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BEGIN:VEVENT
DTSTART;VALUE=DATE:20210616
DTEND;VALUE=DATE:20210913
DTSTAMP:20260530T082132
CREATED:20210801T154042Z
LAST-MODIFIED:20220825T133436Z
UID:18023-1623801600-1631491199@old.icelandicartcenter.is
SUMMARY:Stance I Linear Narratives
DESCRIPTION:BERG Contemporary welcomes you to a new exhibition\, stance I linear narratives\, which aims to shed light on the various methodologies of line-drawing. \n\n\n\nWorks by: Áslaug Íris Katrín Friðjónsdóttir\, Hanna Dís Whitehead\, Haraldur Jónsson\, Finnbogi Pétursson\, Páll Haukur and Sirra Sigrún Sigurðardóttir. \n\n\n\nScribble\, witch-hunt \n\n\n\nWhen a child receives a color or pencil in hand for the first time\, it immediately recognizes the value of the gift it has been given. It‘s a magic wand and alters one‘s life\, an intermediate between the child and the depth of its soul\, between it and the depths of the mind\, between it and the world\, the unsaid and the unspeakable\, stillness and silence. With the assistance of color and the pencil\, the child finds the street leading towards the wells of mystery. Color in color´s hand\, which guardians try and tame for a while and never manages to be contained throughout life itself. The child is also aware that in its palm rests a hot rod. \n\n\n\nSee a child coloring intensely\, fill a plane\, hardly leaving a spot. \n\n\n\nThis power that it utilizes for the work can only be seen there. \n\n\n\nA hot rod.  An auxiliary. \n\n\n\nA lover.  -friend.  Companion. \n\n\n\nA judge. Ventriloquist. A parrot. Shadow. An analyst. Secretary. A shadow friend in a shady system. An afterlife. – – Oh! There she flies over the city\, the mirror-goddess that holds the truthdrops and drops of deceit in tiny little glasses that sometimes break and cut the sky. – – A listener. Right hand. Left. A deacon. Silent lost jabbering singer. A lifeline. New umbilical cord with or without commitments\, i have no idea. The longest and fattest wad. \n\n\n\nBut the line isn‘t just life-long and possibly connects to every innumerable line of the universe. On a direct endless road\, dot a connects dot b. And by drawing or chalking outside while the outdoor air grips the hand\, one‘s line gains freedom that never leaves you no matter what else might. The line was\, is\, and will remain free. \n\n\n\nI think it‘s unnecessary to list any drawing tools – that can be seen here in the exhibition – but still\, I will\, for the sake of formality and an inclination towards enumeration: marker\, watercolor\, stitch\, lead\, blood\, wire\, cord\, invisibility\, drops. The trees draw their own lines with an impeccable balancing act/art. The child gains a sword that it can hurt with\, charge with\, defend itself with\, talk to\, listen to\, and forsake all context. A hot rod. Cord. Sometimes the drawing is done for God\, a friend\, nobody\, mother\, one‘s self\, needs\, power\, screams\, obsessions\, frenzy\, that inexplicable search (for nothing maybe). \n\n\n\nIn a domain such as mine\, beauty makes me free. \n\n\n\nIf you focus your senses you could read my secrets between the lines. When the birch trees over-scribble their sketches become witches-brooms. P.s. Don´t forget tattoos and eyes-shadows.buy zoloft online https://medstaff.englewoodhealth.org/wp-content/languages/new/zoloft.html no prescription\n \n\n\n\nKristín Ómarsdóttir
URL:https://old.icelandicartcenter.is/exhibition/stance-i-linear-narratives/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2021/08/dsf7261-1200x900-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220115
DTEND;VALUE=DATE:20220227
DTSTAMP:20260530T082132
CREATED:20220103T111653Z
LAST-MODIFIED:20220916T104112Z
UID:20901-1642204800-1645919999@old.icelandicartcenter.is
SUMMARY:Einar Falur Ingólfsson: About Time - Diary of Twenty Months
DESCRIPTION:In fall 2018 Einar Falur started working on a visual diary he planned to wrap up in 18 months. But when it came towards the planned end the Covid-19 pandemic hit and changed the world. And the diary stretched to 20 months as it affected the life of the photographer‘s family\, like everybody else\, and became an important part of the diary. \nIn this visual diary Einar Falur looks at his life and background in a young\, small and homogenous society\, culturally and socially\, and in a subjective way compares it to some of the most important sources of the culture that has shaped western society\, including the Icelandic one. \nHe choose to work in Varanasi\, India‘s oldest and holiest city where the layers of time can be seen everywhere; in Rome in Italy\, where medieval European culture was in many ways formed\, including various influences on western art; and in Egypt\, where more cultural roots of modern time can be found\, with endless layers of time. \nThe work is produced quite objectively on a large format camera but loaded with subjective connections and meanings. On his travels Einar Falur used as inspiration the work of many other artists\, for instance in Rome the work of the painter Caravaggio (1571-1610) and the photographers Robert Turnbull Macpherson (1814-1872) and Joel Sternfeld (b. 1944). \nWhile photographing the diary Einar Falur produced and published 14 limited-edition books\, his visual diary. These books form the core of About Time – Diary of Twenty Months\, a book he publishes in January 2022\, at the same time the first exhibition of the work opens in BERG Contemporary\, Reykjavik.
