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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230819
DTEND;VALUE=DATE:20231002
DTSTAMP:20260530T073456
CREATED:20230816T140844Z
LAST-MODIFIED:20231013T122407Z
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SUMMARY:Anna Reutinger\, Brák Jónsdóttir\, Hugo Llanes and Sigurður Ámundason: Goodgonebadwrong
DESCRIPTION:The exhibition brings together new works by artists Anna Reutinger\, Brákar Jónsdóttur\, Hugo Llanes and Sigurðar Ámundason. Goodgonebadwrong emerges from a close collaboration between the artists\,  and takes shape as a kind of a gathering place — the beginning or end of a slightly chaotic conversation where different voices intertwine and ideas take shape in the process. The exhibition takes an (un)pleasant position inside the belly of the great beast and brings forward fictional memories\, nature\, culture\, extinction\, soothing self affirmation — and a toast for a world without us! \n\n\n\n\n\nBiography \n\nAnna Reutinger tints social\, material and historical moments into colorful tales with many voices. Working with second hand textiles\, glass\, scrap metal\, natural dyes\, agricultural byproducts\, social encounters and distant histories\, she enacts a hands-on approach to research—highlighting craft as seed for social\, material and environmental sensitivity. From large-scale installations to performative workshops and film\, she invites others into a cave of potentials\, hand crafted to pull you belly outwards into the muck of collective imagining. She is a tutor in the Dirty Art Department at the Sandberg Instituut where she also received her M.A. in 2016 after a B.A. in Design Media Arts and Digital Humanities at UCLA in 2013. \n  \nBrák Jónsdóttir is an Icelandic visual artist. She earned her BA degree in visual art from the Iceland Academy of the Arts in 2021. Her work explores themes from prehistory to imagined futures\, narrating fictional events that breathe life into extinct creatures and otherworldly beings. Bridging gaps of knowledge with imaginative mythologies\, she creates totemic installations rooted in sculpture\, delving into the tension between the artificial and the natural. Brák’s works evoke tenderness\, humor\, and diverse worlds\, where sensuous hypotheses emerge from factual extrapolations. Crafting enigmatic narratives through bizarre ecosystems\, she ignites existential questions\, inviting audiences to ponder the mysteries of life’s ways. \n  \nHugo Llanes is an artist based in Iceland. Has a BA from Universidad Veracruzana and holds a MA in Fine Arts from the Iceland University of the Arts. Hugo Llanes’ œuvre depicts the social and political environments in which the artist evolves. In his more recent performances and video installations\, the artist puts emphasis on his personal worldview\, remembrance\, grief and inter-human and inter-species relationships. To depict these\, he employs artistic research and mediums such as maintenance art\, performance\, installation\, site-specific\, participatory art\, video art\, and extended painting. \n  \nSigurður Ámundason was born in 1986 and raised in Reykjavík\, Iceland. He graduated with a BA degree in fine arts at the Iceland Academy of Arts in 2012. Since then he has held eleven solo exhibitions\, participated in numerous group shows and performed countless performances. Ámundason uses drawing as his foundation medium but also creates installations\, sculptures\, video-art\, bookwork\, photography\, theatre and performance art.
URL:https://old.icelandicartcenter.is/exhibition/anna-reutinger-brak-jonsdottir-hugo-llanes-sigurdur-amundason-gottfaridillailla/
LOCATION:The Living Art Museum\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220529
DTEND;VALUE=DATE:20220916
DTSTAMP:20260530T073456
CREATED:20220530T164834Z
LAST-MODIFIED:20220915T164800Z
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SUMMARY:Brák Jónsdóttir: Sé (að Nýp)
DESCRIPTION:“Oh steady now\nEverything in its place\nSteady now”\n– Jason Molina (Magnolia Electric Co. – Steady Now) \nThere is a place for the inside and there is a place for the outside\, Brák Jónsdóttir has made a place for the parts in between\, a filter to blur these borders. In the exhibition See\, there are two wooden structures placed precariously in the windows of the gallery\, intuitively yet carefully constructed\, shelf by shelf. \nBrák has embraced the history and previous function of the wooden material\, with its blemishes and sun bleached spots. What was perhaps once a bookshelf or cupboard is now an open scaffolding displaying glass panes\, jars and ornaments\, filled with unspecific specimens of the land around Nyp. Within these jars and containers is where the outside is contemplated\, she has collected stones\, seaweed\, leaves\, rotten wood and other items from around the exhibition site\, just as she collected the wood and glass to house them. These objects are brought inside and they play with our focus of the outside\, a filter or a threshold to pinpoint the vague idea of ones surroundings. \nThis installation contemplates the very human act of displaying objects of intrigue and beauty\, referencing the history of cabinets of curiosity and their amalgamation of science and art. Whilst these cabinets suggest hiddenness and sacredness\, Brák’s open and fragile structure allows for ethereal and abstract notions to be displayed. There are shadows and lines cast by the stained glass. There is water with its unknown origin\, evaporating and blending with plants and remnants of wood and stone. There is the colour of the glass that changes with the daylight. You can look at what is within these jars\, or just as easily peak through to where they once existed\, in sight but out of reach. She has taken moments of intrigue and inquiry\, experimenting with time and space trapped in glass and barely preserved\, left to deteriorate\, change\, sprout and grow. \nWhen arriving somewhere new\, you gather your surroundings\, collect your thoughts\, and in such an affecting landscape there is plenty to gather. Brák has gathered the immaterial feeling of arriving somewhere beautiful.
