![]() While both Hennix and Isgren saw the formal prospect of “Aus den Sieben Tagen” as a productive development of and beyond La Monte Young's event scores, she here steadfastly counters his rationalization of intuition with the Principle of Sufficient Reason. The collection of 15 text pieces written in Paris during May of 1968, “Aus den Sieben Tagen”, denies its performers notated direction and instead provides poetic cues that hinge upon Stockhausen's conception of “intuitive music,” a Eurocentric perspective on improvisation antithetical to the vernacular forms Hennix had engaged with as a young drummer performing in Stockholm jazz clubs with musicians like Bill Barron, Cam Brown, Hans Isgren, Lalle Svenson, Allan Vajda, Bo Wärmell, and many others. ![]() Recorded in February of 1974 and featuring Catherine Christer Hennix (recitation, percussion, and electronics) and Hans Isgren (bowed gong), Hennix's realization of Karlheinz Stockhausen's Unbegrenzt (German for “unlimited”) from Aus den Sieben Tagen is an elaboration both rigorous and radically different from the canonical 1969 recording issued by Shandar. It follows Selected Early Keyboard Works and Selections from 100 Models of Hegikan Roku (named the #1 archival release of 2019 by The Wire), in addition to a two-volume collection of Hennix's writing titled Poësy Matters and Other Matters. Info: Curators: Karen Archey and Lawrence Kumpf, Stedelijk Museum, Museumplein 10, Amsterdam, Duration: 16/2-27/5/18, Days & Hours: Mon-Thu & Sat-Sun 10:00-18:00, Fri 10:00-20:00, Catherine Christer Hennix, C- Algebra w Undecidable Word Problem, 1975-1991, Acrylic paint on canvas, 195 x 270.5 x 5.Unbegrenzt is the third in an ongoing series of archival records of the unheard music of Swedish composer Catherine Christer Hennix, co-released by Blank Forms Editions and Empty Editions. Other elements of “Algebraic Aesthetics” include a set of paintings entitled “Algebras w/ Domains” (1991), four variations of Hennix’s “Ultra-Black Paintings” from 1976, the 1996 wall text “Fragments of Writings on the Unconscious”, and a new set of found object “patients” named “Encore & Encore”, among other works. 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. 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.
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