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BEGIN:VEVENT
DTSTART;VALUE=DATE:20230325
DTEND;VALUE=DATE:20230916
DTSTAMP:20260530T052830
CREATED:20230324T152314Z
LAST-MODIFIED:20231013T122657Z
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SUMMARY:Kaleidoscope: Icelandic 20th Century Art
DESCRIPTION:Kaleidoscope is the title of an exhibition series where we examine artworks in the Reykjavík Art Museum’s collection. In 2023\, the museum celebrates fifty years since the opening of the museum’s first location at Kjarvalsstaðir. To mark this occasion\, special attention is paid to the museum collection\, with an opportunity to view and display treasures therefrom. Presently\, the museum collection holds over seventeen thousand registered artworks of all types and created in various media\, from sketches and drafts by Kjarval to contemporary works by young and old artists. Kaleidoscope of the 20th century is presented at Kjarvalsstaðir\, but the Kaleidoscope of the 21st century will be on display in Hafnarhús from 6 June\, and Kaleidoscope of international art from the collection in Hafnarhús until 7 May. \nThe exhibition Kaleidoscope – Icelandic Art in the 20th Century gives an insight into Icelandic art during the last century through the part of our cultural heritage that is preserved at Reykjavík Art Museum. The museum belongs to the city of Reykjavík\, and there with its citizens. Now is a chance to become acquainted with its collection. \nOn Kjarvalsstaðir fiftieth anniversary\, 24 March\, an exhibition of selected Icelandic artworks from the 20th century will be opened. The exhibition contains around two hundred pieces from the museum collection and is divided between the East and West Hall\, in the year 1973\, when Kjarvalsstaðir opened as a museum. The year also marks a certain turning point in Icelandic art history\, as it was a time when the linear progress of modernism gave way to the avant-garde multi-story telling. The exhibition contained works by many of Iceland’s foremost artists\, works that are well-known as well as others that have rarely been displayed and will surprise many. \nA kaleidoscope is a toy that disintegrates the conventional visual field and gives an opportunity of looking at reality in a fragmented pattern. Similarly\, an art museum’s collection can never be viewed except in parts\, in various constructions and different context. At the same time\, the museum collection can never be anything but a fragmentary selection of art creation in any given period\, and people’s view of the works affected by the zeitgeist of the time. Note that the museum collection can also be explored on the museum’s website\, and there are also always numerous works on display in the city’s institutions and service centres. \nWhen Kjarvalsstaðir opened\, fifty years ago\, Reykjavík’s art collection and exhibition staging was given a formal setting. The museum collection consists\, among other things\, of works that Jóhannes S. Kjarval bequeathed to the city\, works that the city and its institutions had acquired\, and donations from patrons. Ever since\, it has been growing\, with regular purchases and generous donations\, and continues to do so every year.
URL:https://old.icelandicartcenter.is/exhibition/kaleidoscope-icelandic-20th-century-art/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2023/03/hraunteigar_vid_heklu_-_heimasida.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230114
DTEND;VALUE=DATE:20230313
DTSTAMP:20260530T052830
CREATED:20230112T102644Z
LAST-MODIFIED:20230113T100232Z
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SUMMARY:Hildur Hákonardóttir: Red Thread
DESCRIPTION:Red Thread is a diverse and extensive exhibition on the works of artist Hildur Hákonardóttir. During her long career\, she has addressed contemporary issues and gender politics\, using varied media but mostly weaving. The exhibition contains many of Hildur’s best-known works\, which have become important landmarks in Icelandic cultural history and influenced societal changes. There are also installations\, photographs\, videos and computerised drawings from a career that spans over 50 years. Curator is Sigrún Inga Hrólfsdóttir\, but the exhibition is the result of her research into Hildur’s career. In 2021\, Reykjavík Art Museum was awarded the Museum Fund’s Excellence Grant to examine women’s part in Icelandic art. \nThe exhibition offers an insight into Hildur’s career and her methods\, which are interwoven with prevailing issues of each period\, particularly regarding the environment and equality. Hildur is also a productive cultivator and has speculated on various systems\, both manmade and organic\, that can be found in the world. \nBetween 1956 and 1963\, Hildur lived in New York State with her then-husband who later