URL:https://old.icelandicartcenter.is/exhibition/brak-jonsdottir-se-ad-nyp/
LOCATION:Nýp Project Space\, Guesthouse Nýp\, Skardsströnd\, 371\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220521
DTEND;VALUE=DATE:20220711
DTSTAMP:20260530T073456
CREATED:20220525T175220Z
LAST-MODIFIED:20220825T132049Z
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SUMMARY:Brák Jónsdóttir: Deeper
DESCRIPTION:In Dýpra | Deeper\, Brák explores the commonalities of horticulture and modern sexual aesthetics\, humanity and nature\, pain and pleasure\, in an attempt to approach nature in a way that challenges conventional ideas and its relationship with human culture. The exhibition draws on the artist’s research into how the body interacts with plants and vegetation. Brák plays with common concepts within everyday gardening practice: harnessing nature and controlling growth inside. The exhibition also expands its reaches into the garden: a territory which is both natural and man-made. Inside\, hanging on the walls\, are gardening tools\, or are they toys? It is hard to distinguish\, but perhaps the two are not mutually exclusive. Out in the garden someone has been diligent in the flowerbed\, which looks like it might bear an odd fruit. \nIn the artist’s research earth is given the role of the submissive\, in a game where the gardener caresses it and carefully pushes its boundaries. The game’s arena is determined by the submissive but the rules are set by the master. Passionately\, the artist tries to penetrate deeper\, deeper into the earth. Respect\, intimacy and responsibility are an essential part of this power play which requires care for the subject. The game creates a blushing tension when both players’ boundaries are stretched to their limits. \nThe philosophies behind the fetishistic and sexual cultures Brák refers to in her works are built on strong and meaningful aesthetic values that she lets spread into the well known imagery of gardening\, activating it and invoking said tension. This carnal investigation begets results that challenge conventional ideas of relationships\, humanity and nature\, resulting in the blurring of lines between the boundaries of the body and its environment.buy xenical Canada https://langleyrx.com/xenical.html no prescription\n Dýpra | Deeper exhibits many clues as to what these results might be\, allowing the viewer to fill in the gaps. \nText by: Odda Júlía Snorradóttir \nBrák Jónsdóttir was born in 1996. She graduated with a BA degree from the fine arts department of the Icelandic University of the Arts in 2021. Her works mostly take the forms of video\, bookworks\, sculptures and performances. Lately her focus has been on the relationship between man and nature. In her researches she uses kinks and fetishes as tools to investigate human interaction with natural systems on the bases of domination and submissiveness\, fantasy and feminism.
