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DTSTART;VALUE=DATE:20220602
DTEND;VALUE=DATE:20220725
DTSTAMP:20260530T040829
CREATED:20220530T161633Z
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SUMMARY:Ingibjörg Sigurjónsdóttir: De rien
DESCRIPTION:We welcome you to the opening of our upcoming show\, De rien by Ingibjörg Sigurjónsdóttir on the 2nd of June\, 5pm at Kling & Bang. Ingibjörg presents thirteen new sculptures\, drawings\, reliefs and spatial works\, which were made especially for Kling & Bang. \nWe will also be celebrating the release of a new book by the artist\, Cowards Can’t Wait for the Apocalypse\, published by Tunglið publishing. \nThis all ends\, just at a variable pace. Everything is gradually obliterated and erased. Except what is damaged and suddenly disappears. I want to stop time\, slow destruction down. \nZero \nZero balance \nExcept this does not balance to zero. Destruction accumulates. A colourless hue of this and that. A faded shell of nothing. Sun faded zero. \nBut this nothing\, this zero\, still exists. You can light it\, burn it down. But I refuse to burn this zero. It fits well in the palm. It‘s faded on one side. The colours are vanishing. The sun that I love\, adore and miss destroys everything. And I brazenly hold nothing. De rien. \nThe exhibition is part of Reykjavík Arts Festival and is supported by the Icelandic Visual Arts Fund.
URL:https://old.icelandicartcenter.is/exhibition/ingibjorg-sigurjonsdottir-de-rien/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220402
DTEND;VALUE=DATE:20220516
DTSTAMP:20260530T040829
CREATED:20220411T162257Z
LAST-MODIFIED:20220517T065334Z
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SUMMARY:Three Rearrangements - a Commonality of Escape
DESCRIPTION:Welcome to the opening of the exhibition Three Rearrangements – A Commonality of Escape. In the exhibition artists Daníel Ágúst Ágústsson\, Pétur Magnússon\, Pier Yves Larouche and Richard Müller show brand new works created specifically for the exhibition space of Kling & Bang. The exhibition runs through the 15th of May \nDaníel Ágúst Ágústsson (b.1996)\nDaníel Ágúst’s extensive sculptures and installations are made using methods and materials that refer to industry and architecture. His works often test the viewer’s knowledge of his environment\, where the connection between understanding and lack of understanding is examined. Daníel Ágúst graduated with a BA degree in fine art from the Iceland Academy of the Arts in 2020. \nPier Yves Larouche (b. 1988) is an artist living and working in Montreal. Through the use of sound and installation Larouche strives to objectify the dynamics of intangible and overlooked qualities of a set environment; an exploration of symbols and feelings floating in limbo. His aim is to curate a frame for the layering of interpretations\, bringing to light the ambiguity between obvious and oblivion. Larouche graduated from the MA program at Listahaskoli Islands in 2019. \nRichard Müller (born in Canada\, 1988) is an artist living and working in London. Müller employs technologies\, often erringly\, to create works of sound\, video and installation. Their practice explores the capabilities of contemporary digital technologies to pierce standard forms of artistic representation by embedding digital video and sound into installations and sculpture. Müller received a MFA from the Slade School of Fine Art\, and is currently pursuing a PhD in Geography from University College London. \nPétur Magnússon (b. 1958) was born in Reykjavík. After high school\, he attended the Icelandic School of Arts and Crafts (forerunner of the Iceland University of the Arts)\, then continued his studies at Accademia delle belle Arti in Bologna\, Italy\, and finally at Rijksakademie van Beeldende Kunste in Amsterdam\, Netherlands. After graduation in 1986\, he lived in Amsterdam until 2003 when he returned to Iceland. In the Netherlands\, he was one of the founders of the Boekie Woekie art bookshop\, which is also a gallery and a publisher. He worked at the company for some years\, and Boekie Woekie presented his art at the Art Frankfurt fair in Germany in 1996. Pétur studied painting in Italy and printmaking in the Netherlands\, and this is evident in his older works. Over time he has moved into photography and sculpture\, often bas-reliefs\, and a combination of steelwork and photography is a common method. His art seeks to challenge the senses while offering new potential for perception of the environment. Often\, his works are site-specific. Material and perspective often play a major part in distorting the environment in a philosophical and humorous manner.
