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DTSTART:20220101T000000
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DTSTART;VALUE=DATE:20230819
DTEND;VALUE=DATE:20231002
DTSTAMP:20260530T082149
CREATED:20230816T140844Z
LAST-MODIFIED:20231013T122407Z
UID:32311-1692403200-1696204799@old.icelandicartcenter.is
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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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230420
DTEND;VALUE=DATE:20230501
DTSTAMP:20260530T082149
CREATED:20230420T104309Z
LAST-MODIFIED:20230420T104309Z
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SUMMARY:Hugo Llanes: And When The Sun Rises\, I Look at The Sun
DESCRIPTION:With ‘When The Sun Rises\, I Look at The Sun’\, Hugo Llanes proposes to reframe domestication\, exploitation\, and the introduction of certain crops as an example of socio-political events\, namely the arrival of the Spanish to the Americas\, and the evolution of the agricultural industries built in the Latin American context.\nFocusing on land and cultural motifs\, with the sugar industry of the Veracruz region of Mexico—the artist’s place of origin—as reference\, Llanes depicts the relationship between the semi-rural labourer\, industrialisation of the land and the traditions that might emerge from it. Here\, Llanes makes the twin gestures of painting with ashes from a sugarcane field\, and burning the canvas in order to build a composed installation consisting of fired wheat\, cotton\, cane and stainless steel.\nThese gestures seek to catalyse a conversation about the complexities of living in a contemporary world sustained by extractivist practices\, immoderate consumption and crops that are the foundation of capitalist trade policies.\n\n Hugo Llanes is an artist based in Iceland. He has a BA from Universidad Veracruzana and holds a MA in Fine Arts from the Iceland University of the Arts. His work involves the study of social-political cracks and aesthetics that erupt from them. Llanes looks at social circumstances\, such as food migration\, the abuse of power\, economic disparity and the food supply chain. To depict these\, he employs artistic research and mediums such as maintenance art\, performance\, installation\, site-specific\, participatory art\, video art\, and extended painting. He believes that the personal is a microsystem that is exposed to a global sphere. \nOpening times will be 14-17hrs.\nAs well as by appointment.
URL:https://old.icelandicartcenter.is/exhibition/hugo-llanes-and-when-the-sun-rises-i-look-at-the-sun/
LOCATION:Associate Gallery\, Köllunarklettsvegi 4\, Reykjavík\, 104\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220618
DTEND;VALUE=DATE:20220725
DTSTAMP:20260530T082149
CREATED:20220614T151611Z
LAST-MODIFIED:20220803T160456Z
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SUMMARY:Grounded Currents
DESCRIPTION:Artists: Maryse Goudreau\, Hugo Llanes\, Zinnia Naqvi\, Sigrún Gyða Sveinsdóttir\,\nMarzieh Emadi & Sina Saadat\nCurator: Þorbjörg Jónsdóttir \nOpen daily except Mondays 2:00 – 5:00 PM \nEavesdroppers \nI lived in Iceland for over a decade but—dismissively—never went whale watching until back in\nReykjavík this spring. With my eight-year-old as alibi\, I bought two tickets for a boat on Faxaflói\nBay; I packed sandwiches\, binoculars\, and low expectations. Onboard\, we studied posters in the\nlower decks with their familiar and exquisite wildlife illustrations by Jón Baldur Hlíðberg\, a keen naturalist who once described to me the activity of modern birdwatching (traditionally a no-girls-allowed endeavour) as an evolutionary extension of the hunt. Perhaps that’s the real reason I was sceptical about whale watching: even though it is posited by the tourist industry as an eco-friendly\nalternative to whaling\, it still had the air of a seek-and-consume pursuit. I didn’t need to go out and hassle whales; for me\, it was enough to know they were there. \nYou can tell where this is going\, right? That once I saw actual\, animate humpback whales\nspouting and fluking in Faxaflói Bay\, my cynicism melted away and I was transformed by the\nencounter? Well\, maybe. It was indeed surprisingly magical. But the pleasure was an odd one—a\nvoyeuristic one. We saw no breaching\, only backs and tails\, tantalising suggestions of behemoths\nbelow. The guide\, a marine biologist\, counted over the loudspeaker for us the minutes between\ndives; we all somehow held our breath for eight and a half minutes with the whales until they\nsurfaced again. Despite spending nearly all of their lives underwater\, whales need to come up to\nbreathe\, and that is what the whale watching industry capitalises on. Breathing. Our boat was close\nenough that I could look into the creatures’ blowholes as they expelled the air from their\nvoluminous lungs. Humpbacks\, being baleen whales\, have two blowholes\, like two nostrils. It is an\naberrant thing to gaze into someone’s nostrils and find some gratification there\, and an awkward\nthing to admit to it. And yet that is what I did\, and what I am confessing. \nThere is a similar spark of uncanny voyeurism igniting the works in Grounded Currents as\nthe artists here are looking\, reaching\, across some divide or another. And here I am reaching for a\nword that doesn’t seem to exist in the English language\, because I don’t mean voyeurism in the\nsexual sense; I don’t mean surveillance with its usual connotation of espionage; I don’t mean\nobservation in a neutral\, methodological manner. But watch\, as Zinnia Naqvi strives to understand\nher encounter with an uncomfortable exchange between