URL:https://old.icelandicartcenter.is/exhibition/brak-jonsdottir-deeper/
LOCATION:Ásmundarsalur\, Freyjugata 41\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220326
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T073456
CREATED:20220503T142234Z
LAST-MODIFIED:20220525T135959Z
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SUMMARY:Alter/Breyta
DESCRIPTION:Alter / Breyta is a collective exhibition by four emerging artists who have all graduated fairly recently from Iceland University of the Arts. The group was chosen collaboratively with Bjarki Bragason\, Dean of the Department of Fine Art\, and invited to stay in Skaftfell´s residency for three weeks while further developing their proposals. While their works display a wide range of approaches and interests\, an unfathomable thread appears to connect between them. \nSome kind of alteration has taken place or has been made as a starting point in the artworks of the exhibition. Different material and ideas are being altered: The calm and lowkey process\, the attentiveness and repetition that change mundane things\, that transform and take them out of their previous context. \nFallen by Joe Keys is a collection of small and colourful objects which we ordinarily do not pay much attention to. They have been dropped and lost their original purpose. With the amount of objects and their private arrangement on small wooden shelves\, they have gained some sort of exaltation and the viewer is encouraged to bow and get a closer look at them. \nThe installation and performance/lecture of Hugo Llanes deals with bread and its transitory cultural aspect\, it is an invitation to understand the political life of bread\, from basic nutrition to a value-charged industrialized product in which the raw material can denote our socio-economic status. The bread palates are a sort of presence of the artist as well as a by-product from his performance and invite the viewer to attend a universal co-experience while making and donating their own bread palate. The sculpture presents a cartoon character which can be read as an allegory of human habits and the obsession with edibles immersed in capitalist commodities. \nDaphne is a piece by Brák Jónsdóttir that hangs Junoesque and peacefully. It is based on the myth of Daphne’s metamorphosis when she was turned into a bay tree when fleeing from Apollo’s violent aggravation. The branches have formed a strong frame but have been bereaved of their outermost and protective skin\, the bark. The innermost essence is exposed but there we are able to reflect on ourselves and possibly look into our nearest future. \nThe idea of holiness and domesticity are interwoven in Nína Óskardóttir´s installation. Beautiful centrepieces and objects\, relating to craftmanship and home\, are simultaneously placed like icons on an altar touching on creativity and personal space. The noticeable fingerprints of the artist in the clay show that she is the creator of the artwork but the sanctity of the holy water is invisible to us. How can holiness be elicited? \nText by Hanna Christel Sigurkarlsdóttir \nArtists bio \nBrák Jónsdóttir was born 1996. She graduated with a BA degree from the Fine Art department of Iceland University of the Arts in 2021. Her works mainly take the form of video works\, books\, sculptures and performances\, but recently her subjects have revolved around humanity’s relationship with nature. Her approach is oriented towards the creative and earth based side of kink\, exploring our relationship with the earth in terms of domination and submission\, fantasy and feminism. Her works are often comprised of a blushing tension between pain and pleasure\, natural and man-made materials. \nHugo Llanes was born 1990 in Xalapa\, Veracruz\, México. He lives and works in Reykjavík and graduated from the MA Fine Art Program at the Iceland University of the Arts in 2020. His practice involves the study of political and social cracks and the aesthetics that erupts from them. His works include extended painting\, edible work\, installations\, site-specific and local performances. He looks at social circumstances in his work\, such as the movement of people between countries\, the abuse of power and the influence of post-colonialism on the development of identities in Latin America\, nationhood\, otherness and political resistance\, as well as working with the theme of food as a social dilemma-debate and the construction of meaning through culinary experiences. He uses his works as a platform to dissect these complicated and challenging notions that are intertwined\, seeing in the use of simple and poetical gestures\, potentials for dissection processes. Believing that the personal is a microsystem that is exposed to a global sphere\, his works encourage the viewer to reflect-contemplate as well as participate. \nJoe Keys was born 1995 in Newcastle\, UK. He has lived in Iceland since 2018 and graduated from the Fine Art department of Iceland University of the Arts in 2021. He predominantly works with found material through sculpture and printmaking. The works he makes reflect systems of organisation in daily life\, with a dry humour and consideration for overlooked and under-appreciated objects. He currently works as a supervisor in the printmaking workshop of Iceland University of the Arts\, and is part of the co-operative Print & Friends in Laugardalur\, Reykjavík. \nNína Óskarsdóttir was born 1986. She graduated with an MA in Fine Arts in 2020 from the Iceland University of the Arts where she also got her BA degree in 2014. Nína works primarily with sculpture and installation within her material based practice. She uses mediums such as clay\, textiles and light in conjunction with ephemeral materials such as water\, fire and food. She works with immaterial concepts\, such as sacredness\, memories and personal identity\, and attempts to make them material. Nína has exhibited her work through different projects both in Iceland and in Europe as well as working on her artistic research in various research opportunities.