URL:https://old.icelandicartcenter.is/exhibition/three-rearrangements-a-commonality-of-escape/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220321
DTSTAMP:20260530T040829
CREATED:20220202T091735Z
LAST-MODIFIED:20220825T133626Z
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SUMMARY:Helgi Hjaltalín Eyjólfsson: Slurry pump-Spreader
DESCRIPTION:Dialogues in four parts\nAuthor: Jón B. K. Ransu \nIn contemporary art criticism it is often argued that we are incapable of valuating works of art\, whether it is films\, music or visual arts\, unless we put them in the context of other works of art. Somehow everything we see\, or create\, reminds us of something else. Our culture has become so overloaded with images and information that we lack the capacity to process them individually. So\, possibly\, they just merge into one big pile.\nIf this is the case\, the unpolluted artist\, natural talent or pure genius\, belongs to history. The contemporary artist simply responds to information and images\, processes them and puts them in context to create a dialogue between forms\, ideas and images\, which\, to some extent\, are familiar to us but possibly gives us a fresh and unexpected approach to them. \nIn Helgi Hjaltalín’s exhibition\, Slurry Pump-Spreader in Kling and Bang\, we encounter mainly four parts that overlap with each other and create this necessary dialogue. They are: \n• History and Contemporarity\n• Original and Replicated Images\n• Proportions and Space\n• Art and Leisure \nHistory and Contemporarity\nIn an art historical context\, the visual language of Helga Hjaltalín is related to Pop Art movement of the fifties and sixties. Pop Art challenged the value of art and created parallels between art and popular and consumer culture.\nThese parallels merge in Helgi’s work in a kind of over-consumption of images. On one hand with mass production or reproduction techniques to produce repeats of the same image\, and on the other hand a combination of watercolor sheets\, where each sheet stands as an independent image\, or painting\, while a number of them joined together merge into one large watercolor image.\nHelgi locates his subject or images on the internet and transfers them to works of art. The concept of Post-Internet Art has recently gained recognition in the methodological analysis of many contemporary artists\, and is interesting to look at in connection to Helgi’s work\, but without labelling the concept to his methodology. Much of Post-Internet Art is reminiscent to the imagery within Pop Art. Especially the one that relied on photographs for paintings or collages. However\, Post-Internet Art is not an art movement in the same sense as Pop Art was\, nor does it apply to “art after the internet” in the same way that Postmodernism applied to “art after modernism”. Post-Internet Art refers to art in the period of the internet.\nArtists and scholars do not agree on the importance and meaning of the term\, or how the internet should be reflected in art in order for the term to apply. Basically\, we can say that the internet becomes a part of the artistic creation process. However\, many claim that the term only applies if some of the properties of the internet are also retained in an artistic embodiment\, e.g. like when Helgi combines many watercolor sheets into one image\, like when pixels are used in digital processing. \nOriginal and Replicated Images\nWhen Helgi finds an image on an internet search site and applies it to his own art\, he defies the idea of originality and replica. He appropriates an image that someone else has made. However\, it is not entirely certain that a picture that Helgi uses is a prototype. There is a plethora of the same image online and usually we do not know which one of them is the original\, nor even whether the image is actually true to the original image\, as it is often unclear whether an image online has been altered or not. In this way\, forms and texts that appear in Helgi’s paintings can well have been added to the original and are therefore fictional\, just as the artist himself can allow fiction to play a role as he implements the digital images in material form. \nProportions and Space\nDownloading an image from the internet and translating or interpreting it into material and form not only changes its essence but gives it a completely different role in terms of proportions and space. This is very important in Helgi’s show. Sculpture has been the main focus of his art throughout his career. And after watercolors and prints began to appear in his work\, it has been in association with sculpture.\nSculpture belongs to reality space. An image\, on the other hand\, is two-dimensional and should therefore be thought of as image space. Images can\, however\, challenge the boundaries of image space and reality space if their scope is blown out of whack. For Helgi\, this happens on one hand with the aforementioned oversized composite of watercolor paintings and on the other hand with reproductions of printed images that cover the art space and partially take it over. Not to mention watercolored images of engines that hang over wooden pallets and have been soaked in engine oil\, so that smell even begins to affect our spatial experience.\nHowever\, sculptures in the exhibition play a different role. They are miniature replicas\, or models\, of engines\, wooden pallets and platform. As such they appear in contrast to the plethora of images.buy wellbutrin online https://blackmenheal.org/wp-content/languages/new/wellbutrin.html no prescription\n\nA model is usually thought of as a proxy for a full-sized object and shown as a proposal for it. In this way\, Helgi’s models can be seen as a proposal for another exhibition in the same art space\, at the same time they are part of the existing exhibition. The models therefore stand as sculptures as well as proposals for sculptures. \nArt and Leisure\nHelgi´s models challenge the boundaries between art and leisure\, but making models is a well-known hobby that requires craftsmanship. Especially if it is built from scratch. These boundaries are part of Helgi´s artistic contemplations and are reflected in his craft and choice of material.\nThe small sculptures are carved from wood with a cutting knife\, the subject matter is from found images\, all his reproductions are made with home-made printing methods and watercolor is without a doubt the painting medium that mostly attracts leisure activities. All of this goes against the exaltation of art\, despite falling under the materials and methods that belong to art.When Pop Art questioned the value of art\, it attacked the exaltation of art and any conclusive disciplines of art\, e.g. the purity of geometric art or the autonomy of abstract expressionism.\nIt goes without saying that Helgi Hjaltalín’s methodology and imagery counter the exaltation of art and the exhibition itself rejects any conclusive disciplines. The parallels that have been drawn above are only a reminder that artistic creation has much more to do with the process of questioning rather than conclusive disciplines. Therefore\, for me\, the exhibition itself becomes a platform where we can join in the process of questioning and participate in a dialogue between forms\, ideas and images\, which\, to some extent\, are familiar to us but possibly gives us a fresh and unexpected approach to them.
