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DTSTART;VALUE=DATE:20221126
DTEND;VALUE=DATE:20230130
DTSTAMP:20260530T081515
CREATED:20221125T153958Z
LAST-MODIFIED:20230130T164131Z
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SUMMARY:Nína Magnúsdóttir: Lines of Flight
DESCRIPTION:More than 20 new works by Seyðisfjörður-based artist Nína Magnúsdóttir will be presented in an exhibition entitled Lines of Flight\, on view in the Skaftfell Gallery from November 27\, 2022 to January 29\, 2023.  \nThe new works were made in the aftermath of the devastating landslides of December 2020\, that led to the temporary evacuation of the town. Unable to return to their home and studio for several months\, the artist and her family stayed in the Roth family’s pier house located at the threshold of the fjord. This period of displacement was a time of reckoning and of seeking stability at an uncertain time.
URL:https://old.icelandicartcenter.is/exhibition/nina-magnusdottir-lines-of-flight/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220917
DTEND;VALUE=DATE:20221121
DTSTAMP:20260530T081515
CREATED:20220913T093721Z
LAST-MODIFIED:20221125T144505Z
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SUMMARY:Rikke Luther: On Moving Ground
DESCRIPTION:Rikke Luther’s solo exhibition at Skaftfell presents the artist’s ongoing research into political\, societal and environmental connections between mineral extraction\, modernity\, soil erosion and planetary change. Her work explores the impacts of sand mining\, the carbon-intense production of concrete\, and the effects of rising temperatures on the stability of the ground we live on. On moving ground offers an insight into the artist’s wide-angled research methodology and artistic output\, from film to large-scale drawings to archival material\, scientific data\, text and photography.  \nCurator: Julia Martin
URL:https://old.icelandicartcenter.is/exhibition/rikke-luther-on-moving-ground-sand-mud-and-planetary-change/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220326
DTEND;VALUE=DATE:20220523
DTSTAMP:20260530T081515
CREATED:20220503T142234Z
LAST-MODIFIED:20220525T135959Z
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SUMMARY:Alter/Breyta
DESCRIPTION:Alter / Breyta is a collective exhibition by four emerging artists who have all graduated fairly recently from Iceland University of the Arts. The group was chosen collaboratively with Bjarki Bragason\, Dean of the Department of Fine Art\, and invited to stay in Skaftfell´s residency for three weeks while further developing their proposals. While their works display a wide range of approaches and interests\, an unfathomable thread appears to connect between them. \nSome kind of alteration has taken place or has been made as a starting point in the artworks of the exhibition. Different material and ideas are being altered: The calm and lowkey process\, the attentiveness and repetition that change mundane things\, that transform and take them out of their previous context. \nFallen by Joe Keys is a collection of small and colourful objects which we ordinarily do not pay much attention to. They have been dropped and lost their original purpose. With the amount of objects and their private arrangement on small wooden shelves\, they have gained some sort of exaltation and the viewer is encouraged to bow and get a closer look at them. \nThe installation and performance/lecture of Hugo Llanes deals with bread and its transitory cultural aspect\, it is an invitation to understand the political life of bread\, from basic nutrition to a value-charged industrialized product in which the raw material can denote our socio-economic status. The bread palates are a sort of presence of the artist as well as a by-product from his performance and invite the viewer to attend a universal co-experience while making and donating their own bread palate. The sculpture presents a cartoon character which can be read as an allegory of human habits and the obsession with edibles immersed in capitalist commodities. \nDaphne is a piece by Brák Jónsdóttir that hangs Junoesque and peacefully. It is based on the myth of Daphne’s metamorphosis when she was turned into a bay tree when fleeing from Apollo’s violent aggravation. The branches have formed a strong frame but have been bereaved of their outermost and protective skin\, the bark. The innermost essence is exposed but there we are able to reflect on ourselves and possibly look into our nearest future. \nThe idea of holiness and domesticity are interwoven in Nína Óskardóttir´s installation. Beautiful centrepieces and objects\, relating to craftmanship and home\, are simultaneously placed like icons on an altar touching on creativity and personal space. The noticeable fingerprints of the artist in the clay show that she is the creator of the artwork but the sanctity of the holy water is invisible to us. How can holiness be elicited? \nText by Hanna Christel Sigurkarlsdóttir \nArtists bio \nBrák Jónsdóttir was born 1996. She graduated with a BA degree from the Fine Art department of Iceland University of the Arts in 2021. Her works mainly take the form of video works\, books\, sculptures and performances\, but recently her subjects have revolved around humanity’s relationship with nature. Her approach is oriented towards the creative and earth based side of kink\, exploring our relationship with the earth