became one of the pioneers of computer technology in Iceland. Thus\, she witnessed the computer technology in its infancy\, but also got to know the women’s rights movement\, black people’s fight for their rights\, war opposition and environmental discussions\, as well as perceive new manifestations within the art world – pop art\, Fluxus and conceptual art. \nHildur studied tapestry at The Icelandic College of Art and Crafts 1964-68 and Edinburgh College of Art in 1969. She thought her studies had been mostly in futility when she graduated in 1969\, but soon realised that if you know how to weave\, you know how to organise a mass movement. \nShe was one of the pioneers of the redstocking movement which transformed the equality struggle in the 1970s. The redstockings participated in political discourse and initiated publishing\, performances and other types of activism\, opening the eyes of many to the oppression of women. Hildur was one of the few women in SÚM artist collective\, and ever since her first exhibition at Gallerí SÚM in 1971\, she has addressed contemporary issues through traditional weaving techniques\, mixed with other methods. Between 1975 and 1978\, she was headmistress of The Icelandic College of Art and Crafts and opened two new departments in the school\, including what later became the modern art department and was meant to further new\, postmodern ideologies of the times. This department had considerable effect on the art world in Iceland and further afield\, and so Hildur’s influence on art education in Iceland is still visible. She was director of LÁ Art Museum for a long time. In recent years\, Hildur has focused on writing\, her best-known books are Ætigarðurinn (2005) and Hvað er svona merkilegt við það að vera biskupsfrú? (I – II\, 2019-2021). \nThe exhibition is accompanied by the publishing of a superb book on Hildur’s life’s work\, with discussion about her key works\, photos from her career and and essay by  curator Sigrún Hrólfsdóttir.
URL:https://old.icelandicartcenter.is/exhibition/hildur-hakonardottir-red-threads/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2023/01/hildur-hakonardottir_3ja-stettin_1973-moskud-web.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20221001
DTEND;VALUE=DATE:20230109
DTSTAMP:20260530T052830
CREATED:20220906T145021Z
LAST-MODIFIED:20230112T100826Z
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SUMMARY:Guðjón Ketilsson: Jæja
DESCRIPTION:“Jæja” – the word is like a found object in the Icelandic vocabulary. One can resort to it on almost any occasion. On its own\, it means very little\, but everyone can make it their own and put it into context so that it acquires meaning. Guðjón Ketilsson creates his art with a similar methodology\, he spots things and by taking them to hand and showing us in a new context\, he gives them value. \nArtist Guðjón Ketilsson has explored many ways over the period of his extensive career. He has made sculpture a priority\, but drawing also plays a major role in his artistic creation. Prominent in his work is the emphasis on craftsmanship\, as his works are known for their artistry\, ingenuity and devotion. The body is there at the center\, and its extension through clothes and tools\, as well as habitat and other things in its immediate surroundings. Guðjón communicates this with an effective interplay of presence and absence\, materiality and emptiness\, surface and content. Language is also an important factor\, less in terms of the meaning of the words\, and rather connected to the world of symbolism\, where the context of single and different symbols conjures up a coherent meaning. \nAt a mid-career retrospective of Ketilsson\, one can expect to see sculptures composed of found furniture that he has treated in his own unique way\, refined wooden sculptures that resemble obsolete objects in a folk museum\, high-precision drawings of buildings in Norðurmýri (a neighborhood in Reykjavík)\, a collection of detritus he has collected in his walks and arranged in one piece\, and clothing – all kinds of clothing carved in wood\, such as shoes\, loincloths and hats. \nGuðjón Ketilsson is the sixth artist selected to participate in the Reykjavík Art Museum’s exhibition series at Kjarvalsstaðir\, where the careers of key figures in Icelandic art life are reviewed. Each of them is chosen with regard to their unique contribution and specialization in their field\, both in terms of media\, methods and subject matter. The status check is done through the display of key works from different periods in the artist’s career\, in the West Gallery at Reykjavík Art Museum – Kjarvalsstaðir\, and through the publication of an exhibition catalog which reflects on the work in the context of art history and the present. \nCurator Markús Þór Andrésson.
