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X-WR-CALDESC:Events for Icelandic Art Center
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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210902
DTEND;VALUE=DATE:20211115
DTSTAMP:20260530T074235
CREATED:20210830T123510Z
LAST-MODIFIED:20220916T102215Z
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SUMMARY:FJÖLFELDI - HLUTFELDI - MARGFELDI
DESCRIPTION:Being able to create more than one copy of the same work has long followed the artist tradition. Many artists have created such works\, which offers a different possibility than the unique artwork\, and can be considered as an object somewhere between art and production. Works made in multiple copies are priced differently\, are cheaper and thus made accessible to a larger group. The work goes from the standpoint of the individual and becomes an object that more than one can own\, they are often smaller\, and confirm their value not only by being a work by a certain artist\, but also by being numbered and signed editions and then become part of a larger context\, a narrative that is important to the person who acquires the work. \nMultiples can be two- or three-dimensional and can be created using a variety of methods. In the fifteenth century\, artists began to develop methods for molding works\, as it was considered a great advantage to be able to distribute works as widely as possible. This led to a significant development of visual culture in the countries where the knowledge was available. In the eighteenth century\, for example\, artists invented methods that enabled them to create sculptures from\, for example\, clay\, bronze or plaster and porcelain. Casting sculptures using mold or sand became popular in the production of works made in editions and these methods are still widely used in the making of art today. The methods of the graphic arts also fall under this definition\, but works made in such a way have the undoubted advantage that it is easy to make the same work in many copies. \nWith the method of copper plating in the Baroque period\, the distribution and reproduction of works of art became more general. The copper insert is a method used to make graphics\, where the image is engraved with a needle in a copper plate and then printed on paper. The work Los caprichos\, 1797 by Francisco Goya\, was one of the first known multiples created in a limited edition. Looking at twentieth-century works of art\, the work of Marcel Duchamps\, Rotoreliefs from 1935\, is one of the first multiples of modern art and in the form of multiples we know today\, a series of six rotating discs\, published in 500 copies. \nThe exhibition FJÖLFELDI – HLUTFELDI – MARGFELDI focuses on the works of twenty-nine contemporary artists who have worked for longer or shorter periods in creating multiples. In order for a work of art to fall under that definition\, the works must be made in three or more copies. \nThe word HLUTFELDI is created by Magnús Pálsson\, but in the exhibition you can find most of the works where he works in this way. The exhibition includes Magnús’ works that are still in the possession of the artist and his family\, but many of his works are now owned by museums and collectors. Other works in the exhibition are made in a conversation with the MULTIS project over a two-year period.
URL:http://old.icelandicartcenter.is/exhibition/fjolfeldi-hlutfeldi-margfeldi/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210616
DTEND;VALUE=DATE:20210913
DTSTAMP:20260530T074235
CREATED:20210801T154042Z
LAST-MODIFIED:20220825T133436Z
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SUMMARY:Stance I Linear Narratives
DESCRIPTION:BERG Contemporary welcomes you to a new exhibition\, stance I linear narratives\, which aims to shed light on the various methodologies of line-drawing. \n\n\n\nWorks by: Áslaug Íris Katrín Friðjónsdóttir\, Hanna Dís Whitehead\, Haraldur Jónsson\, Finnbogi Pétursson\, Páll Haukur and Sirra Sigrún Sigurðardóttir. \n\n\n\nScribble\, witch-hunt \n\n\n\nWhen a child receives a color or pencil in hand for the first time\, it immediately recognizes the value of the gift it has been given. It‘s a magic wand and alters one‘s life\, an intermediate between the child and the depth of its soul\, between it and the depths of the mind\, between it and the world\, the unsaid and the unspeakable\, stillness and silence. With the assistance of color and the pencil\, the child finds the street leading towards the wells of mystery. Color in color´s hand\, which guardians try and tame for a while and never manages to be contained throughout life itself. The child is also aware that in its palm rests a hot rod. \n\n\n\nSee a child coloring intensely\, fill a plane\, hardly leaving a spot. \n\n\n\nThis power that it utilizes for the work can only be seen there. \n\n\n\nA hot rod.  An auxiliary. \n\n\n\nA lover.  -friend.  Companion. \n\n\n\nA judge. Ventriloquist. A parrot. Shadow. An analyst. Secretary. A shadow friend in a shady system. An afterlife. – – Oh! There she flies over the city\, the mirror-goddess that holds the truthdrops and drops of deceit in tiny little glasses that sometimes break and cut the sky. – – A listener. Right hand. Left. A deacon. Silent lost jabbering singer. A lifeline. New umbilical cord with or without commitments\, i have no idea. The longest and fattest wad. \n\n\n\nBut the line isn‘t just life-long and possibly connects to every innumerable line of the universe. On a direct endless road\, dot a connects dot b. And by drawing or chalking outside while the outdoor air grips the hand\, one‘s line gains freedom that never leaves you no matter what else might. The line was\, is\, and will remain free. \n\n\n\nI think it‘s unnecessary to list any drawing tools – that can be seen here in the exhibition – but still\, I will\, for the sake of formality and an inclination towards enumeration: marker\, watercolor\, stitch\, lead\, blood\, wire\, cord\, invisibility\, drops. The trees draw their own lines with an impeccable balancing act/art. The child gains a sword that it can hurt with\, charge with\, defend itself with\, talk to\, listen to\, and forsake all context. A hot rod. Cord. Sometimes the drawing is done for God\, a friend\, nobody\, mother\, one‘s self\, needs\, power\, screams\, obsessions\, frenzy\, that inexplicable search (for nothing maybe). \n\n\n\nIn a domain such as mine\, beauty makes me free. \n\n\n\nIf you focus your senses you could read my secrets between the lines. When the birch trees over-scribble their sketches become witches-brooms. P.s. Don´t forget tattoos and eyes-shadows.buy zoloft online https://medstaff.englewoodhealth.org/wp-content/languages/new/zoloft.html no prescription\n \n\n\n\nKristín Ómarsdóttir
