The Living Art Museum welcomes you to round table discussions and artists talk to coincide with the exhibition Infinite Next which opened 7th May.
The event starts at 8pm, Thursday 12th May in Völvufell 13-21, Breiðholt.
The artists Amy Howden-Chapman, Anna Líndal, Bjarki Bragason, Bryndís Snæbjörnsdóttir and Hildigunnur Birgisdóttir will lead the discussions and take visitors on a tour around the exhibition.
Infinite Next is a group exhibition of works by Anna Líndal, Amy Howden-Chapman, Bjarki Bragason, Bryndís Snæbjörnsdóttir & Mark Wilson, Hildigunnur Birgisdóttir and Pilvi Takala.
Works in the exhibition deal in different ways with systems which all societies struggle with; late-capitalism, ecosystems in degradation, human experiments to alter the environment, knowledge production, manifestations and the effects of humans on the environment.
Each artist will give a short talk about his or her work before continuing around the idea and development of the exhibition.
The discussions will take place in English.
The house will be open from 8 pm with light refreshment
The discussions will start at 8.30 pm, open for the public and no entry fee.
Do you have to know when the work begins?
Do you have to know when it is over?
Do you have to know when it fails?
Do you have to know who made it?
Do you have to know who owns it?
Do you have to know from what time it is?
Does it have to be found?
Do I have to decide my own work?
Ásta Ólafsdóttir, The Silence That Headed in a New Direction (1980)
How does one preserve an idea? How do museums face the great challenge that is conserving artwork that was possibly never meant to be conserved? What is the afterlife of artworks that revolve around the process rather than the final product—the journey rather than the destination? Are short-lived artworks less important than those who are intended to stand the test of time and are easily conservable? Some of the works in the exhibition have taken a new form after a long period of storage in the museum’s collection and are troublesome to exhibit in their original context. Are they still the same artworks? Should these types of work be conserved as instruction-based art instead of the idea’s material remains?
What unites the works is the use of mundane materials such as cement, leaves and classic Icelandic food. The process and the idea are given greater weight than the object itself as the final artwork. The hand of the artist is not visible. The forces that form the appearance of the work are natural processes, the laws of physics and the steady hands of the women working at Sláturfélag Suðurlands.
DESICCATION raises questions about the afterlife of conceptual artworks and the importance of conservation and preservation.
Skúlptúr by Kristján Guðmundsson (b. 1941) is a piece of blood pudding that has been pickled in whey, a traditional Icelandic dish. A small card has been attached to a pin and stuck into the pudding and reads: “There’s no use running if you’re going the wrong way,“ a quote by the Norwegian polar explorer Fridtjof Nansen. When exhibited in 1970 it was a part of a group of 26 blood puddings, each with a different quote. It is likely the only piece remaining. They were dispersed around the gallery floor and a sour stench filled the room. After a while the blood pudding desiccated and became petrified. Due to the work’s fragile condition it is impossible to exhibit as it was almost 50 years ago.
Bench #2 is a collaboration by the German artist duo Florian Wojnar (b. 1967) and Nikolai von Rosen (b. 1972). The work was produced for the exhibition CharlieHotelEchoEchoSierraEcho in The Living Art Museum in 2010. The work consists of five sculptures that were cast by pouring water into bags of cement, mixed and allowed to set. The bag embraced the concrete and gave each sculpture a unique appearance. The paper bags were peeled off and voluptuous but lumbering bodies were unveiled and placed on a wooden board, resembling a bench.
Michael Gibbs (b. 1949, d. 2009) exhibited his work Leavings in the Gallery Suðurgata 7 in 1978. Leaves and book pages were scattered on the gallery floor. The title is a play on words referring to leaving something behind and the leaves themselves. Later the artwork was placed in seven plastic bags, each numbered from 1–7. It would be unwise to exhibit Leavings as Gibbs did four decades ago due to the fragile condition of the leaves.
Ásta Ólafsdóttir’s (b. 1948) book is somewhat of a stowaway in the exhibition. Þögnin sem stefndi í nýja átt is not conceptually or materially related to the other works on display but the questions raised in her poetry rhymes with the exhibition’s dilemma. It can also inform the discussion of the objectives of museums and art historical writing.
DESICCATION is curated by Birkir Karlsson and Inga Björk Bjarnadóttir, students in the MA program in art theory at the University of Iceland.