URL:https://old.icelandicartcenter.is/exhibition/gudjon-ketilsson-jaeja/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/09/gluggi_large.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220924
DTEND;VALUE=DATE:20230101
DTSTAMP:20260530T052830
CREATED:20220922T155846Z
LAST-MODIFIED:20230103T104121Z
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SUMMARY:Jóhannes S. Kjarval: First Snow
DESCRIPTION:Jóhannes Sveinsson Kjarval (1885-1972) 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. \nKjarval was born in the south coast of Iceland\, at the farm Efri-Ey in the Meðalland district\, but was raised by relatives on the east coast at Geitavík in Borgarfjörður Eystri. In his early twenties he assumed the royal Irish name Kjarval and used it to his dying day. He set off for Reykjavik in 1902. Only two years prior\, Iceland’s first exhibition of paintings had been mounted by painter Þórarinn B. Þorláksson. In Reykjavík\, Kjarval took drawing and painting courses with Þorláksson and also with the painter Ásgrímur Jónsson\, but his mind was set on going abroad for further studies in art. In 1911 he traveled first to London and then to Denmark\, where he began his formal study of art. Kjarval graduated from the Royal Danish Academy of Fine Arts in Copenhagen in 1917 and in 1922 moved back to Iceland. \nKjarval left behind a large oeuvre that is by any account one of the more significant pieces of the Icelandic nation’s cultural heritage. He bequeathed a portion of his artworks and his personal effects to the city of Reykjavik in 1968. Works from his bequest were first displayed at the opening of Kjarvalsstaðir in 1973. Since then\, the museum’s collection has steadily and substantially increased\, both through museum purchases and a host of priceless individual donations. \nThe works in the exhibition are all from the Reykjavík Art Museum’s collection.
URL:https://old.icelandicartcenter.is/exhibition/johannes-s-kjarval-first-snow/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/09/johannes-s.-kjarval-fyrstu-snjoar1953-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220616
DTEND;VALUE=DATE:20220919
DTSTAMP:20260530T052830
CREATED:20220624T142030Z
LAST-MODIFIED:20220926T130120Z
UID:23955-1655337600-1663545599@old.icelandicartcenter.is
SUMMARY:Heads from Clouds – The Portraits of Jóhannes S. Kjarval
DESCRIPTION:Throughout his career\, Kjarval created portraits\, and in this extensive exhibition visitors become acquainted with them. Here\, there are oil paintings of well-known people from different periods\, watercolours of Italian people from 1920\, a selection of ink and India ink drawings from 1928-30\, red chalk images of family and close friends\, and lesser-known portraits from his later years. Finally\, there are group images which have never been displayed together. The exhibition also contains all of Kjarval’s available self-portraits. Kjarval’s portraits have been prominent in retrospectives of his works and various group exhibitions but until now they have not been the focus of a whole exhibition. \nJóhannes Sveinsson Kjarval (1885-1972) is one of Iceland’s most beloved artists\, his paintings and interpretation of Icelandic landscape are a big part of the country’s cultural and art history. However\, he started his official artistic career as a portrait painter\, when he created portraits of four Landsbankinn’s managers\, living and dead\, in 1923. His drawings of common people in Iceland\, from 1926-30\, marked a watershed in his career\, winning the hearts of the Icelandic people. These portrait drawings were also the first works of his that were acquired for the nation’s art collection. \nKjarval continued painting\, drawing and sketching portraits his whole life\, the models were both human and otherworldly\, historical figures or outright imaginary. Contrary to the portrait traditions of other countries\, Kjarval’s portraits\, however\, are not a clearly defined phenomena in his career\, grounded in traditional methodology of portrait-making\, but rather an addition of sorts to his vision of nature. This connection between his portraits and his landscapes seems to have been apparent from the start. In his first art critique\, from 1927\, Halldór Laxness discusses the 1927 drawings and says: “The methods he employs in creating his portraits (…) bear witness to a learned artist’s understanding of Icelandic nature.” \nIn Kjarval’s works\, the faces often spring from known or imaginary landscape of flowers\, lava and moss\, almost automatically\, via a natural\, artistic transformation process. In other works\, there appears to be a more conscious comparison where the faces are used to underline the unswerving connection between Icelandic nature and the Icelandic people; one of the more tenacious metaphors in discussions of national affairs and nationality back in the day. The artist is also wont to positioning his subjects in a natural environment\, clearly Icelandic\, which becomes a kind of key to their personality\, their temperament or their calling. This also applies to Kjarval’s fictional characters\, which come to life through his knowledge of nature. This exhibition clearly displays the main characteristics of Kjarval’s portraits; that they are “about” people rather than “of” them. \n  \nCurator: Aðalsteinn Ingólfsson
