Rýmd 2017

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Artist-led spaces have a consistent reputation of being on the pulse of rich and thriving art communities. These spaces are where conversations and discourse occur, and where creativity can blossom without boundaries. It is in these spaces where opportunities for experimentation are fostered and encouraged. These and a myriad of other reasons are why RÝMD is an invaluable asset to the Reykjavík art scene, as it offers a unique glimpse into developing themes in contemporary art, particularly those of which are fostered within LHÍ. RÝMD first opened its doors in April 2017. It’s managed and programmed by a small group of current BA and MA students and exhibits

work by national, local and international students that are currently studying at LHÍ or equivalent institutions. RÝMD consists of our main space in Breiðholt, as well as our satellite video and media space, with our focus being on emergent practices. We’re interested in the work that is being created now by us: the upcoming generation of artists. RÝMD is a space to meet and connect with other like-minded individuals from both within our local community as well as the art world at large. Within our first year of programming, we have seen an impressively vibrant range of projects and practices that included tennis balls, piñatas, saunas, treasure hunts and so

much more. We have been able to bring in emerging artists and curators from Iceland, Norway, Sweden, Canada, The Netherlands, Estonia, Mexico, among other countries, for solo and group exhibitions, as well as performances and screenings. It’s been a pleasure to host such a diverse range of individuals and practices this last year. We’d like to thank LHÍ for the time and space to make this possible, as well as all the creative minds that have come through the space as artists, curators, thinkers, writers, organizers, and visitors. We could not have done it without you. If this is what our first year has brought forward, we cannot wait to see what’s in store for years to come.


Ágústa Björnsdóttir Birkir Mar Hjaltested Dan Theman Docherty Hillevi Cecilia Högström Hjördis Gréta Guðmundsdóttir Juliane Foronda

Index  Strange weather isn’t it? 8  Mother’s Garage 13  The Third Place 16  Sel það ekki dýrara en ég keypti það 21  Robot, Plant, Animal and Human 24  In such pure animal rhythm 29  GENGUR (mis)VEL 32  Dear Wilson 37  Test Driving Our Art Practices 40  M E R G U R 45  I’m your Venus - Sisterhood and Sauna 48  The thing must fit under the seat in front of you 53  INFRA 56  Ófjall 61  Root Border, Plant Defense 64  Café Aleppo 69  Paper Houses, Paper Paintings 72  Why would you do that 77  Sótt í ferli 80  Halló! 85  Værnes 90  blue is the colour of longing for the distance you never arrive in 93  What is the object? 94  Purgatory 97  List of Images 98

RÝ MD ' s main space is located at Völvufell 13-21 in Breiðholt. Originally a neighborhood bakery, and more recently, the previous home to Nýlistasafnið (The Living Art Museum), this space now holds LHÍ’s student-run gallery. Most of the floor is covered in red and yellow checkered tiles.

RĂ?MD Main space projects - 2017

Strange weather isn’t it? Put your hand out the window It’s approached much like a playground and is open to numerous My father watches the weather possibilities, activating every network for fun. He says that it’s sense. The works in this inaugural because he likes learning about exhibition are gathered from meteorological phenomena, but current students, alumni and I know that it’s mostly because faculty of the Iceland Academy he likes to be prepared for of the Arts and all allude to the the temperamental Canadian passing of time as they attempt climate. I check the weather to capture moments as they are by sticking my hand out of the fleeting. Strange weather, isn’t window for a few seconds to it? brings together work from gauge the temperature. I don’t Hildigunnur Birgisdóttir (Reykjavík), think he likes this very much, Bára Bjarnadóttir (Reykjavík) , but I’m okay with not knowing Vilde Løwenborg Blom (Bergen), everything so concretely. I prefer Hekla Dögg Jónsdóttir (Reykjavík), to experience the sense of wonder Florence Lam (Hong Kong/Reykjavík), and surprise – if there are no set Brigitte Louter (The Hague), expectations then it’s harder to Anna Hrund Másdóttir (Los get disappointed. My mind works Angeles/Reykjavík), as well as a piece differently when there’s room from the Living Art Museum’s to be curious and confused; it’s Collection. more fun when there’s room to By the window is Florence play. Lam’s The Particularities of a Place (2015). A mirror, a stool Here is this space, RÝMD. It’s nestled in the building that and a spray bottle are arranged used to house The Living Art in an undoubtedly intentional Museum’s exhibition space in way. This humble cluster of Breiðholt before their recent move objects is ambitious. It asks to the Marshall House. This for both faith and wonder; it former neighbourhood bakery already made me curious before turned artist-driven exhibition I knew of its capabilities. The space will now hold the newest more that I contemplate over student-run gallery supported this constellation, it reminds me by the Iceland Academy of the that sometimes just knowing of Arts. RÝMD hopes to create a the potential is enough. Florence space in Reykjavík for emerging supplies the tools to form a artists to experiment, as well as to rainbow, we just have to choose put an emphasis on developing to make it happen. themes in contemporary art from students within Iceland Brigitte Louter works within systems of prompting others and abroad. 8

