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DTSTART;VALUE=DATE:20230330
DTEND;VALUE=DATE:20230514
DTSTAMP:20260530T071210
CREATED:20230330T140547Z
LAST-MODIFIED:20230530T113537Z
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SUMMARY:Lawrence Weiner & Birgir Andrésson
DESCRIPTION:Language is at the essence of Lawrence Weiner and Birgir Andrésson’s artistries. The iconic conceptualists\, who were also friends\, are inextricably linked to the power of words and their methods of expression\, particularly through the visual power of text. Andrésson and Weiner explored the boundaries of what art can be\, pushing past traditional understandings of objecthood and viewership to create new methods of expression. For both artists\, their existential and philosophical contemplations formed distinct practices that reverberated internationally to change the course of contemporary art. \nBirgir Andrésson’s interest in methods of communication was heightened by growing up as a sighted person with blind parents in a home for the visually impaired. The reliance on the spoken word in Andrésson’s life created a heightened response to language and its descriptive powers. In addition to language\, elements of humour\, as well as national and personal identity\, are important to his practice\, and Icelandic history resonates strongly throughout his work. Andrésson\, whose work is included in the collection of the Metropolitan Museum of Art in New York\, represented Iceland at the Venice Biennale in 1995. He had solo exhibitions at the National Gallery of Iceland and at the Reykjavík Art Museum\, where a major survey show curated by art historian Robert Hobbs was presented in 2022; this survey exhibition was accompanied by a new monograph published by Distanz Verlag. \nLawrence Weiner’s devotion to questioning convention made the artist a leading figure in the 1960s Conceptual art movement\, and his graphic use of capitalized text\, marks\, and lines formed a critically acclaimed visual language unique to him. Weiner has exhibited widely at international venues including Tate Modern\, London; Stedelijk Museum\, Amsterdam; Museo Tamayo\, Mexico City; Guggenheim Museum Bilbao; The Jewish Museum\, New York; and the Museo Nacional Centro de Arte Reina Sofía\, Madrid. A major retrospective of Weiner’s work was presented by the Whitney Museum\, New York; the Museum of Contemporary Art\, Los Angeles; and K21 Kunstsammlung Nordrhein-Westfalen\, Düsseldorf from 2007 – 2009.
URL:https://old.icelandicartcenter.is/exhibition/lawrence-weiner-og-birgir-andresson/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
CATEGORIES:Exhibitions,Galleries
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ORGANIZER;CN="i8%20Gallery":MAILTO:info@i8.is
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230119
DTEND;VALUE=DATE:20230319
DTSTAMP:20260530T071210
CREATED:20230118T103508Z
LAST-MODIFIED:20230315T114208Z
UID:28789-1674086400-1679183999@old.icelandicartcenter.is
SUMMARY:Butterly / Pétursson
DESCRIPTION:i8 Gallery is pleased to present Butterly / Pétursson\, a two-person show featuring new work by American ceramicist Kathy Butterly and Icelandic painter Eggert Pétursson. The exhibition opens with a reception for the artists on Thursday\, 19 January from 5-7pm and will be on view until 4 March. \n  \nButterly and Pétursson are united in their deeply expressive bodies of work\, as well as in their decades-long\, rigorous dedication to their practices. Butterly and Pétursson’s shared exploration of depth and texture and their attention to detail result in energetic\, viscerally powerful artworks. Both artists explore limits and capacities of colour through their technical mastery of glazes and paints: Butterly challenges the limits of ceramics\, as Pétursson does a canvas.