in terms of domination and submission\, fantasy and feminism. Her works are often comprised of a blushing tension between pain and pleasure\, natural and man-made materials. \nHugo Llanes was born 1990 in Xalapa\, Veracruz\, México. He lives and works in Reykjavík and graduated from the MA Fine Art Program at the Iceland University of the Arts in 2020. His practice involves the study of political and social cracks and the aesthetics that erupts from them. His works include extended painting\, edible work\, installations\, site-specific and local performances. He looks at social circumstances in his work\, such as the movement of people between countries\, the abuse of power and the influence of post-colonialism on the development of identities in Latin America\, nationhood\, otherness and political resistance\, as well as working with the theme of food as a social dilemma-debate and the construction of meaning through culinary experiences. He uses his works as a platform to dissect these complicated and challenging notions that are intertwined\, seeing in the use of simple and poetical gestures\, potentials for dissection processes. Believing that the personal is a microsystem that is exposed to a global sphere\, his works encourage the viewer to reflect-contemplate as well as participate. \nJoe Keys was born 1995 in Newcastle\, UK. He has lived in Iceland since 2018 and graduated from the Fine Art department of Iceland University of the Arts in 2021. He predominantly works with found material through sculpture and printmaking. The works he makes reflect systems of organisation in daily life\, with a dry humour and consideration for overlooked and under-appreciated objects. He currently works as a supervisor in the printmaking workshop of Iceland University of the Arts\, and is part of the co-operative Print & Friends in Laugardalur\, Reykjavík. \nNína Óskarsdóttir was born 1986. She graduated with an MA in Fine Arts in 2020 from the Iceland University of the Arts where she also got her BA degree in 2014. Nína works primarily with sculpture and installation within her material based practice. She uses mediums such as clay\, textiles and light in conjunction with ephemeral materials such as water\, fire and food. She works with immaterial concepts\, such as sacredness\, memories and personal identity\, and attempts to make them material. Nína has exhibited her work through different projects both in Iceland and in Europe as well as working on her artistic research in various research opportunities.
URL:https://old.icelandicartcenter.is/exhibition/alter-breyta/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20220211
DTEND;VALUE=DATE:20220313
DTSTAMP:20260530T081515
CREATED:20220214T074202Z
LAST-MODIFIED:20220825T131907Z
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SUMMARY:Johan F Karlsson: Pathway Through A Sunstone
DESCRIPTION:The exhibition Pathway Through A Sunstone is based on Johan F Karlsson’s artistic research on the properties\, history\, and use of Iceland spar\, a crystalline mineral that is well known for its contributions to optic science and for its speculative role in navigation. The artworks present an experimental approach to the subject matter; they are inspired by the crystal’s light attributes and its capacity of creating a double image\, a ghost image. This ghost image can be linked to the imagination of a different dimension and ideas of ‘twoness‘\, implying two presents or two locations at once. To a certain degree\, the experience of the double image can activate a bodily knowledge and bring forward a hidden consciousness that is linked to a reality beyond actual time and space\, and that leads one to alternative worlds. The exhibition can thus altogether be thought of as a journey through a pathway that is split into two – into parallel paths\, where we find mutual relationships in the material and the immaterial\, in lines and surfaces\, light and darkness. \n\nJohan F Karlsson (SE) has been artist in residence at Skaftfell in January and February 2022\, supported by a grant from Nordic Culture Point. During his time here he has\, from an artistic perspective\, experimented with the Iceland spar’s natural polarizing properties and its capacity for creating a double refraction. The ongoing research and this exhibition aim to bring forth a mostly forgotten knowledge about how humans have negotiated with their surroundings\, using ancient navigation methods that circle around spatial perceptions and aspects of presence in regard to light actualities. \n\n\nJohan’s artistic practice includes photography\, sculptural and video installations\, interventions in space\, and performances. He often works site-specifically in regard to spatial and spatio-temporal aspects\, e.g. exploring light actualities and their influence on human cognition of time and space\, or the body’s ability to gain knowledge through the perception of its surroundings\, such as through lighting\, temperature or sounds. He is specifically interested in the notion of presence and perception of space in relation to how we orient ourselves. This includes the exploration of different navigational techniques\, and observes the human strife for knowledge\, especially through mapping and searching\, and its counterpart: trust in the unknown and its potentialities. Aesthetically\, Karlsson aims to investigate methods of reduction\, particularly in terms of reduced material\, ephemeral or ‘immaterial’ components like light/shadow\, and even in terms of a so-called nothingness. This often involves creating landscapes in the broadest sense. \n\nJohan F Karlsson (b. 1984) lives and works in Malmö\, Sweden. He holds a BA in Culture and Arts from Novia University of Applied Sciences in Pietarsaari\, Finland\, and a MA in Photography from Aalto University in Helsinki\, Finland. Johan has exhibited in various group and solo shows in Sweden\, Finland\, and Switzerland\, e.g. Gallery CC in Malmö\, Gallery Huuto in Helsinki\, the Photographic Center Peri in Turku\, the Northern Photographic Center in Oulu\, and Erfrischungsraum in Lucerne. \nText: Johan F Karlsson \nCurated by Julia Martin