22/4-30/4 to question what is truth, and what logic only exists within her headspace. Her Flashback/ Flashforward Machine (2017) questions the tangibility of time. A single flip can do just that – flip the past into the future or vice versa. Brigitte often uses simple presentation methods to display her personal bias in a way that lets the eye believe. As you continue to move through the space, this artificially sweet smell presents itself, dominating certain corners while existing as just a whisper in others. It leads me to think: can you see a smell? Vilde Løwenborg Blom’s Strawberry (2017) approaches the space and its viewers in a subtly aggressive way. Much like a body – following, lingering. You feel it. You want to see where it’s coming from, but you can’t. Ambiguous, uncomfortable, strange. Also sweet, but nearly to the point of overindulgence. Bára Bjarnadóttir addresses the feeling of FOMO (fear of missing out), by trying to replicate it. Derived from the writings of Alan Watts and Hito Steyerl, Dada Data (2016) employs a kettle and eyeglasses to mimic that sweaty upper lip that we all get when nervous. I know that feeling all too well. While Mr. Kettle grounds me in the current state of our time, I’m taken out of reality for a moment

by PB&J (2014), where peanut butter and jelly sandwiches float in this fluffy, cloudy, pale pink abyss. It’s as if this print is a snapshot from one of my dreams; I can only dream of falling into a world that is this perfect. Moment (2005) lends a space for the mind to (re)consider what can often be perceived as constant or understood. Hekla Dögg Jónsdóttir asks us to focus on how inconsistent these constants are. She employs a line on a sail to demonstrate how short (or long) a moment can be as she tries to level it out with the horizon line. This piece gives room for us to exist in the moment for however long it lasts. The walls support the offerings of Hildigunnur Birgisdóttir’s found artifacts. Arranged quite modestly, objects that are often regarded as trash are elevated into these strikingly sculptural beings. Like bodies, they have an undoubtable presence. A Couple of Couples (2015) is a painted metal rack that holds a collection of found paper, and A Thing (2015) simply hangs. I feel like I should have so many questions but I don’t, even though these arrangements ask for our time to decipher the supposed logic that Hildigunnur has placed onto them. I believe in her personal logic even if I don’t entirely get it.

work of Anna Hrund Másdóttir. Untitled (Pyramid) (2015) leaves me torn in a surprisingly strong way. Half of me wants nothing more than to knock down this pyramid in order to let the cheeseballs free. The other side of me feels so incredibly satisfied by Anna’s meticulous formation that I’m prompted to build a vitrine around it so no one can harm its perfection. I have yet to know in which way these cheeseballs should exist, but for now, they’re organized neatly atop a milk crate. Her Untitiled (Tapestries) (2016) provide a moment of tranquillity as they float so effortlessly in the space, offering mystical coloured shapes and shadows onto all that surrounds them. They have this way of existing in the moment while also remaining timeless.

