On the very last day that the exhibition Tennis Cat was on view, 1646 hosted a performance executed by Tori Wrånes and Jan Erik Mikalsen. The performance was set in the experience of her then-current exhibition.
Tori Wrånes works mainly with performance, combining voice and sculpture as a point of departure. In Tennis Cat Wrånes is looking for the connections between odd things. She has worked with the space as a sculpture in itself, embedded in a marine carpet, turning the exhibition space into a combined cave and boat at the same time. The room is filled with sound as if you are on a mountain plateau: what you see and what you hear creates two different incompatible references. A lot of Wrånes work is based on sound, and the carpet in this installation is in fact doing the opposite of adding sound. It takes away the sound of everyone’s steps and creates an almost invisible error between the visible and the audible. Tori Wrånes is interested in making errors, to make the brain run other errands than usual, in the glitches and erroneous connections that can occur.