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X-WR-CALDESC:Events for Icelandic Art Center
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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220917
DTEND;VALUE=DATE:20221219
DTSTAMP:20260530T074707
CREATED:20220609T113347Z
LAST-MODIFIED:20230103T104847Z
UID:23640-1663372800-1671407999@old.icelandicartcenter.is
SUMMARY:Sums & Differences
DESCRIPTION:The exhibition Sums & Differences brings together works by Gary Hill\, Steina\, and Woody Vašulka. It aims to present the commonalities of their earliest explorations and the subsequent divergence of their artistic practices\, their conceptual\, performative\, and contemplative interpretations of the physical and the immaterial\, along three unique trajectories reflecting their distinct sensibilities and unique syntaxes. \nThis collaborative project offers a new\, albeit reductive\, path through the artists’ extensive practice. In the exhibition the mutual exploratory relationship between image and sound is highlighted. The spectrum of work presented at the exhibition\, spanning several decades\, is a range of pieces from early exploratory works with electronic processing tools documenting real-time machine interactions\, their performance and use as an augmentation of the senses\, through works reflecting the development of each of their vocabularies and how the artists utilize\, examine\, or break with the algorithm or code in a unique way through their experiential research. \nGary Hill will create a new piece specifically for the exhibition project. Steina’s most recent installation Pergament will be shown and several rarely seen film works by Woody Vašulka will be featured in this new unexpected constellation. \nCurators: Kristín Scheving\, Halldór Björn Runólfsson & Jennifer Helia DeFelice.
URL:https://old.icelandicartcenter.is/exhibition/sums-differences/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/orbitalobsession_2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220604
DTEND;VALUE=DATE:20220905
DTSTAMP:20260530T074707
CREATED:20220530T121736Z
LAST-MODIFIED:20220905T132843Z
UID:23429-1654300800-1662335999@old.icelandicartcenter.is
SUMMARY:Are you glad if you can ask something?
DESCRIPTION:Networking between East and North. \nAvant-garde artists from the Eastern Bloc wanted to connect to the Western art world in the sixties and seventies. At the same time\, Icelandic art scene was opening to Fluxus and mail art due to the widespread networking by the artists and galleries such as SÚM and Gallery Suðurgata 7. This two-sided attempt to connect resulted in lively correspondence and a few exhibitions by Hungarian artists. \nWe will shed light on artists’ practices in networking and putting up exhibitions in Iceland when in the East communication was hectically censored\, and traveling was strictly limited. Cooperation between Icelandic and Hungarian artists led to humorous\, thought-provoking\, and often self-ironic shows. \nIn the summer exhibition at LÁ Art Museum\, the re-enactment of these historical shows will be accompanied by recent art practices of the very same artists who took part in the cooperation and made the Icelandic art field of the seventies alive. \n  \n\n\n\n\n\n\n\nParticipating artists \nEggert Pétursson (IS\, 1956) his visual world focusses on plants in all their various forms\, as found in Iceland. Lives and works in Reykjavík. \nEndre Tot (HU\, 1937) Hungarian painter\, performer\, and conceptual artist. One of the most active practitioners of the Mail Art movement and creator of artist’s books. In 1978\, he emigrated to West-Berlin then to Cologne\, where he lives and works. His works are\, among others\, in Centre George Pompidou\, Paris; MoMA\, New York; or Tate Modern\, London. \nGábor Attalai (HU\, 1934–2011)\, was conceptual artist\, photographer\, installation artist and performer\, one of the leading representatives of the Hungarian artistic nomadism. In his conceptual work\, with a large dose of humour and irony\, he explores the relationship between art practice and theory\, as well as art and its environment. \nGéza Perneczky (HU\, 1936) is a protagonist of Hungarian conceptual art and part of the Hungarian Neo-Avant-Garde. In 1970 the artist\, art historian\, art critic and author emigrated to Cologne\, where he lives and works until today. \nIngólfur Arnarsson (IS\, 1956) former Professor at Iceland Academy of the Arts\, Reykjavik\, Iceland\, one of the leading artists of Icelandic minimal art. \nKees Visser (b. 1948) left his native Holland in the 1970s and settled in Iceland where he continues to spend part of his time while also residing in the Netherlands and in France. In Iceland he became part of the cosmopolitan art