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NYC prelude of Norway’s Venice biennale contribution

By Tomas Lauvland Pettersen Posted: 04. Mar, 2015

An NYC prelude to Norway’s contribution to the La Biennale di Venezia this week: Camille Norment’s ‘Rapture’ sonic installation pre-premieres at the New Museum on Fri 6 March.

This week sees Norway’s contribution to the 56th International Art Exhibition, La Biennale di Venezia pre-premiered in NYC.

‘Rapture’, a multisensory sonic and sculptural installation that immerses the viewer in a space between harmony and dissonance, is Norway’s contribution to the La Biennale di Venezia p. The work includes original compositions and performances by Camille Norment on the Glass Armonica, an 18th century instrument that was first lauded and then banned for its ability to transport listeners into states of ecstasy. Camille Norment is an American artist, based in Oslo for over a decade, who works with sound, sculpture and drawing.

A Prelude to the Biennale

The NYC prelude features a panel discussion between Camille Norment, curator Barbara London, critic Greg Tate and Katya García-Antón, Director of OCA and Commissioner of the Nordic Pavilion. Music by Ultima Oslo Contemporary Music Festival. This initiates the cooperation between the Office for Contemporary Art Norway (OCA) and Ultima.
Camille Norment is also set to contribute to this year’s Ultima festival in Oslo in September.

Venice Biennale 2015: 9 May – 22 November 2015

Norway is the sole commissioner of the Nordic Pavillon in the Giardini for the 56th International Art Exhibition, La Biennale di Venezia, for the first time in its history. The project is commissioned and curated by Katya García-Antón in collaboration with Antonio Cataldo, Senior Programmer, OCA. Ultima Oslo Contemporary Music Festival is one of the contributors to this project.
Says the projects curator Curator Katya García-Antón: “Camille Norment is one of the most exciting artists working in Norway today, creating work to be experienced viscerally and poetically. Her practice is unusual in that it crosses the fields of art and music, mining historical and sonic dichotomies to trace unresolved social dialogues that continue today.”



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