URL:https://old.icelandicartcenter.is/exhibition/helgi-hjaltalin-eyjolfsson-slurry-pump-spreader/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211204
DTEND;VALUE=DATE:20220124
DTSTAMP:20260530T040830
CREATED:20211129T121214Z
LAST-MODIFIED:20220124T113449Z
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SUMMARY:Fylgjur
DESCRIPTION:Kling & Bang invites you to the opening of Fylgjur\, a group exhibition by Halla Einarsdóttir\, Hanna Kristín Birgisdóttir and Smári Rúnar Róbertsson on the 4th of December from 4 to 7 pm. The exhibition will be open until 23rd of January 2022. \nAt 6 pm on the opening day Halla Einarsdóttir will do a performance. \n  \nHalla Einarsdóttir (b. 1991) is an Icelandic artist that lives and works in Rotterdam where she recently completed her MFA at the Piet Zwart Institute. Before that\, she obtained her BA in graphic design from The Gerrit Rietveld Academie in Amsterdam. Working predominantly with performance\, sculpture\, and video\, she takes the role of a narrator weaving various source materials and allowing them to feed her vocality\, gesticulation\, and delivery. Leaning on a tradition of feminists dealing with the question of myth\, she examines transgenerational knowledge and the multifaceted nature of reclaiming names and narratives. Halla operates somewhere between myth-receiver and myth-giver often exploring the ways in which narratives have been instrumental in establishing and maintaining epistemological hierarchies and systems of control. Halla has exhibited in various exhibitions in the Netherlands and abroad. \n  \nHanna Kristín Birgisdóttir (b. 1989) is an Icelandic artist that lives and works in Bergen\, she holds a BA in fine art from the Iceland Academy of the Arts and Master degree from the Bergen Academy of the Arts\, where she graduated in 2020. Hanna has exhibited both in Iceland and abroad. Among her projects are: Silent act\, Skaftfell Seyðisfjörður and Like a breath being compressed into a high pitched sound\, Kling & Bang\, part of the Sequences Art Festival. \n  \nSmári Rúnar Róbertsson (b. 1992) is a icelandic artist working in Amsterdam. His interdisciplinary practice consists of a diverse set of mediums arranged as intertextual examinations of the artistic process\, mythology\, and meaning. Through an assemblage of process\, installation\, and writing\, he looks for (re)semblance between the physical and the imaginary to examine the fractal quality of systems that govern our environment\, identity\, stories\, and thoughts. Works act as a registered gesture\, the medium presenting or existing at the moment\, while simultaneously referring to its own production. In Smári’s work\, labor can thus be regarded as a tangible material that is stretched\, compressed\, and molded into a rhythm of consciousness\, repetition\, and lore. Smári holds a BFA from Gerrit Rietveld Academie (2015) and an MA from the Sandberg Instituut (2017) in Amsterdam. He received the Amsterdams Funds voor de Kunst and Bureau Broedplaatsen 3Package Deal talents grant in 2017.