URL:https://old.icelandicartcenter.is/exhibition/butterly-petursson/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221020
DTEND;VALUE=DATE:20221127
DTSTAMP:20260530T071210
CREATED:20221020T100900Z
LAST-MODIFIED:20221201T115024Z
UID:27086-1666224000-1669507199@old.icelandicartcenter.is
SUMMARY:Arna Óttarsdóttir: Soon\, Again
DESCRIPTION:i8 is pleased to present soon\, again\, Arna Óttarsdóttir’s second solo exhibition with the gallery\, which will open with a reception from 5-7pm on 20 October and be on view until 26 November 2022.\n\nThis presentation will feature eight new weavings by Óttarsdóttir\, all made by hand on a loom in her Reykjavík studio. As is consistent throughout her practice\, the artist uses her own notebooks\, which are filled with thoughts and drawings\, as source material for her works. By incorporating sketches and less formal visual elements into the weavings\, Óttarsdóttir infuses her work with a spirited\, personal energy that permeates the exhibition.\n\nThis new body of work by Óttarsdóttir combines elements of abstraction and figuration and explores the physical properties of material. At times\, the artist eschews a tight weaving technique in favor of a loose\, drawing-like approach. The patterns\, textures\, and colors within Óttarsdóttir’s tapestries vary within individual works\, allowing the artist to investigate the aesthetic intricacies weaving allows.\n\nArna Óttarsdóttir (b. 1986) lives and works in Reykjavík\, Iceland. In 2021\, her work was featured in Iðavöllur: Icelandic Art in the 21st Century at the Reykjavík Art Museum. Óttarsdóttir had a solo exhibition\, Everything is great\, at the Living Art Museum in Reykjavík in 2019. Her work has been exhibited internationally at exhibitions including Nordatlantens Brygge\, Copenhagen; Turner Contemporary\, Margate\,; Åplus\, Berlin; and Cecilia Hillström Gallery\, Stockholm.
URL:https://old.icelandicartcenter.is/exhibition/arna-ottarsdottir-soon-again/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220818
DTEND;VALUE=DATE:20221009
DTSTAMP:20260530T071210
CREATED:20220817T113027Z
LAST-MODIFIED:20221013T154155Z
UID:24653-1660780800-1665273599@old.icelandicartcenter.is
SUMMARY:Ryan Mrozowski: Eyes Like Pond
DESCRIPTION:Featuring paintings and sculptural wall works\, Eyes Like Ponds highlights Mrozowski’s signature systematic approach to painting. The artist’s immersive language\, which is rooted in visual and linguistic puzzles\, frequently uses botanical subjects to explore elements of presence\, absence\, and perception. \nFoliage\, fruit\, and letters become abstracted in Mrozowski’s compositions\, as the artist crops and repeats his motifs. The resulting lyrical patterning disrupts the traditional still-life and often reimagines nature with methodical order. \nThe repetition within the compositions is also reflected in the doubling of canvases\, as seen in Mrozowski’s pendants. By masking fauna with saturated areas of color\, Mrozowski provokes an optical oscillation for the viewer\, as one’s mind strives to connect the two paintings into a single image. Imbued with vibrancy\, the artist’s diptychs create a distorted mirroring effect that can be found throughout his practice. \nIn Mrozowski’s language paintings\, the text acts as a disruptor to his images\, similarly to the artist’s use of pattern play. The letters can be deciphered into words quickly – eyes\, yes\, on\, no\, noon – as linguistic associations become apparent. As with much of his practice\, Mrozowski’s word paintings possess a digital quality\, with his analog style paying subtle homage to the technology of typing\, cutting\, and pasting. \n\n\nRyan Mrozowski was born in 1981 in Pennsylvania\, and lives and works between Hudson and Brooklyn\, New York\, USA. He earned his MFA from the Pratt Institute\, New York\, in 2005\, and his BFA from the Indiana University of Pennsylvania in 2003. His work has been the subject of exhibitions at international venues including Galerie Nordenhake (Mexico City\, Stockholm\, Berlin)\, Ratio 3 (San Francisco)\, Hannah Hoffman Gallery (Los Angeles)\, Simon Lee (London) and Chapter (New York). This is his first exhibition with i8 Gallery. 