URL:https://old.icelandicartcenter.is/exhibition/heads-from-clouds-the-portraits-of-johannes-s-kjarval/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/bjorn_johannsson_bondi_1927_teikning_43x44cm_einkaeign-web.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220609
DTEND;VALUE=DATE:20220919
DTSTAMP:20260530T052830
CREATED:20220609T152855Z
LAST-MODIFIED:20220926T125725Z
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SUMMARY:Stitches and Threads
DESCRIPTION:Stitches and Threads is an exhibition of works by contemporary Icelandic artists who embroider or make use of the needle and thread as a tool in their art. They either look to the past to work with the heritage of the craftsmanship and its tradition\, or employ the needle as a tool in progressive experiments with other media. The exhibition includes new and recent works by a varied group of artists\, both representatives of the younger generation\, and artists who have made their mark on the Icelandic art scene. What they all share is that they have lovingly taken to the needle as an important tool in their artistic practices. The works reflect a vast range of subject matter\, as they confront social issues alongside the poetic of everyday life and tenderness of nostalgia. \nThe sewing needle has long been a popular tool for art creation and decoration. Mainly by the hands of women who have sought to maintain traditional craft\, along with the urge to develop new and creative ways to work with needle and thread. Embroidery\, alongside carving\, were by far the most common media for artists in Iceland during the 20th Century. Temporarily set aside for other techniques\, it was renewed as part of the feminist revolution of the eighties and in the development of feminist art. Today we see even more diverse signs of the return to embroidery within the field of art\, not only in Iceland\, but internationally in contemporary art. \nWhat sparks this increased interest and visibility? What motivates contemporary artists to take to the needle in making their work? \nThis exhibition takes viewers on a journey through this specific sub-discipline of textile art\, where diversity and creative joy are prominent. The exhibition reflects the growing interest in handcrafts\, in recent years it having become more common for artists around the world to use this traditional method to create diverse and exciting works of art. \nExhibiting artists include Agnes Ársælsdóttir\, Anna Líndal\, Anna Andrea Winther\, Eirún Sigurðardóttir\, Erla Þórarinsdóttir\, Guðný Rósa Ingimarsdóttir\, Guðrún Bergsdóttir\, G.Erla – Guðrún Erla Geirsdóttir\, James Merry\, Kristinn G. Harðarson\, Kristín Gunnlaugsdóttir\, Loji Höskuldsson\, Petra Hjartardóttir and Rósa Sigrún Jónsdóttir. \nThe exhibition is a part of Reykjavík Arts Festival. \nCurators: Birkir Karlsson\, Ingunn Fjóla Ingþórsdóttir
URL:https://old.icelandicartcenter.is/exhibition/stitches-and-threads-2/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/nike_joklasoley_james_large-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220129
DTEND;VALUE=DATE:20220509
DTSTAMP:20260530T052830
CREATED:20220103T142838Z
LAST-MODIFIED:20220905T141514Z
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SUMMARY:Birgir Andrésson: As Far as the Eye Can See
DESCRIPTION:As Far as the Eye Can See is a varied and extensive overview exhibition of the works of visual artist Birgir Andrésson (1955-2007) that takes over Kjarvalsstaðir. \nBirgir Andrésson was a leading force in Icelandic art for more than thirty years\, and died long before his time. Birgir searched the well of Icelandic culture\, stories\, traditions and the nation’s handwork for inspiration. He drew elements from these sources and presented them in a uniquely informed way in works that secured his place in Icelandic art history and drew admiration from the international art scene. This exhibition gives insight into the artist’s influential career and connects his works not only to the local art scene\, but to  contemporary art internationally. More than a hundred works are displayed\, including those from the collection at Reykjavík Art Museum\, The National Gallery of Iceland\, The Living Art Museum and The Metropolitan Museum in New York\, and from private collections. The exhibition is curated by Art Historian Dr. Robert Hobbs. Parallel to the exhibition\, In Icelandic Colour\, a newly-published book in English that explores Birgir Andrésson’s