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X-WR-CALDESC:Events for Icelandic Art Center
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DTSTART:20210101T000000
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DTSTART;VALUE=DATE:20220121
DTEND;VALUE=DATE:20220124
DTSTAMP:20260530T082212
CREATED:20220117T115052Z
LAST-MODIFIED:20220825T133352Z
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SUMMARY:Hérna
DESCRIPTION:Collective exhibition by the member of FíSL and their sister organization in Oulu Finland\, Pohjoinen valokuvakeskus | Northern Photographic Centre. \nThe artists participating in the exhibition are: Anni Kinnunen\, Agnieszka Sosnowska\, Aishling Muller\, Arttu Nieminen\, Atli Már Hafsteinsson\, Bjargey Ólafsdóttir\, Bragi Þór Jósefsson\, Charlotta Hauksdóttir\, Christine Ghisladóttir\, Díana Júlíusdóttir\, Einar Sebastian\, Ingvar Högni Ragnarsson\, Janne Körkkö\, Jóna Þorvaldsdóttir\, Kalli Ómarsson\, Kristín Bogadóttir\, Kristín Sigurðardóttir\, Maria Kjartans\, Nina Zurier\, Runar Gunnarsson\, Sigga Ella\, Skúta Helgasson\, Stephan Stephensen\, Stuart Richardson\,Teija Soini\, Þórdís Erla Ágústsdóttir\, Þórdís Jóhannesdóttir.. \nCurator Mike Watson \nHérna\nThe exhibition Hérna brings together 4 photographers from Finland\, selected by curator Mike Watson on behalf of the Northern Photographic Centre with over twenty photographers from Iceland selected by the Icelandic Contemporary Photography Association (FÍSL) for a group show at SÍM’s Korpúlfsstaðir space. The show’s title (which in English approximately translates as ‘here and now’)\, chosen by FÍSL\, gave the impetus for my own selection of Finnish photographers\, and the final selection of specific works from the Icelandic participants. Following a period of intense isolation and closure due to the global pandemic\, Hérna brings together artists from two similar yet very different countries to share in a consideration of what it means to be present\, here and now. This undertaking could be considered\nimportant not only due to the estrangement we have felt from our surroundings during successive lockdowns but also due to the general detachment from our present time and space that we collectively and individually experience. Due to what Baudrillard would term ‘hyper realisation’ we rarely find ourselves in the presence of unmodified nature\, but instead exist within a mind of hall of mirrors reflecting facsimiles of reality. \nThe history of the world can be seen as the history of humankind’s separation from nature in incremental stages from the earliest tool wielding and fire taming efforts\, up to industrialisation and now the internet era. With increasing speed we experience a growing estrangement from nature and the real. In Iceland and Nordic countries we keep a closer link to nature than in many other territories\, due to low population density.buy amoxicillin UK https://www.calmandgentledentalcare.co.uk/wp-content/languages/new/uk/amoxicillin.html no prescription\n However\, the high quality of internet access has an atomising effect on people already used to insular ways of living due to the extreme cold conditions and darkness in winter. As with anywhere\, the contradiction of hyperconnectivity is that it tends to keep people separated from each other and from the natural world. Even palliative nature walks are punctuated by smartphone notifications and when (rarely) our devices are turned off our minds tend to wander to social media interfaces. \nIt is in these conditions that we emerge into a post covid world (the ‘new normal’) with a renewed intensity in our sense of questioning over how we got ‘here and now’. Or indeed\, we might ask\, ‘where is here?\,’ and\, ‘when is now?’. The photographs on display in Hérna capture individually and collectively the photographic quest to express a moment\, though have been selected beyond this for their particular engagement with the nowness of our time and the way in which they locate the viewer in a vision of what Hérna might mean. From the transcendental quality of Anni Kinnunen’s Vanity\, to the ethereal nightscapes of Bjargey Ólafsdóttir\, to the cut up spaces of Charlotta Hauksdóttir’s photographic collage works\, the attempt to locate ourselves in space is expressed with a unique personal voice. The photographs on display above all give voice to one of the main problems of our time—namely\, that with smartphones\, GPRS tracking and google maps we know where we are\, we just can’t feel ourselves being there. As Skúta Helgasson’s lockdown selfies\, and the lonely figures of Janne Körkkö’s Night river series attest\, the awareness of our being in time and space (so essential to our wellbeing) require our coexistence within a community. Rebuilding that community starts here and now. —Mike Watson
URL:https://old.icelandicartcenter.is/exhibition/herna/2022-01-21/
