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X-WR-CALDESC:Events for Icelandic Art Center
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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210731
DTEND;VALUE=DATE:20210904
DTSTAMP:20260530T084644
CREATED:20210812T120858Z
LAST-MODIFIED:20220825T134342Z
UID:18328-1627689600-1630713599@old.icelandicartcenter.is
SUMMARY:Resonance
DESCRIPTION:Angela Dufresne \n\n\n\nOlga Bergmann \n\n\n\nAnna Hallin \n\n\n\nVesa-Pekka Rannikko \n\n\n\nSimon Rouby \n\n\n\nVoyagers golden record was launched into space in 1977\, a time capsule representing our reality here on earth. Pictures and sound samples\, birds singing\, laughter\, wind\, the waves lapping the shore.buy tadacip online myhst.com/wp-content/themes/twentytwentytwo/inc/patterns/en/tadacip.html no prescription\n Photos of naked humans did not make the cut for decencies sake\, leaving something to the alien´s imagination. But the alien may enjoy a photograph of a woman at a grocery store and listen to greetings in 55 languages. We danced\, swept the floor\, raised a tent\, built walls\, carved our names into the sheep´s pen while waiting for a lamb. We savagely took the lives of millions\, moved mountains\, built dikes to reclaim land from water and built irrigation systems to water the land. We turned up the heaters\, put the A/C on full blast\, looked up at the stars until we fell asleep in the courtyard.  The artists in Resonance will give us a piece of their mind with the same optimism that drives the scientists at NASA. They send greetings out into the void\, romantic\, poetic\, symbolic. Technology pinpoints their message in the vertigo of time. I sense the message\, but I don’t recognize the language it is in\, nor the landscape it describes – I don’t understand the meaning behind activities – it is the same feeling I get when I look out the window or listen to the news. I look forward to bearing witness to the reality of these artists at Hjalteyri´s herring factory.buy fluoxetine online myhst.com/wp-content/themes/twentytwentytwo/inc/patterns/en/fluoxetine.html no prescription\n To doubt the ground beneath my feet\, let technology´s force of nature wash over me\, see Dufresne naked and in that instant become a luckier alien than those who come across Voyagers golden record.
URL:https://old.icelandicartcenter.is/exhibition/resonance/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
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END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220507
DTEND;VALUE=DATE:20220613
DTSTAMP:20260530T084644
CREATED:20220505T112359Z
LAST-MODIFIED:20220825T132857Z
UID:23102-1651881600-1655078399@old.icelandicartcenter.is
SUMMARY:Michaela Grill: Inside the frame
DESCRIPTION:The exhibition is a retrospective\, presenting works of Montréal based artist Michaela Grill. She recreates images of what she sees when walking through forests\, deserts etc. which is not a representation of the real but rather an exploration of surface macrostructures\, colour progression and movement studies. She wants to depict nature in a way where she doesn’t colonize it with her gaze and emotions but lets nature speak for itself.  \nDuring the pandemic her usual way of working and going to remote places was impossible\, so she turned to the only material available: found footage.  \nCollecting glimpses of light \nMichaela Grill Inside the frame . The Factory in Hjalteyri \nThe true picture of the past flits by. The past can be seized only as an image which flashes up at the instant when it can be recognized and is never seen again. On the Concept of History\, Walter Benjamin. \nThe artist Michaela Grill works mostly with video installations and live performances in collaboration with musicians and in recent years she has been working in a close collaboration with the musician Sophie Trudeau. \nMichaela finds her visual material in remote and hardly accessible places like the Antarctic and the arctic or while taking walks in nature. She also collects materials in Film archives\, both from feature films and science and nature documentaries. In her film works the past reveals itself through flickering images\, nature wriggles and can be seen as through the eyes of other creatures with different senses and