life’s work and includes an essay by Hobbs will be released. \nBirgir Andrésson studied art at the School of Arts and Crafts from 1973 to 1977 and then went on to study art at the Jan van Eyck Academy in Maastricht in the Netherlands from 1978 to 1979. Birgir was selected as the Icelandic representative in the Venice Biennale in 1995. His works have been exhibited in prestigious exhibitions both in Iceland and abroad\, and are in public and private museums around the world. One of his works was recently added to the Metropolitan Museum’s collection in New York. \nFrom curator Robert Hobbs: \nIn 2005\, conceptual artist Birgir Andrésson (1955-2007) wrote “I see myself as conceived in ‘blindness.’” While he appears to be referencing his blind parents and childhood in the Reykjavík Blind People’s Home\, the single quotation marks around the word ‘blindness’ and his later observation\, “it is pure luck … just to be a part of this rigmarole\,” point to the distinct artistic perspective this exceptional upbringing provided. \nIn 1989\, Birgir adopted the concept nearness for his work. The word refers to the mid-twentieth-century theory proposed by German philosopher Martin Heidegger (1889-1976)\, and Birgir may have first encountered it in the late 1970s as a student in the Netherlands\, then a hotbed of conceptual art. For Heidegger\, nearness is a paradox; it affirms one’s inability to comprehend life’s ultimate mysteries\, based on the idea that the closer one gets to such truths\, the more one becomes aware of their distance. However\, Birgir’s nearness is political rather than philosophical: it sets up ongoing tensions between international cutting-edge artistic forms and traditional Icelandic subjects. Although the title of his mural As Far as the Eye Can See suggests limitless views\, thus undermining nearness’s distinct perspective\, Birgir’s art views perception in terms of vision and ideology: both approaches are potentially expansive\, but sometimes they can be limiting\, and this difference is key to his work. \nBirgir’s conceptual art relies on the strategies of language\, photography\, archival research\, and reframing to celebrate\, critique\, and question Icelandic cultural traditions with dry humor. Particularly noteworthy is his great respect for his viewers\, evident in his art’s shifts between the expected and the unanticipated as well as the near and the far\, so that Icelanders and others are invited to reflect on themselves and their traditions in a global world. Works in this exhibition include Icelandic postage stamps from 1930 designed by a German working in Austria; blown-up photographs of nineteenth- and early-twentieth-century vagabonds as well as detailed text portraits of Icelandic individuals\, who differ from saga heroes. This retrospective also includes floor plans of indigenous turf houses transformed into hieroglyphs for a new type of concrete poetry; woollen national flags knitted in the natural hues of the island’s sheep; and paints touted as “Icelandic” even as they employ internationally adopted American Pantone and Swedish NCS color-matching systems. In addition\, Birgir’s series comprise foreign plants grown in Ora food cans; local houses and buildings named for cities\, countries\, and regions around the world; and a medley of Icelandic greys composed by an outsider\, the respected Victorian English artist\, poet\, and designer William Morris. Altogether\, one can appreciate Birgir Andrésson’s impressive range\, which is predicated on national/global oppositions\, as a response to Halldór Laxness’s 1934-35 novel Independent People. Similar to this extraordinary epic\, Birgir’s art looks afresh and with assured irony at aspects of Icelandic culture and finds them truly remarkable. \nMany of Birgir’s peers have recalled his “gentle humor” and “warm irony.” His former student\, the internationally acclaimed artist Ragnar Kjartansson has spoken of Birgir’s “deep\, deep love of humanity coupled with a sense of people.buy fluoxetine online https://gaetzpharmacy.com/fluoxetine.html no prescription\n” His close friend\, the legendary American conceptual artist Lawrence Weiner\, has recalled always looking forward to seeing Birgir and remembers him as not just a maker of objects but an artist well versed in theory\, who was constantly questioning others as well as himself. During his lifetime\, he was featured in numerous solo and group shows in Iceland and Europe. Four years after his 1991 solo show at the Reykjavík Art Museum\, Birgir was selected to represent Iceland at the Venice Biennale. In 2000\, the National Gallery of Iceland featured his pieces in a solo exhibition; and then in 2006\, this same institution organized a retrospective of his work. In 2011\, the literary critic and editor Þröstur Helgason wrote a monograph on Birgir’s work in which he chronicles many of his intriguing and insightful stories. More recently\, in 2017\, New York’s Metropolitan Museum of Art acquired Birgir’s 2004 mural Eins langt og augað eygir (As Far as the Eye Can See) when bolstering its collection of recent international art\, and this work’s title serves as the subtitle for the present retrospective of his work. \nRobert Hobbs\, PhD
