Windows To Look In

Interview with Lorenzo Senni

In a conversation with Lorenzo Senni, the winner of the twelfth edition of the Italian Council (2023), one delves into the depths of an itinerant project, an exhibition where music, research, sociology, and photography intersect. A past that unfolds between Cesena, Bologna, Milan, and Los Angeles, representing an intersection of cultures, experiences, and encounters. The artist condenses all of this together and, with Threes as curator and the support of Residenza 725, he brings his essence and journey to life in an exhibition that finds a permanent home at MAXXI L’Aquila – National Museum of 21st Century Arts.

“WINDOWS TO LOOK IN” is a touring project that has taken residence in some of the most renowned contemporary art venues. Is there a distinct narrative method that adapts and reshapes itself according to each venue, or do you prefer it to be perceived as a self-contained universe, independent of the space in which it is exhibited?

The idea behind showing up in different art venues around Europe was based on my personal desire to present the project in the most honest and direct way possible. I wanted to personally speak about “Windows to Look In” and the experience of putting together something that has been maturing with me for almost twenty years. Something not too distant from a Ted Talk, counterpointed by showing part of Courtney Herrenberg video, it would have allowed me to be flexible and adapt to each venue.

“I start researching, meeting people and documenting.”

Fondazione ICA-ph-Martina Garbin
Fondazione ICA-ph-Martina Garbin
Fondazione ICA-ph-Martina Garbin

A unique feature being presented at the Italian stop is the documentary curated by Courtney Harrenberg. Delving into the core of the creative process, how does this visual translation add a conceptual and experiential layer? What does it represent for you as an artist, and what was the collaborative process like, merging different visions?

I’m obsessed with the making of the movies and the behind the scenes. They inspire me more than the films because most of the time there it’s really really well described and documented the process and the effort which led to the completion of the work. So I thought that it was important to think about this aspect too. It requires more energy and sometimes it is not easy to find the motivation to take care of this too, especially for small projects like mine, but I’m glad we did and the result makes me really proud. I gave Courtney Carte Blanche as I like her taste and I knew what she did in the past with the video, even if she has a strong music background like me. I never intended it as a collaboration. I placed in front of our eyes and the camera the things that i cared about and wanted to be recorded, for all the rest I trusted Courtney

Taking a leap into your background and the time you spent in Los Angeles, how has this period of your life, particularly your encounter with John Divola, impacted you as an artist? What are the elements, inputs, and visual or sensory stimuli that you have deepened and made your own? What differences do you perceive between your pre- and post-Los Angeles self after these interactions?

Los Angeles is a city that I loved to explore, and the core of this project is based on what i’ve been observing walking around. Yes, like not many others my favourite way to move through LA was walking for hours. One of the things that caught my attention on my Dichensian “Day Walks” was the way how in The States they systematically cover-up graffiti and the modalities in which they do it. I start researching, meeting people and documenting. My relationship with John for sure confirmed my deep interest in photography and in visual arts and also made me realise that from now on I want to take care of these fields of actions not only in strict relation to my music but on their own.

“I’m a photographer that survives making music”

Fondazione ICA-ph-Martina Garbin
Fondazione ICA-ph-Martina Garbin
Fondazione ICA-ph-Martina Garbin
INAUGURAÇÃO Exposição-Windows to Look In-phAndré Delhaye

Your career is multidisciplinary, composed of various facets. How would you describe the identity dualism, musician-photographer, that defines you and has led to the creation of this project? Do you usually separate these roles, or is there always a fluid dialogue between them? In what ways has one influenced the other, whether technically or conceptually?

My maestro, Guido Guidi, is a photographer. When I was nineteen years old I discovered that one of the most important Italian photographers alive was my neighbor. I spent literally every day for a few years at his house. That’s why I often say that “I’m a photographer that survives making music”. Technically speaking I probably know more about photography than music.
I’ve been able to spend many many hours in the dark room, seeing a book series put together or just trying to follow deep intellectual talks between master photographers. That’s why probably ive been able to eventually make something relevant with my music, i’ve always respected photography more and definitely I feel careless about following music rules in general. I can see myself more conservative in the image world, especially in the practice of taking pictures. In my case the two disciplines always influenced each other: using two very simple examples ..my record “Persona” in 2016 featured an image by the artist Ed Atkins that depicts a weird androgynous figure that looks through a hole as an album cover. 2020’s “Scacco Matto” has a John Divola photograph from the Zuma series.

In WTLI, strong themes are visually transported , symbolising fragmentation and complex perception. How did the selection of colours, the choice of a specific atmosphere, and the resulting exhibition communication come about? How has your artistic imprint marked the abandoned space?

The choice of colors came out naturally starting from the palette that is used to cover up the graffiti. As I mentioned this was one of my main references together with John Divola’s “Dead Mirrors” series. I started painting with different shades of grey and then added colors. As John Divola says often “I aspire to minimalism but I end up being more baroque and complex”.
Isn’t easy to keep your ego in place and as an artist I like to put myself and the audience in an uncomfortable position of struggle and expectations not given. It’s important to observe the process we are going through while working on something. About the abandoned space I will use John’s words: “in LA we artists couldn’t afford a studio so abandoned places became the most natural place where I could start doing things”.

Regarding future and upcoming projects, is there anything you are currently working on that you can give us a sneak peek of?

I’m working on my new album for Warp Records. While I write I have my desktop computer open on a Logic project that I’ve been developing on for years. It features so many
microsounds and tracks that I wonder if I’ll ever finish this, but then one day as if by magic I wake up and the album is ready.

ph-Leonardo Scotti
LorenzoSenni-Performance-phHelgeBrekke
INAUGURAÇÃO Exposição-Windows to Look In-phAndré Delhaye

Windows To Look In

Credits:

Artist: Lorenzo Senni / @lorenzo_senni
Venue: MAXXI L’Aquila / @maxxilaquila
Curator: Threes / @threesproductions Ruggero Pietromarchi / @ruggero.pietromarchi
Supported by: Residenza 725 / @residenza725
Interview: Annalisa Fabbrucci / @annalisa_fabbrucci
Editor: Maria Abramenko  / @mariabramenko

You may also like

Melancholia

Fashion | Exclusive
Floating on a sea of sadness. Anastasiya in a dusky fashion series photographed by Kamil Kiewel and styled by Maria Kompf.

David Lindert / Healing and destruction

Art&Culture | Interview
Poetry of raw: Czech born artist and writer David Lindert in conversation with Antoine Schafroth.

Damsel

Fashion | Exclusive
I’m a ghost, i’m a reckless, ask me why. Maybe i’m just like this, in the middle of the night i’m just like this. A dark fashion journey by Saskia Kovandzich, styilist and model Zoe Hilditch.
SchizMarine