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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T181828
CREATED:20220103T140645Z
LAST-MODIFIED:20220825T132534Z
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SUMMARY:Lóa H. Hjálmtýsdóttir: Powersuit
DESCRIPTION:In Powersuit\, the artist and musician Lóa H. Hjálmtýsdóttir seeks to answer the question: How can humans be magnificent creations and delusional people at the same time? The powersuit is the feminine version of the classic men’s suit and is presented as a symbol of the wearers’ belief that they are in control of reality. Depictions of women engaged in imaginary scenes of contemporary life are presented like a feminist fairytale set in the forest of our subconscious. The scenes are narrative; however\, they also exist outside of time and space\, fitting together like a puzzle. \nThe women seem to be part of a larger epic tale about this era on earth. While the portraits depict the mundane routine of daily life and its seeming meaninglessness\, the characters are\, nevertheless\, always in a state of striving; striving to maintain a certain ease\, striving to get further in society\, striving to do more… but no one knows where or why. Through paintings\, comics\, sculptures\, and books\, this everyday drama is narrated with humor and panache. \nThe powersuit did have real historical precedence in women’s movements\, albeit with more variations than the caricature of the 1980s executive woman with shoulder pads. Beginning with the adaptation of the riding jacket in the early 19th century to helping Suffragettes get their point across\, it gradually became practical wear for working women (and rioting women.) Imagine\, up until 1993 female senators in the US fought to overturn the ban on women wearing pants on the senate floor. \nAs a comic book artist\, Lóa’s narratives of emotional states and inner monologues resonate with a directness that is very unique to the comic form. While we are used to reading text and reading images\, the process of reading them both simultaneously becomes not only about acquiring knowledge\, but also an inevitable process of memory. What information do we take with us? What narratives do we take away and what information do we pass along? What role does the book play as an interlocutor of information between people and ideas\, the public and private\, the mundane and the epic? \nDuring the exhibition\, the artist will exhibit a collection of hand-made books in the hallway\, expanding upon the initial exhibition during this period. \nCurator: Erin Honeycutt \nLóa H. Hjálmtýsdóttir (1979\, Reykjavik) is an artist\, illustrator\, comic and children’s book author and a singer. She studied Fine Art and Creative Writing at the Icelandic Academy of the Arts and University of Iceland and Illustration at Parson’s New School for Design in NYC. Her first comic book was published in 2009 and her children’s book debut Grísafjörður was nominated for the 2021 Nordic Council’s Children and Young People’s Literary Prize. Since 2005 her band FM Belfast has been making music and touring internationally. \nErin Honeycutt (1989) is a writer\, bookseller\, and curator based in Berlin. She studied Art History (MA\, University of Iceland) and Religion (MA\, University of Amsterdam). She writes poetry\, exhibition reviews\, and a variety of texts in collaboration with artists.buy aceon generic https://andnewbloonline.com/aceon.html over the counter\n She was nominated for the Broken Dimanche Press art writing prize and has been published in SAND Journal\, BARAKUNAN\, and Neptún Magazin among others.
URL:https://old.icelandicartcenter.is/exhibition/loa-h-hjalmtysdottir-powersuit/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/image00182.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T181828
CREATED:20220103T135254Z
LAST-MODIFIED:20220825T134052Z
UID:20956-1644019200-1653263999@old.icelandicartcenter.is
SUMMARY:Þórdís Erla Zoega: Routine
DESCRIPTION:In Hringrás / Orbit\, a circle of plexiglass encased in dichroic film rotates clockwise like a planetary diagram from the ceiling\, casting an array of variable lighting effects on the floor of the exhibition space. A spotlight illuminates the circle\, creating a play of shape and shadow in the recesses of the room. Further adding to the effect is a spiral etching within the glass that creates more variables for distortion in the rotation. This movement is traced on the floor as a kind of immersive engagement with the image. Much like her floor pieces and her wall rugs\, the viewer is asked to engage with the props of the room as a prop for an image. In this case\, the images are cartographies of light where light becomes a fabric with a sense of touch\, evoked visually and yet at the limits of vision. Without adhering to the representation of figures\, the lines and forms take on a life of their own. \nÞórdís’ use of dichroic film can be seen as a kind of archaeology into the nature of the image; the first step towards using the image as a starting point to guide the viewer into other modes of perception. The way in which dichroic film is used as a sculptural object that has its own agency in casting light on the floor creates a performance of the image that forces the body into the reception of the image in a continuum of its appearance and disappearance. In this space of its disappearance\, an invitation to engage in a distinctly cinematic way is brought to the viewer. This dynamic materiality brings the body into a relationship with technologies that recreate a sense of the pre-existing sensuality of existing in the world. \nÞórdís Erla Zoëga (1988) is a visual artist