neon, transformer, wires, fasteners51 x 48 x 2 1/2 in
129.5 x 121.9 x 6.3 cm -
Anne Katrine SenstadAscension/Descension Graph 02 (Blue), 2020Neon, transformer, wires, fasteners66 × 60 × 2 in
167.6 × 152.4 × 5.1 cm -
Anne Katrine SenstadAscension/Descension Graph 03 (Red + Blue), 2020Neon, transformer, wires, fasteners66 × 60 × 2 in
167.6 × 152.4 × 5.1 cm -
Anne Katrine SenstadHow We Live Together Tote Bag, 2020Screen print on canvas tote bag15 x 14 x 3 1/2 in$ 35.00
38.1 x 35.6 x 8.9 cm -
Anne Katrine SenstadBabel 01, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 02, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 03, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 04, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 05, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 06, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadBabel 07, 2020Lucite/Plexiglas, mirrors, brass door hinges, brass screws, bolts and washers30 x 7 x 8 in
76.2 x 17.8 x 20.3 cm -
Anne Katrine SenstadFundraising Edition - The River of Migration, 2019 -Photograph print11 x 17 in
27.9 x 43.2 cm -
Anne Katrine SenstadSoft Geometry #19a, 2019Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #19b, 2019Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadNorth of My Soul, South of My Existence (Chinese), 2018Neon, black silicon31 1/2 x 63 x 2 in
80 x 160 x 5 cm -
Anne Katrine SenstadHow We Live Together, 2018Wood, brushed brass aluminum35 x 38 x 1/2 in
88.9 x 96.5 x 1.3 cm -
Anne Katrine SenstadSoft Geometry Text, 2016Neon,transformer, fasteners20 x 20 x 2 in
50.8 x 50.8 x 5.1 cm -
Anne Katrine SenstadSoft Geometry Neon #01, 2015-2019Neon,transformer, fasteners31 5/8 x 30 1/4 x 2 1/2 in
80.2 x 76.8 x 6.3 cm -
Anne Katrine SenstadSoft Geometry Neon #010B, 2015-2019Neon,transformer, fasteners41 x 37 x 2 1/2 in
104.1 x 94 x 6.3 cm -
Anne Katrine SenstadSoft Geometry Neon #02, 2015-2019Neon,transformer, fasteners31 5/8 x 30 1/4 x 2 1/2 in
80.2 x 76.8 x 6.3 cm -
Anne Katrine SenstadSoft Geometry Neon #03, 2015-2019Neon,transformer, fasteners31 5/8 x 30 1/4 x 2 1/2 in
80.2 x 76.8 x 6.3 cm -
Anne Katrine SenstadSoft Geometry Neon #04, 2015-2019Neon, transformer, fasteners31 5/8 x 30 1/4 x 2 1/2 in
80.2 x 76.8 x 6.3 cm -
Anne Katrine SenstadSoft Geometry Neon #12, 2015-2019Neon, transformer, fasteners18 x 15 x 1 1/2 in$ 4,500.00
45.7 x 38.1 x 3.8 cm -
Anne Katrine SenstadSoft Geometry Neon #13, 2015-2019Neon,transformer, fasteners18 x 15 x 1 1/2 in$ 4,500.00
45.7 x 38.1 x 3.8 cm -
Anne Katrine SenstadSoft Geometry #01, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #06, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #10b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #11a, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #11b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #11c, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #12, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #12b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #13c, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #13d, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #13f, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #14, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #14b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #15b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #16, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #16b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #16c, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #16d, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #17b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #18e, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #18f, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #6a, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #6d, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #8a, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #8b, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadSoft Geometry #8c, 2015Photographic C print12 x 12 in$ 2,100.00
30.5 x 30.5 cm -
Anne Katrine SenstadLiquid Commodity, 2015Neon, transformer, fasteners, plexi backing20 x 20 x 2 in
50.8 x 50.8 x 5.1 cm -
Anne Katrine SenstadTears on a Coffin(text only), 2013Neon,plexiglas, transformer20 x 70 x 2 in
50.8 x 177.8 x 5.1 cm -
Anne Katrine SenstadThe River of Migration, 2009 - 2019Video projection
Single Channel HDV16:9/1920x1080 -
Anne Katrine SenstadBlack Warhol Neon Skull SM, 2009Neon,transformer, fasteners,black silicon, wood box20 x 20 x 8 in
50.8 x 50.8 x 20.3 cm -
Anne Katrine SenstadWhite Warhol Neon Skull LG, 2009Neon,transformer,fasteners,black silicon, wood box72 x 72 x 8 in
182.9 x 182.9 x 20.3 cm -
Anne Katrine SenstadWhite Warhol Neon Skull SM, 2009Neon,transformer, fasteners,black silicon, wood box20 x 20 x 8 in
50.8 x 50.8 x 20.3 cm -
Anne Katrine SenstadBlack Warhol Neon Skull LG, 2009Neon,transformer, fasteners,black silicon, wood box72 x 72 x 8 in
182.9 x 182.9 x 20.3 cm -
Anne Katrine SenstadForget Flavin (NY Version, English), 2008Neon,transformer, fasteners12 x 45 x 2 in