Within this space is also a fisherman’s mitten. A donation to Nýlistasafnið’s collection of the final work from a class lead by Steingrímur Eyfjörð in 1995, this object is curious in many ways. Why a mitten? Why two thumbs? Why is it filled with student projects? There are various paths for the mind to fall in and out of when contemplating the peculiarities and complexities of this object. What normally keeps the hands warm now cradles this collection of work awkwardly, in the most pleasant way. It’s kind of nice that I can’t quite put my finger on it even We are again presented with a though it has space for two. self-generated system within the

Hildigunnur Birgisdóttir Bára Bjarnadóttir Vilde Løwenborg Blom Hekla Dögg Jónsdóttir Florence Lam Brigitte Louter Anna Hrund Másdóttir As concrete and structured as time appears to be, there also exists so many inconsistencies. Here, in this space are a collection of experiments that attempt to preserve things that want to be free. Sometimes it’s better to just let things be. Sometimes we step outside and it’s colder than we thought. Sometimes we stumble upon a mitten with two thumbs.

- Juliane Foronda 9



Agnes Ársælsdóttir Alex Fretin Alma Balmes Almar Steinn Atlason Annie Eliasson Antonia González Alarcón Ásbjörn Erlingsson Beatrice Kejsely Bolstad Borghildur Tumadóttir Brigitte Louter Clemens Baiker Erla Auðunsdóttir Guðrún Sigurðardóttir Harpa Másdóttir Ingeborg Jørgensen Tysse Janne Schipper Jökull Helgi Sigurðsson Katrín Helga Andrésdóttir Lea Abendstein Nils Gunnars Sarah Rinderer Shani Leseman Stefán Hermannsson Valur Hreggviðsson Æsa Saga Otrsdóttir Árdal


Mother’s Garage 12/5

A one night show using RÝMD Gallery as a meeting point. You will be transported to a series of exhibitions situated at locations spread out over the city of Reykjavík.

Rýmd you'll be given a tour to the locations with an official guide.

There will be a bar and tarrot card reading at the gallery, as well as a map of all the The night starts at Rýmd, different locations with a where you will be taken sample of the artwork shown, by cars to several different so you can chose what you locations in the city. want to see! If you have a car, or really like HAVE A WONDERFULL to walk, you can use the map LIFE AND HOPE TO SEE to see where all the different YOU THERE places are, but if you come to




The Third Place The duality of digging, while ,,The third place” er innsetning you dig, you bury your hands unnin í samstarfi sem að kanyou inearth while you unearth. nar mörkin á bæði líkömum okkar og hugum okkar, stefnan The third place is a collaborative er að skilja hvernig staðsetning installation that explores the og umhverfi hefur áhrif á limits both of our bodies and skynjun okkar. Hvernig við our minds; aiming to understand sjáum rými og skilgreinum how location and landscape það. affect our perceptions. How we appropriate space and signify ,,The third place is where it as knowledge. the object of study and the infrastructure of the The third place is where researcher becomes a place of the object of study and the convergence.” infrastructure of the researcher becomes a place of Það er þunn lína á milli convergence. There is a thin raunveruleika og frásagnar. line between reality and the Eyja mun alltaf minna okkur narrative of it. á mörk líkama okkar. An island will always remind us of the limits of our bodies ,,The duality of digging, while you dig, you bury your hands you inearth while you unearth.”



Annie Eliasson Antonia Gonzรกlez Alarcรณn

cargocollective.com/annieeliasson annieeliasson1@gmail.com antoniagonzalezalarcon.tumblr.com 17



Bergur Nordal Harpa Dís Hákonardóttir Hjördís Gréta Guðmundsdóttir Hákon Bragason Katla Rúnarsdóttir María Lind Sigurðardóttir Nína Kristín Guðmundsdóttir Sigrún Erna Sigurðardóttir Ólöf Björk Ingólfsdóttir Ósk Gunnlaugsdóttir Óskar Þór Ámundason


Sel það ekki dýrara en ég keypti það 10/6-11/6

Verið velkomin á opnun sýningarinnar „Sel það ekki dýrara en ég keypti það“ hjá fyrsta ári myndlistadeildar Listaháskóla Íslands. Sýningin er samstarf nemenda sem voru að ljúka sínu fyrsta ári í BA námi við skólann og hafa unnið í samtali við hvort annað og prófessora skólans, sýningin er sett upp með aðstoð Bjarka Bragasonar, lektors og fagstjóra við Myndlistardeild Listaháskólans.