URL:https://old.icelandicartcenter.is/exhibition/ryan-mrozowski-eyes-like-pond/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220616
DTEND;VALUE=DATE:20220731
DTSTAMP:20260530T071210
CREATED:20220627T164956Z
LAST-MODIFIED:20220808T140830Z
UID:24262-1655337600-1659225599@old.icelandicartcenter.is
SUMMARY:Sea Lava Circle: Works from the Pétur Arason and Ragna Róbertsdóttir Collection
DESCRIPTION:This exhibition features a selection of works from more than five decades of collecting by Pétur Arason and his wife Ragna Róbertsdóttir\, an artist who has shown with i8 since 1996. Forged through the close relationships that the couple has established with artists\, the collection includes sculpture\, painting\, photography\, and works on paper\, all of which find common theme in their conceptual and minimal nature. Sea Lava Circle takes its title from a floor sculpture by Richard Long that is central to the exhibition. \nThe presentation will feature works by:\nRoger Ackling\, Guðmunda Andrésdóttir\, Birgir Andrésson\, Ingólfur Arnarsson\, Hörður Ágústsson\, Celeste Boursier-Mougenot\, Jóhann Eyfells\, Kristján Guðmundsson\, Sigurður Guðmundsson\, Roni Horn\, Carsten Höller\, Dorothy Iannone\, Alan Johnston\, Donald Judd\, On Kawara\, Richard Long\, Sarah Lucas\, Gerwald Rockenschaub\, Roman Signer\, Alan Uglow\, Jeffrey Vallance and Lawrence Weiner. \n  \nWriter Einar Falur Ingólfsson reflects on the Pétur Arason and Ragna Róbertsdóttir Collection: \n“We can say that the pieces we have collected offer a good representation of Western art since 1965\,” Arason told me in 2000\, around the opening of an extensive and memorable exhibition of works from the collection\, that was held in Kópavogur Art Museum. The title of the exhibition was descriptive of their passion for collecting: Obsession. Arason highlighted 1965 as the year in which he acquired his first work of art\, and others soon followed. The collection grew significantly during the 1980s\, and became\, in many ways\, something unique within Iceland\, as Arason and Róbertsdóttir equally acquired work by both Icelandic and international artists. \n“This is a dialogue. We have very rarely purchased work without getting to know the artist first. We have formed a strong bond with all the artists\, and that is probably the foundation of our collection\,” Arason revealed. In an article about the collection\, the art historian Eva Heisler wrote that its contents offer “…a testament to individual dialogue with the art of the latter half of the 20th century\, particularly that which emerged in the wake of minimalism. The conversation centres around certain key questions: the expansion of the work of art in the visual space of the viewer; experiencing the artwork as a ‘place’ rather than as an object; the expansion of the artwork into the textual realm; and testing the concept of ‘medium’.” \nArason and Róbertsdóttir have often publicly exhibited works from their collection over the last four decades. Initially\, during the 1980s\, they featured works at a space called Krókur\, which was connected to a store that Arason was then running at 37 Laugarvegur in Reykjavik. Later\, from 1992-1997\, Arason and Róbertsdóttir\, along with the artist Ingólfur Arnarsson\, ran an exhibition space in the building where they lived\, which they called Second Floor. In the early 2000s\, in collaboration with the City of Reykjavik\, they established a space on the ground floor of the building\, calling it Safn. Then\, in 2014\, they opened an exhibition space under the same name in Berlin\, which was on view for several years. \nSecond Floor hosted exhibitions by around forty contemporary international artists\, as well as those from Iceland\, and the programming included world-renowned names in the fields of conceptual art and minimalism. Most of the artists came to Iceland with their work\, often leaving behind pieces for the collection on their departure\, in keeping with the inspired sense of dialogue that Arason mentioned. \nThe connection that these artists formed with Iceland\, instigated by Arason and Róbertsdóttir\, has continued and grown in collaboration with i8 Gallery. The gallery was founded in 1995 at Ingólfsstræti 8 in Reykjavik by the artist Edda Jónsdóttir\, who began to represent many of the same artists whose works were exhibited and collected by the couple. These include SÚM-pioneers Kristján Guðmundsson\, Sigurður Guðmundsson and Hreinn Friðfinnsson\, as well as Birgir Andrésson\, Róbertsdóttir herself\, Roni Horn\, Lawrence Weiner and Karin Sander. \nIn this exhibition\, i8 presents a selection of work from the couple’s extensive and personal collection\, featuring several of the artists that connect to i8’s programming. In his critique of the exhibition Obsession\, Halldór Björn Runólfsson\, former director of The National Gallery in Iceland\, wrote that the daring and progressive nature of Arason and Róbertsdóttir’s approach to collecting coincided with “a true passion and a deep understanding of the very best that emerged in their time.” Now comes another opportunity to view a selection of work from this remarkable collection that will no doubt bring other collectors joy.
