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DTSTART:20210101T000000
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230506
DTEND;VALUE=DATE:20230522
DTSTAMP:20260530T082214
CREATED:20230511T153241Z
LAST-MODIFIED:20230530T121818Z
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SUMMARY:Opnun
DESCRIPTION:Birgir Snæbjörn Birgisson\, Erla Þórarinsdóttir\, Hekla Dögg Jónsdóttir\, Hildigunnur Birgisdóttir\, Kristján Guðmundsson\, Melanie Ubaldo\, Páll Haukur Björnsson\, Pétur Magnússon\, Ragna Róberts\, Rakel McMahon\, Sigurður Guðjónsson og Sigurður Guðmundsson.
URL:https://old.icelandicartcenter.is/exhibition/opnun-y-gallery/
LOCATION:Y Gallery\, Hambraborg 12\, Kópavogur\, 200\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220402
DTEND;VALUE=DATE:20220516
DTSTAMP:20260530T082214
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:20211016
DTEND;VALUE=DATE:20211122
DTSTAMP:20260530T082214
CREATED:20211014T123222Z
LAST-MODIFIED:20211122T142450Z
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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 The Living Art Museum: \nBjörk Guðnadóttir (b. 1969) seeks inspiration for her work in many places and uses various materials\, such as linen\, wool yarn\, plastic\, plaster and wax. She has held solo exhibitions and been selected for numerous group exhibitions\, both in Iceland and abroad. She has received many grants and her works can be found in the collections of art museums and collectors. Björk is a member of the Icelandic Sculptors’ Society and the Living Art Museum. \nGuðlaug Mía Eyþórsdóttir (b.1988) completed a BA degree from the Fine Art Department of Iceland University of the Arts in 2012 and later studied at the MA program in Fine Art at the Koninklijke Academie in Gent\, Belgium\, from which she graduated in 2018. Guðlaug has initiated a broad range of projects within the arts and has worn many hats as a publisher\, curator and researcher. Between 2012-19 she initiated\, along with fellow artists\, the exhibition venues Kunschlager in Reykjavík and ABD Klubhuis in Antwerp\, Belgium.  In her practise Guðlaug concerns herself with the sculptural aspects of our surroundings\, observes the forms\, textures and acts they consist of and explores whether daily activities can be materialised. \nGunnhildur Hauksdottir received her MFA from the Sandberg Institute in Amsterdam\, Netherlands in 2006 and her BFA from the Iceland University of the Arts in 2002. Her works and performances have been exhibited and performed widely throughout her career\, she took part in the Silver Lining\, Collateral Event at the 56th International Art Exhibition at the Biennale di Venezia in 2015. Among the institutions that have displayed her works are the Galeria Municipal do Porto\, the National Gallery of Iceland\, the Reykjavik Art Museum\, the Kunstmuseum Liechtenstein\, the Uppsala Art Museum and the 21 Haus at the Belvedere Museum in Vienna. Gunnhildur has strong ties to Seydisfjordur and has lived there on and off since the start of her career. She is currently based in Reykjavik and Berlin. \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. As a rule\, 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/sequences-x-creation-destruction-2/
LOCATION:The Living Art Museum\, Grandagarður 20\, Reykjavík\, 101\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210904
DTEND;VALUE=DATE:20211001
DTSTAMP:20260530T082214
CREATED:20210830T130142Z
LAST-MODIFIED:20210927T125851Z
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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:20260530T082214
CREATED:20210830T123510Z
LAST-MODIFIED:20220916T102215Z
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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
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210828
DTEND;VALUE=DATE:20211101
DTSTAMP:20260530T082214
CREATED:20210817T135643Z
LAST-MODIFIED:20220825T131942Z
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SUMMARY:Community of Sentient Beings