Please join us for "Wouldn't Sell it Short", an exhibition of works by the recentlyfinished first year of the Iceland Academy of the Arts' fine art department. This exhibition is envisioned as the result of a years’ worth of dialogue between these 11 students, their professors and contemporaries. Being a collaborative effort, it is composed of the individual works of all these students, and curated by Bjarki Bragason, BA Programme Director. Wouldn't Sell it Short will be exhibited in RÝMD, the new student-run gallery space supported by the Academy. This exhibition is derived solely from individual works produced by these students over the course of this year; both independent artworks and those created as part of their studies are included.




Robot, Plant, Animal and Human Florence Lam’s work principally encompasses the passing of time in conjunction with herself as a human catalyst or focal point, whereby she inte-racts with her “materials” in such a way as to alight in them a further meaning or purpose. In this way, Florence is quite like a magician; in that she uses an apparatus of consequential actors. She orchestrates this with the voice of both whimsy and wonderment to speak to the audience’s sense of childhood, whilst maintaining a qualitative and altogether studied approach to her interaction with the performance and the viewer, who can occasionally also be an experient. The work Robot, Plant, Animal and Human continues this elemental approach while introducing a new factor to the work; Florence’s co-performer, Týri (b.2009). Up until now, Florence’s performances have been largely with the use of inanimate materials, which she has treated as equal actors within the context of a universal acceptance and respect. The introduction of Týri to this performance brings to the fore Florence’s intrinsically symbiotic approach to her performances, where it is now visualised more due to both Týri’s presence and his interaction 24

with the vacuum cleaner. This is indicative of both Florence’s natural standpoint as a choreographer or an introducer in her performances, where she reacts to the intransigence or anachronisms of her material performers. In this case, Týri’s performance is largely connected to his reaction to both plant, robot and human. Whilst Florence remains the lynchpin that has brought the other three together and in a way coordinates their interaction, T ý r i ’s p a r t i c i p a t i o n i s relatively dependent on him as an individual. Whilst the reactions of the robot and plant can be expected, there is an experimental nature to this interaction where Florence is almost identifying and cataloguing the reactions rather than participating, much like a scientific researcher. Florence’s previous work Gravity exemplifies this research - and theory-based practice, where she stood unclothed on a set of scales as her weight in kilograms was projected onto a wall, whilst she ate an apple to determine whether the apple would affect her weight in real time. It is this kind of interaction with objects or results which informs Florence’s practice, and demonstrates most prominently her ability to effect a qualitative, rather

23/6 than quantitative, result. The element of chance continues to play a role in Florence’s work; within Robot, Plant, Animal and Human, she specifically uses the indeterminable qualities of a number of material actors to create a distinctly harmonic environment, wherein Týri, the tennis balls, and the vacuum cleaner are all acting independently and relatively unexpectedly (or uncontrollably). However there remains a strand of control to this, where these actors can be expected to act within a set of reasoned outlines. In this, Florence is aware of Týri’s demeanour, the general routine of the vacuum cleaner, and the expectations of the tennis balls - the tennis balls will likely not begin to clean, nor should the vacuum cleaner begin to bounce around the room. This can be linked to Florence’s practice of a studied type of magic, as seen as in The Artist Disappears, where the audience is brought under the illusion of her disappearance. Similarly, in this performance, the audience could be brought under a similar type of spell, either by Týri’s interaction with the vacuum, or Florence’s interaction with Týri. It remains to be seen, however, what exactly will

happen on the night of this performance. Maybe all the actors concerned will act perfectly ordinarily until the very end of the night, at which point havoc will break loose. This could be the night that Florence discovers her own fear of tennis balls, or Týri’s fear of plants. We will have to wait and see.

Florence Lam Florence Lam (b.1992), originally from Hong Kong, obtained her BA in Fine Arts from Central Saint Martins College of Art & Design, London, UK (2014) and MA Fine Art at Iceland Academy of the Arts, Reykjavik, Iceland (2017). She focuses on performance from a sculptural point of view surrounding themes of wonder, magic, child and positive psychology. Florence Lam (f. 1992), upphaflega frá Hong Kong, útskrifaðist með BA gráðu í myndlist frá Central Saint Martins College of Art and Design, London, UK (2014) og MA í myndlist frá Listaháskóla Íslands (2017). Hún einblínir á gjörningalist með hliðsjón af skúlptúrgerð, og umvefur verkin með upplifun barnsins af ævintýrum, töfrum og jákvæðri sálfræði.