URL:https://old.icelandicartcenter.is/exhibition/sea-lava-circle-works-from-the-petur-arason-and-ragna-robertsdottir-collection/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220423
DTEND;VALUE=DATE:20220529
DTSTAMP:20260530T071210
CREATED:20220505T130431Z
LAST-MODIFIED:20220530T160731Z
UID:23136-1650672000-1653782399@old.icelandicartcenter.is
SUMMARY:Hreinn Friðfinnsson: Conduct 10
DESCRIPTION:Using everyday materials as a basis\, Friðfinnsson continually explores elements of time\, environment\, narration\, memory\, and perception. Friðfinnsson’s practice is characterized by a poignant and recursive nature that creates a framework throughout his oeuvre. Referred to by curator and art historian Hans Ulrich Obrist as “emotional conceptualism\,” Friðfinnsson’s approach to artmaking is often reductive\, and rooted in gestures and materials that reflect the artist’s experience within the world. Friðfinnsson incorporates elements that have an inherent fragility\, such as glass\, leaves\, feathers\, and mirrors\, which underscores the poetic\, ephemeral nature of his practice. \n  \nFriðfinnsson’s exhibition at i8 brings together examples from nearly fifty years of work. The artist’s commitment to ongoing projects and his proclivity for revisiting earlier subjects creates a continuity within his artworks\, despite a variance in mediums. Several sculptures in this exhibition exemplify this approach\, with the artist expanding upon his original ideas as time passes. \n  \nFriðfinnsson’s major installation\, Suspended (1991-present)\, consists of a series of paint stirring sticks mounted to a wall. For years\, Friðfinnsson has collected the stirs from a small family business in Amsterdam that manufactures paint\, translating their purely practical intention into a new visual form. By exploring the aesthetic value of these tools\, Friðfinnsson places importance on the transformative process from utilitarian to artistic. \n  \nSeveral works in the show demonstrate Friðfinnsson’s longstanding homage to the powers of light and reflectivity. To Light Shadow and Dust (3 in corner)\, 2022 is a new iteration of a project the artist began in 1994 using gold-leafed glass shelves to transform corners and create sculptural properties using light. Untitled\, 2022 is additionally a new sculpture from an iconic\, long-running exploration of mirroring\, multiplicity\, perception\, and the limits of the physical form. \n  \nFor Atelier Sketches\, a series Friðfinnsson began around 1990\, the artist traps cobwebs from his studio between two glass plates. The artist noticed that\, despite his absence\, his atelier\, housed in an old school building\, remained active as spiders were busy spinning webs day and night. Memorializing the spiders’ creations became a regular part of Friðfinnsson’s artmaking process.
URL:https://old.icelandicartcenter.is/exhibition/hreinn-fridfinnsson-conduct-10/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220217
DTEND;VALUE=DATE:20220410
DTSTAMP:20260530T071210
CREATED:20220301T161208Z
LAST-MODIFIED:20220423T095125Z
UID:22384-1645056000-1649548799@old.icelandicartcenter.is
SUMMARY:Hildigunnur Birgisdóttir: Peace
DESCRIPTION:i8 Gallery is pleased to announce Peace\, an exhibition of new work by Hildigunnur Birgisdóttir. The show\, Birgisdóttir’s second with the gallery\, includes installations\, prints\, and sculptures by the artist. A major new publication highlighting ten years of Birgisdóttir’s work will be released to coincide with the opening of the show. \n  \nThroughout her nuanced practice\, Birgisdóttir explores ideas of beauty\, utility\, and context\, continually questioning the balance between perception and reality. For Peace\, Birgisdóttir presents five bodies of work\, including both singular objects and connected installations. This exhibition examines banal items such as computer buttons\, plastic clips\, and textile sprays\, each of which is considered by the artist for its simplicity and sheer existence. By presenting prosaic objects in new mediums and scales\, Birgisdóttir overemphasizes their familiarity\, while also challenging their functionality. These shifts highlight the sculptural value of the original item and celebrate the aesthetics of objects that are normally overlooked. \n  \nHildigunnur Birgisdóttir (born 1980\, Iceland) lives and works in Reykjavík. In 2021\, she was included in shows at Iceland’s Reykjavik Art Museum; the GES-2 House of Culture\, V-A-C Foundation in Moscow\, Russia; and H2H in Athens\, Greece. Her work is included in the collections of the National Gallery of Iceland\, the Reykjavík Art Museum\, and Iceland’s Living Art Museum\, among others. Birgisdóttir graduated from the Iceland Academy of the Arts in 2003.