URL:https://old.icelandicartcenter.is/exhibition/fylgjur/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/11/fylgjur.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211016
DTEND;VALUE=DATE:20211122
DTSTAMP:20260530T040830
CREATED:20211014T122127Z
LAST-MODIFIED:20211122T142503Z
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SUMMARY:SEQUENCES X - / CREATION / DESTRUCTION /
DESCRIPTION:/ CREATION / DESTRUCTION / is the title for the exhibition of Sequences X which takes place at The Living Art Museum and Kling & Bang at The Marshall House. The title seeks inspiration in the lecture of artist Sigurður Guðmundsson\, TIME\, from 1969\, and can be found in the festival’s catalogue: \nThe phenomenon of time is important in all art. Art is a very suitable means of travelling in time and space. The first paths to a new time usually run through works of art. \nWe perceive new art and in this way see a new world which is not a dream but reality. We forsake the old world\, apart from a few things which are called cultural baggage or preserved works of art. From these we can always see where we have been. \nTime destroys all things\, but what perhaps stays the longest are the traces of the human spirit\, the evidence of truth: art. \nSigurdur Gudmundsson\nNovember 1969\nLecture Norræna Húsið\, Reykjavik \nArtists at Kling & Bang: \nAndreas Brunner (b. 1988) was born in Zurich\, Switzerland and is currently living in Reykjavík. His artistic practice is not particularly bound to a certain medium\, but rather a consistent revising of concepts that can manifest in various forms. These concepts often refer to cultural development\, creation of meaning\, as well as perceptual concepts of time\, space and materiality. With this in mind\, his work has continuity in concept rather than appearance. The disconnection of metaphoric meaning and the creation of reason through dynamic conjunction rather than repetitive connections can be seen as an overall motive in artistic practice. \nÁsta Fanney Sigurðardóttir (b. 1987) is an artist and poet. Among other things\, she works with notes\, sounds and words in her works\, as well as performances. Her work often revolves around the unexpected and ridiculous\, erasing the borders between different media. In 2018\, she displayed her performance Lunar-10.13 & Gáta Nórensu at the Reykjavík Arts Festival\, where poetry\, music\, installations and performances merged into one. Her works include a cod opera\, humming choir piece\, sound poetry choir piece and a vowel composition. Her latest book is called Gluggi – draumskrá (Window – Dream Register) and contains a list of dreams. Ásta has performed her compositions\, poetry and performances at various festivals and exhibitions in Iceland and abroad. She received the Kópavogur poetry prize in 2017 and was nominated for Bernard Heidsieck literary prize\, Pompidou in 2021. \nHailing from the peripheries of Iceland\, Bergrún Snæbjörnsdóttir (b. 1987) follows inner logics when approaching composition\, often integrating sound and other phenomena into an indivisible whole. Her “elemental style” (Steve Smith\, The New Yorker) has been commissioned and performed widely and by renowned groups such as the Oslo Philharmonic (NO)\, Iceland Symphony Orchestra (IS)\, International Contemporary Ensemble ICE (US)\, Decibel (AUS)\, Avanti! Chamber Orchestra (FI) and Nordic Affect (IS)\, while featured in major festivals and events such as Tectonics (Glasgow\, Reykjavík\, Athens\, Oslo)\, Nordic Music Days (London\, Bodø\, Reykjavík)\, Lincoln Center’s Mostly Mozart (New York)\, Only Connect (Oslo)\, Classical:NEXT (Rotterdam)\, SPOR (Aarhus)\, Cycle (Kópavogur)\, Ultima (Oslo)\, Dark Music Days (Reykjavík)\, Sigur Rós’s Norður og Niður (Reykjavík)\, KLANG (Copenhagen)\, ISCM’s World New Music Days (Beijing)\, Sound of Stockholm\, Prototype (New York) and more. Bergrún holds a master’s degree in composition from Mills College where she studied with the likes of Pauline Oliveros\, Fred Frith\, Zeena Parkins\, and Roscoe Mitchell. \nNýlókórinn – The Icelandic Sound Poetry Choir var established 2003 to perform sound poetries. The choir performs twice to three times a year and has performed diverse works by Icelandic and foreign artist\, like Magnús Pálsson\, Philip Corner\, Eric Andersen\, Hörð Bragason\, Kristin G. Harðarson\, Rúrí\, Hörpu Björnsdóttur\, Ástu Ólafsdóttur\, Eiríksínu Ásgrímsdóttur\, Áka Ásgeirsson\, Magneu Ásmundsdóttur\, Þorkel Atlason\, Rod Summers\, Níels Hafstein\, Guðmund Haraldsson and Magnús Jensson.