scene with its strong focus on Fluxus\, minimalism and conceptual art. Visser’s own work has long combined these influences in works that emphasise abstraction and serial presentation\, focusing on colour theory and the exploration of spatial forms and representations. \nKristján Guðmundsson (IS\, 1941) was central to the Icelandic group SÚM in the 1960s\, young artists inspired by international conceptualism. They became a hugely influential turning point in the history of contemporary art in Iceland. For decades Kristján Gudmundsson has created artworks that capture the moment where concept collides with reality. He lives and works in Iceland. \nRúrí (IS\, 1951) is a contemporary artist who works in new media\, photography\, sculpture\, and installation. She is one of Scandinavia’s first performance artists\, and an early practitioner of multimedia installation in northern Europe. She is an internationally exhibiting artist and currently lives and works in Reykjavík\, Iceland. \nSigurður Guðmundsson (IS\, 1942) is among the most prominent artists of Iceland. During his career\, he has expressed himself in most media – photography\, text\, sculpture\, painting\, performance. In his works\, absurdity and occasional comedy shift into a mood of melancholy and a flight from life on earth as we know it. He lives and works in Djúpivogur\, Reykjavík\, Amsterdam and Xiamen in China. \n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\n\nCurator: Zsóka Leposa  \nCo-curator: László Százados
URL:https://old.icelandicartcenter.is/exhibition/are-you-glad-if-you-can-ask-something/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2022/05/Screenshot-2021-11-15-at-13.20.06.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T074707
CREATED:20220103T140645Z
LAST-MODIFIED:20220825T132534Z
UID:20963-1644019200-1653263999@old.icelandicartcenter.is
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:20260530T074707
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
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/Orbit-1200x1200-1.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T074707
CREATED:20220103T130024Z
LAST-MODIFIED:20220825T134634Z
UID:20949-1644019200-1653263999@old.icelandicartcenter.is
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:20260530T074707
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
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211128
DTEND;VALUE=DATE:20211223
DTSTAMP:20260530T074707
CREATED:20211108T110058Z
LAST-MODIFIED:20211108T110058Z
UID:20028-1638057600-1640217599@old.icelandicartcenter.is
SUMMARY:Ásdís Sif Gunnarsdóttir: Cosmic Clock
DESCRIPTION:Ásdís Sif Gunnarsdóttir will present a new video work during December 2021.
URL:https://old.icelandicartcenter.is/exhibition/asdis-sif-gunnarsdottir-cosmic-clock/
LOCATION:Listasafn Árnesinga\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/11/asdis-sif-vid.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211113
DTEND;VALUE=DATE:20211223
DTSTAMP:20260530T074707
CREATED:20211108T105015Z
LAST-MODIFIED:20211108T105015Z
UID:20018-1636761600-1640217599@old.icelandicartcenter.is
SUMMARY:Fertility: Old and New from the Museum Collection
DESCRIPTION:A pop-up exhibition in the foyer which is also a foretaste of our upcoming large-scale show for the 60th anniversary of the museum founding that will be held in 2023. \nCurated by Zsóka Leposa.
URL:https://old.icelandicartcenter.is/exhibition/fertility-old-and-new-from-the-museum-collection/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/11/fertility-la.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210703
DTEND;VALUE=DATE:20211223
DTSTAMP:20260530T074707
CREATED:20210831T142050Z
LAST-MODIFIED:20220825T135339Z
UID:18869-1625270400-1640217599@old.icelandicartcenter.is
SUMMARY:Guðrún Gunnarsdóttir & Inger-Johanne Brautaset: The Ocean Survives Without Us
DESCRIPTION:“The Ocean survives without us” is a collaborative project about the ocean between Iceland and Norway where we wish to dive into an unknown\, unexplored underworld – we swim between sharks\, plants\, plankton and unknown species\, and now\, in addition\, also plastics\, a new breed. \nThe book “Shark Drunk” by Morten Strøksnes has been a common reading for this exhibition. \nWhen fish drown \nMorten Strøksnes \nWhen we talk about global warming\, we are most concerned with how our lives on dry land are affected. This is not surprising\, because it is a very long time since our predecessors crawled ashore and developed lungs and bones instead of gills and fins. At the same time\, this focus is a bit skewed. Because even though the state of the earth is obviously affected by what happens on land\, not least by what we do\, the sea is more crucial. The ocean is the great climate