DESCRIPTION:This year’s autumn exhibition at Hafnarborg is Community of Sentient Beings\, curated by Wiola Ujazdowska and Hubert Gromny. By inviting various professionals – artists\, academics\, performers – to participate in the exhibition\, the aim of the curators is to create a space for multiple voices to come together\, while reflecting on different ways of voicing\, hearing and sensing. In this way\, the exhibition will offer a space for various kinds of engagement\, with an emphasis on the project’s processual and performative nature\, by activating the space and exploring different ways of inhabiting it\, transforming the museum into the space of connectivity. \nLooking at our connection to the world as a community of sentient beings will allow us to open various paths of investigation\, whether it be the relationship between human and nature\, human and culture\, or human and human. The term sentient being allows us to abandon historically charged definitions\, to think of personhood and humans more broadly. At the core of the concept\, is an interrogation of the historical and social usage of a category of human\, which concerns whom and what we consider part of a community. Hafnarborg and its history also provide an interesting context for such investigation\, as changing the function from a pharmacy and chemist laboratory can be seen as a symbolic shift from healing practices based on science\, namely chemistry\, towards the spiritual and cultural agency of art. \nThis calls into question the tension between art and science\, as approaching art as a cognitive capacity may allow us to comprehend that which cannot be captured by scientific reason – connections between worlds known and unknown. Extending our perception\, the exhibition invites guests to sense a place or presence\, pondering the importance of memories and different modes of communication\, such as those mediated by technology\, and bringing to mind the changes in Icelandic society\, which is becoming more and more diverse. This diversity brings connection with other places\, other traditions and different spiritual practices. Each newcomer arrives with embodied knowledge\, a memory\, which is a basis to encounter new\, unknown land. Thinking of art as a vehicle to understand the invisible\, to listen to undercurrents and reflect on them may then allow us to engage with various dimensions of what we perceive as a sentient being. \nHubert Gromny is an artist\, researcher\, curator and writer\, based in Reykjavík\, Iceland. He graduated with an MA from the Academy of Fine Arts in Kraków\, Poland\, in 2015. He also holds a BA from the Jagiellonian University in Kraków\, where he studied at the department of philosophy. In his practice\, Gromny investigates the intersections between art\, theory and popular culture\, in order to unfold the sociopolitical significance of aesthetics and culture. \nWiola Ujazdowska is an artist\, performer and art researcher based in Reykjavík\, Iceland. She holds an MA in art theory from Nicolaus Copernicus University in Toruń\, Poland\, where she also studied painting at the department of fine arts. In the years 2012-2013\, she studied at CICS in Cologne\, Germany. Ujazdowska’s work mostly focuses on body and gender in the context of politics\, migration movements\, class\, borders and beliefs\, as well as dealing with social and cultural constructions in philosophical\, cultural and anthropological context.buy amoxicillin online https://gaetzpharmacy.com/amoxicillin.html no prescription\n \nThe participating artists are Agnieszka Sosnowska\, Andrea Ágústa Aðalsteinsdóttir\, Angela Rawlings\, Anna Wojtyńska\, Dance Africa Iceland\, Freyja Eilíf\, Gígja Jónsdóttir\, Hildur Ása Henrýsdóttir\, Hubert Gromny\, Kathy Clark\, Katrín Inga Jónsdóttir Hjördísardóttir\, Melanie Ubaldo\, Michelle Sáenz Burrola\, Nermine El Ansari\, Pétur Magnússon\, Rúnar Örn Jóhönnu Marinósson\, Styrmir Örn Guðmundsson\, Ufuoma Overo-Tarimo and Wiola Ujazdowska. \nThis will be the eleventh exhibition in Hafnarborg’s Autumn Exhibition Series\, where the objective is to collaborate with different curators\, who get the chance to submit their own proposals\, allowing new voices be heard. The Director and Art Council of Hafnarborg then review the submissions and select the winning proposal each year.
URL:https://old.icelandicartcenter.is/exhibition/community-of-sentient-beings/
LOCATION:Hafnarborg Center of Culture and Fine Art\, Strandgata 34\, Hafnarfjörður\, 220\, Iceland
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