URL:https://old.icelandicartcenter.is/exhibition/sequences-x-creation-destruction/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210821
DTEND;VALUE=DATE:20211004
DTSTAMP:20260530T040830
CREATED:20210819T145202Z
LAST-MODIFIED:20210927T125746Z
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SUMMARY:Erik DeLuca & Þóranna Dögg Björnsdóttir: Unheard Of
DESCRIPTION:Kling & Bang is delighted to open the exhibition Unheard of on Saturday August 21st between 2-6pm. \nThe exhibition presents new work by Erik DeLuca with Julius Rothlaender and Melitta Urbancic\, and Þóranna Dögg Björnsdóttir with Derrick Belcham. With the exhibition the artists extend from their sonic-based practices and into process-based conversations with the sound — and\, or silences — by performing\, through touch\, and in the presence\, absence or thought of bodies moving through different locations. Unheard of takes these actions as its starting point. Exploratory research\, poetry\, field recordings\, archival analysis\, plant cultivation and  immersive sound installation\, are newly presented to viewers. \nBoth artists worked in collaboration with other artists and individuals to create these works. They would like to thank those individuals for their generosity and others\, including\, Julius Rothlaender\, Katherine Caldwell\, Sölvi Björn Sigurðsson\, Olivia Gauthier\, Árni Heimir Ingólfsson\, Aymeric Duriez and Derrick Belcham\, LungA School community in Seyðisfjörður\, Sibyl Urbancic\, Magnús H. Jóhannsson (Landgræðslan)\, Þjóðskjalasafn Íslands (National Archives of Iceland)\, and the Jewish Center of Iceland\, Þorvarður Árnason\, Soffía Auður Birgisdóttir\, Ingibjörg Friðriksdóttir\, Curver Thoroddsen\, Kolbeinn Soffíuson\, Federico Placidi\, Vernharður Bjarnason\, Hjálmur Ragnarsson\, Árni Björnsson\, Arngrímur Guðmundsson\, Amanda Riffo\, Guðrún Lárusdóttir\, Brynja Emilsdóttir\, family and friends. \nErik DeLuca is an artist and musician working with performance\, sculpture\, and text\, in dialogue with social practice and critique. He has presented at a variety of places including MASS MoCA\, School of the Art Institute of Chicago\, Sweet Pass Sculpture Park\, The Contemporary Austin\, The Living Art Museum\, Columbia School of the Arts\, Skowhegan School for Painting and Sculpture\, CalArts\, Bemis Center for Contemporary Arts\, Fieldwork: Marfa\, and Yale University School of Art. His writing projects are published in Public Art Dialogue (Taylor & Francis)\, Organised Sound (Cambridge University Press)\, Leonardo Music Journal (MIT Press)\, and Mousse. He received a PhD in Music from the University of Virginia (2016)\, was in Myanmar with the support of an Asian Cultural Council grant (2018)\, and lectured at the Iceland University of the Arts (2016-2018). He is currently Visiting Assistant Professor of Music and Multimedia at Brown University and Lecturer in Experimental and Foundation Studies at Rhode Island School of Design. \nÞóranna Dögg Björnsdóttir is an audio|visual artist & composer|performer. Þóranna studied music from an early age and graduated as a classical pianist. Then she immediately turned to the field of contemporary music and art. A graduate of the Royal Academy of art in the Hague Þóranna has worked as a video and performance artist in the electroacoustic field. Her subject matters are varied\, often revolving around human nature and a person’s worldview\, how it shapes and progresses. Interweaving image and sound; her work is often built upon the interplay of film and live music performances and takes on the form of sculpture\, performance and sound work. Þóranna has exhibited her work widely and performed at numerous concerts and art festivals in Iceland and internationally. She also works as a performance artist with the international art group Wunderland. \nDerrick Belcham is a Canadian filmmaker based out of Brooklyn\, NY whose internationally-recognized work in documentary and music video has led him to work with such artists as Philip Glass\, Steve Reich\, Laurie Anderson\, Paul Simon and hundreds of others in music\, dance\, theater and architecture. He has created works and lectured at such institutions as MoMA PS1\, MoCA\, The Solomon R. Guggenheim Museum\, The Whitney Museum Of American Art\, Musee D’Art Contemporain\, The Philip Johnson Glass House\, Brooklyn Academy of Music and The Contemporary Arts Center of Cincinnati. His work regularly appears in publications such as The New York Times\, Vogue\, Pitchfork\, NPR and Rolling Stone as well as being screened at short\, dance and experimental festivals and retrospectives around the world. \nCurators \nAna Victoria Bruno \nBecky Forsythe
URL:https://old.icelandicartcenter.is/exhibition/erik-deluca-thoranna-dogg-bjornsdottir-unheard-of/
LOCATION:Kling & Bang\, The Marshall House\, Grandagarður 20\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/unheard-of.jpg
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