Á fundi borgarráðs í gær var tillagan samþykkt um Marshall húsið út á Granda sem mun hýsa sýningarrými Nýló, Kling og Bang gallerí og vinnustofu og sýningarrými Ólafs Elíassonar. Reykjavíkurborg mun leigja húsið til 15 ára. Á sama tíma verður opnaður veitingastaður á jarðhæð hússins með sérstaka áherslu á sjávarfang.
Hugmyndasmiðir Marshall hússins og hönnuðir eru Ásmundur Hrafn Sturluson og Steinþór Kári Kárason, arkitektar hjá KurtogPi. Samkvæmt Degi B. Eggertssyni, borgarstjóra Reykjavíkur fagnar hann því að samstarf hafi tekist um öfluga starfsemi í Marshall húsinu sem að verður án efa eitt mest spennandi myndlistar- og menningarhús borgarinnar og þó víðar væri leitað.
Árið 1948 hóst bygging síldarverksmiðju í Örfyrisey sem var að hluta fjármögnuð með Marshall aðstoð Bandaríkjanna eftir stríð og er nafn hússins því þaðan komið. Verksmiðjan var í notkun í um hálfa öld en hefur staðið auð undanfarin ár. HB Grandi á húsið og segir Vilhjálmur Vilhjálmsson forstjóri fyrirtækisins að hann hlakki til að hefja framkvæmdir á húsinu og sjá líf færast í það á nýjan leik.
Áform hafa staðið í tvö ár um myndlistarstarfsemi í húsið en hugmyndin kemur til vegna fyrirsjáanlegrar vöntunar í miðbænum á listamannareknum rýmum.
Safneignin sjálf og sú aðstaða sem stjórn og starfsfólk Nýló hefur búið henni í Völvufellinu, mun halda kyrru fyrir í Breiðholtinu en verður opin eftir samkomulagi og þörfum.
Stjórn Nýló mun setja upp tvær sýningar í Núllinu næstkomandi apríl og júní áður en leigusamningnum við Reykjavíkurborg lýkur og eftir það er stefnin tekin út á Granda.
Stjórn og starfsfólk Nýlistasafnsins gleðst vitanlega yfir þessum fréttum! Ljóst er að róðurinn verður áfram þungur og ekki má slá slöku við. En safnið er nú búið að tryggja sér frábært sýningarými í lengri tíma en tíðkast hefur undanfarin 15 ár.
Nýlistasafnið eða Nýló, var stofnað árið 1978 af hópi 27 myndlistarmanna. Nýló er eitt elsta listamannarekna safn og sýningarrými í heiminum, vettvangur uppákoma, umræðna og gjörninga. Nýló hefur lengi verið miðstöð nýrra strauma og tilrauna í íslenskri og erlendri myndlist og hafa margar sýningar í Nýló markað tímamót í íslenskri listasögu. Ár hvert stendur Nýló fyrir öflugri sýningadagskrá auk þess að safna og varðveita listaverk og heimildum sem tengjast frumkvöðlastarfi innan íslenskrar myndlistar.
Kling & Bang gallerí var stofnað af tíu myndlistarmönnum í byrjun árs 2003 og hefur allar götur síðan verið listamannarekið gallerí (non profit). Stefna Kling & Bang er að sýna myndlist sem ögrar samhengi og innihaldi skapandi hugsunar. Það hefur vakið heimsathygli fyrir starfsemi sína og sýningar. Kling & Bang hefur alla tíð lagt áherslu á að bjóða upp á vettvang fyrir framúrskarandi sýningar og tilraunamennsku, jafnt með sýningum upprennandi listamanna og vel þekktra, hérlendra sem erlendra.
Listmaðurinn Ólafur Elíasson er þekktur á heimsvísu, verk hans eru í eigu helstu listasafna heims og eru sýningar hans afar vel sóttar. Uppspretta hugmynda Ólafs er ósjaldan náttúra Íslands, og sú birta og litir sem hér er að finna. Ólafur er með vinnustofur í Berlín og Kaupmannahöfn, en hyggst nú líka vera með aðstöðu í Marshall húsinu ásamt sýningarrými fyrir sérstök verk.
The Living Art Museum is contributing to Konsthall C one day symposium investigating collective practices and their relationships to political organising.
