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X-ORIGINAL-URL:https://old.icelandicartcenter.is
X-WR-CALDESC:Events for Icelandic Art Center
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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220910
DTEND;VALUE=DATE:20220925
DTSTAMP:20260530T145717
CREATED:20220909T134519Z
LAST-MODIFIED:20220926T125511Z
UID:25893-1662768000-1664063999@old.icelandicartcenter.is
SUMMARY:Magnús Helgason
DESCRIPTION:
URL:https://old.icelandicartcenter.is/exhibition/magnus-helgason/
LOCATION:Listamenn Gallerí\, Skúlagata 32-34\, Reykjavík\, 101\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220428
DTEND;VALUE=DATE:20230203
DTSTAMP:20260530T145717
CREATED:20220530T115637Z
LAST-MODIFIED:20230131T103346Z
UID:23421-1651104000-1675382399@old.icelandicartcenter.is
SUMMARY:Resistance\, Interplay of art and physics
DESCRIPTION:Resistance is an interdisciplinary exhibition that bridges the gap between visual arts and science. The works on display are key works in the collection of the National Gallery of Iceland\, that establish an interesting dialogue between art and science and the United Nations Sustainable Development Goals. \nThe word Resistance may be read in the context of physics: the measure of a conductive material’s opposition to current flow. Resistance can also signify opposition to consumption\, which responsible citizens must learn to take onboard. In addition\, Resistance also references essential action against climate change and global warming. The arts offer people an opportunity to be influenced\, as art can touch the emotions. Works of art can raise issues which urge the observer to ask him/herself urgent questions. An artistic approach can alter the way people experience the world around them. And artists work with such factors as taste\, perception\, emotion\, conviction\, values and identity\, that are important for a society in the process of formation. Art can also invigorate the human mind\, and show the observer a diversity of viewpoints\, leading them to re-examine their ideas about the world. Addressing matters of nature from various sides facilitates change\, and the evolution of values that is vital on the journey towards a sustainable society. Where all the elements are unique\, we think things through to the end\, reflect\, and construct a new understanding. \nClearly\, a concerted effort is required in order to attain the United Nations Sustainable Development Goals by 2030. That entails integration\, activation and creation of diverse knowledge and perspectives. It demands active participation by all\, and multifarious approaches. Unsustainable consumption by the public is a major problem in society. We must reconsider our patterns of consumption\, and resist excess. \nNothing in the world is separate. Every single thing is a link in a chain\, connected to all the other links. This global chain must remain intact. Chain reactions unite all things and processes into one whole\, thus establishing the premises for equilibrium. Everything in the world\, including the human body\, is made up of energy\, which bonds and unites in closed cycles. The world’s ecosystem is contingent upon powers connected by chain reactions\, like the cogwheels of a clockwork mechanism. If one of the cogwheels is irreversibly damaged\, the equilibrium will also be irreversibly disrupted. Energy is the foundation of all matter\, and affects everything else. The energy that forms one human being also forms all other living things.  Energy is in constant flow and always changing. Speed relates to that energy\, and is also variable. We are all bound together\, and our feelings give rise to a resonance that affects everything and everyone. All energy on earth is subject to similar natural laws\, although its character may differ. Connections\, chaos\, order\, rhythm\, volatility\, eternality and linkage are all qualities that relate to the earth’s energy field. \n\n\n\n\nArtists \n\n\n\n\n\n\n\n\nDavíð Örn Halldórsson \nDodda Maggý \nEirún Sigurðardóttir \nErla Þórarinsdóttir \nEyborg Guðmundsdóttir \nFinnur Jónsson \nGerður Helgadóttir \nGuðmunda Andrésdóttir \nJóhannes Kjarval \nKarl Kvaran \nKristinn Hrafnsson \nKristján Guðmundsson \nMagnús Helgason \nRansu \nSigrid Vadingojer \nSigurður Árni Sigurðsson \nTumi Magnússon \nÞorvaldur Skúlason \n  \n\nChief Curator: Ásthildur Jónsdóttir \nCuratorial Team: Ásthildur Jónsdóttir\, Dagný Heiðdal\, Guðrún Jóna Halldórsdóttir\, Ragnheiður Vignisdóttir\, Harpa Þórsdóttir
URL:https://old.icelandicartcenter.is/exhibition/resistance-interplay-of-art-and-physics/
LOCATION:The National Gallery of Iceland\, Fríkirkjuvegur 7\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/05/resistance.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220205
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T145717
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:20211030
DTEND;VALUE=DATE:20220321
DTSTAMP:20260530T145717
CREATED:20211011T145657Z
LAST-MODIFIED:20220905T142117Z
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SUMMARY:Abracadabra