30.5 x 114.3 x 5.1 cm -
Anne Katrine SenstadLight Writes Always in Plural(English), 2008Neon,transformer, fasteners12 x 55 x 2 in
30.5 x 139.7 x 5.1 cm -
Anne Katrine SenstadThe Pink Project, 2007Exhibition Catalog10 1/4 x 10 1/4 in$ 35.00
26 x 26 cm
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Anne Katrine Senstad
How We Live Together 17 Jul - 15 Aug 2020How We Live Together, on view from July 17 through August 15, examines the value systems and ethics that define citizenry and our common history, as well as speculates on how future generations will work together to shape our common destiny. Senstad uses text, installation and color interactions to cast light on the resurgent tribalism of our times.Read more -
The Art of Quarantine
#ArtKeepsGoing - Also On View via ARTSY 20 Apr - 10 Jun 2020Yi Gallery is pleased to present The Art of Quarantine, an online group exhibition of works made during home quarantine between March and May, 2020. Responding to the conditions of self-isolation, the artists from different parts of the world in this exhibition have continued to create. These new, intimate and richly layered works reflect the psychological conditions surrounding the times we live in. The very act of continuing to work under constraints and social distancing suggests hope, solidarity, healing and possibilities.Read more -
Kind Of Green - Art & Design Group Show
191 Henry Street, New York, NY 10002 1 - 11 Jun 2019#KindOfGreenRead more
The first incarnation of Anne Katrine Senstad's memorial piece, The River of Migration, existed as a large outdoor light and land installation at Life is Art Foundation in 2010. The piece consisted of 72 solar-powered lights placed along a mountainside in Santa Rosa, CA. They formed a symbolic “human river” on what was historically Mexican land. Each of the 72 lights refers to a specific case where a person was brutally massacred by cartels after refusing to be used as a drug trafficker. Using light to create a memorial, Senstad illuminated the urgent migration issue with her symbolic river of light. The project honored the 72 nameless souls who died during the migration process and simultaneously spoke for all victims of migratory violence. The solar panel lights were lit from dusk till dawn, when most people cross borders illegally, and illustrated the very nature of the migratory action. The lights created a geographical mapping of the California landscape and served as a gestural, lyrical, and critical comment on migration policies, border wall politics, and the intensifying climate and political refugee crisis. Unnatural deaths of migrants are intimately connected to climate change and resource enclosures fueled by the growth of global wealth inequality. It is critical to revisit this work today as it raises awareness of the new, and more elaborate, forms of human trafficking as a global business as well as the financial structures on which it capitalizes.
Si Jie Loo’s wall installation, Privilege of Taste, consists of ceramic cups and sourced coffee powders that sit on two contrasting shelves. Through her work, she visualizes the complicated relationship between choice and the illusion or lack of choice and points to the unbalanced power between labor and consumption in our society. The Malaysian coffee that Loo grew up drinking is sweet tasting and light brown. It is made from a lower grade coffee powder mixed with hot water and condensed milk. There was no comparison between tasting the powdery coffee like residue and the “fair trade” coffee, grown in exotic African countries, served by gourmet coffee shops in developed economies. During colonial times, the British took the best quality coffee for exporting. The remnant of imperial power embodied in today’s global economy continues to enable the sale of higher-end Arabica coffee so that it can be enjoyed in the UK and other powerful and developed markets. Similarly, Malaysia exports higher-grade oil and gas and imports a lower grade from abroad for local use. The majority of people in her father’s village earned their living by rubber tapping - a process that involves collecting latex from a rubber tree. When Loo was a child, her grandparents and neighbors were asleep by 8pm and were up for work at 2 am so that they could collect rubber milk for processing. Although developing nations like Malaysia are known for supplying some of the best natural resources to the developed markets, the lives of the vast majority of laborers are nowhere close to the luxurious lifestyle of the people who benefit from their labor. Today, Loo is an artist living in the western world producing what is considered to be a luxury good. While making art is laborious and sometimes soul-baring, consuming art usually takes place in a clean, pristine, and often sterile white box by a privileged minority of wealthy clients. To Loo, how we taste coffee serves as a metaphor for the profound difference between the elitist contemporary art connoisseurship and the cultural producers who supply it.