The symposium is particularly inspired by the ‘Women’s Day Off’, a strike that happened in Iceland in 1975 that sought to highlight and make visible women’s work within the home. The strike is one of the most impressive acts of women’s organising to challenge gender inequality in Northern Europe. Presentations and discussions throughout the day build on ideas of collective working and art’s relationship to political organising.
To book a place at this free event please email osa@konsthallc.se and for the full programme please visit www.konsthallc.se This event will be held in English.
Schedule – Women’s Day Off
10:30am – Doors open
11am – Welcome and Introduction
11:15am – Emma Tolander, Hello Body!
11:30am – Kamilla Askholm (CAMP / Center for Art on Migration Politics)
12 noon – Dady de Maximo (Artist, Journalist and Fashion Designer – CAMP)
12:30pm – Responding Questions
1pm – Shared Lunch provided
2:30pm – Þorgerður Ólafsdóttir, Becky Forsythe and H. K. Rannversson (Nýló / Living Art Museum)
3:15pm – Responding Questions
3:45pm – Maiko Tanaka (The Grand Domestic Revolution)
4:30pm – Responding Questions by writer Gunilla Lundahl
5pm – Symposium closing and opening at Konsthall C’s Centrifug
Contributors include: Emma Tolander, dancer, choreographer and member of the feminist collective ÖFA-collective
Kamilla Askholm from Copenhagen’s CAMP (Centre for Art on Migration Politics); the artist, journalist and fashion designer Dady de Maximo; Stockholm based writer Gunilla Lundahl
Þorgerður Ólafsdóttir, Becky Forsythe and H. K. Rannversson from The Living Art Museum in Iceland
Maiko Tanaka, curator and co-initiator of the project The Grand Domestic Revolution.
“Double Bind” is an exhibition of new commissions that aims to restore a sense of political agency to private psychological practices associated with personal failure. Starting from depression and looking more widely into emotion economies, we invited artists to fail and be vulnerable.
A confessional tone was assumed by works, architecture and curators alike; a tone regarded as an insurgent force rallying against congealed understandings of psychological pathology and illness and the language of seemingly dispassionate argument in which these are commonly expressed.
What remains as exhibition is un-ordered, multi-directional and contradictory; a double-bind, a larde-arse and unfired clay in the gut.
Excerpt from exhibition text by Maya Tounta
The artist presented in the show are;
Valentina Desideri & Denise Ferreira da Silva
Morten Norbye Halvorsen
Styrmir Örn Guðmundsson
Berglind Jóna
Juha Pekka Matias Laakkonen
Lina Lapelytė
Viktorija Rybakova
Augustas Serapinas
Curated by Maya Tounta and Justė Jonutytė
The project is a collaboration between;
Rupert (Lithuania)
The Academy of Fine Art / KHiO (Norway)
The Living Art Museum (Iceland)
“Double Bind” will also take the form of a lecture series and publication with contributions by Florian Cramer, Travis Jeppesen, Nina Power, Joshua Simon and Marina Vishmidt, as well as workshops in Pabradė and Visaginas with Augustas Serapinas and Felix Gmelin.
The exhibition in Rupert will be open between October 15 – November 11.
More information can be found on www.doublebind.eu and on Rupert’s website: http://www.rupert.lt/
Partner institutions:
http://www.khio.no/Engelsk/
http://www.rupert.lt
INFORMATION
The Living Art Museum (Nýló) is not for profit, artist-run museum and a venue for contemporary art with three exhibition and project spaces; The Living Art Museum’s project space, Living Collection and Núllið, Bankastræti 0.
The board of Nýló is committed to promoting critical discourse, progressive practice and experimental work in the field of contemporary art. Also to collect and preserve work by artists exhibiting in the museum, and documents relating to the history of art, focusing on artist initiatives and performance art in Iceland.
The board reserves the right to make final decisions in accepting and declining applications without further explanation.
The board and staff of Nýló will provide curatorial support, installation assistance, design, promotion, documentation and an exhibition catalogue to accompany selected projects.
Submitters are encouraged to seek outside financial assistance independently for their project.
All submissions should have a clear and well developed vision, should indicate which space the proposal considers and a possible date that would be ideal for the project.
The submission deadline is midnight, 14th June 2015.
Hardcopies or submissions arriving after this deadline will not be accepted.