regulator on our planet. \nIn recent millennia\, living conditions in the sea have been surprisingly stable. This is no longer the case. The reason is our greenhouse gas emissions. In fact\, the ocean has absorbed most (93 percent) of the extra heat our emissions have caused. Not only the heat but also huge amounts of CO2 have been stored in the world’s oceans. Had this not been the case\, the earth would already have been many degrees warmer. \nUnfortunately\, this blessed mechanism has its limit and a price. The bill is on the table and we can haul out the time. But we’ve got nowhere to run. \nThe warming of the ocean is not necessarily a disaster in itself\, although it does change ecosystems dramatically (and they have always changed). What poses the big problems in the long run is that warmer oceans store less carbon\, so that global warming is gaining speed. Warm seas also contain less oxygen than cold seas. \nWorse\, increasing levels of CO2 make the ocean increasingly acidic. After we started emitting large amounts of greenhouse gases into the atmosphere only two hundred years ago\, the pH value in the ocean has fallen slowly but surely. Already by the end of this century\, it will probably have dropped to pH 7.8 (from 8\,2 two hundred years ago)\, science tells us. If so\, the sea will be more acidic than most fish and other marine species can tolerate. The changes happen too fast for the species to adapt. Ecosystems will die\, from the top of the food chains and down to tiny algae (phytoplankton). \nBy the way\, did you know that a species of these microscopic algae «invented» photosynthesis deep back in earth’s prehistory? By using the energy from the sun\, it managed to bind CO2. The waste product of this process was gas called oxygen. This is how it started for us: blue-green algae/ bacteria in the ocean caused the level of CO2 in the atmosphere to drop\, and the oxygen level to rise. In the end it was possible to breathe. These same blue-green algae\, which science only a few decades ago did not know about\, have produced about two-thirds of the oxygen found on earth. \n«It´s probably gonna be all right»\, we have a natural propensity to assume\, maybe as a deeply embedded survival mechanism. But often it does not go well\, especially if we try to see things in the long run (something we are very bad at). For instance: At the end of the Permian (299–251 million years ago)\, the earth experienced the worst mass extinction in the planet’s history. Volcanic eruptions in Siberia added enormous amounts of phosphorus to the atmosphere\, and most of it ended up in the ocean. Algae love phosphorus\, and the algae bloom went crazy. This drained the ocean of oxygen. When all the biological material died and rotted\, the ocean was filled with sulphur gases. The disaster wiped out most (96 per cent) of the species in the ocean\, and these are now only known as fossils\, if at all. \nAll mass extinctions have been linked to changes in the ocean\, directly or indirectly\, maybe initiated by spectacular events such as extreme volcanic eruptions or meteor showers. But the real disasters were due to more insidious and slow-moving processes Hollywood will never make any movies out of. To changes in ocean temperature\, acidity\, oxygen saturation and levels of CO2 or phosphorus. \nWhat we do know is that the temperature is rising faster today than during the largest mass extinction the earth has ever seen.buy viagra online healthcoachmichelle.com/wp-content/themes/twentytwentyone/inc/en/viagra.html no prescription\n Science tells us that the oxygen level in the ocean drops due to our “fertilization”\, and because warmer oceans bind less oxygen than colder ones. Am I suggesting that we are in a new mass extinction? No\, there are hundreds of leading scientists who do that. \nThings rarely happen in exactly the same way. But laws of nature\, not whims or fancies\, govern chemical reactions. When the chemistry in the atmosphere and in the ocean changes\, this will have major\, predictable consequences for life on earth as we know it. The life forms that are adapted to today’s climate and chemical balance are built for exactly these conditions\, and not suitable for survival when dramatic changes occur. \nScience gives little reason for optimism. Even if our emissions stopped completely and momentarily (as is well known\, they actually go up)\, it would not freeze the ongoing processes caused by man-made global warming. The cycles and exchange of carbon between air\, sea and earth would continue. If there was suddenly far less CO2 in the atmosphere\, the ocean would start to emit large amounts of CO2 to adapt to the new situation. Due to such feedback mechanisms\, the effect of our emissions