Brief CV
Trine Friis Sørensen (born in 1978) is an independent curator, currently pursuing a practice-based PhD at the Department of Arts and Cultural Studies at the University of Copenhagen. Her PhD is part of the interdisciplinary research project LARM Audio Research Archive and examines how artistic practices and sensibilities may generate new insights into the archive. For the last few years, she has worked as a curator, coordinator, lecturer, and editor both at institutions and independently. In 2010, she curated the three-part exhibition project, “A Minor History of Creativity,” which took place at Gallery Pictura in Lund, Sweden, Gallery BOA in Oslo, Norway and Overgaden – Institute of Contemporary Art in Copenhagen, Denmark. The same year, she also curated the two-day event, “Transmissions: Sound Art performed and discussed” at Overgaden – Institute of Contemporary Art in Copenhagen, Denmark. From 2008-09, she worked at the Museum of Contemporary Art in Roskilde, Denmark as editor of the Fluxus website: “Festival of Fantastics,” and as curatorial assistant on the exhibition “Fluxus Scores and Instructions. The Transformative Years. Make a salad.” She was co-founder and curator at AUX – Forum for Listening Culture, where she co-curated and produced a number of exhibitions, events, and workshops between 2005-09. Currently, she is co-editing a publication and working on a series of site-specific exhibitions.
Curatorial Statement
Over the last few years, my work has been concerned with the thinking and doing invested in artistic practices. This was the focus of my most recent curatorial project, “A Minor History of Creativity,” as well as a focal point of my ongoing practice-based PhD, “Archival (in) appropriations” in the Department of Arts and Cultural Studies at the University of Copenhagen. “A Minor History of Creativity” offered an opportunity for me to work with a group of artists over a longer period of time and to get a closer insight into their practices. The project refrained from advancing a particular topic or argument and instead simply formulated the framework for the three-part project. For me, the project started with an interest in the artistic process; what comes before – and in a sense after – the art object, and it was shaped through a number of conversations with artists about how they work and where an artwork begins and ends. I remain curious about whether it is possible to extract or at least frame this process of coming-to-knowledge that lies before the work. What can we learn from these unstable beginnings and fragile outlines? And how does an exhibition generate meaning? Is meaning only to be found in the works themselves or should we also look elsewhere? I believe that most exhibitions are in a process of coming-to-knowledge. As the exhibition unfolds, the initial idea may be negotiated, criticized, expanded upon or perhaps rejected. Either way, the exhibition most likely becomes something else, something more than it was to begin with, and hopefully we learn something both as curators, artists and audiences when working on or looking at exhibitions. For me, shifting the attention from the art object towards the artistic process accentuated a number of questions about the politics of the exhibition and the authority of the curator, which only became apparent to me during the process of working with AMHoC. AMHoC is, in many ways, closely tied in with my current PhD research, which investigates how artistic practices and sensibilities may generate new insights into the Danish Radio archive. By inviting artists to work with the archive and carefully sifting through their processes, the project sets out to demonstrate contingencies of practice and how the artistic process is also a process of establishing and constructing meaning. As such, artistic practices are at the very core of my project, not merely as objects of analysis, but as seminal jumping-off points, as vehicles for thinking about the archive in different ways. Consequently, it is not me alone who formulates the research question. Similar to AMHoC, I have set up the framework for the project, but the specific – or I might say singular – research questions are to be formulated by and through the work conducted by the invited artists. I find these collaborative efforts really interesting; in particular the moments where a certain erosion of the disciplines can take place and we might find ourselves asking different types of questions and making room for the appearance of something diverse or unforeseen.
Projects realized (Selection)
• A Minor History of Creativity, 2010 Three-part exhibition project in Lund, SE (Gallery Pictura, The Weather Forecast), Oslo, NO (Gallery BOA, Subject Matter) and Copenhagen, DK (Overgaden – Institute of Contemporary Art, Fall Behind) with artists Mikko Kuorinki (FIN), Lina Selander (SE), Mathias Kristersson (SE), Ursula Nistrup (DK) and Aeron Bergman (US) & Alejandra Salinas (ES). “A Minor History of Creativity” was an investigation into the thinking and doing invested in the artistic process. The project questioned the notion of the artwork as the end point to artistic work and consequently the politics of the exhibition. The artists were invited to contribute to all three parts of the project: First, presenting whatever comes before the art object; the idea, the process, the research. Second, showing the completed works but without accommodating to a thematic framework, and third, at a final performative event, the artists were invited to reflect on how their works and practices create meaning. • Transmissions – Sound Art Performed and Discussed, 2010 Two-day event at Overgaden – Institute of Contemporary Art in Copenhagen with sound performances and artist talks by Hanna Hartman (SE), Kabir Carter (US) Carl Michael von Hausswolff (SE) and Janek Schaefer (UK). The event brought together artists, academics and curators in a joint program allowing for the different approaches to sound art to feed off one another. The title and theme of the seminar – Transmissions – both pointed to this interaction and touched upon more general notions of sound. In the context of sound, transmission is closely linked to radio, but it may also refer to more abstract notions of conveyance and communication. “Transmissions” was organized in collaboration with LARM (University of Copenhagen), the SNYK organization for contemporary music and the Royal Danish Academy. • Audiographs As part of the AUX sound collective (2005-09), I co-curated an event-series called Audiographs, which sought to convey and emphasize notions of sound in our everyday, art and popular culture. The audiographs were two-hour events occupying the space between seminar, artist talk, performance and installation. In Space No One Can Hear Your Scream, 2008 The Tycho Brahe Planetarium in Copenhagen hosted the first of three audiographs concerned with actual and imagined notions of sound – and the lack thereof – in outer space. Through talks, recordings, and installations the event reflected human attempts to communicate with the universe. Astrophysicists and artists provided the evening program and an exhibition embracing popular cultural films as well as sound works was installed throughout the planetarium, allowing popular space myths to communicate with both scientific and artistic takes on the universe. Disembodied Voices, 2007 The first of three audiographs on the voice engaged with the concept of disembodied voices. From the displaced voice of the ventriloquist to haunted sound phenomena in technology, it was an evening in the company of voices devoid of the body. The program consisted of a performance by Danish ventriloquist Preben Palsgaard followed by a talk on the history of Electronic Voice Phenomena (EVP). The evening ended with a Skype conversation with British sound artist Robin Rimbaud (a.k.a. Scanner), who elaborated on his work and thoughts on haunted sound phenomena as well as his collaborative project Esprits de Paris with American artist Mike Kelley.
Links
http://aminorhistoryofcreativity.wordpress.com trinefs@gmail.com