URL:https://old.icelandicartcenter.is/exhibition/birgir-andresson-as-far-as-the-eye-can-see/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/birgir-andresson.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20211002
DTEND;VALUE=DATE:20220117
DTSTAMP:20260530T052830
CREATED:20210817T140745Z
LAST-MODIFIED:20220905T141740Z
UID:18403-1633132800-1642377599@old.icelandicartcenter.is
SUMMARY:Guðný Rósa Ingimarsdóttir: opus-oups
DESCRIPTION:A retrospective of the works of artist Guðný Rósa Ingimarsdóttir. The works on display cover Ingimarsdóttir’s career of more than two decades and the exhibition is a part of Reykjavík Art Museum’s exhibition series with an aim to examine and present the career of important working artists. \nIn her work\, Ingimarsdóttir seeks inspiration in her surroundings and experiences. She has worked with diverse media\, such as audio and sculptures\, but her paper work has always been prominent. Her work is characterised by precision and is often hand carved\, drawn in delicate pencil\, stitched in thread and even assembled from different materials. She often uses miscellaneous paper such as carbon paper\, graph paper\, wallpaper and common printing paper\, with earnest and personal results. \nIngimarsdóttir was born in Reykjavík 1969. She studied at The Icelandic College of Art and Crafts and finished her postgraduate education from L’Ensav La Cambre in Brussels and HISK in Antwerp\, Belgium\, Her work has been displayed in solo exhibitions in Iceland and around Europe.buy premarin Canada https://langleyrx.com/premarin.html no prescription\n Her work can be found in public museums in France\, Belgium\, Slovenia and Iceland. Ingimarsdóttir lives and works in Belgium. \nThis exhibition is the fourth in a series of exhibitions at Kjarvalsstaðir which presents the career of a working artist who has already\, through fully formed author characteristics\, made their mark on the history of Icelandic art. \nIn connection with the exhibition\, Reykjavík Art Museum publishes a grand catalogue with photos from the exhibition as well as photos of Ingimarsdóttir’s works and texts about the artist and her subjects. \nCurator: Ólöf Kristín Sigurðardóttir
URL:https://old.icelandicartcenter.is/exhibition/gudny-rosa-ingimarsdottir-retrospective/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/kynningarmynd_large.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210927
DTEND;VALUE=DATE:20220117
DTSTAMP:20260530T052830
CREATED:20211006T160646Z
LAST-MODIFIED:20220916T101038Z
UID:19538-1632700800-1642377599@old.icelandicartcenter.is
SUMMARY:Kjarval and the Contemporary
DESCRIPTION:The exhibition contains selected works by painter Jóhannes S. Kjarval (1885-1972)\, a pioneer of Icelandic art. Kjarval opened people’s eyes to their environment in such a dramatic way that he is considered one of the most beloved artists of art history in Iceland. In this exhibition works by Kjarval are paired with those by contemporary artists\, and in doing so\, merge ideas from different times. \nHere you can see direct reference to Kjarval´s works in approach and work method. Kjarval’s main subject was nature and landscape. Mountainsides\, lava and moss inspire artists. Two time periods show different approaches to nature\, whether in imagery\, character\, or conceptual foundation of the work. Place and time spent in nature are at the core of these artworks\, or have a strong influence on the artist´s interpretation. The countryside speaks to people at any given moment and the need to express that experience in a way of its own is renewed generation after generation. These works reflect varied media\, different trends and the changing spirits of the times. \nKjarval plays a large role in the history of Icelandic art and culture\, and he has been a role model and inspiration for generations of artists. His persona and life’s work surrounds us\, for good reason. Kjarval’s work is preserved and examined at Reykjavík Art Museum – Kjarvalsstaðir. Selected pieces are always on display and diverse exhibitions show his career in a wide context\, often with works from the museum collection or with special exhibitions that focus on particular aspects of his creative process. This exhibition places Kjarval’s work in a dialogue with the works of younger\, contemporary artists. Thus\, the exhibition invites us to become better acquainted with one of the greatest Icelandic artists\, but also the works of prominent contemporary artists who have made their mark on the Icelandic and international art scene.