based in Iceland. Þórdís received her BFA degree from the Audio Visual Department of The Gerrit Rietveld Academy in 2012 and has since exhibited her work both in Iceland and abroad\, such as in Stockholm\, Berlin\, Basel\, Amsterdam\, and more. In Iceland she has made works for the Reykjavík Arts Festival\, Gerðarsafn\, Iceland Dance Company\, and exhibited in the Reykjavík Art Museum.buy prelone online herbalshifa.co.uk/wp-content/themes/twentytwentytwo/inc/patterns/en/prelone.html no prescription\n She was also a member of Kunstschlager artist collective that maintained an extensive exhibition program in the Kunstschlager Stofa at the Reykjavík Art Museum in 2015. \nHer recent exhibitions include Embrace (Norrtälje konsthall\, Sweden\, 2021)\, Hyper Cyber (Þula\, Reykjavik\, 2020)\, and Harmony (Geysir Heima Kjallarinn\, Reykjavik\, 2019). \nÞórdís works in various mediums and creates installations\, paintings\, drawings\, rugs and acrylic glass reliefs. Her work is usually about balance and intimacy that appear in contrasts\, space and symmetry. In her installations\, she creates space for the viewer to discover something new.buy cialis daily online herbalshifa.co.uk/wp-content/themes/twentytwentytwo/inc/patterns/en/cialis-daily.html no prescription\n The circular shapes that reappear in her works are a symbol of infinity and space. The symmetry is a way to find balance on the surface and in life. \nCurator: Erin Honeycutt \nErin Honeycutt (1989) is a writer\, bookseller\, and curator based in Berlin. She studied Art History (MA\, University of Iceland) and Religion (MA\, University of Amsterdam). She writes poetry\, exhibition reviews\, and a variety of texts in collaboration with artists. She was nominated for the Broken Dimanche Press art writing prize and has been published in SAND Journal\, BARAKUNAN\, and Neptún Magazin among others.
URL:https://old.icelandicartcenter.is/exhibition/thordis-erla-zoega-routine/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T181828
CREATED:20220103T130024Z
LAST-MODIFIED:20220825T134634Z
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SUMMARY:Magnús Helgason: ROLL ON
DESCRIPTION:Curator: Erin Honeycutt \nIn his work\, Magnús often uses found material that he transforms into either two-dimensional paintings or three-dimensional installations. He chooses objects and materials\, sometimes transformed by nature or man-made for other purposes\, and reassembles them into a new whole\, often playing with the distinction between material and object.buy light pack online www.adentalcare.com/wp-content/themes/medicare/editor-buttons/images/en/light-pack.html no prescription\n In search of beauty and balance\, the works meet the viewer through perception. Perception is at the heart of our thinking\, signaling an arrival to a body of work where our perceptions of the world are irretrievably and continually altered. Into this architecture of possibility\, there is an exploratory space\, instigative of further inquiry. \nInstead of fractured\, the various elements are distinctive yet flowing from the same river. There is something metaphysical\, even transcendent\, about such minimalism but the heavy past of minimalism has been inherited here with freedom to play. With a maverick air\, Magnús takes the challenges of implementing ideas into physical action with willingness. Although there is a spaciousness to the installations\, in that they create space for contemplation\, there is an invitation on behalf of the viewer to be alert and engaged\, to grasp at the various elements in their raw state\, like trying to read an extremely ungrammatical poem. Magnús´ work is not cerebral\, however\, one may feel thrown by some chemical bonding of intellectual and emotional oscillation between primeval awe and playful tricksterism. \nWith a hint of a slapstick aesthetic that makes an exaggerated action for quick\, humorous effect\, Magnús’ slapstick is towards implementing a simple kind of beauty. Magnús´ work seems to arrive from somewhere outside of the artworld\, like an inventor/engineer who has turned away from his mission in order to tinker in play and possibility with smaller miracles. Yet\, in the end\, the work wholeheartedly becomes art. \n——- \nMagnús Helgason (1977) is a visual artist based in Iceland. He graduated from the AKI\, Akademie voor beeldende kunst Enschede\, in Holland (2001) and has since devoted himself to experimental filmmaking and painting\, and in recent years\, has worked more prominently with installations.buy cialis pack online www.adentalcare.com/wp-content/themes/medicare/editor-buttons/images/en/cialis-pack.html no prescription\n Magnús often uses found materials that he transforms into two-dimensional paintings or three-dimensional installations\, taking objects and materials\, either eroded by nature or that which was intended for other purposes\, and arranges them into an entirely new object. Magnús’’ art does not need explanation. Ideally\, the works bypass the brain and meet hit the viewer directly in the heart. His recent exhibitions include Shit hvað allt er gott (Gerðarsafn\, 2020)\, Rólegur Snati við snertum aldrei rúllustigahandrið (Listamenn Gallerí\, 2020) and Ég er ekki of ég er on (Kaktus\, Akureyri\, 2020). \nErin Honeycutt (1989) is a writer\, bookseller\, and curator based in Berlin. She studied Art History (MA\, University of Iceland) and Religion (MA\, University of Amsterdam). She writes poetry\, exhibition reviews\, and a variety of texts in collaboration with artists. She was nominated for the Broken Dimanche Press art writing prize and has been published in SAND Journal\, BARAKUNAN\, and Neptún Magazin among others.