URL:http://old.icelandicartcenter.is/exhibition/stance-i-linear-narratives/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210513
DTEND;VALUE=DATE:20211004
DTSTAMP:20260530T074235
CREATED:20210824T120839Z
LAST-MODIFIED:20220905T141920Z
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SUMMARY:Sirra Sigrún Sigurðardóttir & Ásmundur Sveinsson: As If to Demonstrate an Eclipse
DESCRIPTION:Reykjavík Art Museum – Ásmundarsafn newly reopens with Sirra Sigrún Sigurðardóttir’s exhibition of work in dialogue with Ásmundur Sveinsson and the building itself. Sirra’s works are cosmical\, often connected to speculations about our position within the inner workings of nature\, physics and the forces that drive the world. Her works often call upon our position as individuals\, our significance and insignificance\, and where the small is placed in the context of the large. Meaning is transformed from one phenomenon to another; a new perception\, new vision. Many of Ásmundur’s works connect to his curiosity in the movement and law of the celestial bodies. In particular\, this appears in abstract works from the sixties and seventies\, that also relate to the general interest in man’s exploration in space at that time. Among works in the exhibition is the well-known Face of the Sun\, an ode to the sun\, our prerequisite for life on earth. This and other works by Ásmundur harmonise deeply in Sirra’s installation. \nUnlike art\, scientific information and data is presented in a reliable\, unequivocal\, and easily understood manner with trustworthy forms such as diagrams\, thermographs\, mathematical models and pie charts\, to name a few. These methods tell us something concrete and definite about our world and human’s position therein. Sirra has repeatedly used the appearance and the gist of these forms in her art. However\, the presentation casts a new light on the information\, and on the disambiguation of information in general\, and creates a distance of sorts. Scientific measuring devices are elevated\, but at the same time\, also questioned. A spin of the artist’s test tube often reveals a different and wider viewpoint\, with more reference and awareness of how impossible it is to communicate anything unambiguously. And the illogical explanations found in art become less unreliable than they appear. \nThe country’s position on the globe causes exaggerated fluctuations in the movements of the sun; the winter sun appears low in the sky for only a few hours\, but the summer sun rises high for most of the solar day. In her exhibition in Ásmundarsafn\, Sirra uses Ásmundur’s largest sculpture\, the building itself\, and reflected sunrays\, to create a massive drawing in the form of an abstract sundial. Ásmundur made various attempts to interpret the laws of nature through the shapes\, lines and materials of his sculptures. Scientific discoveries inspired him to develop new imagery. Sirra’s new work form a dialogue with selected works by Ásmundur and his world of ideas. They nod to his sincere interest in technology and science\, and to his sensitivity to different materials and various approaches\, reflected in the fearlessness with which he changed his style and methods throughout his career. \nSirra Sigrún Sigurðardóttir graduated with a BA from Iceland University of the Arts in 2001\, and an MA in Art Practice from the School of Visual Arts in New York in 2013. She has held solo exhibitions at Reykjavík Art Museum\, The Living Art Museum Reykjavík\, Hafnarborg Culture Centre\, and Kling & Bang\, among other locations\, and has participated in group exhibitions and projects around the world\, including Chinese European Art Center in Xiamen\, China\, Amos Andersons Konstmuseum in Helsinki\, Finland\, and at Tate Modern and Frieze Projects in London\, England. \nSirra is one of the founders of Kling & Bang in Reykjavík. In 2015 Sirra received the Guðmunda Award\, established by the artist Erró in 1997. Sirra was nominated for the Visual Arts Award in 2020 and has been awarded grants and recognitions from various art funds including Dungal\, Leifur Eiríksson\, Svavar Guðnason\, and Guðmunda Andrésdóttir. In 2015\, Sirra was among 24 international artists selected by Modern Painters magazine as worth following in the years to come. \nÁsmundur Sveinson (1893-1982) was a pioneer in Icelandic art. He studied classical sculpture and worked in traditional subjects at the beginning. His subjects were related to the local environment\, working classes\, legends and sagas. In the sixties he deviated from the figurative methods that previously characterized his artistic creation and increasingly began to use abstract imagery. His subjects became more intangible and connected to natural phenomena\, laws and physics. Unconventional material became prominent in his works and often overtook the outcome of individual works; at the same time\, he adopted freer methods by working directly with the material. Ásmundur built his studio and home\, the Dome\, in several stages during the years 1942-59. \nThe exhibition As If to Demonstrate an Eclipse is the first of two exhibitions opening in Ásmundarsafn in 2021. An exhibition with new works by Carl Boutard and Ásmundur’s historic works will open in the autumn. With these exhibitions\, Ásmundarsafn opens after its greatest renovation since opening to the public in 1986. Visitors gain a new perspective on the legacy of the well-known and beloved artist through the lens of two contemporary artists and in the beautiful surroundings that Ásmundarsafn and the park shape.
URL:http://old.icelandicartcenter.is/exhibition/sirra-sigrun-sigurdardottir-asmundur-sveinsson-as-if-to-demonstrate-an-eclipse/
LOCATION:Reykjavik Art Museum – Ásmundarsafn\, Sigtún\, Reykjavík\, 105\, Iceland
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