will work in the foreseeable future. \nGeologists\, glaciologists and climate scientists have taught us an enormous amount about the earth’s past. We know that there has been extremely much more CO2 on earth in the past. A lot warmer. Also much colder. Or that the sea used to be 30 meters higher than now. But this is not reassuring. For also back then the earth would not be liveable for us. Dramatic climate change has on a number of occasions created mass extinctions that wiped out almost everything and everyone\, except the hardiest creatures. Unfortunately\, there is little indication that we\, even with our extremely advanced technology\, belong to this exclusive group. \nUnlike most living creatures on earth\, we cannot live in the ocean. But we cannot live without it either.buy viagra black online healthcoachmichelle.com/wp-content/themes/twentytwentyone/inc/en/viagra-black.html no prescription
URL:https://old.icelandicartcenter.is/exhibition/gudrun-gunnarsdottir-inger-johanne-brautaset-the-ocean-survives-without-us/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2021/06/havet.png
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210605
DTEND;VALUE=DATE:20211101
DTSTAMP:20260530T074707
CREATED:20210831T122440Z
LAST-MODIFIED:20220825T132629Z
UID:18859-1622851200-1635724799@old.icelandicartcenter.is
SUMMARY:Róska
DESCRIPTION:Artist and activist Róska was one of a kind. Art smouldered inside her\, and the undercurrent of her art practice was personal\, avant-garde and surreal. Róska\, whose full name was Ragnhildur Óskarsdóttir\, was born in 1940 in Reykjavík. She never balked in her creative process\, and did not hesitate to express herself on absolutely any subject. Communicating through her art\, she contended with new\, avant-garde media in the latter half of the 20th century. Her personal and surreal imagery went hand-in-hand with opposition to abstract art and the bourgeois ideology of the time. For Róska the subject of Woman was always central\, and she reflected her own psyche and that of women in general in many of her works. In the 1960s and 70s she was a woman among men in the male-oriented community of artists\, and she was unshakeably convinced that women were men‘s equals\, and need not conform with the masculine norms of the bourgeois society of the time. Her drawings testify to a delicate narrative style and sincerity; and her campaign posters\, paintings\, photographs\, sculptures\, sketches and performances show that there was so much that mattered to her\, whether political or personal issues. For Róska\, life and art were indissolubly intertwined. \nAn exhibition of works by Róska opens at the LA Art Museum on 5 June 2021. It will include works from her oeuvre that reflect her creative flow\, talent and avant-gardism\, as well as her personal\, provocative and sincere approach to her life and art. The intention is to display Róska‘s diverse and unique visual world and her attributes as an artist\, activist and individual; and to shed light on how important her art was\, and is\, in the context of art history\, and the impact she had\, and still has\, on individuals\, society and the era. \nRóska’s art will be displayed in dialogue with works by contemporary Icelandic artists who reflect Róska‘s unique sensitivity and approach\, and possess the same energy\, enthusiasm\, avant-gardism or sincerity. The common factor of the contemporary artists is that they have in their drawing or approach addressed women‘s psyche in a range of media – media which Róska was unafraid of adopting\, although they were avant-garde in the years after the middle of the last century.buy norvasc generic https://infoblobuy.com/norvasc.html over the counter\n \nCurator: Ástríður Magnúsdóttir \nÁstríður Magnúsdóttir (b. 1972) graduated from the Iceland University of the Arts with a BA in fine art in 2008\, and from the University of Iceland with a BA in art history and art theory in 2013. Her fields of interest within art history and theory are contemporary art and culture\, history of photography\, feminist art theory and the status of women within the art world. In recent years Ástríður has worked in teaching\, writing\, curating\, MA studies in art theory\, and her own research\, while also sitting on committees in the field of arts and culture\, including as a member of an advisory professional group on grants allocated by the Reykjavík Culture\, Sports and Leisure Board\, representing the Federation of Icelandic Artists\, and twice on the allocation committee for artists’ bursaries. At present Ástríður is teaching on the visual arts programme at the Reykjavík School of Visual Arts and at the School of Photography\, while also working on her own research and exhibition projects.