perceptions\, forest landscapes are mirrored in a lake and transform into ocean flora\, polar landscape melts and freezes by turns\, or is this perhaps cloud landscape? despair reaches its highest point and stays there\, rusty whaling vessels become wounded whales\, the images refuse to give in to the centrifugation of History. \nWhen the constant stream of thought pauses the dialectic picture can arise. Michaela tears the images out of their frame of narrative and alternately speeds up and slows down their pace in order to free them from their cinematic flow\, this is magnified with the intensity of the audiovisual interplay. \nIn this audiovisual exploration both the past and nature gets a chance to actualize itself. Sound\, light\, shadows\, forms\, color and motion collide\, wrestle and play inside the frame. The images are not only given a new meaning\, even more so they gain a new function. They tell us something new\, not about us but first and foremost about themselves.buy albuterol online https://www.mobleymd.com/wp-content/languages/new/albuterol.html no prescription\n \nThe exhibition is open Tues to Sun. 2pm- 5pm until 12.06
URL:https://old.icelandicartcenter.is/exhibition/michaela-grill-inside-the-frame/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/05/279224515_10159923206802829_1961237851922506699_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220507
DTEND;VALUE=DATE:20220613
DTSTAMP:20260530T084644
CREATED:20220505T112359Z
LAST-MODIFIED:20220916T102028Z
UID:23107-1651881600-1655078399@old.icelandicartcenter.is
SUMMARY:Michaela Grill: Innan rammans
DESCRIPTION:Laugardaginn 7 maí opnar sýningin Innan rammans í Verksmiðjunni á Hjalteyri. Michaela Grill sem að býr og starfar í Montréal opnar þá í Verksmiðjunni yfirlitsýningu á kvikmynda og vídeóverkum. Í verkum sínum endurskapar hún myndir af því sem að fyrir augu ber á göngu um náttúruna en ekki af raunveruleikanum heldur frekar könnun á yfirborði\, litaframvindu og hreyfirannsóknum. Í heimsfaraldri voru ferðalög ekki möguleg svo að hún fór að vinna með fundið kvikmyndaefni\, til að stækka og draga ákveðin atvik út úr flæði. Einkum í tengslum við smásjármyndir. \nAð safna ljósbrotum \nÍ tilefni að sýningu Michaelu Grill Innan rammans í Verksmiðjunni á Hjalteyri. \nHin sanna mynd fortíðarinnar þýtur hjá. Í fortíðina verður ekki haldið nema sem leiftrandi mynd sem kennsl verða borin á eitt augnablik en síðan aldrei meir. Walter Benjamin. Um söguhugtakið. \nMyndlistarkonan Michaela Grill vinnur myndbandsinnsetningar og lifandi performansa í samstarfi við tónlistarmenn og síðustu ár hefur hún átt í nánu samstarfi við tónlistarkonuna Sophie Trudeau. \nSjónrænan efnivið finnur Michaela á afskekktum og óaðgengilegum stöðum líkt og á suður- og norðurheimskautunum eða á göngu sinni í náttúrunni. Einnig leitar hún fanga á kvikmyndasöfnum\, bæði í bíómyndir og vísindalegar náttúrulífsmyndir. \nÍ myndbandsverkunum birtist fortíðin í flöktandi myndbrotum\, náttúrufyrirbæri snúa upp á sig og eru jafnvel eins og séð með augum annarra lífvera með annarskonar skynjun\, skóglendi er snúið á hvolf og umbreytist í sjávargróður\, landslagið á heimskautunum bráðnar og frýs á víxl og myndar eilíflega ný form\, eða er þetta ef til skýjalandslag? örvænting nær hápunkti og dvelur þar\, ryðguð hvalveiðiskip taka á sig mynd særðra hvala\, myndirnar neita að láta undan skilvindu Sögunnar sem vill hafna þeim og gleyma. \nÞað er þegar hugsunin stöðvast í spennumettaðri afstöðu sinni að hin díalektíska mynd birtist skrifaði Walter Benjamin. Michaela rífur myndbrotin út úr frásagnarramma sínum og magnar upp hreyfingar eða hægir á þeim til að losa myndirnar undan hefðbundnu kvikmyndalegu flæði þeirra. Tónlistin í verkunum er þess eðlis að hún leyfir áhorfandanum aldrei að falla í sætbeiskan brunn tilfinningaseminnar. Myndirnar eru hvorki nostalgískt endurlit eða upphafning heldur fær fortíðin og náttúran að aktúalísera sig í verkunum. Hljóð\, ljós\, skuggar\, form\, litir og hreyfing takast á innan rammans. Myndirnar fá þannig ekki aðeins nýja merkingu heldur öðlast þær nýja virkni. Þær segja okkur eitthvað nýtt\, ekki eingöngu um okkur\, heldur fyrst og fremst um sig sjálfar. \nTexti: Kari Ósk Grétudóttir \nSýningin stendur til og með 12.06 og er opin alla daga nema mánudaga frá 14:00-17:00.