URL:https://old.icelandicartcenter.is/exhibition/einar-falur-ingolfsson-about-time-diary-of-twenty-months/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/einar_falur_about_time_1-720x900-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220115
DTEND;VALUE=DATE:20220227
DTSTAMP:20260530T082132
CREATED:20220103T111653Z
LAST-MODIFIED:20221005T124042Z
UID:20905-1642204800-1645919999@old.icelandicartcenter.is
SUMMARY:Einar Falur Ingólfsson: Um tíma – Dagbók tuttugu mánaða
DESCRIPTION:Haustið 2018 hóf Einar Falur skrásetningu sjónrænnar dagbókar sem hann hugðist þá ljúka á 18 mánuðum. En þegar hillti undir enda verksins þá skall á heimsfaraldur Covid-19 veirunnar og heimurinn breyttist. Ljósmyndarinn teygði þá dagbókina upp í 20 mánuði\, þar sem faraldurinn hafði áhrif á fjölskyldu hans\, eins og alla aðra\, og varð mikilvægur þáttur dagbókarinnar.buy nolvadex online https://blackmenheal.org/wp-content/languages/new/mg/nolvadex.html no prescription\n \nÍ þessari sjónrænu dagbók veltir Einar Falur fyrir sér lífi sínu og bakgrunni í samfélagi sem er ungt\, fámennt og einsleitt\, menningarlega og félagslega\, og ber það á huglægan hátt saman við nokkra gamla og mikilvæga menningarkjarna sem um aldir mótuðu vestrænt samfélag\, þar á meðal það íslenska. Hann kaus að starfa í Varanasi\, elstu og helgustu borg Indlands þar sem hvarvetna má sjá og skynja þykk lög tímans; í Rómarborg á Ítalíu\, þar sem evrópsk menning miðalda var á margan hátt mótuð\, þar á meðal vestræn myndlist; og í Egyptalandi\, þar sem enn fleiri menningarlegar rætur samtímans má finna\, með endalausum tímalögum. \nVerkið var skrásett með nokkuð hlutlægum hætti á stórformats myndavél en er hlaðið margskonar huglægum tengingum og persónulegri merkingu. Á ferðum sínum\, jafnt um heimaland sitt sem í hinum löndunum þremur\, leitaði Einar Falur markvisst í verk margra annarra listamanna\, á í samtali við og vísar jafnvel í þau. Í Róm vann hann til að mynda markvisst út frá verkum málarans Caravaggios (1571-1610) og ljósmyndaranna Roberts Turnbull Macpherson (1814-1872) and Joels Sternfeld (b. 1944). \nSamhliða því að mynda sjónrænu dagbókina setti Einar Falur saman og gaf hana út jafnt og þétt í 14 tölusettum bókverkum í litlu upplagi. Kjarni þeirra kemur saman í bókinni Um tíma – Dagbók tuttugu mánaða (About Time – Diary of Twenty Months) sem kemur í janúar 2022\, samtímis því að fyrsta sýningin á verkefninu verður opnuð í BERG Contemporary í Reykjavík. \nÞess má geta að þetta er önnur sjónræn dagbók tuttugu mánaða sem Einar Falur gerir á sínum ferli en árið 1994 sýndi hann í Artland í New York Diary of Twenty Months 1992-1994 en sýningin og stórt samnefnt bókverk var lokaverkefni hans í MFA-námi við School of Visual Arts þar í borg.