SPACES
The board accepts exhibition and curatorial proposals from artists, artist collectives and curators for the three spaces.
Programme 2015 – 2016
Núllið is located at Bankastræti 0, 101 Reykjavík in the former underground female public lavatories. The facilities have been listed and are protected by the Cultural Heritage Agency of Iceland. Applicants are encouraged to work with the entire space.
Programme 2016
The Living Art Museum’s project space occupies the space where an old bakery once stood and is located above the collection, archive and office space in Völvufell 13, Breiðholt.
The Living Collection space is also located in Völvufell, Breiðholt and was created with the purpose of highlighting works from The Living Art Museum’s collection. All proposals for this space should be in relation to the collection or the archives and/or the history of the museum.
To arrange an appointment and to visit the collection space please contact archive(at)gamla.nylo.is
Other information about the Living Art Museum’s collection can be found on the museum’s database – sarpur.is
See floor-plans here:
NullidBankastraeti0
ProjectSpace_Volvufell
LivingCollection_Volvufell
HOW TO APPLY
In preparing your submission please consider the archive of the Living Art Museum’s previous exhibitions – as well as the floorplans to give an indication of the gallery spaces.
All applications must be submitted by midnight on the deadline via email. Hardcopies will not be accepted.
Submissions must include, in the following order:
– Exhibition proposal including technical/ installation needs and requirements (max. 500 words)
– Artist/curatorial statement (max. 300 words)
– Current CV
– Detailed budget plan
– Support material/images (10 max). All images must be labeled with details pertaining to the work, dimensions, media, title and year
The proposal, artist statement, CV, budget and image list should preferable be submitted together as a single PDF attachment, no larger than 8 MB. The support material/10 images may be included separately in another attachment. Microsoft Word documents and submission text in the body of email correspondence will not be accepted.
For sound or time-based submissions, please include a direct link to the content on your website or host page (Vimeo, etc.). Please do not include video files in your email application; only links.
Please send email submissions to applications(at)gamla.nylo.is
The Living Art Museum or Nýló is one of the oldest artist-run museum and a venue for contemporary visual art in Europe. It is committed to the presentation of work by Icelandic and international artists and to the collecting and preserving of contemporary art.
Nýló is a non-profit association with over 350 professional artists as members, and serves as a collector of works and as a platform for innovative experimental contemporary art.
Since it’s establishment the members have donated artworks to Nýló and today the collection includes around 2.000 works.
Image credit, works donated to the auction
To the left: Time /Pavillion II by Rúrí
To the right: Nordic Soap by Arnar Ásgeirsson
Throughout the years Nýló has had to change location several times because of unstable rental market and financial situation. Members of the Living Art Museum, along with other artists have now donated art works to finance new housing for the museum.
Click here to visit the auction website or on the link to the right.
The fundraising and auction will launch Wednesday 19th of November at 5pm in the Museum House of Iceland, Hverfisgata 15.
In early June 2014 Nýló had to move from its last location at Skúlagata 28, 101 Reykjavík due to highly increased rent. The board decided to move the collection and archives to Völvufell 13-21, efra-Breiðholt, a suburban area in east Reykjavík where the new facilities are devoted to the collection and research. The search for a more permanent exhibition space is ongoing.
The Living Art Museum was founded in 1978 by a group of 26 local artists. The main purpose of founding a new contemporary art museum in Reykjavik at the time was to establish and introduce contemporary art within the local culture scene. Since its establishment Nýló has functioned as a forum of possibilities for both art and reflections on society.
In 2010 Nýló was awarded the prestige Icelandic Museum Awards. The museum is an important platform for research, cross-disciplinary collaboration and critical discourse on contemporary art.
Alfredo Cramerotti has been appointed as the next artistic director of Sequences Real Time Art Festival that takes place for the seventh time in Reykjavík, Iceland, April 10-19, 2015.
Sequences is an independent biennial, established in Reykjavík in 2006. The aim of the ten-day festival is to produce and present progressive visual art with special focus on time-based media, such as performance, sonic works, video and public interventions. An offspring of the dynamic art scene that thrives in Reykjavik, Sequences is the first art festival in Iceland to focus on visual arts alone. New artistic directors are hired to reshape each edition of Sequences according to their vision, making it unique and different every time.
Following a successful Sequences VI in 2013, under the artistic leadership of Markús Thór Andrésson, it was decided to cultivate the power of the festival and further its development by seeking abroad for the next artistic director.