URL:https://old.icelandicartcenter.is/exhibition/michaela-grill-inside-the-frame/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/05/279224515_10159923206802829_1961237851922506699_n.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220618
DTEND;VALUE=DATE:20220725
DTSTAMP:20260530T084644
CREATED:20220614T151611Z
LAST-MODIFIED:20220803T160456Z
UID:23698-1655510400-1658707199@old.icelandicartcenter.is
SUMMARY:Grounded Currents
DESCRIPTION:Artists: Maryse Goudreau\, Hugo Llanes\, Zinnia Naqvi\, Sigrún Gyða Sveinsdóttir\,\nMarzieh Emadi & Sina Saadat\nCurator: Þorbjörg Jónsdóttir \nOpen daily except Mondays 2:00 – 5:00 PM \nEavesdroppers \nI lived in Iceland for over a decade but—dismissively—never went whale watching until back in\nReykjavík this spring. With my eight-year-old as alibi\, I bought two tickets for a boat on Faxaflói\nBay; I packed sandwiches\, binoculars\, and low expectations. Onboard\, we studied posters in the\nlower decks with their familiar and exquisite wildlife illustrations by Jón Baldur Hlíðberg\, a keen naturalist who once described to me the activity of modern birdwatching (traditionally a no-girls-allowed endeavour) as an evolutionary extension of the hunt. Perhaps that’s the real reason I was sceptical about whale watching: even though it is posited by the tourist industry as an eco-friendly\nalternative to whaling\, it still had the air of a seek-and-consume pursuit. I didn’t need to go out and hassle whales; for me\, it was enough to know they were there. \nYou can tell where this is going\, right? That once I saw actual\, animate humpback whales\nspouting and fluking in Faxaflói Bay\, my cynicism melted away and I was transformed by the\nencounter? Well\, maybe. It was indeed surprisingly magical. But the pleasure was an odd one—a\nvoyeuristic one. We saw no breaching\, only backs and tails\, tantalising suggestions of behemoths\nbelow. The guide\, a marine biologist\, counted over the loudspeaker for us the minutes between\ndives; we all somehow held our breath for eight and a half minutes with the whales until they\nsurfaced again. Despite spending nearly all of their lives underwater\, whales need to come up to\nbreathe\, and that is what the whale watching industry capitalises on. Breathing. Our boat was close\nenough that I could look into the creatures’ blowholes as they expelled the air from their\nvoluminous lungs. Humpbacks\, being baleen whales\, have two blowholes\, like two nostrils. It is an\naberrant thing to gaze into someone’s nostrils and find some gratification there\, and an awkward\nthing to admit to it. And yet that is what I did\, and what I am confessing. \nThere is a similar spark of uncanny voyeurism igniting the works in Grounded Currents as\nthe artists here are looking\, reaching\, across some divide or another. And here I am reaching for a\nword that doesn’t seem to exist in the English language\, because I don’t mean voyeurism in the\nsexual sense; I don’t mean surveillance with its usual connotation of espionage; I don’t mean\nobservation in a neutral\, methodological manner. But watch\, as Zinnia Naqvi strives to understand\nher encounter with an uncomfortable exchange between her middle-class aunt and a domestic\nworker\, a recent immigrant with a family crisis. Naqvi’s The Translation Is Approximate rehashes\nthe conversation she witnessed and recorded some eight years previous\, exploring her relationship\nwith the power dynamics between the two women—and between herself and this scene that became\nthe subject of an