- Dan Theman Docherty

http://www.florencelamsoyue.com florencelamsy@gmail.com 25



Elísabeth Birta Sveinsdóttir Act I. She moves through this space, on loop. She walks along the edges, carefully. She moves (slowly) crawl repeat crawl Slow down, and count: Left hand, right hand - right knee, left knee One two three four (five six seven eight nine ten) The space between the breaths She takes; the space between the steps She makes. (step) The movement(s) She does and the feeling(s) behind them:

On loop:

She moves through the space. tracing traces carefully Catching every corner, right on every edge. Stage, staging, stepping. the beat, the rhythm silenced From one to the other, on and the pulse, the rhythm. on The times She’ll wait (and on) and on and the times She’ll relocate. traces, tracing carefully. I’ll bruise simultaneously; crawl, crawling, cold. Again and again, (step step) She moves through this space. Eyes strengthen, move, fixate. Her eyes soften, move slowly, slower. still. Stage, staging, stepping.

www.elisabetbirtasveinsdottir.is 28

- Juliane Foronda

In such pure animal rhythm 15/7




GENGUR (mis)VEL The group came together naturally as there is a subtle common thread in all of our works. Our interest in the material itself is critical as it presents itself in varied ways through our different studies in fine art and product design. We intend to examine these merging borders as well as our personal reflections. We therefor will use the space to show our works and processes in this material examination, both in two dimentional and three dimentional form.



Íris Indriðadóttir Helena Margrét Jónsdóttir Katla Rúnarsdóttir Ólöf Björk Ingólfsdóttir Signý Jónsdóttir




Ieva Grigelionyte See Touch Hear Smell Taste was written by Juliane Foronda in response to Dear Wilson at RÝMD.

This act of experiencing, it to this glow. Perhaps we should infiltrates everything. Like a just exist in it. veil or film over all that’s in proximity. If you plant a seed, you expect it to grow. Is this more about the (re)action rather than the outcome? Do you care what it grows into or just that it does? There seems to exist this level of ownership, of care. I could say the same for how our minds develop thoughts.

I immediately fall into this sea of fluorescence. I’m not sure where it’ll take me yet, but I don’t feel the need to leave anytime soon. It feels flat yet limitless, this lazy river of neon. I’ve never experienced something so concentrated at this scale before. It’s It gets me to think about what surprisingly more soothing makes something what it is. than you’d expect. What does it take to know something well enough to I wonder if I rub a tennis ball think you know it entirely? Do enough if it would become you have to make it yourself in smooth; it already shines. order to understand its integral Like a snake sheds its skin, properties, or does studying or I think a tennis ball can too. existing with something (or But without that glow, can I someone) long enough give still call it that? us this knowledge? Falling deeper into this space, it leads me to think: which one is the one? (and do we only get one?) That never seems like the right way to choose or be chosen, from a multipack.

The more time that passes, the more that you begin to experience this sense of wonder in unexpected ways: you hear what you thought you’d see, you see what you thought you’d feel. This cluster of experiences is unlike anything I’ve dealt with before. But then again, since it exists because of such ridged engineering, is there still room to be unique?

This monotonous rhythm of their everyday: mechanical, methodical, manufactured, made. This helps me notice the passing of time while still staying in it. The repetition, I mean. It’s nice to have a pattern that you can’t see. Here, in this space exists many Raw yet fake, found yet fabri- questions, yet none of them cated. Positive and negative. seem important in comparison 36

Dear Wilson 1/9-10/9

Dear Wilson var einu sinni byrjunin á bréfi sem átti að sendast til tennisboltaframleiðanda, en hefur nú orðið að sýningu. Orðin hafa verið þýdd yfir í munstur og fyrirspurnirnar yfir í blæbrigði sterkta lita. Hljóðin frá verksmiðjunni voru blönduð við barnslegar tilraunir til að gróðursetja tennisbolta í blómapotta. Myndu þeir vaxa?

Dear Wilson was once the beginning of the letter to a tennis ball manufacturer, which now has been transformed into an exhibition. The words have been translated into patterns and the inquiries swallowed by intense colours. The sounds of the factory have been blended with naive attempts to plant tennis balls in flower pots. Would they grow?

