![]() In “Parler Femme” Hennix recast her “Algebraic Aesthetics”, a set of four-color and black-and-white mathematical equations that was originally conceived as a painted work on paper, flanked by two red and blue homotopies side panels, one of which included a recreation of Lacan’s schéma XX, the French psychoanalysts’ infamous formalization of sexual difference. ![]() The retrospective takes as its starting point a suite of paintings Hennix created for “Parler Femme” a 1991 group exhibition at Museum Fodor. “Traversée du Fantasme” is a retrospective of a body of work only partially realized, the exhibition revisits and reimagines an unfinished project that Hennix undertook with her late partner Lena Tuzzolino, for which they produced a series of performances and installations based on each of Jacques Lacan’s seminars. Using an overtly obtuse and densely formalized personal language, Hennix forces the uninitiated viewer towards a state she terms homosemioesis, a subjective process of meaning-making that nullifies any possibility of a transfer of knowledge between the work of art and the viewer. ![]() Hennix’s work plays with the transmission of meaning, drawing on a wide range of references that touch on logic, intuitionistic mathematics, modal music, and psychoanalysis. Occupying two galleries loosely designed to resemble a psychoanalyst’s office and a waiting room, Hennix’s installation creates a concatenation of complex abstract thought, juxtaposing various fragments and formulations and leading the viewer through a model of self-illumination. This exhibition spotlights Hennix’s Epistemic Art practice, including a series of paintings, wall drawings, and found objects, mostly made between 19, as well as a brand new sound work. The retrospective “Traversée du Fantasme” at Stedelijk Museum in Amsterdam is the first institutional solo exhibition in over 40 years of the Swedish composer, philosopher, poet, mathematician, and visual artist Catherine Christer Hennix. ![]() Despite the fact that Hennix has worked steadily across the last half-century, remaining highly regarded over the breadth of that time, until the last ten years her recorded output has remained largely unreleased, making Blank Form’s standing dedication to her work, that much more important, as it has allowed us to fully grasp how significant her contribution has been.While Catherine Christer Hennix is best known as a sound artist and composer, and for works including Illuminatory Sound Environments and Infinity Compositions, she has also produced a body of visual art that crosses the boundaries between painting, sculpture, and anti-art, what Hennix refers to in own personal nomenclature as Epistemic Art. In 1968, she traveled to New York where she met Fluxus artists Dick Higgins and Alison Knowles and developed fruitful collaborative relationships with numerous luminaries associated with the movement, notably Henry Flynt and La Monte Young, the later of whom would introduce her to her teacher Pandit Pran Nath. She began her creative career playing drums, before going to work at Stockholm’s pioneering Elektronmusikstudion ( EMS), where she helped develop early synthesizer and tape music. Issued as a beautifully produced double LP, pressed at RTI, and housed in a gatefold tip-on sleeve, this one is truly astounding and as essential as experimental records come.Ĭatherine Christer Hennix is a legend within the field of experimental music who emerged into the global consciousness during the late 1960s and early '70s. Building on the foundations of their previous four releases - “ Selected Early Keyboard Works”, “ Selections from 100 Models of Hegikan Roku”, “ Unbegrenzt”, and “ Blues Alif Lam Mim” - by the legendary Swedish composer, musician, poet, philosopher, mathematician and visual artist, it’s an absolutely astounding, mind-bending body of organized sound that elevates the territory of minimalist drone to new heights. Now they’re back with yet another incredible deep dive into the body of recordings of Catherine Christer Hennix with “Solo for Tamburium”. Overcoming the adversity that has befallen the last year, they haven’t slowed their pace, bringing out numerous publications and some seriously killer releases, not to mention exhibitions and events. When it comes to supporting the historical and contemporary contexts of experimental music, the New York based curatorial platform, publisher, and record label, Blank Forms, is doing a saint’s work. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |