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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:20230311
DTEND;VALUE=DATE:20230417
DTSTAMP:20260530T141104
CREATED:20230316T111800Z
LAST-MODIFIED:20230425T113750Z
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SUMMARY:INFRA-GLOW
DESCRIPTION:The exhibition INFRA-GLOW opens at the Reykjanes Art Museum on Saturday 11 March at 2 pm and closes on Sunday 16 April 2023.\nINFRA-GLOW is curated by Elise Bergonzi\, Daria Testoedova and Hannah Zander\, MA students in Curatorial Practice in the Department of Fine Art at the Iceland University of the Arts.\n\nThe exhibition gathers artworks by Carissa Baktay\, Þórdís Erla Zoëga\, Iða Brá Ingadóttir\, Claire Paugam\, Hye Joung Park\, Claudia Hausfeld and Guðrún Hrönn Ragnarsdóttir\, that provoke the intimacy of collective relationships between our bodies\, our minds and our surroundings. The idea of imperceptible closeness between us\, our mundane surfaces\, and their fluid porousness is a starting point.\n\nThe perfomance Iðufall by Iða Brá Ingadóttir will take place at the opening at 3 pm.\n\nGraphic design by Hugi Ólafsson.\nLighting Design by Rósa Dögg Þorsteinsdóttir.
URL:https://old.icelandicartcenter.is/exhibition/infra-glow/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
CATEGORIES:Exhibitions
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221126
DTEND;VALUE=DATE:20230306
DTSTAMP:20260530T141104
CREATED:20221130T104310Z
LAST-MODIFIED:20221201T153551Z
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SUMMARY:Guðrún Gunnarsdóttir: Lines\, entanglement and other stuff
DESCRIPTION:Guðrún Gunnarsdóttir is a pioneer in the field of filament art and her exhibition gives a overview of the artists development from the textile art of the 70s\, to the three-dimensional work that characterizes her art practice today. \nFilament art such as Guðrún Gunnarsdóttir practices is undeniably three-dimensional art in a classic sense\, even though the artist does go against various conventions associated with such art from the beginning of time. For instance\, she does not care to place her works on a pedestal\, thereby elevating them and placing them out of reach. Instead\, she lets them run amuck around us\, hang from the ceiling\, carefully inch up and down walls\, or form delicate organic units down by the foorboard. And instead of demanding attention\, as sculptures on pedestals certainly do\, Guðrún’s works are made to appear to us as if by coincident\, even pleasantly surprising\, not unlike verse with an unexpected punchline. \nThe curator is Aðalsteinn Ingólfsson.
URL:https://old.icelandicartcenter.is/exhibition/gudrun-gunnarsdottir-lines-entanglement-and-other-stuff/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221126
DTEND;VALUE=DATE:20230306
DTSTAMP:20260530T141104
CREATED:20221130T103815Z
LAST-MODIFIED:20221201T153107Z
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SUMMARY:You Are Here
DESCRIPTION:Vena Naskręcka and Michael Richardt are performance artists\, and this exhibition will be a display of where they are at this particular point in time\, and a documentation of what occupies their minds at the moment. They are here and now\, foreign citizens in Iceland\, making their mark on the Reykjanes Art Museum where they will rule for a while. \nVena Naskręcka (1986) works in visual arts in an inter-disciplinary way\, with performances\, sculptures\, found objects\, and video\, and she bases her work for instance on philosophy\, neuro-science\, disability studies\, and technology. Naskręcka expresses this with her body\, which she sees as a tool for visual\, emotional\, and intellectual communication. \nNaskręcka graduated with a MA degree in fine art from CIT Crawford College of Art & Design\, in Cork\, Ireland\, a BA degree in fine art from Hanze University Groningen – Academy Minerva\, the Netherlands\, in addition to studying ceramics at the Jacek Malczewski School of Fine Arts in Czestochowa\, Poland. Naskręcka was born in Czestochowa\, Poland\, but lives and works in Reykjanesbær.