URL:https://old.icelandicartcenter.is/exhibition/hildigunnur-birgisdottir-peace/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220122
DTEND;VALUE=DATE:20221223
DTSTAMP:20260530T071210
CREATED:20220202T092813Z
LAST-MODIFIED:20230103T104044Z
UID:21408-1642809600-1671753599@old.icelandicartcenter.is
SUMMARY:Alicja Kwade: In Relation to the Sun\,
DESCRIPTION:We are pleased to announce the opening of i8 Grandi\, a new gallery in Reykjavík that focuses on year-long\, single-artist presentations. The inaugural year of i8 Grandi features In Relation to the Sun\, an exhibition by Alicja Kwade (b. 1979\, Katowice\, Poland\, lives and works in Berlin\, Germany). The artist’s show\, which includes installation\, sculpture\, and work on paper\, is now open and will be on view until 22 December 2022.\n\n\nSpanning far longer than traditional museum or gallery shows\, i8 Grandi represents a new model for exhibitions. The programming focuses on concepts of space and time\, and the presentations will evolve while on view. The annual format allows artists to consider how time affects their work\, and the fluidity encourages audiences to revisit the changing installations.\n\n\n\nThroughout her presentation\, Kwade will reconfigure artworks within the space\, at times expanding\, condensing\, or adapting the works on view. Reflecting the evolution within the exhibition\, Kwade’s show title will continue to change as well.\n\n\n\n\ni8 Grandi is the gallery’s second location in Reykjavík. Extending over two floors and 170 square metres\, the new gallery is located in the Marshall House\, a cultural centre in a historic factory building in Reykjavík’s Grandi harbour district. i8 joins the Living Art Museum\, Kling & Bang\, and artist Ólafur Elíasson’s private studio in the Marshall House\, along with La Primavera Restaurant on the ground floor.\n\n\n\n\ni8’s existing gallery at Tryggvagata 16 will continue its regular programming; the two locations are a fifteen minute walk apart across the harbour. i8 Grandi will be open Wednesday to Sunday from 12am – 6pm\, as well as by appointment.
URL:https://old.icelandicartcenter.is/exhibition/alicja-kwade-in-relation-to-the-sun/
LOCATION:i8 Grandi\, Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211209
DTEND;VALUE=DATE:20220130
DTSTAMP:20260530T071210
CREATED:20211025T113108Z
LAST-MODIFIED:20220825T134850Z
UID:19845-1639008000-1643500799@old.icelandicartcenter.is
SUMMARY:Dieter Roth
DESCRIPTION:i8 Gallery is pleased to announce a forthcoming exhibition of works by Swiss-German artist Dieter Roth (1930-1998). The show will open on December 9 and be on view until January 29\, 2022 and will include drawings\, sculptures\, and mixed-media works by the artist. \nThrough his career\, Roth produced an extensive collection of artist’s books\, drawings\, paintings\, sculptures\, installations\, and video works\, while also writing and publishing books\, poetry\, and music.buy filitra professional online www.mydentalplace.com/wp-content/themes/twentytwelve/inc/en/filitra-professional.html no prescription\n Roth\, who was incredibly influential to postwar European artists\, had a particularly strong effect on the art scene in Iceland\, where he resided for many years.