Jamie Martinez’s oil painting on cotton, VR Unity Global Warming, is a direct response to the intensifying threat of climate change. An empty hot dog truck, a Chimera, a pyramid, flying parachutes, an isolated ladder, and mountains submerged by flood waters are among the elements that make up the surreal composition. Martinez’s process involves using Virtual Reality software to construct a collage of visual fragments. He then translates the VR simulation into an oil painting in order to document this new dream-like dimension that was created in the virtual world. Although a human figure is not visible in the painting, the cataclysmic scene suggests that anthropocentric activities on earth contribute to accelerated global temperature and rising sea levels, which will eventually lead to mass extinction. Actions to correct these problems must be massive and collective.
The SMOG FREE PROJECT is a long term campaign for clean air in which Daan Roosegaarde and his team of experts have created the world's first smog vacuum cleaner. The 7-meter tall SMOG FREE TOWER uses patented positive ionisation technology to produce smog free air in public spaces and allows people to breathe and experience clean air for free. Creating a tangible souvenir, Roosegaarde designed the SMOG FREE RING, which is comprised of compressed smog particles. Roosegaarde has been inspired by nature's gifts, such light emitting fireflies and jellyfish, from an early age. His fascination for nature and technology is reflected in his iconic works such as WATERLICHT (a virtual flood which shows the force of water), and SMART HIGHWAY (roads that charge throughout the day and glow at night). “A lot of the problems we’re facing—rising sea levels, air pollution—are, to me, an issue of bad design,” Roosegaarde tells Fortune in an interview. “We have created this current situation, now we have to design our way out of it.” To Roosegaarde, design is about setting goals for our future and creating standards to achieve that vision. The Dutch artist and entrepreneur has a name for it: ‘schoonheid’ meaning beautiful and clean. This concept takes shape in new social core values like clean air, clean water, and clean energy.
18 x 21 x 2 in
Anne Katrine Senstad was raised in Singapore and Norway, and has been based in New York since 1990 but continues to work between New York and Oslo. She received her art education at Parsons School of Design and The New School for Social Research in New York 1994 and 1999.
Senstad’s practice lies in the multi disciplinary intersections of installation art, photography, video, neon sculpture, immersive installation, landart and site specificity, with a focus on the phenomena of perception and the cognitive system in response to the properties of light, sound and color, as well as her hybridized critical and poetic text based works on dialectics, literature, language and philosophy through use of signage and commercial materials and commodities. Senstad is concerned with sensorial aesthetics, perception and the transformative, - the transcendental ideas of art and philosophical practices. Through advanced in depth research she has examined spatial, topological and scientific phenomena of light, sound and color since the mid 1990’s, a foundation for her explorations in the experiential, participatory and experimental. The inherent lyricism in her work, creates a bridge between psychological elements, materiality and critical 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 Radical Light– Elements VI, at the new Seinajoki Kunsthall in Finland, a 520 square meters (5,600 square feet) spatial light sculpture with a sound environment by JG Thirlwell, in collaboration with Art Promotion Centre Finland and Kai Art Center Estonia, Music for Plutocracy at S12, in Bergen Norway, 2021 presenting a multi chromatic spatial neon sculpture installation ELEMENTS V on ethics and perception. In January 2020 Radical Light I opened at Kai Art Center, presenting ELEMENTS IV, a 450 square meters (4,843 square feet) all white spatial neon light sculptural work in the former historic submarine factory in Tallin with an enveloping sound by JG Thirlwell, How We Live Together at Yi Gallery in New York that included an online screening of Senstad’s short film Utopie/Utopia with acclaimed American actor Bill Sage created during the pandemic as a response to the global human condition and politics, Beckoned to Blue, SL Gallery New York presenting ELEMENTS III Blue with sound by legendary polymath Catherine Christer Hennix. The installation was an indepth examination of the color blue and accompanied by an antechamber installation The Sensory Chamber. The exhibition Seen Unseen at He Xiangning Art Museum in Shenzhen, China, presented the second of her immersive light sculpture and color environment ELEMENTS II, 2018 as part of a major survey on contemporary Nordic art and design. The installation is a continuation of ELEMENTS I, which premiered as part of the group exhibition Through The Spectrum at Athr Gallery in Saudi Arabia alongside James Turrell, Robert Irwin, Carlos Cruz-Diez and Leo Villareal.