Það virðist vera svo að framleiðslan sé ferli nákvæmrar röðunar. Hver einasti hlutur sem er gerður, er fullkláruð vara mynduð með nákvæmri endurtekningu: það gæti verið þessi tennis bolti, eða hinn boltinn, það skiptir ekki máli hvor því þeir eru allir eins. Býður sambandið á milli einstaklingsins og fjöldaframleiðslunnar upp á rými fyrir ímyndunaraflið til að njóta sín? Kaupum við bara einhverja hluti, eða getum við trúað á tennisboltafræ?

It seems as if manufacturing is a process of total alignment. Every object that comes out, finished, is the product of an immense regularity: it could be this tennis ball or that tennis ball, it doesn’t matter which because all are the same. In the relationship between an individual and mass production, is there any room for imagination? Do we just buy anonymous objects, or can we believe in tennis ball seeds?




Test Driving Our Art Practices Mesdames Jónsdóttir & Mesdames Jónsdóttir & Sveinsdóttir kynna með stolti: Sveinsdóttir proudly present: HVERNIG VERÐUM VIÐ RÍKIR OG FRÆGIR LISTAMENN? HVAÐA LIST VIRKAR BEST???


Næsta föstudag er þér boðið með okkur í æfingaakstur á myndlistasýningunni ÆFING Í LISTSKÖPUN (LÍKA PARTÍ). Til sýnis verða eftirmyndir af nokkrum frægustu listaverkum 20. aldarinnar sem við höfum unnið að hörðum höndum síðustu misseri. Listaverkin verða piñjötur og drukknir listneytendur munu eyðileggja þau.

On friday you are invited to a test drive of the art exhibition TEST DRIVING OUR ART PRACTICES (ALSO PARTY) where we'll show replicas of some of the most famous artworks of the 20th century. PLOT TWIST: the artworks will all be piñatas and will all be destroyed by drunk art consumers.



Sigrún Gyða Sveinsdóttir Hildur Elísa Jónsdóttir




Anna Andrea Winther Hillevi Cecilia Högström Sarah Maria Yasdani Svanhildur Haraldsdóttir

MERGUR NAFNORÐ (KARLKYN) marrow; core; pith; medulla; Orðasambönd: mergur málsins: gist of the matter

annawinther.com hillevihogstrom.com sarahmariayasdani.com svanhildurhalla.com 44

To g e t h e r w e p r o p o s e a coalescence of our individual practices under the common denominator ‘Mergur’. In the collaborative show ‘Mergur’ we are exhibiting the core of four different artists works. Connecting and corresponding thought patterns, suggesting different translations, creating resonance. Matter in our works has the ability to communicate or speak an own language – bouncing of each other we aim to create a common language that is difficult to access through any other means; Other than art. The term mergur for me means looking beyond the

MERGUR 22/9-1/10 surface of something and seeing it for what it is. Being able to cut to the core and peel away all the layers to reveal what is behind it all. The work will be made from raw materials that have been stripped away of their origins and given a new purpose by human intervention. I want to work with them by researching their origins and their natural value in contrast with what their purpose is to human culture and how they have been processed. Making both worlds visible and the interconnectedness between them, therefore making an attempt to reveal some sort of poetical core. Examples of materials that will be used: Processed honey, raw honey, food grade charcoal, dried pigs blood, rabbit glue and moss. I have a belief that past could be written on much larger scales. Through my work I am not suggesting an explanation but creating alternatives. Drawing on our experience of the natural world, my work for ’Mergur’ wishes to create an expanded sense of what is beyond the purely visible. Engaging with forces that are too intangible and immense for us to experience in other ways, I seek visual means to make the incomprehensible approach the tangible, by

giving it new materiality. My work suggests moments in time that exist beyond our perception and our presence. By the use of geological matter I concentrate divergent timeframes proceeding from the theory of deep history. I translate scientific language to poetics for a broadening of our understanding of the innermost, the core – our finite existence. It’s at the core where you are most vulnerable and yet it’s also where your strength lies. Allowing yourself to be vulnerable is a very powerful act. Opening up and exploring the most central parts of you requires a bit of nerve but out of vulnerability comes creation. In my work I take what is close to me and start with my experience. Objects connected to memory can be used to communicate and tell a story. Films my father recorded, books from my grandfather or my blue dress contain information and stories. Stories that can be interpreted in countless ways, and it’s really up to you. What do you read out of it. Það er mergur málsins. Just as the 21th century has manifested as a reality for the people of the world; There’s a significant number of alarms called in to the