URL:https://old.icelandicartcenter.is/exhibition/you-are-here/
LOCATION:Listasafn Reykjanesbæjar\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220528
DTEND;VALUE=DATE:20221114
DTSTAMP:20260530T141104
CREATED:20220907T113717Z
LAST-MODIFIED:20221125T144432Z
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SUMMARY:Ellipse
DESCRIPTION:Colouring books for children are a strange thing. What are they for? They do not develop the children’s creative thinking: they are told not to colour outside the lines and their only avenue of expression in thought the choice of colours. Perhaps the pedagogical value is only that: To teach the child to follow the rules and accept the fact that they will only control the least important aspects of their lives. This colouring book\, by Gabríela Friðriksdóttir and Björn Roth\, seems to follow this formula. This book\, however\, is part of an art exhibition in an art museum and the original drawings are framed on the walls\, presented to visitors in much the way children run to mother to show her how neatly they coloured in the page in their book. Everything here is like a fairy tale and our imagination is set free. Installations and video works draw us deeper into this mysterious world where anything can happen and anything can become art. \nCurator: Jón Proppé
URL:https://old.icelandicartcenter.is/exhibition/ellipse/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220312
DTEND;VALUE=DATE:20220425
DTSTAMP:20260530T141104
CREATED:20220314T120855Z
LAST-MODIFIED:20220916T103222Z
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SUMMARY:Memories from tomorrow
DESCRIPTION:For the second year in a row\, the Reykjanes Art Museum invites Master students in Curatorial Practice at the Iceland University of the Arts to curate an exhibition in both its exhibition halls. Memories from tomorrow opens on Saturday\, 12th of March 2022 and is open until the 24th of April 2022. \nMemories from tomorrow is curated by Iona Poldervaart\, Sara Blöndal and Sunna Dagsdóttir. The participating artists are Elnaz Mansouri\, Hallgerður Hallgrímsdóttir\, Sarah Degenhardt\, Sarah Finkle\, Victoria Björk\, and Vikram Pradhan. \nThe exhibition Memories from tomorrow is a group exhibition that focuses on the future: our relationship with our surroundings\, our stories\, our dreams. \nMemories are stories from the past and every day we are writing the stories we will have as memories in the future. Advances in technology significantly impact various aspects of our lives. The curators want to develop a vision of what life may look like in the near future\, and ponder the possibilities of that new world. Doing so sparks fundamental questions about the nature of affluence and of being human\, and what constitutes life. Do we have control of our future? Of our dreams? Of our present time? How do we write our narratives and deal with our environment? How do we experience space and can we share a dream space? How will we live tomorrow and what will we look back on in the future?\nCuratorial practice is a new MA study progamme in the Department of Fine Art at the Iceland University of the Arts. It was founded in autumn of 2020 and is led by Professor Hanna Styrmisdóttir. \n\n\nGraphic Design: Janosch Kratz
URL:https://old.icelandicartcenter.is/exhibition/memories-from-tomorrow/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220122
DTEND;VALUE=DATE:20220509
DTSTAMP:20260530T141104
CREATED:20220301T163700Z
LAST-MODIFIED:20220916T103848Z
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SUMMARY:Jóhannes S. Kjarval: In Icelandic Colours
DESCRIPTION:The exhibition seeks to cast a light on colour in the works of Jóhannes Kjarval (1885-1972) and explore his use of colour. He used diverse colours in his work – weather and light determined his choice of colour in his landscapes\, and in fantasies and other works the artist’s personal feeling and vision was in charge. Sharp colours\, purple\, pink and gold are among those you find in many of Kjarval’s works. He either laid the paint on really thin or squeezed thick paint directly from the tube onto the canvas. In this exhibition\, the works are selected to reflect Kjarval’s liberal use of colour and the flow of ideas and expression in his art. \nWhen Kjarval was growing up and experimenting\, he used calf blood\, soot\, ink and wool dye when he couldn’t get his hands on other things or paint. During his study years\, first in Reykjavík and later in Denmark\, and as he travelled and saw more of international art\, his use of colour changed and developed. \nIn an article that Hörður Ágústsson wrote in Þjóðviljinn newspaper in 1954\, he discusses Kjarval’s colours and says he was a natural “colourist”. “He entices the subtle nuances of the ribbon of colour\, connecting them to the rough landscape\, the delicately grey moss\, blue-black lava\, eroded brown earth. At the same time\, his colour is tied to an ageless myth\, the life of the country and the people.” (Þjóðviljinn\, 10 October 1954) \nThe exhibition bears the title In Icelandic Colours and is dedicated to artist Birgir Andrésson (1955-2007) who in his career created numerous works in colours that he defined as Icelandic and tagged them with a colour code and the word “Icelandic” in front. The colours defined by Birgir were those he thought common in the nation’s visual heritage. \nThis is an exploration of Kjarval’s works based on the Icelandic colours but the works are diverse\, displaying the artist’s expression and the richness he imbued his artworks with. Kjarval examined the colours and hues in Icelandic nature and thought of nature itself as a palette. In November 1950\, an article by him appeared in Líf og list magazine\, entitled “The Icelandic Palette”. The article is an encouragement to Icelandic artists to work together developing and cataloguing “the Icelandic palette” and the colourfulness of Icelandic nature. \nDuring the 1960s\, Kjarval started using palettes as subjects and often displayed them in nature\, interwoven with lava and moss\, thus emphasising the unbreakable bonds between colours and nature. Up until this time\, he had painted various landscapes that he named “Palette”. Kjarval’s last work\, which stood on the easel in his studio when he was hospitalised in 1968\, was of an empty palette. He didn’t paint anything after that. \nKjarval is one of the nation’s most beloved artists and his diverse oeuvre has numerous paintings of Icelandic nature\, fantastic creatures and the Icelandic people. In 1968\, he donated a large part of his artworks and personal items to the city of Reykjavík and his work has been displayed in various fashion since the opening of Kjarvalsstaðir in 1973. The works in the exhibition belong to the Reykjavík Art Museum’s collection.