Biennales include: The Vanity of Vanities - a one person exhibition at El Magazen Dell’Arte during the 56th Venice Biennale with sound by JG Thirlwell, and UNIVERSALS, at Officina Delle Zattere, Collaterali Eventi, 55th Venice Biennale as part of the exhibition Metamorphosis of the Virtual alongside ORLAN and Miguel Chevalier amongst others. In 2015 she produced a 22 - meter (90 - feet) long text based LED sculpture commissioned by the Bruges Art and Architecture Triennale in Belgium entitled Gold Guides Me, as part of her continuing critical research project Capitalism in the Public Realm. As part of the Prospect 3 +, the New Orleans biennale, 2014, The Sugarcane Labyrinth was presented as an interior agriculture and film installation the centerpiece of the exhibition The Nature of Now.
In 2010 she created a 5500 square meters (59,200 square feet) agricultural living land art sculpture in collaboration with Louisiana sugarcane farmer Ronnie Waguespack Jr entitled The Sugarcane Labyrinth raising awareness to sustainability and the value of localized agriculture, to wetland and coastal erosion issues, and conflicts of industrialized farming. Senstad was involved in numerous cultural and restorative projects in New Orleans as part of the post Hurricane Katrina restoration efforts, 2007-2010, in collaboration with KK Projects and Life is Art Foundation.
In 2011 she completed a major public art commission entitled ETERNAL, in collaboration with the internationally renowned architecture firm Snøhetta, at The Wolfe Center for the Arts, Ohio which consisted of a 10 x 30 meters (28 x 86 feet) mural for the lobby based on her photographic practice on the natural phenomena and spatial properties of light and color, and displays the immensity of the eternal horizon.
Her video work has been shown at Centre Pompidou in Paris, Haus Der Kultur Der Welt, Berlin, Beirut Art Center, Lebanon as part of Rencontres Internationales, The Canadian Museum of Nature, Museum of Modern Art Ukraine in Kiev, Dallas Aurora TX, Video Arte Internacional Buenos Aires and Eva Peron Museum, Argentina, Oslo Screen Festival, and K4 Galleri in Norway, Patioo Monoroom in Spain, A:Code:Nordic DeLights, London, Prospect 1 and 3+ New Orleans, Athr Gallery, Jeddah and Reinventing Asir, part of the Dar Al Hekma University initiative in Saudi Arabia 2014, Abu Dhabi Art Hub, ISEA Dubai 2014 in UAE and in the Kingdom of Bahrain under the patronage of artist Shaikh Rashid bin Khalifa al Khalifa.
Art fairs include Downtown Fair NY, Scope Miami, Scope New York, DIVA Paris, Paris Photo, Paris Fever Photo, Miami Photo, London book Art Fair/Serpentine Gallery, Sao Paolo Contemporary Art Fair, HAF Hong Kong, Seoul Art Fair, KIAF Korea International Art Fair, MiArt Milano Contemporary Art Fair, Zona Maco Mexico City, Art Basel Miami and Pulse Miami.
In February 2017 Senstad launched a cross cultural women only art platform entitled Time Beyond Place – The Cultural Bridge supported by the King Abdulaziz Center for World Culture in Saudi Arabia. The all-women artist project was spearheaded by Senstad in 2016 and supported in part by Office for Contemporary Art Norway and developed to exist as an open collaborative initiative to take on variable forms and collaborators in future formats by local Saudi women artists as autonomous initiatives. Senstad closed the project after 1 year due to issues that made it impossible to sustain its initial philosophy.
Artist residencies include Marblehouse Projects, Vermont (2016), Abu Dhabi Art Hub as part of ISEA Dubai (2015), Edward James foundation, Las Posas, Mexico (2012).
Senstad’s work is represented in galleries, institutional, corporate and private collections worldwide.
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Anne Katrine SenstadHow We Live Together Tote Bag, 2020Screen print on canvas tote bag15 x 14 x 3 1/2 in$ 35.00
38.1 x 35.6 x 8.9 cm -
Anne Katrine SenstadFundraising Edition - The River of Migration, 2019 -Photograph print11 x 17 in
27.9 x 43.2 cm -
Anne Katrine SenstadThe Pink Project, 2007Exhibition Catalog10 1/4 x 10 1/4 in$ 35.00
26 x 26 cm