URL:https://old.icelandicartcenter.is/exhibition/dieter-roth/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/10/dieter-roth.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210909
DTEND;VALUE=DATE:20211121
DTSTAMP:20260530T071210
CREATED:20210824T124544Z
LAST-MODIFIED:20211118T094739Z
UID:18707-1631145600-1637452799@old.icelandicartcenter.is
SUMMARY:Elisions
DESCRIPTION:i8 Gallery is pleased to announce Elisions\, a group show featuring the work of N. Dash\, K.R.M. Mooney\, B. Ingrid Olson\, and Carrie Yamaoka. The exhibition features works that employ painterly\, photographic\, and sculptural methods. In the works on view\, control and chance alternately mediate processes of replication\, reproduction\, resurfacing\, and cropping. \n  \nElision is a dropout. Technically\, elision has something to do with apostrophes and absent endings. It is a crop\, or a compression of a word\, or words. It is a contraction. When two become one\, or one becomes compacted between tongue and teeth as though your mouth was a trash compactor and this word\, now like a cube of trash. Once larger\, maybe also amorphous\, the word-trash is shortly-uttered\, compacted and is transmuted: solid and immovable with no space left to give\, no air between hard consonant lines. \nElision\, in addition to its subtractive nature functions as a kind of abstraction. While some abstraction is materially based\, additive\, and cumulative\, there is another kind more about withholding and taking away. To lessen information–whether vowels\, consonants\, pores\, hairs\, nature\, context\, details–is a particular kind of abstraction. This is a type of reduction that makes it possible to approach complexity\, making it possible for legibility as much as multiplicity of meaning. As a double negative\, (ab)subtraction makes room by negation. Removal is additive\, just quietly so. [If I had more time\, I would write less.] \nN. Dash (b. 1980\, Miami\, Florida) lives and works in Brooklyn\, New York. In fall 2021\, a new monograph of the artist’s work will be released. Dash’s work has been featured in solo exhibitions at the Museum of Contemporary Art Santa Barbara\, Santa Barbara\, California (2019); The Aldrich Contemporary Art Museum\, Ridgefield\, Connecticut (2019); Fondazione Giuliani\, Rome (2017); Hammer Museum\, Los Angeles\, California (2014-15); and White Flag Projects\, St. Louis\, Missouri (2013). Group exhibitions include Open Ended: Painting and Sculpture\, 1900 to Now at The San Francisco Museum of Modern Art\, San Francisco\, California (2021); Body Ego\, Dallas Museum of Art\, Dallas (2018); and Generations Female Artists in Dialogue\, Sammlung Goetz\, Munich (2018). Dash received a MFA from Columbia University in 2010 and a BA from New York University in 2003. \nK.R.M. Mooney (b. 1990\, Seattle\, Washington) lives and works in Oakland\, California. Selected recent solo exhibitions include Näcre\, Altman Siegel Gallery\, San Francisco\, California (2019); Carrier\, Kunstverein Braunschweig\, Braunschweig\, Germany (2017); SECA Art Award Exhibition at San Francisco Museum of Modern Art\, San Francisco\, California (2017); and En\, Set\, The Wattis Institute for Contemporary Art\, San Francisco\, California (2015). Recent group exhibitions include The Poet-Engineers\, Miguel Abreu\, New York\, New York\, The Inconstant World\, Institute of Contemporary Art Los Angeles\, Los Angeles\, California (2021); and In Practice: Total Disbelief\, Sculpture Center\, Queens\, New York (2020). Mooney is the recipient of the 2018 San Francisco Artadia Award and received a BFA from California College of the Arts in 2012. \nB. Ingrid Olson (b. 1987\, Denver\, Colorado) lives and works in Chicago\, Illinois. In 2022\, Olson will have concurrent solo exhibitions\, History Mother and Little Sister\, at the Carpenter Center for the Visual Arts at Harvard University\, Cambridge\, Massachusetts. Recent solo and two-person exhibitions include Fingered Eyed\, i8 Gallery\, Reykjavík (2019); Forehead and Brain\, Albright-Knox Art Gallery\, Buffalo\, New York (2018); Klein / Olson\, The Renaissance Society\, Chicago\, Illinois (2017). Select group exhibitions include The Inconstant World\, Institute of Contemporary Art Los Angeles\, Los Angeles\, California (2021); Dependent Objects\, The Museum of Contemporary Art\, Chicago\, Illinois (2021); Being: New Photography 2018\, The Museum of Modern Art\, New York\, New York (2018); and Lost Without Your Rhythm\, Aspen Art Museum\, Aspen\, Colorado (2018). Olson graduated with a BFA in 2010 from the School of the Art Institute of Chicago. \nCarrie Yamaoka (b. 1957\, Glen Cove\, New York) lives and works in New York City\, New York. Recent solo exhibitions include Commonwealth and Council\, Los Angeles\, California (2020); and Henry Art Gallery\, University of Washington\, Seattle\, Washington (2019). Yamaoka has been featured in group exhibitions at institutions including Centre Pompidou\, Paris (2020); Kunstverein Rosa-Luxemburg-Platz\, Berlin (2019); Institute of Contemporary Art\, Philadelphia (2019) ; The Bronx Museum  (2016); and MoMA PS1\, Queens\, New York (2015). She has received grants and fellowships from the John Simon Guggenheim Memorial Foundation (2019) and the Anonymous Was A Woman Foundation (2017). Yamaoka received a BA at Wesleyan University in 1979.