URL:https://old.icelandicartcenter.is/exhibition/johannes-s-kjarval-in-icelandic-colours/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211120
DTEND;VALUE=DATE:20220131
DTSTAMP:20260530T141104
CREATED:20211117T143559Z
LAST-MODIFIED:20220131T110331Z
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SUMMARY:Ráðhildur Ingadóttir and Igor Antić: SecondSkin
DESCRIPTION:Skrápur / SecondSkin opens in Reykjanes Art Museum on the 20th of November 2021. \n\n\nReykjanes Art Museum presents the exhibition SecondSkin with Ráðhildur Ingadóttir and Igor Antić. \n\n\nThe exhibition tackles refugees and migration of people in the world. The title SecondSkin refers to the shelter that the body creates over time from external aggravation. The word also refers to the thick skin people develop mentally as a defence. \n\n\nBoth artists have discussed human displacement and conflict in their earlier works and exhibitions. \n\n\nDwelling or shelter is the frame that supports the existence of art according to the Australian philosopher Elizabeth Grosz. In her book Chaos\, Territory\, Art: Deleuze and the framing of the earth\, from 2008\, she claims that forces such as national areas frame and bring forth the quality of other things or events; It is the frame that builds up content\, material for a collaborative fictional history of nations. \n\n\nWere a country not bordered\, there would be no territory. That would not obstruct things existing\, but they would not have the same meaning and would be without independent expression capable of intensifying and transforming the living body. The demarcation of territory causes colour\, texture\, rhythm\, mass\, and weight to take on a different meaning within the boundaries of the defined territory. This makes it possible to affect people\, conjure impressions that are extracted from the area\, which\, at best\, is interpreted in the field of art. \n\n\nReykjanes Art Museum is in the vicinity of Iceland’s international airport\, which makes Reykjanesbær the most populous border town in Iceland. The demographic of the town’s population is the most multi-cultural in Iceland\, as 30% of residents with permanent residence in the town are foreigners\, furthermore Reykjanesbær receives a significantly larger number of refugees than most other municipalities in the country. \n\n\nWith the community’s environment in mind\, the museum director decided to produce an exhibition revolving around the idea of seeking shelter. \n\n\nThe work by Igor Antić\, in the exhibition SecondSkin\, was created in collaboration with MSS – Miðstöð Símenntunar á Suðurnesjum. \n\n\nThe exhibition is open until 30 January 2022. \n\n\nCurated by Helga Þórsdóttir\, museum director of Reykjanes Art Museum. \n\n\nThe exhibition is sponsored by the Visual Arts Fund. \n\n\n  \n\n\nRáðhildur Ingadóttir (1959) works within a particular ideology in her works that she implements in various media; text\, drawing\, painting\, sculpture\, and video\, often presented in multi-layered installations. \n\n\nRáðhildur has held numerous solo exhibitions\, the first was in the Living Art Museum in 1986\, and she has been asked to participate in group exhibitions both in Iceland and all over Europe. Works by Ráðhildur are in the collections of the National Gallery of Iceland\, Reykjavik Art Museum\, and the Living Art Museum. Ráðhildur has also curated several exhibitions and in 2013 and 2014 she was awarded an honorary position as the artistic director of Skaftafell – centre of visual art in East Iceland. \n\n\nRáðhildur studied fine art in England from 1981 to 1986 at Emerson College in Sussex and St Albans College of Art and Design. She was a part-time lecturer at the Icelandic College of Arts and Crafts and the Iceland Academy of the Arts from 1992-2002\, in addition to being a guest teaches at the Royal Academy of Fine Art in Copenhagen. Ráðhildur was on the board for the Living Art Museum from 2000 to 2002. She has received various stipends and grants both in Iceland and in Denmark. Ráðhildur is born in Reykjavik but splits her time between Copenhagen and Seyðisfjörður. \n\n\n  \n\n\nIgor Antić (1962) explores the concepts of site-specific works\, within a certain context that may be political\, economic\, cultural\, and societal. His works appear in various media\, such as photography\, video\, and installation. \n\n\nAntić has held several solo exhibitions and been selected to participate in group exhibitions all over Europe\, the United States\, and Asia. He has for instance exhibited in Iceland in the Living Art Museum in the exhibition Polylogue 158 in 1999. Antić curated Values: 11th Biennial of Visual Arts in Pancevo\, Serbia in 2004. \n\n\nAntić studied fine art from 1984 – 1991 at Novi Sad Academy of Fine Arts in Serbia\, École Nationale Supérieure des Beaux-Arts in Paris\, and at the Institut des hautes Etudes en Arts Plastiques in Paris. In 1995 he founded Pokret Encounter Centre in Novi Sad\, Serbia\, a movement of artists during the war. Antić has received several arwards\, such as the Pollock-Krasner Foundation’s Grant in New York in 2002. Antić is born in Novi Sad\, Serbia\, but lives and works in Paris.