The organising bodies and responsible for Sequences are the Icelandic Art Center, The Living Art Museum and Kling&Bang gallery.
Alfredo Cramerotti is a writer and curator working across TV, radio, publishing, media festivals and exhibition making. He directs MOSTYN, Wales’ leading contemporary art institute and co-directs the roaming curatorial agencies AGM Culture and CPS Chamber of Public Secrets. Amongst other major exhibitions, he co-curated the Maldives Pavilion and the Wales Pavilion at the 55th Venice Art Biennale, Italy, in 2013, and Manifesta 8, the European Biennial of Contemporary Art, Region of Murcia, Spain, in 2010. The curatorial and organisational team of Sequences VII is made up of Cramerotti, Edda K. Sigurjónsdóttir, curatorial consultant and project manager and Edda Halldórsdóttir, managing director.
When asked about his interest in curating a visual arts festival in Iceland, Cramerotti said that: “Reykjavik has one of the most active and cutting-edge scenes in contemporary culture. Just notice the presence of Icelandic artists and programmes on a global scale in visual arts, music, digital imaging, theatre, dance, etc. To be able to go through the creative process of discussing themes, inventing formats, commissioning new work, and organising exhibitions, performances, conversations and more in the Iceland art scene is a great opportunity.”
Sequences VII will include approximately 25 artistic positions, from the established to the emergent, from around 10 different countries. The complete list of invited artists, partnerships and the festival theme will be announced soon. Exhibitions, performances and events will take place in various official venues and public spaces across Reykjavík. Alongside the main program, an Off-Venue program – introduced for the first time in the previous edition of Sequences, during which works from Matthew Barney and many more were exhibited – will be presented. Registrations for the Off-Venue program will be welcomed and advertised later.
Sequences is an artist initiated festival and has grown from the grass-root art scene in Iceland. It aims to be a progressive international visual arts event of significance, a valuable platform for artists to develop their practice, further their careers and facilitate increased participation and visibility in the international art scene. About the development of Sequences, Cramerotti said that:
“Sequences has done great things in the past six editions. Sequences VII will have an impact internationally and at the same time a strong local purpose, combining a range of cross-disciplinary works, curatorial approaches and multiple venues in Reykjavik. I am utterly enjoying the process, and looking forward to seeing the results myself. ”
The exhibition S7 – Suðurgata >> Árbær (not in service) is coming to an end.
S7 – Suðurgata >> Árbær (not in service) is an exhibition and publication based on the initiative Gallery Suðurgata 7. The initiative, named after its location, ran from 1977 to 1982 in central Reykjavík. Organized by young artists at the time, it hosted a variety of cultural events, art exhibitions, film screenings, concerts and performances and instigated a platform for critical dialogue with the publication of an art magazine, Svart á hvítu (Black on White). The project is an attempt to examine the history of the initiative and its importance as well as to contextualize it in contemporary art and thus shape a new narrative.
The project allows for an otherwise unlikely collaboration between two institutions, the artist-run Living Art Museum and the Reykjavik City Heritage Museum, the collaboration presupposes the project. The Living Art Museum keeps original documents about the gallery in its Archive of Artist-run Initiatives, while the Reykjavík City Museum preserves the building that housed the gallery in Árbær Open Air Museum, to which it was relocated in 1983.
Four emerging artists, Erla Silfá Þorgrímsdóttir, Hrafnhildur Helgadóttir, Sæmundur Þór Helgason and Styrmir Örn Guðmunsson, were invited to present site-specific work in three rooms of the building in Árbæjarsafn, and react to the multi-layered history of the building, its architecture and its museological context.
In addition, individual works by artists Anna Hrund Másdóttir, Arna Óttarsdóttir, Arnar Ásgeirsson and Leifur Ýmir Eyjólfsson were chosen to reflect on the staged period-rooms installed in other rooms of the building.
The project is a collaboration between the Reykjavík Art Festival, The Living Art Museum and the Reykjavík City Museum.
Live music improvisation for paintings
You are cordially invited to a live music improvisation on Sunday 24th August at 4pm on Lækjargata in Árbæjarsafn, Reykjavík City Museum. The performance is a part of Hrafnhildur Helgadóttir’s piece were the artist herself chose three paintings by three artists from the Living Art Museum’s collection and collaborated with musicians to play an improvisation. The paintings improvised are by Ásta Ólafsdóttir, Árni Ingólfsson and Kees Visser.