URL:https://old.icelandicartcenter.is/exhibition/roska/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/05/Roska.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210605
DTEND;VALUE=DATE:20211101
DTSTAMP:20260530T074707
CREATED:20210831T143610Z
LAST-MODIFIED:20220106T132708Z
UID:18873-1622851200-1635724799@old.icelandicartcenter.is
SUMMARY:Anna Kolfinna Kuran: Takeover
DESCRIPTION:Takeover is a performance series by Anna Kolfinna Kuran\, which aims to fill different spaces with femme energy and bodies. The work revolves around the artist’s reflections on women’s visibility in our society. In Iceland one cannot claim that women are invisible or without voice. But which women do we see and hear? Who are the women that take up space and get listened to? The idea behind Takeover is to create a platform for women of different backgrounds to unite in solidarity and strength. The work explores the power of stillness and softness and the energy created by many women coming together. \nFor LÁ Art Museum Anna Kolfinna has created a threefold work consisting of a video work\, live performance at the exhibition’s opening and a sound piece. In the video work the women come together in solidarity\, creating patterns in the architecture of the museum. A site specific video work in which the women perform mysterious ceremonies. At the opening of the exhibition on June 5th 2021\, the women will invade the museum with a performance in which they refer to the actions in the video\, as well as using their voice to fill up the space with their energy. They appear amongst the crowd and perform a powerful and escalating ceremony which creates a mystical and electric atmosphere. After the opening a part of the performance is reborn. The women’s voices will be recorded during the performance and put back into the space where it will become a sound piece. The video\, the performance at the opening and sound piece present three independent approaches of the same idea experimenting with time and space in one red universe. \n  \nAnna Kolfinna Kuran (b. 1989)\, is an artist based in Reykjavik\, Iceland. She received her Bachelor’s degree in contemporary dance from Iceland University of the Arts in 2013 and completed her Master’s degree from New York University in Performance Studies in 2017. Anna Kolfinna’s work is cross-disciplinary\, most often manifesting in performance and visual works. Her artistic research is mainly focused on\, but not excluded to\, contemporary feminism and themes regarding the female body and image. \nAnna Kolfinna has worked on various projects such as the long term collaborations Dætur (e. Daughters) and Kraftverk and a personal project titled Woman Landscape in which she explores the connection between space and gender. The latest development within Woman Landscape is the Takeover Series\, which is a social art project bringing together women of all ages and different backgrounds in a powerful performative ceremony.
URL:https://old.icelandicartcenter.is/exhibition/anna-kolfinna-kuran-takeover/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/05/takeover.jpg
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210605
DTEND;VALUE=DATE:20211101
DTSTAMP:20260530T074707
CREATED:20210831T123444Z
LAST-MODIFIED:20211101T102818Z
UID:18864-1622851200-1635724799@old.icelandicartcenter.is
SUMMARY:Turbulence
DESCRIPTION:The Icelandic Love Corporation\, Katrín Elvarsdóttir\, Kristín Gunnlaugsdóttir\, Sara Björnsdóttir & Elísabet Jökulsdóttir \nAqua Maria 2018 – The Icelandic Love Corporation.  \nAqua Maria features a soprano singing inside a space that resembles a steam bath but as the scene progresses\, the space becomes more ambiguous. During her singing drops of water condense in her hair and face\, becoming heavier until they stream down her face. \nThe video is based on the symbolic figure of Aqua Maria who rises from the ocean to serve as an inspiration for the current transformation women are experiencing in our time\, influenced by the worldwide spirit of revolt and struggle against injustice and violence\, as it is manifested in #metoo\, Women’s March\, Black Lives Matter\, Slut Walks and Free the Nipple campaigns that are organised through the world wide web.  \nThe water in Aqua Maria responds to burning ecological issues and global warming. We only have one earth and one body\, both consisting of 70% water. Aqua Maria is in all of us\, the water in all of us and the revolution in all of us\, her name Maria indicating rebellion in Hebrew and mar\, sea\, in Icelandic. \nAqua Maria relates to the strong undercurrents of our times: from nature to feminism\, from art to ecology. It represents the human trust in intuition in light of new technologies and the stream of the digital ocean.  \nJóní Jónsdóttir and Eirún Sigurðardóttir are the current members of the art collective The Icelandic Love Corporation (ILC) an art group established in 1996 by Jóní\, Eirún and Sigrún Hrólfsdóttir. Sigrún was a member from 1996-2016 and Dóra Ísleifsdóttir was a member from 1996-2001. \nJóní and Eirún graduated from The Icelandic College of Arts and Crafts in 1996. Jóní studied at The Royal Danish Academy of Fine Arts 1997-1999 and graduated with MA.Ed. in Art Education from Iceland Academy of the Arts in 2011. Eirún studied at Berlin University of the Arts 1996-1998 and graduated in 2014 from the University of Iceland with a postgraduate Diploma in Applied Gender Studies. \nThe Icelandic Love Corporation has actively and successfully worked in the field of visual art\, both at home and abroad\, using nearly all possible media—including performance\, video\, photography\, and installation—the ILC confronts the seriousness of the world with works that blend playfulness\, humor and spectacle with refreshing genuineness and subtle social critique that often incorporates ideas of traditional femininity\, with feministic approach. \nILC´s interdisciplinary art led them to collaborate with Björk for her Volta album in 2007 and a wide range of other collaborations e.g. GusGus\, Ensamble Adapter and Ragnar Kjartansson. \nTheir works have been exhibited internationally\, e.g. at ARoS Kunstmuseum Denmark\, Moma Museum of Modern Art New York\, The Schirn Kunsthalle\, Frankfurt Germany\, Kunsthalle Wien Vienna\, Amos Anderson Art Museum Helsinki and Lilith Performance Studio Sweden. \nILC was shortlisted for Icelandic Pavilion for the Venice Biennale 2017 and nominated the Art group of Reykjavík by Reykjavík City’s Department of Culture and Tourism in 2018. \nwww.ilc.is  \n— \nSewn drawings – Kristín Gunnlaugsdóttir \nSewn drawings is what I call the sewn works\, which I base on sketches or quick drawings. \nGenerally they depict women and spontaneous lines\, and sometimes scribbles created in the movement of drawing. \nI draw them fast and without deliberation\, and I wanted to enlarge them while retaining the power and lightness that resides in them. Sewing was the solution\, and then the colour of the yarn is added – it becomes like painting with the wool. \nThe text works are reiterated sentences in personal handwriting. The sentences lie in everyday life\, and relate to the imagery of the drawings; with constant repetition the meaning of the words is changed\, growing weightier and more expansive. \nKristín Gunnlaugsdóttir was born in Akureyri in 1963. She studied 1984-87 at the Icelandic College of Arts and Crafts (forerunner of the Iceland University of the Arts)\, learned icon-painting in a convent in Rome\, Italy\, 1987-88\, and studied at the Accademia di belle Arti\, Florence\, 1988-94. Kristín has worked exclusively on her art\, held many solo exhibitions and taken part in group shows in Iceland and abroad. Works by Kristín are in Iceland’s leading public art collections\, as well as in corporate and private collections. Kristín has taught at the Iceland University of the Arts and the Reykjavík School of Visual Arts since 2016. Kristín has received various awards for her art\, and in 2018 she was awarded the Icelandic Order of the Falcon for her contribution to visual art. \nKristín’s works are made in range of media\, while building on the classical painting tradition. She works with drawing\, painting on paper and canvas\, egg tempera on wood with gold leaf\, and sewn works on canvas. \nKristín’s conceptual approach is concerned with the existential questions faced by human beings\, not least from the perspective of women and their status in the present time. In the early years of her career\, Kristín’s art had an aura of religious\, iconic art\, depicting for instance the relationship between humanity and nature\, or mother and child. Around 2011 her art changed with the advent of large sewn tapestries\, whose imagery was fierce and forthright vis-à-vis gender roles\, the female body and repression. \nWhile she has addressed taboos and the woman as a sexual being\, a lyrical simplicity and humour are also to be found in Kristín’s work\, not least in recent years. \nIn her works she does not hesitate to explore new territory and to make changes within her imagery\, often in order to juxtapose opposites. \nIn the sewn works displayed here\, Kristín makes use of drawings and sketches\, in which her ideas are permitted to evolve freely. The drawing is then developed in sewing\, and enlarged in order to give its power and lightness free rein. By repeating everyday sentences\, the meaning of the words is changed\, growing weightier and more expansive. \nhttp://kristing.is \n— \nBetween the Lines / Milli línanna. Collage and text works 2011-20 – Sara Björnsdóttir \n“In recent years I have been working on text-collage works. The works have the title Between the Lines\, which is a line or phrase from one of the works and also alludes to the fact