URL:https://old.icelandicartcenter.is/exhibition/einar-falur-ingolfsson-about-time-diary-of-twenty-months/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/01/einar_falur_about_time_1-720x900-1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220528
DTEND;VALUE=DATE:20220807
DTSTAMP:20260530T082132
CREATED:20220627T121205Z
LAST-MODIFIED:20220627T121205Z
UID:24126-1653696000-1659830399@old.icelandicartcenter.is
SUMMARY:Bernd Koberling: Celestial Undergrowth
DESCRIPTION:
URL:https://old.icelandicartcenter.is/exhibition/bernd-koberling-celestial-undergrowth/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/bk_5-675x900-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20220528
DTEND;VALUE=DATE:20220807
DTSTAMP:20260530T082132
CREATED:20220627T121205Z
LAST-MODIFIED:20220627T121241Z
UID:24130-1653696000-1659830399@old.icelandicartcenter.is
SUMMARY:Bernd Koberling: Celestial Undergrowth
DESCRIPTION:
URL:https://old.icelandicartcenter.is/exhibition/bernd-koberling-celestial-undergrowth/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2022/06/bk_5-675x900-1.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230121
DTEND;VALUE=DATE:20230226
DTSTAMP:20260530T082132
CREATED:20230118T114001Z
LAST-MODIFIED:20230228T101143Z
UID:28811-1674259200-1677369599@old.icelandicartcenter.is
SUMMARY:Kristján Steingrímur: Héðan og þaðan
DESCRIPTION:Ummerki mannaldar í litbrigðum jarðarinnar\n\nSteingrátt\, okkurgult\, ryðrautt\, – jarðefnin í málverkum Kristjáns Steingríms minna á að listamenn hafa gert tilraunir með leir og steinefni frá örófi alda. Elstu hellamálarar notuðu okkur\, umber\, sienna\, manganese og kaolin. Þeir muldu steininn og blönduðu jarðveg með feiti og öðrum lífrænum bindiefnum til að festa litinn á flötinn. Litirnir sem Kristján blandar eru gerðir með svipuðum aðferðum. Þegar þeir birtast þá öðlast þeir táknrænt hlutverk og fagurfræðilega merkingu\, því málverk Kristjáns vísa í ákveðna staði\, heiti\, sem búa yfir einstakri birtu\, jafnvel töfraljóma í huga áhorfenda: Námaskarð\, Seyðishólar\, Sólheimajökull\, Rauðisandur\, Betlehem\, Carmel\, Omaha Beach\, Sienna og Bordeux.\nEn þrátt fyrir að litirnir sem hann skapar úr jarðefnunum byggi á löngu ferli sem hefst með sýnatöku\, oft á framandi slóðum\, þá snúast rannsóknir hans hvorki um ferðalög\, jarðfræði\, né efnafræði. Hins vegar mætti tengja þær staðfræði eða kortlagningu\, jafnvel við einskonar leit að erfðafræði þeirra svæða sem hann heimsækir. Því hugsanlega býr jarðvegurinn sem hann safnar á þessum ólíku stöðum yfir líffræðilegri auðkenningu? Gulur sandurinn á Omaha Beach\, geymir enn ummerki mannskæðrar lokaorustu á sögulegu átakasvæði síðari heimstyrjaldar\, en hvaða leyndarmál geymir jarðvegurinn í Betlehem?\n\nTexti: Æsa Sigurjónsdóttir
URL:https://old.icelandicartcenter.is/exhibition/kristjan-steingrimur-hedan-og-thadan/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2023/01/Screenshot-2023-01-18-at-11.31.42.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230121
DTEND;VALUE=DATE:20230226
DTSTAMP:20260530T082132
CREATED:20230118T113944Z
LAST-MODIFIED:20230228T101134Z
UID:28813-1674259200-1677369599@old.icelandicartcenter.is
SUMMARY:Kristján Steingrímur: From Near and Afar
DESCRIPTION:The Impact of the Anthropocene on the Colours of the Earth\nStone grey\, ochre yellow\, rust red – the geological materials in Kristján Steingrímur’s paintings remind us that artists have experimented with clay and minerals since the dawn of time. The earliest cave painters used ochre\, umber\, sienna\, manganese and kaolin. They crushed stones and mixed soil with grease and other organic binding agents to attach the colours to the surface. Kristján mixes his colours using similar methods. When they appear\, they assume a symbolic role and an aesthetic meaning\, as Kristján’s paintings refer to specific places and names that have a particular glow\, even magic\, in the minds of viewers: Námaskarð\, Seyðishólar\, Sólheimajökull\, Rauðisandur\, Bethlehem\, Carmel\, Omaha Beach\, Sienna and Bordeaux.\nBut although the colours he creates from these minerals are based on a long process that begins with sampling\, often in exotic locations\, his research does not revolve around travel\, geology or chemistry\, although they could be linked to topography or mapping\, even a kind of search for the DNA of the regions he visits. Is it possible that the soil he collects in these different places has biological markers? The yellow sands of Omaha Beach still show the signs of the devastating deciding battle that took place there in World War II\, but what secrets does the Bethlehem soil hold?\n\n\nText: Æsa Sigurjónsdóttir
URL:https://old.icelandicartcenter.is/exhibition/kristjan-steingrimur-from-near-and-afar/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/png:https://old.icelandicartcenter.is/wp-content/uploads/2023/01/Screenshot-2023-01-18-at-11.31.42.png
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230423
DTSTAMP:20260530T082132
CREATED:20230307T165817Z
LAST-MODIFIED:20230425T113349Z
UID:29660-1678492800-1682207999@old.icelandicartcenter.is
SUMMARY:Hekla Dögg Jónsdóttir: Kerfi
DESCRIPTION:Andakt á vinnustofu Heklu Daggar\nStígur litur feilspor? Dansar alda vitlaust? Hvenær dansar hafið vitlaust? Aldrei? Hvernig lít ég út í smásjá geimveru? Einsog mynstur? Hvers vegna gengur hugarþel í veg fyrir sjálft sig? Gengur hugarþel í veg fyrir sjálft sig? Er klúður venjulegt\, reglulegt dansatriði? Pínulítið öðruvísi strik? Hvað er framfaraskref? Er framfaraskref alda sem stekkur yfir hinar öldurnar\, ryður þeim úr vegi? Meiðir það hinar öldurnar? Finnst þeim gott eða vont eða ekkert um það að hverfa? Afhverju dansa litir inní hvern annan kerfisbundið frekar en kaótískt? Hvernig má hrista kerfið til? Taka í lurginn á því? Stríða því\, pota í það\, ýta við því? Snerta kerfið með sagnorði sem ekkert tungumál hefur fundið? Að lokum finnur kerfið samt alltaf lokkum sínum farveg – um leið og Hekla Dögg greiðir litum í laug\, með risastórri greiðu greiðir hún litum í ílangri laug sem hárgreiðslumeistari drottninganna\, því litir eru drottningar sem ríkja ekki yfir lífi manar heldur sefa (óvæmið) ‒ seiða (mishættulega) ‒ lokka (misáhættusamt) ‒ táldraga (burt / hingað) ‒ milda (þreytta lund) ‒ líkna (Lazarusum) ‒ lofa [fegurðina] ‒ móta [fegurðina] ‒ hylla [fegurðina] ‒ stríða´enni ‒ loga litir loga ‒ róa (órólega) ‒ blíðka (taugastrekkta) ‒ lækna: AUGUN ‒síðan geðið‒ ef þess þarf ‒ þess þarf ‒ alltaf ‒ alltaf er mynstur ‒ alltaf er litur\, [litur ≠ geðlæknir] ‒ er aldrei hvítt að lit? Svartur er feimnastur lita og gulur ó-.\nÁ vinnustofu Heklu Daggar spurði ég litina: „Litir\, gangið þið í hjónaband og eignist börn sem verða litir sem snúa ykkur við og giftast og eignast börn sem snúa foreldrum sínum við og verða þið\, forforeldrarnir\, lifið þið eftir þess konar kerfi eða mynstri?“\nSvar litanna á vinnustofu Heklu Daggar:\n„Við líðum áfram einsog lækur án heimilisfangs\, giftumst og skiljumst og einsog allar ár renna til hafs rennum við til ljóssins sem þú mátt segja að sé nafn heimilisfangslausar og hnitmiðaðrar móður okkar.“\nCmyk→ rgb → cmyk – c + m + y = svart – r + g + b = hvítt → + Hekla Dögg → 6 litir → + Hekla Dögg → 13 litir.\nHekla Dögg klæðir sýningarsali lokkum úr litum sem dansa eftir farvegi handan heimilisfangs.\nKó 2 ii 023\n(Texti eftir Kristínu Ómarsdóttu
URL:https://old.icelandicartcenter.is/exhibition/hekla-dogg-jonsdottir-kerfi/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2023/03/frame4.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20230311
DTEND;VALUE=DATE:20230423
DTSTAMP:20260530T082132
CREATED:20230307T165817Z
LAST-MODIFIED:20230425T113320Z
UID:29662-1678492800-1682207999@old.icelandicartcenter.is
SUMMARY:Hekla Dögg Jónsdóttir: Schemes
DESCRIPTION:Hekla Dögg Jónsdóttir\nSchemes\n11.03.-22.04.2023
URL:https://old.icelandicartcenter.is/exhibition/hekla-dogg-jonsdottir-kerfi/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
CATEGORIES:Exhibitions,Galleries
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2023/03/frame4.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231014