URL:https://old.icelandicartcenter.is/exhibition/johan-f-karlsson-pathway-through-a-sunstone/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20211127
DTEND;VALUE=DATE:20220131
DTSTAMP:20260530T081515
CREATED:20211122T154938Z
LAST-MODIFIED:20220131T111237Z
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SUMMARY:Ragnheiður Káradóttir & Sara Gillies: Wonky\, warped\, wavy
DESCRIPTION:The duo exhibition Brenglað\, bogið\, bylgjað / Wonky\, warped\, wavy presents paintings by Sara Gillies (UK/IS) alongside three-dimensional floor pieces by Ragnheiður Káradóttir (IS). While distinct in their use of space and medium\, the works share a quality of creative process characterized by playfulness\, intuition\, and an in-depth conversation between materiality\, shape\, and the imagination of parallel existences. \nRagnheiður’s works often evoke demarcated\, strange worlds. They consist of sculptural objects that at first glance seem familiar\, but on closer inspection turn out to be harder to define than expected. Their combinations of familiar shapes and materials create rather exotic objects that contain a variety of reference points. Ragnheiður draws inspiration from the aesthetics of recreational environments such as mini-golf and obstacle courses and everyday objects like household equipment. She isolates objects from their purpose\, simplifies them\, and studies them from a strictly aesthetic point of view. Utensils are altered and put in a new attire and dead objects are sometimes personified. The outcomes are abstract objects that have lost their context and use\, but remain familiar\, opening up to multiple and sometimes contradictory speculations: is this a child’s toy or a sex toy? Ragnheiður’s imaginary parallel dimensions lead to a kind of erosion of reality in a simple\, precise and puzzling way. \nSara’s work contains both personal and geographical references and in her recent paintings she sets out to re-describe the body\, especially the female body\, intersecting it with nature. Both the body and nature are multifaceted phenomena\, but in Sara’s paintings there appears a certain fusion of the two which she intertwines with her own fragmented thoughts\, memories and experiences. The painting process itself is a big part of Sara’s work. In often long and rigorous production phases she paints and repaints\, breaks up and rebuilds\, erases boundaries\, pulls and stretches. This process involves working with intuition\, movement and reflexes and it uses previous layers of paint as a guide towards the next stage of the painting’s existence. Each work goes through many layered transformations\, always on the edge between the objective and the subjective\, in search of a balance between the playful\, the primitive and the mysterious. To a certain extent\, it can be said that Sara’s approach to painting is sculptural\, although she stays within the framework of the canvas. The rough texture of the paintings\, the physicality of their development\, and the shapes they depict encourage this association with three dimensional form giving. \nExperienced together\, Sara and Ragnheiður’s works create contact surfaces of opposites and similarities\, from which an exciting conversation and friction emerges. In Wonky\, warped\, wavy one finds abstract and dreamlike worlds and objects that originate in the familiar. They lead the viewer through abstraction further and further into their own imagination of a slightly bent\, warped reality. \nCurated by Hanna Christel Sigurkarlsdóttir \n  \nRagnheiður Káradóttir (b. 1984) graduated from the Iceland University of the Arts with a BA in Fine Art in 2010 and completed an MA in Fine Art at the School of Visual Arts in New York in 2016. She has participated in a number of exhibitions both in Iceland and abroad and is the other half of the art duo Lounge Corp.\, which aims to show art in unconventional spaces. Ragnheiður has held solo exhibitions at the Reykjavík Art Museum and Harbinger\, participated in collaborative exhibitions at Kling & Bang and Satellite Art Show in Miami and taken part in group exhibitions at Gerðarsafn and Ásmundarsalur. \nSara Gillies (f. 1982) was born in Kingston-Upon-Thames\, England\, and lives and works in Stykkisholmur\, Iceland. She graduated with a BA in Fine Art from Winchester School of Art\, and with an MFA in Fine Art from the Royal College of Art\, London\, in 2007. Sara has exhibited at Harbinger Gallery\, Reykjavík; Horse and Pony\, Berlin; Gallery Beast Turfs Projects\, London and has participated in the art festival Sequences\, Reykjavík. \n  \nOpening times Mon-Fri 12:00-20:00\, Sat-Sun 16:00-20:00.