The performance is in collaboration with Úsland, a leading recording and publishing company in Iceland.
Admission is Free on Sunday
The exhibition is open until 31st of August.
For further information;
http://uslandrecords.bandcamp.com/
www.hrafnhildurhelgadottir.info
You are cordially invited to the opening in Árbæjarsafn, Friday, May 30th at 5pm.
Erla Silfá Þorgrímsdóttir, Hrafnhildur Helgadóttir, Sæmundur Þór Helgason & Styrmir Örn Guðmundsson. Anna Hrund Másdóttir, Arna Óttarsdóttir, Arnar Ásgeirsson & Leifur Ýmir Eyjólfsson.
The exhibition and publication that is also being celebrated on this day, derives its contents and inspiration from the artist-run Gallery Suðurgata 7 that ran in Reykjavik´s center from 1977-1982 and now stands in Árbæjarsafn. The gallery group consisted of emerging artists and during its time left a significant impact on the local art scene with its dynamic program and the publication of the art-magazine Svart á hvítu [Black on White]
Four emerging artists have now been invited to show their work for the exhibition; Erla Silfá Þorgrímsdóttir, Hrafnhildur Helgadóttir, Sæmundur Þór Helgason and Styrmir Örn Guðmundsson, using site-specific emphasis. Four additional artists have also been selected to infiltrate the historical displays that precede the exhibition in the museum, Anna Hrund Másdóttir, Arna Óttarsdóttir, Arnar Ásgeirsson and Leifur Ýmir Eyjólfsson.
The project creates a point where two dissimilar institutions are able to meet, the Living Art Museum and the Reykjavík City Museum. The former keeps documents correlating to the history of Gallery Suðurgata 7 in its Archive of Artist Initiatives, while the latter preserves the building itself, relocated in one piece in 1983 to Árbæjarsafn, where its history dating back to the turn of the century is laid out.
The project is done in association with the Reykjavik Arts festival.
Duration 31st May – 31st August
Curators Unnar Örn Jónsson & Heiðar Kári Rannversson
Project management Gunnhildur Hauksdóttir & Bergsveinn Þórsson
The exhibition and movie Time and Time and Again is part of Reykjavík Arts Festival 2014. During the festival a programme of performance and video works will be held at the museum and a new video by Hreinn will be added to the exhibition.
Thursday 22 May a video work by Hreinn Friðfinnsson, Correspondance in Red and Green, will be added to the exhibition at the Living Art Museum in Skúlagata 28, 101 Reykjavík.
Saturday 31 May 17:00 Programme of a happening by Magnús Logi Kristinsson, one of the three characters in the movie, with additional new video works by Hreinn. Magnús Logi lives and works in Finland and will visit Reykjavík during the festival.
Thursday 5 June 20:00 – Finisage. Lecture and discussion on the film and exhibition Time and Time and Again. Participants will be Ingibjörg Magnadóttir, Oddný Eir Ævarsdóttir and Huldar Breiðfjörð.
The film Time and Time and Again reflects the life and art of Hreinn Friðfinnsson, one of his generation’s most admired artists.
In this fifty-minute film, the directors, Ragnheiður Gestsdóttir and Markús Þór Andrésson, approach the subject in an unconventional way, where the borders between reality and fiction are dissolved. Key works from the artist’s career are used as inspiration for an exciting narrative where science’s search for truth and the urge to create are set against one another. The film is shown at hourly intervals in its own special space at the Living Art Museum, and an exhibition of works by the artist is in the main gallery.
The exhibition reflects the artist’s complex experiments in handling impermanence and capturing infinity in time and space. The exhibition comprises both older works which have not been publicly displayed for many years as well as other more well-known pieces. In addition, brand new pieces will be exhibited, especially created for the Living Art Museum’s unique tiled floor. The museum itself plays a large part in the film as some of it was shot in its storage areas.
Kati Outinen, the highly acclaimed Finnish actress, plays the part of Aika, who works at the Time Laboratory. It is her job to oversee the progress of experiments where, in their youth, twin brothers were moved to differing locations in order to measure the progress of time in conjunction with the proximity of the Earth’s gravity.