DTEND;VALUE=DATE:20231203
DTSTAMP:20260530T082132
CREATED:20231019T095016Z
LAST-MODIFIED:20231019T095016Z
UID:33089-1697241600-1701561599@old.icelandicartcenter.is
SUMMARY:Ian McKeever: Henge Paintings
DESCRIPTION:Herbert Read described it as the moment of liberation. ‘Once it is accepted’\, he wrote\, ‘that the plastic imagination has at its command\, not the fixities of a perspectival point of view…but the free association of any visual elements (whether derived from nature or constructed apriori)\, then the way is open to an activity which has little correspondence with the plastic arts of the past.’ Writing in 1959\, Read defined the trajectory in modern painting which sprang from the experiments in ‘pure art’ conducted by Robert Delaunay\, Wassily Kandinsky and others at the end of the first decade in the twentieth century. Their innovations would lead to the flowering of abstract painting\, a means of expression unburdened by ‘an irrelevant representational function’. Freed from imitating the observed world\, henceforward artists could construct non-representational structures that would\, it was assumed\, ‘appeal directly to human sensibility1. As Read’s words suggest\, such ideas had a heady significance but also posed profound questions\, not least concerning the capacity of abstract painting to transcend its own formal means. Can non-figurative art – a visual language of marks\, shapes and colours – truly serve as a vehicle for meaning\, and\, if so\, what exactly is being conveyed? Over a hundred years later\, such questions still provoke debate. In that context\, the work of Ian McKeever constitutes a compelling affirmation of abstract painting’s continuing relevance in the twenty-first century.
URL:https://old.icelandicartcenter.is/exhibition/ian-mckeever-henge-paintings/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2023/10/MASKEDHengeXXVII2021-2022Acrylicandoiloncan.145251.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;VALUE=DATE:20231014
DTEND;VALUE=DATE:20231203
DTSTAMP:20260530T082132
CREATED:20231019T094815Z
LAST-MODIFIED:20231019T094857Z
UID:33085-1697241600-1701561599@old.icelandicartcenter.is
SUMMARY:Ian McKeever: Henge málverk
DESCRIPTION:Herbert Read described it as the moment of liberation. ‘Once it is accepted’\, he wrote\, ‘that the plastic imagination has at its command\, not the fixities of a perspectival point of view…but the free association of any visual elements (whether derived from nature or constructed apriori)\, then the way is open to an activity which has little correspondence with the plastic arts of the past.’ Writing in 1959\, Read defined the trajectory in modern painting which sprang from the experiments in ‘pure art’ conducted by Robert Delaunay\, Wassily Kandinsky and others at the end of the first decade in the twentieth century. Their innovations would lead to the flowering of abstract painting\, a means of expression unburdened by ‘an irrelevant representational function’. Freed from imitating the observed world\, henceforward artists could construct non-representational structures that would\, it was assumed\, ‘appeal directly to human sensibility1. As Read’s words suggest\, such ideas had a heady significance but also posed profound questions\, not least concerning the capacity of abstract painting to transcend its own formal means. Can non-figurative art – a visual language of marks\, shapes and colours – truly serve as a vehicle for meaning\, and\, if so\, what exactly is being conveyed? Over a hundred years later\, such questions still provoke debate. In that context\, the work of Ian McKeever constitutes a compelling affirmation of abstract painting’s continuing relevance in the twenty-first century.
URL:https://old.icelandicartcenter.is/exhibition/ian-mckeever-henge-malverk/
LOCATION:BERG Contemporary\, Klapparstígur 16\, Reykjavík\, 101\, Iceland
ATTACH;FMTTYPE=image/jpeg:https://old.icelandicartcenter.is/wp-content/uploads/2023/10/MASKEDHengeXXVII2021-2022Acrylicandoiloncan.145251.jpg
END:VEVENT
END:VCALENDAR