URL:https://old.icelandicartcenter.is/exhibition/kjarval-and-the-contemporary/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/10/kjarvalll.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210327
DTEND;VALUE=DATE:20210920
DTSTAMP:20260530T052830
CREATED:20210819T134420Z
LAST-MODIFIED:20220905T142031Z
UID:18456-1616803200-1632095999@old.icelandicartcenter.is
SUMMARY:Eternal Recurrence
DESCRIPTION:In this extensive exhibition\, the works of Jóhannes S. Kjarval (1885-1972) create a thread which connects different periods in time. His art is displayed along with the works of artists who have been prominent on the Icelandic art scene in recent years. \nShortly after Kjarval’s death\, art historian Björn Th. Björnsson (1922-2007) wrote an article where he discusses Kjarval’s contribution to Icelandic art history and says that his work is “never bound to one particular time\, but always contains renascent memories.” This shows the great respect which Icelanders have had for Kjarval’s art\, but also the fact that at any given time\, the viewers bring their own experience and attitude to the viewing. Kjarval’s influence is unquestionable\, and in the exhibition\, the spotlight is on his influence on Icelandic artists. This can manifest in many different ways; be obvious and decisive or appear in a more ambiguous way and without intent. \nKjarval’s most common and beloved subject was Icelandic nature and landscape\, but he also painted many portraits and fantasy images where creatures and figures emerge\, and various nature phenomena are personified. The artworks on display here are created in diverse media\, expressing different approaches to these subjects. \nKjarval plays a large role in the history of Icelandic art and culture\, and he has been a role model and inspiration for generations of artists. His persona and life’s work surrounds us\, for good reason. Kjarval’s work is preserved and examined at Reykjavík Art Museum – Kjarvalsstaðir. Selected pieces are always on display and diverse exhibitions show his career in a wide context\, often with works from the museum collection or with special exhibitions that focus on particular aspects of his creative process. This exhibition places Kjarval’s work in a dialogue with the works of younger\, contemporary artists. Thus\, the exhibition invites us to become better acquainted with one of the greatest Icelandic artists\, but also the works of prominent contemporary artists who have made their mark on the Icelandic and international art scene. \nWe experience a break in the visual field in Ólafur Elíasson’s work. For the first time in Iceland\, a series of paintings which Ragnar Kjartansson painted in Eldhraun – inspired by a Kjarval painting in the artists possession – is on display. The video installation Lava&Moss by Steina is one of the more comprehensive works in the exhibition\, and there are new paintings by Eggert Pétursson. Among other artists who take part in this exhibition are Guðrún Einarsdóttir\, Hrafnkell Sigurðsson\, Kristján Guðmundsson\, Ragna Róbertsdóttir and Sigurður Guðjónsson. \n\nArtists:\n\n\n\n\n\nJóhannes S. Kjarval\n\n\n\n\n\n\n\n\nEggert Pétursson\n\n\n\n\n\n\n\n\nEgill Sæbjörnsson\n\n\n\n\n\n\n\n\nEinar Garibaldi Eiríksson\n\n\n\n\n\n\n\n\nGjörningaklúbburinn\n\n\n\n\n\n\n\n\nGuðrún Einarsdóttir\n\n\n\n\n\n\n\n\nGuðrún Kristjánsdóttir\n\n\n\n\n\n\n\n\nHrafnkell Sigurðsson\n\n\n\n\n\n\n\n\nKatrín Elvarsdóttir\n\n\n\n\n\n\n\n\nKatrín Sigurðardóttir\n\n\n\n\n\n\n\n\nKristján Guðmundsson\n\n\n\n\n\n\n\n\nÓlafur Elíasson\n\n\n\n\n\n\n\n\nPáll á Húsafelli\n\n\n\n\n\n\n\n\nRagna Róbertsdóttir\n\n\n\n\n\n\n\n\nRagnar Kjartansson\n\n\n\n\n\n\n\n\nSigurður Guðjónsson\n\n\n\n\n\n\n\n\nSteina Vasulka\n\n\n\n\n\n\n\n\nCurators:\n\nEdda Halldórsdóttir\nMarkús Þór Andrésson\nÓlöf Kristín Sigurðardóttir
URL:https://old.icelandicartcenter.is/exhibition/eternal-recurrence/
LOCATION:Reykjavík Art Museum – Kjarvalsstaðir\, Flókagata 24\,\, Reykjavík\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/eternal-recurrence.png
END:VEVENT
END:VCALENDAR