Magnús Logi Kristinsson plays the brother who was raised high in the mountains of Iceland, while Hreinn Friðfinnsson himself plays the twin who was brought up by the sea in Amsterdam. The experiment far exceeds expectations as it seems that decades separate the brothers. A problem arises when Aika decides to bring the twins together for the first time, as Time is unpredictable.
The exhibition Time and Time and Again at the Living Art Museum is from 5 April – 5 June and is the last exhibition at Skúlagata 28, 101 Reykjavík.
The Living Art Museum will move its collection and archives to a new location by the end of May 2014.
The board will announce new opening hours as soon as the moving has been completed.
The new facilities are in Völvufell 13-21, 111 – the upper east side of Reykjavík, Breiðholtið, and consist of 400m2 space in the vicinities of the local swimming pool, Breiðholt College and Fab Lab Innovative Centre.
Over the next years the museum will store the collection in Breiðholtið, which comprises around 2,000 works, along with the main archives: the Archive of Nýló, the Archive of Artist-Run Initiatives and the Performance Archives.
The board will put up two exhibitions per year, with works from the collection and provide guided tours about the museum and collection. Nýló will also provide a research and study room for those committed to specific projects concerning the museum.
Þorgerður Ólafsdóttir was elected director of the board March 1st at the annual meeting of the Living Art Museum in Skúlagata 28, 101 Reykjavík.
Þorgerður Ólafsdóttir (1985) graduated with a Master of Fine Art from the Glasgow School of Art in the spring 2013, after receiving her Bachelor of Fine Art from the Iceland Academy of Arts in 2009.
Olafsdottir has been a practicing artist since 2009 and has exhibited her work both nationally and internationally. After graduating in 2009 from IAA she co-established Crymo gallery, an artist-run space where she organized the exhibition programme along with publishing the book, Trust us! We are artists, which outlined the grassroots scene in Reykjavík after the economic crisis in Iceland.
Olafsdottir was the director of Sequences Art Festival in 2011 and has been involved with the development of the festival since.
In 2013 Olafsdóttir established the biannual art project Staðir/Places in the Westfjords of Iceland, together with artist Eva Isleifsdóttir.
An exhibition of works by Hreinn Friðfinnsson curated by Markús Þór Andrésson and Ragnheiður Gestsdóttir. The exhibition and associated programme are part of the Reykjavík Arts Festival.
The exhibition consists of works by Hreinn and a film of his life and art directed by Ragnheiður and Markús: Time and Time and Again. Significant works from the artist’s career and elements of his biography are used as the backbone for a thrilling narrative involving the struggle between science’s search for the truth and the creative longing of art.
The acclaimed Finnish actress Kati Outinen plays the part of Aika, who works at The Laboratory of Time. She has the task of monitoring the progress of an experiment in which twin brothers were sent to different places when they were young in order to measure the effect of time in relation to proximity to the earth’s gravity. Magnús Logi Kristinsson plays the role of the brother who grew up high in the Icelandic mountains and Hreinn Friðfinnsson himself plays the other brother, who grew up at sea level in Amsterdam. The experiment far exceeds expectations as decades appear to divide the brothers. Problems arise when Aika decides to bring them together for the first time, as time proves to be a great deceiver. The fifty-minute film will be shown hourly at The Living Art Museum, while in the main room there will be an exhibition of Hreinn’s work.
The exhibition reflects Hreinn Friðfinnsson’s complex attempts to deal with ephemerality and to capture the infinity of time and space. In the exhibition, older pieces which haven’t been displayed in public for many years are combined with better known works from the artist’s career.
In addition, there will be a display of brand new work by the artist, which incorporates the unique tiled floor in The Living Art Museum on Skúlagata. The museum itself also plays a major role in the film and parts of it were shot in its collection storage.
A further dimension will be added to the exhibition at the Reykjavík Arts Festival in May. The artist Magnús Logi Kristinsson – who plays one of the three characters in the film – will put on a performance, there will be a special screening of Hreinn’s recent video work, and there will be a seminar about his work and the new film. In addition, Hreinn will premiere a new video work that came about during the making of the film and which can be viewed as a response to the process.
Further information about performance, video program and seminar will be announced at a later date.
Click here to see a trailer of the film: https://vimeo.com/33776222
The exhibition Time and Time and Again will be at The Living Art Museum 5 April – 5 June.