URL:https://old.icelandicartcenter.is/exhibition/ellisions/
LOCATION:i8 Gallery\, Tryggvagata 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/ellisions.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210610
DTEND;VALUE=DATE:20210801
DTSTAMP:20260530T071210
CREATED:20210609T145753Z
LAST-MODIFIED:20220916T103820Z
UID:16978-1623283200-1627775999@old.icelandicartcenter.is
SUMMARY:Ragna Róbertsdóttir
DESCRIPTION:i8 Gallery is pleased to announce a solo exhibition of works by Icelandic artist Ragna Róbertsdóttir. \n\n\n\nThis is the artist’s fourth solo show with the gallery\, and comes twenty-five years after her debut exhibition with i8 in 1996. Róbertsdóttir’s presentation spans three iterations: an exhibition at the gallery\, an outdoor installation in front of i8\, as well as an artwork in Hljómskálagarður\, a public park in Reykjavík (pictured above). \n\n\n\nRóbertsdóttir is a vital voice in contemporary art within Iceland\, and her contributions to the history of art span far beyond her native country. Her practice explores identity\, materiality\, time\, as well as natural and architectural histories. Róbertsdóttir is best known for her minimal sculptures and installations\, which often comprise elements inherent to the Icelandic environment\, such as lava rock\, salt\, turf\, and clay. \n\n\n\nAt the gallery\, the exhibition includes works conceptualized from the 1980s to the present. Róbertsdóttir has revisited early works that were either never realized or long-since destroyed\, and presents sculptures that have been unseen for decades. Throughout her show\, the most fundamental elements of the artist’s practice are palpable: a reductive\, precise focus on form and material. \n\n\n\nUpon entering the gallery\, several bales of turf\, tightly wound rolls of grass and soil\, line the wall. This sculpture\, nodding to both stacks of hay and traditional turf houses\, sets the tone for the atmospheric shift in which the landscape merges with the interior space. Across the gallery\, two connected coils of wide manila rope and linen unfurl to reveal rectangular pieces of slate stacked in three piles. The tactile surface of this sculpture is reminiscent of both natural elements and man-made interventions within the austere Icelandic nature. \n\n\n\nThis exhibition also features a new two-part wall installation made from black lava rock that Róbertsdóttir collected from the volcano Hekla. Wall installations are an important part of the artist’s practice\, and Róbertsdóttir experiments with different materials\, working in reaction to the proportions and light within the space. In Iceland\, there is a traditional architectural method of adding ground shells or rocks to the exterior of stone buildings\, which the artist takes as inspiration in her own murals. Róbertsdóttir applies the lava rock by tossing it at an adhesive area on the wall; she then delicately rearranges the small rocks within the composition. While she confines nature neatly within the boundary of a rectangle\, Róbertsdóttir achieves a visual variance that conveys energy and motion\, as if harnessing the vitality of the volcanic process. \n\n\n\nIn front of the gallery’s facade\, Róbertsdóttir has installed three bronze plates in place of stone sidewalk slabs. Her artwork becomes a functioning part of the sidewalk\, integrating into the architecture and infrastructure of the city. As the exhibition continues\, the material will change and tarnish as it is exposed to the elements; both time and transformation are important subjects throughout the artist’s work. Additionally\, at Hljómskálagarður. Róbertsdóttir presents a path made from red lapilli\, pieces of volcanic rock ejected during an explosion\, that the artist collected in Seyðishólar. This intervention disrupts a stretch of well-trodden path in the park\, and\, like the bronze sidewalk plates\, it is continually in flux and invites interaction as by passers-by walk on the material. The bronze sidewalk installation and the red lapilli path will both remain on view to the public until September 2021.
URL:https://old.icelandicartcenter.is/exhibition/ragna-robertsdottir/
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