PRINT February 2019



Catherine Christer Hennix performing at the Museu de Arte Contemporânea de Serralves, Porto, Portugal, April 3, 2016.

IN HER 1979 TREATISE on language’s limited capacity for communication, “An Inscription / / / A Work in Progress,” Swedish-American polymath Catherine Christer Hennix invokes Sylvia Plath’s radio play Three Women: “It is these men I mind. They are so flat that they want the whole earth flat.” Such resistance might well characterize Hennix herself, whose work, spanning mathematics, music, sculpture, and poetry, is anything but one-dimensional. Though she played a central role in the development of minimalist music in the late 1960s, Hennix has neither performed nor exhibited much since 1976, when Stockholm’s Moderna Museet hosted a Hennix-curated ten-day festival of new music, at which her group the Deontic Miracle played for the first (and last) time. For the next four decades, Hennix continued her explorations in sound, objects, and writing with little institutional support,

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