marine biology institutes of Sweden. In the archipelago of Sweden’s northern west coast both the local marine biologist conducting standard surveying, and the general populace discover a new species in Skagerrak. And as it turned out, it was there to stay. My work for Mergur consists of a video and biological archival samples of the native and invasive oyster in Skagerrak. The video has a voice over narrative relating my family’s experience with the discovery of the new oyster. I’m thus returning to my memory of the discovery of the Crassostrea Gigas in Skagerrak in order to get to the core of how this has developed a forced restructuring of the ecosystem over the past 10 years.




I’m your Venus - Sisterhood and Sauna Sýningin byggir á áframhaldandi verkefni, Systralag og sána (Sisterhood and Sauna). Þá höfum við haldið sánukvöld fyrir konur þar sem þeim var boðið að koma saman, svitna og deila reynslu sinni.

Sisterhood and Sauna is an ongoing project taking place in saunas. The project explores the relation between cleanness and womanhood, inviting women to sweat and do sauna together, sharing experiences.

Á sýningunni I am your Venus veltum við fyrir okkur goðsögninni um sambandið milli konunna, hafsins og hreinleikans. Ástargyðjan Venus sem táknar bæði löst og dyggð mannana.

In the exhibition I am your Venus we explore the complex myths of women, sea and purity. Venus being a symbol both of vice and virtue.



Harpa Dís Hákonardottir Hedvig Shroeder Harpa Dis Hákonardóttir (student at Iceland Academy of the Arts) & Hedvig Schroeder (student at Valand Academy) Harpa Dís Hákonardóttir (nemandi við Listaháskóla Íslands) og Hedvig Schroeder (nemandi við Valand Academy)

harpadis.com harpadishak@gmail.com hedvig.schroeder@hotmail.com 49



Brigitte Louter Nikki Selser Shani Leseman

A song (drum, bass, keyboard, vocals) played on a loop on a nokia flip-phone A video projection with HET DING (30 seconds front view, 30 seconds back view) A photo series of 7 photographs on how to build HET DING 3 landscape paintings (acrylics on canvas 20x30 cm) A re-enactment video on how HET DING was built (7 min, Icelandic dubs, English subtitles) A lecture performance on how to best transport HET DING using an overhead projector Several mini-paintings stitched on the inside of the curtain (acrylics on canvas, dimensions vary) A plastic mold of HET DING for sandcastle making A miniature version of HET DING, scale 1:70 (wood, acrylics) A building-plan drawing for calculations and exact measurements of HET DING Some HET DING souvenirs for visitors, keychains and t-shirts (free for the taking) 52

The thing must fit under the seat in front of you 13/10-15/10

Somewhere towards the end of an attempt to bring het ding to Iceland a sound became apparent. The sound of cracking. Either from within the pinewood beams, the three sets of bones and joints holding the weight of a thing made too impractical to carry or ropes cracking by the idea of Icelandic wind. The cracking of brains that read airplane luggage-regulations and laughingly learn that the thing you would like to bring must somehow fit under the seat in front of you.

When entering R�MD first Nikki Selser’s handknitted woollen piece and accompanying sketchbookthoughts were presented. In the window still one could get some peculiar chips and a drink in the cheerful grappamixing station. After passing this entrance space one could walk through a slightly low opening in a black curtain, entering the checked-floor part of the space. Here everything to be seen is about HET DING: A grand outside sculpture standing in a Dutch meadow in Pijnacker, a collaborative project by Brigitte Louter, Nikki Selser and Shani Leseman. HET DING itself seems not to be physically present, but represented in the many forms of:




INFRA Viðfangsefni sýningarinnar eru samskipti. Jóhann vinnur með rýmið í myrkri þar sem standa munu skúlptúrar og myndir. Hann notast við innrauð ljós til þess að varpa á myndefnið en eina leiðin til þess að sjá hlutina í rýminu er í gegnum myndavél snjallsíma.