that\, while this is my work\, the words have been cut from someone else’s context\, that lies between the lines.” \n“The text is often like a little story\, poem\, or a reflection. It can be acerbic\, lyrical\, satirical\, humorous or surreal. It often addresses art\, and being an artist and a person. Sometimes I’m referring to people I have met along the way – friends and relatives..” \nSara Björnsdóttir was born in Reykjavík in 1962. She studied 1991-95 at the Icelandic College of Art and Crafts and 1996-97 at the Chelsea College of Art & Design in London for her MA in Fine Art. \nSince her graduation Sara has had a high profile on the Icelandic art scene\, and works diligently at her art. She has shown her work in numerous solo and group exhibitions\, including Iceland’s leading art venues. Works by her are in the collections of the National Gallery of Iceland and the Reykjavík Art Museum. In 2001 Sara received an award from the Dungal Memorial Fund\, and in 2002 from the Guðmunda Andrésdóttir Support Fund. In 2010 she won an Alternative Routes prize for a video work presented at the 700IS Reindeerland Festival. From 2000 to 2015 she was a visiting teacher at the Reykjavík School of Visual Arts and the Iceland University of the Arts. Sara was a board member and treasurer of the Association of Reykjavík Sculptors 2010-11. She has also served on allocation committees for the Visual Arts Fund\, the Icelandic Art Centre and the Muggur fund. She was one of the founders of Kling & Bang Gallery\, one of Iceland’s most dynamic galleries today. \nWhen living in London 2015-19\, Sara founded the Art Society – a project consisting of two international exhibitions of the work of 20 artists\, both held in London. In addition to launching the project\, Sara was the organiser and curator of both exhibitions\, and one of the participating artists. \n— \nEquivocal – Katrín Elvarsdóttir \nWe are inside looking out. We are outside looking in. A woman in a red coat\, a mobile home after midnight\, yellow curtains – these are all clues in a fragmented narrative that raises questions rather than provides answers. In the photography series Equivocal we witness enigmatic events that we inadvertently have taken part in. Like uninvited guests in a scenario that refuses to reveal whether it is fact or fiction. The fragments combine in multiple ways and force upon us incomplete story lines of an ambiguous nature. Whether we like it or not. \nKatrín Elvarsdóttir (b. 1964) studied fine arts and photography in the US. Her photographic works tell fragmented narratives of an ambiguous nature\, often playing on the idea of socially collective memory-making. They often serve as a placeholder for enigmatic events that the viewer inadvertently becomes a part of\, a story half-realized\, half-imagined. Her work might best be described as suggestive\, choosing to reside in the realm of an unscripted\, imagined timelessness\, often utilizing cinematic methods\, as well as soft focus and chiaroscuro. \nShe continues to forego the photographic medium’s conventional documentation usage\, rather focusing on the research of the medium itself and its innate possibilities towards contemporary image-making and aesthetical expression. \nHer work has been exhibited worldwide\, in institutions such as The Reykjavík Art Museum and the National Gallery of Iceland\, Forum Box in Helsinki\, The Museum of Photography in Seoul\, Martin Asbæk Gallery\, Copenhagen and Frankfurter Kunstverein in Frankfurt. She has been awarded and nominated for numerous prestigious awards\, such as the EIKON Award\, The Deutsche Börse Photographic Prize and the Ridgefield Guild of Artists Award\, as well as serving as a co-director of the Icelandic Photography Festival. \nkatrinelvarsdottir.com \n— \nElísabet Jökulsdóttir is an author born in Reykjavík on 16 April 1958. Her first book of poems came out in 1989. She has written many short stories\, novels\, and plays. In 2016 Elísabet ran for President of Iceland. Earlier this year she won the Icelandic Literary Prize. \nelisabetjokulsdottir.is \nBeloved Earth \nNow I know \nwhat was so  \nsad. \nTo be. \nSo I went \nbut I’m back. \nTo stay. \nAnd then I hear a sound \nand hear that it must be \nmy voice \nwhich has been sleeping in my body.  \nIt comes from my bones\, \nmuscles\, nerves and viscera\, \na voice from primeval darkness\, \na voice from potential light.  \nThink. A voice. \nIt comes from the cells\, \nfrom every single cell\, \nwhispering\,  \npotent\, \nsaying \nI am.  \nWill you keep silence. \nSilence. \nAnd break it. \nPoetry by Elísabet Jökuldsdóttir / translated by Anna Yates
URL:https://old.icelandicartcenter.is/exhibition/turbulence/
LOCATION:LÁ Art Museum\, Austurmörk 21\, Hveragerði\, 810\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/05/turbulence.jpg
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