DESCRIPTION:In this diverse exhibition\, new works by contemporary artists are presented especially with children and young people in mind. The works are all in the collection of the Reykjavík Art Museum. Presentation\, mediation and education aims to open up the world of art as it appears today for younger audiences. Along with the exhibition\, there is a rich program as well as digital dissemination. “Abracadabra” is a word deriving from ancient languages that means: What I say becomes a reality. This is a magic word that describes how artists’ ideas become works of art. \nThe Reykjavík Art Museum’s collection houses a large number of works of art\, with about seventeen thousand registered works and sketches of various kinds. When acquiring works of art into the collection\, a choice is made that reflects the diversity of artistic creation at any given time. The exhibition Abracadabra aims to share the main elements that are found in the creative field of today. What characterizes today’s art? What are the artists’ subjects\, methods\, materials and challenges? \n  \nListamenn \nAlicja Kwade \nAnna Júlía Friðbjörnsdóttir \nAnna Hallin \nAnna Líndal \nAuður Lóa Guðnadóttir \nBaldur Geir Bragason \nEgill Sæbjörnsson \nFritz Hendrik IV \nGuðný Guðmundsdóttir \nHeimir Björgúlfsson \nHildigunnur Birgisdóttir \nHildur Bjarnadóttir \nHrafnhildur Arnardóttir/Shoplifter \nHreinn Friðfinnsson \nKarin Sander \nKatrín Elvarsdóttir \nKatrín Sigurðardóttir \nKristján Steingrímur Jónsson \nLeifur Ýmir Eyjólfsson \nLogi Leó Gunnarsson \nMagnús Helgason \nMargrét H. Blöndal \nMatthías Rúnar Sigurðsson \nMelanie Ubaldo \nÓlafur Gíslason \nÓlöf Nordal \nRagnheiður Gestsdóttir \nRúrí \nSteingrímur Eyfjörð Kristmundsson \nUnndór Egill Jónsson
URL:https://old.icelandicartcenter.is/exhibition/abracadabra/
LOCATION:Reykjavík Art Museum – Hafnarhúsið\, Tryggvagata 17\, Reykjavík\, 101\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210904
DTEND;VALUE=DATE:20211001
DTSTAMP:20260530T145717
CREATED:20210830T130142Z
LAST-MODIFIED:20210927T125851Z
UID:18787-1630713600-1633046399@old.icelandicartcenter.is
SUMMARY:30x30
DESCRIPTION:A group show of 30 new works by 30 different artists. \nArtists: \nAuður Ómarsdóttir\nArngrímur Sigurðsson\nÁrni Már Erlingsson\nÁsgeir Skúlason\nÁslaug Íris Katrín Friðjónsdóttir\nDodda Maggý\nFreyja Reynisdóttir\nFritz Hendrik\nGeirþrúður Einarsdóttir\nGuðlaug Mía Eyþórsdóttir\nGuðrún Heiður Ísaksdóttir\nHallgrímur Helgason\nHelgi Þórsson\nHulda Hákon\nJón Óskar\nKristín Gunnlaugs\nKristín Karólína\nLeifur Ýmir Eyjólfsson\nLoji Höskuldsson\nMagnús Helgason\nPétur Magnússon\nSalka Rósinkranz\nSigurður Angantýsson Hólm\nSigurður Atli Sigurðarson\nSigurður Ámundason\nSigurlaug Gísladóttir\nSkarphéðinn Bergþóruson\nSvavar Pétur Eysteinsson\nSteinunn Marta Önnudóttir\nÞórdís Erla Zoëga
URL:https://old.icelandicartcenter.is/exhibition/30x30/
LOCATION:Gallery Port\, Laugavegur 32\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/30-at-port.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210902
DTEND;VALUE=DATE:20211115
DTSTAMP:20260530T145717
CREATED:20210830T123510Z
LAST-MODIFIED:20220916T102215Z
UID:18784-1630540800-1636934399@old.icelandicartcenter.is
SUMMARY:FJÖLFELDI - HLUTFELDI - MARGFELDI
DESCRIPTION:Being able to create more than one copy of the same work has long followed the artist tradition. Many artists have created such works\, which offers a different possibility than the unique artwork\, and can be considered as an object somewhere between art and production. Works made in multiple copies are priced differently\, are cheaper and thus made accessible to a larger group. The work goes from the standpoint of the individual and becomes an object that more than one can own\, they are often smaller\, and confirm their value not only by being a work by a certain artist\, but also by being numbered and signed editions and then become part of a larger context\, a narrative that is important to the person who acquires the work. \nMultiples can be two- or three-dimensional and can be created using a variety of methods. In the fifteenth century\, artists began to develop methods for molding works\, as it was considered a great advantage to be able to distribute works as widely as possible. This led to a significant development of visual culture in the countries where the knowledge was available. In the eighteenth century\, for example\, artists invented methods that enabled them to create sculptures from\, for example\, clay\, bronze or plaster and porcelain. Casting sculptures using mold or sand became popular in the production of works made in editions and these methods are still widely used in the making of art today. The methods of the graphic arts also fall under this definition\, but works made in such a way have the undoubted advantage that it is easy to make the same work in many copies. \nWith the method of copper plating in the Baroque period\, the distribution and reproduction of works of art became more general. The copper insert is a method used to make graphics\, where the image is engraved with a needle in a copper plate and then printed on paper. The work Los caprichos\, 1797 by Francisco Goya\, was one of the first known multiples created in a limited edition. Looking at twentieth-century works of art\, the work of Marcel Duchamps\, Rotoreliefs from 1935\, is one of the first multiples of modern art and in the form of multiples we know today\, a series of six rotating discs\, published in 500 copies. \nThe exhibition FJÖLFELDI – HLUTFELDI – MARGFELDI focuses on the works of twenty-nine contemporary artists who have worked for longer or shorter periods in creating multiples. In order for a work of art to fall under that definition\, the works must be made in three or more copies. \nThe word HLUTFELDI is created by Magnús Pálsson\, but in the exhibition you can find most of the works where he works in this way. The exhibition includes Magnús’ works that are still in the possession of the artist and his family\, but many of his works are now owned by museums and collectors. Other works in the exhibition are made in a conversation with the MULTIS project over a two-year period.
URL:https://old.icelandicartcenter.is/exhibition/fjolfeldi-hlutfeldi-margfeldi/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/multis.png
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