earlier artwork. To whatever extent there is “voyeurism” here\, it is\, perhaps\,\nmotivated by sympathy\, and a desire to narrow or at least interpret socioeconomic and cross-cultural gaps. \nIn Marzieh Emadi and Sina Saadat’s videos and animations\, we also see stretching across\nrifts and voids. Quite literally\, in the case of Rope Walker: a tiny figure crosses a tightrope above\ndozens of scenes of live footage filmed in the night-time streets of Vienna—a patchwork quilt of\ndrivers\, passengers and pedestrians monitored\, anonymously\, and stitched together into a\nmesmerising blanket revealing the quotidian motions of everyday urban life. In other works\, Emadi\nand Saadat focus inwards\, reaching from the conscious into the unconscious and back\, in dreamlike\nimagery touching on the surreal. Sometimes\, they even watch sleepers sleeping\, and as viewers of\ntheir work\, we become accomplices. Sigrún Gyða Sveinsdóttir\, on the other hand\, gives voice to the\nwatched in Hlaupa\, a video installation based on an operatic performance in which four trolls reveal the burden of being observed. Extending back into Icelandic folklore in order to interrogate\ncontemporary crises of climate and society\, Sveinsdóttir sets the stage for her narrators to tell the\ntale of another troll who gave up running from the petrifying light of the sun and allowed herself to\nturn to stone. Was this a willing self-sacrifice\, or a surrender under duress? I imagine an eerie\nresonance between that hardened troll and a character conjured by Agnes Obel when she sings in\nher own haunting voice: “They say every sin will have a thousand eyes / To guilty fools with guilty\nminds / But I must be cruel to be kind / Deep within my head of stone…” \nWe know from physics that observed phenomena sometimes change their behaviours simply\nby virtue of being watched. Protons and electrons aside\, is it even possible to faithfully observe\nanother sentient\, self-aware being like a whale without disrupting its ways? Certainly not on an\nintrusive whale-watching boat on Faxaflói Bay\, but probably neither through subtler scientific\nmeans—if only because whales are already drowning in the overwhelming noise of human\nactivities. “Aquatic animals are immersed in sound\,” explains biologist David George Haskell in his\n2022 book Sounds Wild and Broken . “Sound flows almost unimpeded from watery surrounds to\nwatery innards. ‘Hearing’ is a full-body experience. […] Having lived most of my life inland\, many\nhours’ drive from the sea\, I have seldom seen or heard whales. But the whales hear me. They are\nimmersed in the sounds of my purchases from over the horizon every day of their lives.” Artist\nMaryse Goudreau\, however\, lives right on a North Atlantic bay in Quebec\, and much of her practice focuses on the lives and sounds of her local beluga whales. She reverses the dynamic Haskell\ndescribes\, immersing participants and viewers in belugas’ calls and even the drumming of their\nhearts; she asks collaborators to interpret the meanings in these sounds from across the chasm of\nspecies lines. In her multi-channel video Beluga Constellation \, Goudreau imagines a future in\nwhich cetaceans’ songs—their “data”—outlive and replace human technologies. I wonder\, then\,\nwhether those whales would take some pleasure in eavesdropping on us. \nEavesdropping: perhaps that is the word I have been grasping for\, the common activity in\nwhich these currents are grounded. In the context of contemporary technology and big