her middle-class aunt and a domestic\nworker\, a recent immigrant with a family crisis. Naqvi’s The Translation Is Approximate rehashes\nthe conversation she witnessed and recorded some eight years previous\, exploring her relationship\nwith the power dynamics between the two women—and between herself and this scene that became\nthe subject of an earlier artwork. To whatever extent there is “voyeurism” here\, it is\, perhaps\,\nmotivated by sympathy\, and a desire to narrow or at least interpret socioeconomic and cross-cultural gaps. \nIn Marzieh Emadi and Sina Saadat’s videos and animations\, we also see stretching across\nrifts and voids. Quite literally\, in the case of Rope Walker: a tiny figure crosses a tightrope above\ndozens of scenes of live footage filmed in the night-time streets of Vienna—a patchwork quilt of\ndrivers\, passengers and pedestrians monitored\, anonymously\, and stitched together into a\nmesmerising blanket revealing the quotidian motions of everyday urban life. In other works\, Emadi\nand Saadat focus inwards\, reaching from the conscious into the unconscious and back\, in dreamlike\nimagery touching on the surreal. Sometimes\, they even watch sleepers sleeping\, and as viewers of\ntheir work\, we become accomplices. Sigrún Gyða Sveinsdóttir\, on the other hand\, gives voice to the\nwatched in Hlaupa\, a video installation based on an operatic performance in which four trolls reveal the burden of being observed. Extending back into Icelandic folklore in order to interrogate\ncontemporary crises of climate and society\, Sveinsdóttir sets the stage for her narrators to tell the\ntale of another troll who gave up running from the petrifying light of the sun and allowed herself to\nturn to stone. Was this a willing self-sacrifice\, or a surrender under duress? I imagine an eerie\nresonance between that hardened troll and a character conjured by Agnes Obel when she sings in\nher own haunting voice: “They say every sin will have a thousand eyes / To guilty fools with guilty\nminds / But I must be cruel to be kind / Deep within my head of stone…” \nWe know from physics that observed phenomena sometimes change their behaviours simply\nby virtue of being watched. Protons and electrons aside\, is it even possible to faithfully observe\nanother sentient\, self-aware being like a whale without disrupting its ways? Certainly not on an\nintrusive whale-watching boat on Faxaflói Bay\, but probably neither through subtler scientific\nmeans—if only because whales are already drowning in the overwhelming noise of human\nactivities. “Aquatic animals are immersed in sound\,” explains biologist David George Haskell in his\n2022 book Sounds Wild and Broken . “Sound flows almost unimpeded from watery surrounds to\nwatery innards. ‘Hearing’ is a full-body experience. […] Having lived most of my life inland\, many\nhours’ drive from the sea\, I have seldom seen or heard whales. But the whales hear me. They are\nimmersed in the sounds of my purchases from over the horizon every day of their lives.” Artist\nMaryse Goudreau\, however\, lives right on a North Atlantic bay in Quebec\, and much of her practice focuses on the lives and sounds of her local beluga whales. She reverses the dynamic Haskell\ndescribes\, immersing participants and viewers in belugas’ calls and even the drumming of their\nhearts; she asks collaborators to interpret the meanings in these sounds from across the chasm of\nspecies lines. In her multi-channel video Beluga Constellation \, Goudreau imagines a future in\nwhich cetaceans’ songs—their “data”—outlive and replace human technologies. I wonder\, then\,\nwhether those whales would take some pleasure in eavesdropping on us. \nEavesdropping: perhaps that is the word I have been grasping for\, the common activity in\nwhich these currents are grounded. In the context of contemporary technology and big data\nsurveillance\, “eavesdropping” connotes something less insidious and more analogue\, a harmless\nlistening-in\, a curiosity driven by a desire to be part of what’s happening on the other side of the\nwall. These artists brought together in Hjalteyri invite us to witness their acts of well-meaning\nwitnessing. And Hugo Llanes grounds it to the north Iceland–local by dropping anchor in\nEyjafjörður\, peering in on the creatures who normally swim past the Factory undetected. The jaws\nof the Atlantic wolffish he has etched on the seashells in his site-inspired installation have emerged\nfrom the artist’s longstanding interest in power dynamics\, from the legacy of colonialism in his\nnative Mexico to the domination of humans over other animals. Llanes heard that regular divers in\nEyjafjörður took interest in a certain wolffish because they noticed she seemed to be curious about\nthem\, even to recognise them. And why wouldn’t she? We’re all curious\, whether about the people\nwhose language or circumstance we can’t quite understand\, about the inner dreamscapes we can’t\nseem to grasp\, about the creatures whose sounds spark excitement but not comprehension. Even\,\nsimply\, about the breathing mechanisms of those creatures\, familiar and mysterious all at the same\ntime. \n—Shauna Laurel Jones\,\nart historian and environmental writer
URL:https://old.icelandicartcenter.is/exhibition/grounded-currents/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220326
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T082149
CREATED:20220503T142234Z
LAST-MODIFIED:20220525T135959Z
UID:23062-1648252800-1653263999@old.icelandicartcenter.is
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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