URL:https://old.icelandicartcenter.is/exhibition/radhildur-ingadottir-and-igor-antic-secondskin/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210902
DTEND;VALUE=DATE:20211115
DTSTAMP:20260530T141104
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:20210902
DTEND;VALUE=DATE:20211115
DTSTAMP:20260530T141104
CREATED:20210830T123050Z
LAST-MODIFIED:20211115T102047Z
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SUMMARY:Formheimur Bjargar Þorsteinsdóttur
DESCRIPTION:A solo show of works by Björg Þorsteinsdóttir from 1940 to 2019.
URL:https://old.icelandicartcenter.is/exhibition/formheimur-bjargar-thorsteinsdottur/
LOCATION:Reykjanes Art Museum\, Duusgata 2-8\, Reykjanesbær\, 230\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/formheimur.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210612
DTEND;VALUE=DATE:20210823
DTSTAMP:20260530T141104
CREATED:20210609T135057Z
LAST-MODIFIED:20220825T132146Z
UID:16960-1623456000-1629676799@old.icelandicartcenter.is
SUMMARY:Steingrímur Eyfjörð: Classification
DESCRIPTION:Tegundagreining er sambland endurlits og nýrra verka Steingríms Eyfjörð sem unnin eru árin 2020 – 2021. \nSýningin er tilraun listamannsins til að skýra kveikjuna að myndsköpuninni. Verkin eru afmörkuð og staðsett með flokkunarkerfi\, mynstri sem þróast hefur á löngum ferli. Yfirflokkar á sýningunni eru: Hið ósnertanlega\, Arfurinn\, Heimur kvenna\, Gagnrýni\, Guðs eigið land\, Kellingin\, Decode\, Comix. \nListasafn Reykjanesbæjar gefur út veglega sýningaskrá í tilefni af sýningu Steingríms Eyfjörð\, þau sem rita texta eru: Halldór Björn Runólfsson\, Aðalsteinn Ingólfsson\, Benedikt Hjartarson og Helga Þórsdóttir. Einnig skrifar listamaðurinn eigin skýringar á myndverkunum. \nSteingrímur Eyfjörð (f. 1954) hefur verið virkur myndlistarmaður frá áttunda áratug síðustu aldar og í verkum sínum hefur hann unnið með fjölbreytta miðla\, margvíslegt efnisval og ólík viðfangsefni. Steingrímur hefur haldið fjölmargar einkasýningar síðan 1977\, ásamt því að vera valinn til þess að taka þátt í fjölda samsýninga bæði hér á landi og erlendis. Þar má meðal annars nefna viðamikla sýningu á verkum hans í Listasafni Íslands árið 2006. Steingrímur var fulltrúi Íslands á Feneyjartvíæringnum árið 2007 með verkið Lóan er komin sem samanstendur af 13 sjálfstæðum verkum. Árið 2017 var hann sæmdur titlinum bæjarlistamaður Hafnarfjarðar. Steingrímur hlaut Menningarverðlaun DV fyrir myndlist árið 2002 og var tilnefndur til Carnegie Art Award árin 2004 og 2006.buy clomid online https://rxbuywithoutprescriptiononline.net/clomid.html no prescription\n \nSteingrímur lauk námi við kennaradeild Myndlista- og handíðaskóla Íslands 1971–1975 og einnig deild í mótun árið 1978 undir handleiðslu Magnúsar Pálssonar og Robert Filliou. Hann lærði við Edinborgarháskóla árið 1977 og nam grafík við Ateneum Suomen Kuvataideakatemian Koulu\, Helsinki 1979–1980. Steingrímur stundaði framhaldsnám í nýmiðlum við Jan van Eyck Academie\, Maastricht\, Hollandi 1980–1983. Hann hefur starfað við kennslu og tekið þátt í félagsstarfi myndlistarmanna. Steingrímur býr og starfar í Reykjavík \nSýningin\, Tegundagreining\, stendur til og með 22. ágúst 2021. \nAllir velkomnir og ókeypis aðgangur að Listasafni Reykjanesbæjar í sumar.
URL:https://old.icelandicartcenter.is/exhibition/steingrimur-eyfjord-tegundagreining/
CATEGORIES:Countryside
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END:VEVENT
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