data\nsurveillance\, “eavesdropping” connotes something less insidious and more analogue\, a harmless\nlistening-in\, a curiosity driven by a desire to be part of what’s happening on the other side of the\nwall. These artists brought together in Hjalteyri invite us to witness their acts of well-meaning\nwitnessing. And Hugo Llanes grounds it to the north Iceland–local by dropping anchor in\nEyjafjörður\, peering in on the creatures who normally swim past the Factory undetected. The jaws\nof the Atlantic wolffish he has etched on the seashells in his site-inspired installation have emerged\nfrom the artist’s longstanding interest in power dynamics\, from the legacy of colonialism in his\nnative Mexico to the domination of humans over other animals. Llanes heard that regular divers in\nEyjafjörður took interest in a certain wolffish because they noticed she seemed to be curious about\nthem\, even to recognise them. And why wouldn’t she? We’re all curious\, whether about the people\nwhose language or circumstance we can’t quite understand\, about the inner dreamscapes we can’t\nseem to grasp\, about the creatures whose sounds spark excitement but not comprehension. Even\,\nsimply\, about the breathing mechanisms of those creatures\, familiar and mysterious all at the same\ntime. \n—Shauna Laurel Jones\,\nart historian and environmental writer
URL:https://old.icelandicartcenter.is/exhibition/grounded-currents/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/Marzieh-Emadi-Sina-Saadat-Es-gibt-allerdings-Unaussprechliches-nr1-scaled.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220618
DTEND;VALUE=DATE:20220725
DTSTAMP:20260530T084644
CREATED:20220614T151611Z
LAST-MODIFIED:20220803T160253Z
UID:23702-1655510400-1658707199@old.icelandicartcenter.is
SUMMARY:Jarðtenging
DESCRIPTION:Listamenn: Maryse Goudreau\, Hugo Llanes\, Zinnia Naqvi\, Sigrún Gyða Sveinsdóttir\,\nMarzieh Emadi & Sina Saadat\nSýningarstjóri: Þorbjörg Jónsdóttir \nOpið þri-sun 14:00-17:00 \nMyndlistarsýningin Jarðtenging / Grounded Currents opnar í Verksmiðjunni á Hjalteyri  laugardaginn 18júní 2022 KL 14 með verkum listafólksins: Maryse Goudreau\, Hugo Llanes\,  Zinnia Naqvi\, Sigrún Gyða Sveinsdóttir\, Marzieh Emadi & Sina Saadat   \nSýningin er alþjóðleg samsýning yngri kynslóðar listafólks. Þau vinna ekki út frá einni einstakri sameiginlegri hugmynd og verkin eru sum marglaga í merkingu sinni eða nokkuð flókin enda verður það helst ára staðarins & óvenjulegt rýmið sem að mótar öðru fremur umgjörð fyrir samstarf og heild og virkjar sköpunarkraftinn..  \nÞau vinna sjálfstætt á staðnum og/eða fyrirfram að nýjum verkum. «Verksmiðjan er ekki aðeins  rými sýningarstaðarins\, heldur einnig rými athafna sem mótast og er mótað af tíma- og  rýmisbundnum samskiptum. Verksmiðjan er óhefðbundið rými og ekki hlutlaust sem hefur fremur  tekið mið af ljóðrænni afstöðu listamannanna sem þar haft sýnt og starfað » Listafólkið á ýmislegt sammerkt og eru að nokkru leiti valin út frá því: Þau vinna öll með videómiðilinn og þá líka  teiknimyndir eða animation ásamt ýmsum öðrum aðferðum samtímalistar\, þau eru með  manneskjuna\, samfélagið til athugunar og/eða umhverfið og náttúruna sem að á hug margra á  þessum síðustu tímum.  
URL:https://old.icelandicartcenter.is/exhibition/grounded-currents/
LOCATION:The Factory in Hjalteyri\, Brekkuhús 3b\, Hjalteyri\, 601\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/Marzieh-Emadi-Sina-Saadat-Es-gibt-allerdings-Unaussprechliches-nr1-scaled.jpg
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