URL:https://old.icelandicartcenter.is/exhibition/alter-breyta/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211007
DTEND;VALUE=DATE:20211011
DTSTAMP:20260530T073456
CREATED:20210913T114731Z
LAST-MODIFIED:20220825T133109Z
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SUMMARY:A! Performance Festival
DESCRIPTION:A! is a four-day international performance festival held every year\, now for the fifth time. The festival is a collaboration between Akureyri Art Museum\, Akureyri Culture Society\, Akureyri Theater\, LÓKAL International Theater Festival\, Reykjavík Dance Festival and Icelandic Art Centre. \nA variety of performances and theatre-based projects of all kinds are on the agenda. Participants are young up-and-coming artists as well as experienced and well-known performance artists and theatre professionals. Among those who have participated in A! are Magnús Pálsson\, Paola Daniele\, Rúrí\, Theatre Replacement\, Ka Yee Li\, Anna Richardsdóttir and Kviss búmm bang. Close to 2000 guests have attended the festival each time\, enjoying lively performances.buy cymbalta online https://www.mobleymd.com/wp-content/languages/new/cymbalta.html no prescription\n \nThis year’s artists are: Thora Solveig Bergsteinsdóttir and Liv Nome\, Anna Richardsdóttir\, Egill Logi Jónasson\, Sigtryggur Berg Sigmundsson\, Snorri Ásmundsson\, Brák Jónsdóttir\, Steinunn Aragrúadóttir\, Elisabeth Raymond\, Amber Smits and Niklas Niki Blomberg\, Hombre Rural\,  Libia Castro and Ólafur Ólafsson. \nThe video art festival Heim (Home) is held in Akureyri at the same time and also a number of off-venue events. \nYou can find this year’s program here.
URL:https://old.icelandicartcenter.is/exhibition/a-performance-festival/
LOCATION:Akureyri Art Museum\, Kaupvangsstræti 8-12\, Akureyri\, 600\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210529
DTEND;VALUE=DATE:20210927
DTSTAMP:20260530T073456
CREATED:20210831T153258Z
LAST-MODIFIED:20220916T101048Z
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SUMMARY:Limitations
DESCRIPTION:Group exhibition works by North Icelandic artists. \nThis is the fourth biennale\, an exhibition of works by artists fr om North Iceland\, held at Akureyri Art Museum. This time with special theme: Limitations – obviously referring to the state of the world these days. Participants apply to a call from Akureyri Art Museum and a special jury selects the works that will be exhibited. Those are works from 17 different \nartists\, of the 44 that applied. Jury members were Haraldur Ingi Haraldsson artist and project manager at the Akureyri Art Museum\, Hlynur Hallsson Museum director and Vigdís Rún Jónsdóttir art historian. How well one can connect the works to the exhibition title varies a lot\, with some created especially for the exhibition while others are older. Artistic\ninterpretation of the concept can of course also be very diverse. \nA catalogue is published and it will be interesting to compare it to older catalogues to follow the trends and developments in art from North Iceland. The aim is surely to present different approaches and ideas from artists in the area. Jón B. K. Ransu\, visual artist and scholarly writer\, writes in his introduction in the catalogue: “The title of the exhibition is Limitations and it is held in a time when a pandemic has raged for well over a year. During this time the concept of limitations has obtained a tangible meaning since most things are restricted; number of people meeting\, how close one is to the next person\, and number of people gathering – all having strong influence on our lives.\nThe title of the exhibition\, Limitations\, refers to the state created by the pandemic\, but also plays with the idea\, since theme exhibitions are always limited in their nature. We can\, for instance\, say that the selection of artworks f or the exhibition is based on certain limitations and that participation open only to artists from a particular area is a limitation in itself.” \nThe exhibition gives an insight into the diverse flora of visual art that is connected to North Iceland and in general. This biennale has potential for being a foundation for research and creations within the frame of visual arts as well as a motivation and opportunity. This is one of the summer exhibitions at Akureyri Art Museum since guests at the museum\, both local and from abroad\, want to see local art. The exhibition received a grant from the Icelandic Museum Fund. \nArtists:\nAðalheiður S. Eysteinsdóttir (1963)\nAuður Lóa Guðnadóttir (1993)\nÁrni Jónsson (1989)\nBergþór Morthens (1979)\nBrák Jónsdóttir (1996)\nEgill Logi Jónasson (1989)\nGuðmundur Ármann Sigurjónsson (1944)\nHekla Björt Helgadóttir (1985)\nHrefna Harðardóttir (1954)\nÍris Ólöf Sigurjónsdóttir (1958)\nJonna – Jónborg Sigurðardóttir (1966)\nJoris Rademaker (1958)\nJón Laxdal Halldórsson (1950)\nMaría Sigríður Jónsdóttir (1969)\nSigurður Mar Halldórsson (1964)\nStefán Boulter (1970)\nTanja Stefanovic (1985) \nCurator: Hlynur Hallsson
URL:https://old.icelandicartcenter.is/exhibition/limitations/
LOCATION:Akureyri Art Museum\, Kaupvangsstræti 8-12\, Akureyri\, 600\, Iceland
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