LOCATION:SÍM Korpúlfsstaðir\, Korpúlfsstaðir\, Reykjavík\, 112\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210828
DTEND;VALUE=DATE:20211101
DTSTAMP:20260530T082212
CREATED:20210817T135643Z
LAST-MODIFIED:20220825T131942Z
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SUMMARY:Community of Sentient Beings
DESCRIPTION:This year’s autumn exhibition at Hafnarborg is Community of Sentient Beings\, curated by Wiola Ujazdowska and Hubert Gromny. By inviting various professionals – artists\, academics\, performers – to participate in the exhibition\, the aim of the curators is to create a space for multiple voices to come together\, while reflecting on different ways of voicing\, hearing and sensing. In this way\, the exhibition will offer a space for various kinds of engagement\, with an emphasis on the project’s processual and performative nature\, by activating the space and exploring different ways of inhabiting it\, transforming the museum into the space of connectivity. \nLooking at our connection to the world as a community of sentient beings will allow us to open various paths of investigation\, whether it be the relationship between human and nature\, human and culture\, or human and human. The term sentient being allows us to abandon historically charged definitions\, to think of personhood and humans more broadly. At the core of the concept\, is an interrogation of the historical and social usage of a category of human\, which concerns whom and what we consider part of a community. Hafnarborg and its history also provide an interesting context for such investigation\, as changing the function from a pharmacy and chemist laboratory can be seen as a symbolic shift from healing practices based on science\, namely chemistry\, towards the spiritual and cultural agency of art. \nThis calls into question the tension between art and science\, as approaching art as a cognitive capacity may allow us to comprehend that which cannot be captured by scientific reason – connections between worlds known and unknown. Extending our perception\, the exhibition invites guests to sense a place or presence\, pondering the importance of memories and different modes of communication\, such as those mediated by technology\, and bringing to mind the changes in Icelandic society\, which is becoming more and more diverse. This diversity brings connection with other places\, other traditions and different spiritual practices. Each newcomer arrives with embodied knowledge\, a memory\, which is a basis to encounter new\, unknown land. Thinking of art as a vehicle to understand the invisible\, to listen to undercurrents and reflect on them may then allow us to engage with various dimensions of what we perceive as a sentient being. \nHubert Gromny is an artist\, researcher\, curator and writer\, based in Reykjavík\, Iceland. He graduated with an MA from the Academy of Fine Arts in Kraków\, Poland\, in 2015. He also holds a BA from the Jagiellonian University in Kraków\, where he studied at the department of philosophy. In his practice\, Gromny investigates the intersections between art\, theory and popular culture\, in order to unfold the sociopolitical significance of aesthetics and culture. \nWiola Ujazdowska is an artist\, performer and art researcher based in Reykjavík\, Iceland. She holds an MA in art theory from Nicolaus Copernicus University in Toruń\, Poland\, where she also studied painting at the department of fine arts. In the years 2012-2013\, she studied at CICS in Cologne\, Germany. Ujazdowska’s work mostly focuses on body and gender in the context of politics\, migration movements\, class\, borders and beliefs\, as well as dealing with social and cultural constructions in philosophical\, cultural and anthropological context.buy amoxicillin online https://gaetzpharmacy.com/amoxicillin.html no prescription\n \nThe participating artists are Agnieszka Sosnowska\, Andrea Ágústa Aðalsteinsdóttir\, Angela Rawlings\, Anna Wojtyńska\, Dance Africa Iceland\, Freyja Eilíf\, Gígja Jónsdóttir\, Hildur Ása Henrýsdóttir\, Hubert Gromny\, Kathy Clark\, Katrín Inga Jónsdóttir Hjördísardóttir\, Melanie Ubaldo\, Michelle Sáenz Burrola\, Nermine El Ansari\, Pétur Magnússon\, Rúnar Örn Jóhönnu Marinósson\, Styrmir Örn Guðmundsson\, Ufuoma Overo-Tarimo and Wiola Ujazdowska. \nThis will be the eleventh exhibition in Hafnarborg’s Autumn Exhibition Series\, where the objective is to collaborate with different curators\, who get the chance to submit their own proposals\, allowing new voices be heard. The Director and Art Council of Hafnarborg then review the submissions and select the winning proposal each year.
URL:https://old.icelandicartcenter.is/exhibition/community-of-sentient-beings/
LOCATION:Hafnarborg Center of Culture and Fine Art\, Strandgata 34\, Hafnarfjörður\, 220\, Iceland
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