URL:https://old.icelandicartcenter.is/exhibition/ragnheidur-karadottir-sara-gillies-wonky-warped-wavy/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20210925
DTEND;VALUE=DATE:20211122
DTSTAMP:20260530T081515
CREATED:20210921T133055Z
LAST-MODIFIED:20211122T145139Z
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SUMMARY:Anna Júlía Friðbjörnsdóttir & Karlotta Blöndal: Trace
DESCRIPTION:Slóð (Trace) is a joint exhibition by Anna Júlía Friðbjörnsdóttir and Karlotta Blöndal. Their contributions were made separately\, but both artists refer with their works to the important archaeological find at Vestdalsheiði in the mountains above Seyðisfjörður. Discovered in 2004\, it consisted of human bones\, jewellery and glass beads and is believed to date from the mid-tenth century. The remains are thought to belong to a female travelling healer\, who became known locally as the “mountain lady”. In addition to this joint interest\, Anna Júlía also explores aspects of the local history of telecommunication technology. \nAnna Júlía Friðbjörnsdóttir traces connections between past and present\, man and nature. Her works travel between two worlds\, and in a way\, between metaphysical dimensions. Their materiality and their presentation intertwine local cultural history and speculations about messages that travel back and forth in time. Here\, copper plates are arranged in Morse code\, derived from the QSB communication signal in Q-code\, which stands for “Are my signals fading”? The plates show drypoint etchings of a fragmented cliff and mountain terrains around Seyðisfjörður. In another work\, beads arranged on copper wire spell the word “Trace” in Morse code. The copper possesses tangible and subjective references to electronic communication and serves as an intermediary between the spectator and an unidentified recipient. Into a thin piece of paper\, suspended from the ceiling\, the phrase “It snowed in the calm from time to time yesterday” is perforated\, using the old punch tape technology for transmitting telegraph messages. The sentence is a quote from a local weather report\, dated 1952. \nKarlotta Blöndal‘s work revolves around the “mountain lady” herself and around the location of the archaeological find. Several times this summer\, the artist has explored and worked on the site in an attempt to capture the environment and mood of the area. In her interpretation and documentation\, she operated under the auspices and methodologies of art while referencing the research of archaeologist Rannveig Þórhallsdóttir\, who has written a paper on the find. Karlotta’s documentation of the location takes the form of works that are\, on the one hand\, abstract and on the other hand\, realistic drawings in the spirit of 18th-century travel books. The abstract works on canvas take their shape from the archaeologists’ site layout and the texture is obtained with frottages of the ground. The colours reference the range of the multitude of glass beads found there. With her work\, Karlotta transfers the place into Skaftfell’s exhibition space at the same time as she integrates the many speculations about who and what the mountain lady and her fate may have been\, thus reflecting our conscious and unconscious interpretation of the past. \nThe process and presentation of Karlotta’s and Anna Júlía’s work open up for a contemplation of time and space through which they pull a thread and create a platform where the present and past meet. Where was the mountain lady heading and where are we heading? We receive the end of the thread and carry it forward. \nWe would like to express our gratitude towards Rannveig Þórhallsdóttir\, archaeologist\, Zuhaitz Akizu\, director of the Technical Museum of East Iceland\, Grétar Einarsson\, former employee of the the Central Telephone Office in Seyðisfjörður\, and Pétur Kristjánsson\, former director of the Technical Museum\, for their helpful information during the preparation of the exhibition. \n  \nWhat we think happened \nSlóð / Trace\, Skaftfell \nA text by Starkaður Sigurðarson \nCommunication started as a simple signal. Smiling\, frowning\, nodding\, shaking your head\, left\, right\, you\, me\, off\, on. We needed to be close to one another; I could say something to you and then you could say something to me. We started performing more complex signals and then signals that could reach over our long distances. But though the language became bigger and more precise and communication became deeper\, we also know that messages\, language\, communication is imperfect\, often ambiguous; it is possible to misunderstand\, to interpret wrongly. Knowing this transfers responsibility for this communication away from the language itself and onto those who send and receive those signals and signs. Is this message for me? Is this what is being said to me\, or is it something else? Do I understand? Is what I found – a body\, beads\, a knife\, in a hollow up on the heath – telling me something? Is it up to me to respond?  \nTime is always part of any communication. A message or a signal takes place in time. Time can also distort a message\, rip it apart\, just as time can keep and carry something\, some slight trace\, something incredible. So incredible sometimes that it is not obvious what it is we are seeing in front of us or what we are supposed to think about it. A reminder that we can never be completely sure even about the things we think we know. That we cannot know exactly what is being said to us. And with that\, something opens up. Everything\, seemingly\, is possible. Which might be frightening but is also mundane\, normal. When there are many possibilities\, many possible paths\, then we must interpret and guess. Like how we guess about the weather or directions or how the silence at a funeral or between two people who love each other means something. The silences are as important of course as the sounds or the movements\, the silences in a Morse-coded message equal to the beeps\, etc.  \nIn this way we guess here: What would I be doing up on the heath? What do I believe about the future? Why would I have beads? All these beads and a knife? A young person on the heath. Trying to find shelter among the rocks to die or to survive? Right before you disappear for a thousand years. Though\, not everyone is found again.  \nThere are endless questions. Is this in summer or in winter? Are you living and on your own feet or are you dead and someone carries you? Maybe you are a seer or a seeress\, a sage\, sibyl\, spaceman\, and see your death coming – or guess\, in any case\, of its coming. Maybe you are a thief who took the beads\, ran off\, but did not get far enough. Last words? I do not know.  \nIf we are guessing then everything can be language\, meaning\, communication. But guessing is what we do\, we cannot but. And even if we imagine that what we\, with the best of our ability\, have guessed – that what we think happened – is right\, then we know also that it can never be wholly confirmed. We will guess something else today than yesterday. Your guess will be different from mine. We might guess better today\, with other tools and another community around us\, than when a body or a clay pot or a painting was found a hundred or a thousand years ago. And maybe one day we will know everything about all of this and will be able to communicate completely without doubt\, but today we still need to love looking and thinking and guessing.  \nThen maybe the message here\, the meaning\, is that we found this person again. Maybe this person would be grateful for it. That this person can now say look\, here\, what I have got. The beads still beautiful. Shelter still among the stones.      \n  \nAnna Júlía Fridbjörnsdóttir (b. 1973) is an artist based in Reykjavík. She combines various media to explore the intersection between science and culture informed by historical and current politics. She finished her MA Fine Arts degree from Manchester School of Arts\, Manchester Metropolitan University (2004) and BA Fine Art degree from Guildhall University\, London (1998). She also studied at The Icelandic College of Arts and Crafts in 1993-95. Anna Júlía was a co-founder and editor of Sjónauki Art Magazine\, published in 2007-2009. Her works have been exhibited in numerous international group exhibitions and at solo shows in Iceland\, including the exhibition Serenade at Hafnarborg Centre of Culture and Fine Art in 2017\, for which she was nominated for the 2018 Icelandic Art Prize. Currently\, her work is part of the exhibition Iðavöllur at the Reykjavik Art Museum. \nKarlotta Blöndal (b. 1973) lives and works in Reykjavík. She works in a variety of media\, ranging from drawings\, paintings\, publications\, environmental installations and performances exploring notions of dimensionality\, the connection between the material and the spiritual. By emphasising aesthetics Blöndal investigates the dynamics of a given site or situation\, including the manipulation based on our assumptions of what it means to us. Her works are based on formal associations which open a unique poetic\, and sometimes ephemeral\, vein. Karlotta Blöndal studied in The Icelandic College of Arts and Crafts where she received a BA degree and at the Malmö Art Academy Sweden\, where she received her MFA in 2002. She has been involved in numerous artist run initiatives\, such as the Living Art Museum and Signal gallery Malmö and was co-editor and publisher of Sjonauki art magazine. She is part of a long term collaboration project called the Journey to the Magic Mountain\, 2013-2020.
URL:https://old.icelandicartcenter.is/exhibition/anna-julia-fridbjornsdottir-karlotta-blondal-trace/
LOCATION:Skaftfell- Center for Visual Art\, Austurvegur 42\, Seyðisfjörður\, 710\, Iceland
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