URL:https://old.icelandicartcenter.is/exhibition/magnus-helgason-roll-on/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/roll-on-magnus.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T181828
CREATED:20220103T125153Z
LAST-MODIFIED:20220825T133526Z
UID:20941-1644019200-1653263999@old.icelandicartcenter.is
SUMMARY:Ingunn Fjóla Ingþórsdóttir: You are the Input
DESCRIPTION:Curator: Erin Honeycutt \nIn You are the Input\, Ingunn Fjóla explores the tension between order and disorder in a playful manner. The installation is first of all painterly\, in the sense that a system of patterns can be painterly. Within this system is an immersive experience in which the visitor operates the shifting scene as they move about the space\, interacting with subtle ques embedded in the layout. The installation is meant to be disturbed\, but the manner of this disruption is displayed in such a way that the polarity between acts of disruption and composition are brought into question. \nIngunn Fjóla’s previous works have mainly been composed of painting and installation. Using different materials arranged in unsuspecting ways that challenge the viewer’s aesthetic and visual perception of an exhibition space\, she merges the preconceived information received by the eye with a conceptualism that speaks to the physicality of the body. The body of the viewer takes part in an abstract narrative created by a variety of surfaces and angles. The painted surfaces in her oeuvre play many roles – at times they are a partition wall or cat-walk and at other times a sign\, stage\, or screen. \nIn You are the Input\, the visitor can move materials in the exhibition around so that the system can break\, or form\, depending on how you conceive of the continuum of order and disorder. Everything exists within a range of movement established by the input of the visitor. At the end of the day\, the exhibition is reset to the original pattern so that the variability always begins from the same point zero the next day and so the installation continues to exist in a constant flux between order and disorder. \nIngunn Fjóla Ingþórsdóttir (1976) is a visual artist based in Iceland. Ingunn Fjóla graduated with an MA degree in Fine Art from the Iceland University of the Arts in 2017 and a BA degree in Fine Art from the same institution in 2007. She also holds a BA degree in Art History from the University of Aarhus\, received in 2002. Ingunn Fjóla works mainly in painting and installation. Her practice draws on the history of minimalism and abstract painting\, by adding interactive elements or direct participation\, Ingunn Fjóla extends the field of painting into an open system in which the work is animated by the viewer and the space. Ingunn Fjóla’s work has been exhibited widely in galleries and museums in Iceland\, including The National Gallery of Iceland\, Reykjavík Art Museum\, and Hafnarborg\, the Hafnarfjörður Centre of Culture and Fine Art. Ingunn Fjóla has participated in several group exhibitions internationally including the Prague Biennale 5\, Cluj Museum\, Rumenia and Kunstverein Springhornhof\, Germany. Recent exhibitions include Moments Unfolding / Efnisgerð augnablik (Living Art Museum\, 2021)\, Threads of Art / Listþræðir (The National Gallery of Iceland\, 2021) and Image\, afterimage / Mynd\, eftirmynd (Kompan- Alþýðuhúsið\, Siglufjörður\, 2020). \nErin Honeycutt (1989) is a writer\, bookseller\, and curator based in Berlin. She studied Art History (MA\, University of Iceland) and Religion (MA\, University of Amsterdam). She writes poetry\, exhibition reviews\, and a variety of texts in collaboration with artists.buy lasix online https://salempregnancy.org/wp-content/languages/new/lasix.html no prescription\n She was nominated for the Broken Dimanche Press art writing prize and has been published in SAND Journal\, BARAKUNAN\, and Neptún Magazin among others.
URL:https://old.icelandicartcenter.is/exhibition/ingunn-fjola-ingthorsdottir-in-you-are-the-input/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/ingunn-fjola.jpg
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