Jóhann Ingi Skúlason




ร sk Gunnlaugsdรณttir

osk.gunnlaugsdottir@gmail.com 60

Ófjall 3/11-5/11

Á sýningunni er saman safn þeirra verka sem standa uppúr hjá listamanninum á árinu. Umfjöllunarefni verkanna eru mörkin á milli persónulegs, opinbers, hvers sem er og hvers sem ekki er. Hvernig málverkið hefur áhrif á hugarheim fólks. Persónuleg skilaboð, samfélagsleg skilaboð, femínísk skilaboð.

The exhibition has collection of the artists works this year. The subject matter being the parameter between personal, public, what is and what isn’t. How painting influences peoples minds. Personal message, sociological message, feminist message.




Root Border, Plant Defense Infinite Body II-III-IV

Some plants can travel in space and time - and carry Clothing, bearing a history of their roots with them. Like passed time, encapsulated in the current state of me, like three glass boxes. Seeds have the current state of us. been attached to the garments and will with time weave into Lunaria Annua Sigrún Erna Sigúrðardóttir the fabric. Independent ecosystems It started with the material, have been created in which this crunchy round leaf that the water circulates. The made many different sounds plants produce oxygen as the and was so fragile. The plant daylight reaches them. The is in my memory, I have seen glass becomes the atmosphere, it through my whole life. The and the clothing and growth material came to me as a gift acts like planets. from my grandmother. This There is no definite end to plant is very dear to her, now, our existance thanks to the it is very dear to me. The plant life cycle. is called Lunaria Annua, it is a biennial plant so each harvest Floating Roots is very precious. The plant Yukari Nakamichi brings you happiness, luck and I have moved several times in money but only if you keep it my life. Each time I brought in a corner of a room. with me a plant. I was always encouraged by my plant when The Hunting of the S Clemens Baiker I see its growth. People move from their home Where shall I start the hunting land by various reasons. of the S? finding a place is difficult. Start at the dead end* of the Striking roots, sometimes in unnamed road. inhospitable surroundings - Turn your back on the sea. that is even more exasperating. Walk the unnamed road in the In Floating Roots, I take a direction away from the sea hint from a succulent. When until it ends in another road. a leaf departs from the Look straight forward over plant, it strikes roots. In this the Sæ-braut. You will see one installation, the translucent rock really straight forward box contains nothing but water over the Sæ-braut, instead and a few leaves. Yet, even in take the traffic light to the left. this improvised surrounds, Now approach the said rock they begin rooting within slowly. There is a gap under weeks. the rock facing the sea. Lay Æsa Saga Otrsdottir Ardal


10/11-12/11 down the gift** in front of it. therwise the residents will not be willing to hand over the treasure.***

Æsa Saga Otrsdottir Ardal is currently studying on her third year at the fine arts department in the Iceland Academy of the Arts. She is mostly working with sculptures and installations in mixed media, often including organic materials which makes the works change and develop with time.

Clemens Baiker Sigrún Erna Sigúrðardóttir Yukari Nakamichi Æsa Saga Otrsdottir Ardal

Yukari N Osaka, From Japan. Currently living and studying in The Hague, Netherlands. „What I am interested in is that even though we are grown up in different environment and culture, sometimes we have common memory or behavior. Through my art work, I share my personal memory and mental images with people. I hope my work could trigger the viewer and reflect in his own perception through common interests or relations.“ Sigrún Erna Sigurðardóttir, is currently studying on her second year at the fine arts department in the Iceland Academy of the Arts. Sigrún works in many medias in her art and is now working mostly on two dimensional artwork. Clemens Baiker (25) studies at the State Academy of Art and Design Stuttgart. He works with game structures, interactivity and fiction.

clemensbaiker@gmail.com sigrunesig.is yukarinakamichi.co aesasagaardal.com 65



Kristín Karolína Helgadóttir Kristín Karólína, lives in Antwerpen, studying in KASK in Gent.


Café Aleppo 18/11-19/11

The bells are ringing and the lights are blinking – but it ain’t Christmas jet. It’s warning signs. Then it’s time to put one’s house in order.

Bjöllur klingja og ljósin blikka, en það eru ekki komin jól. Þetta eru viðvörunarmerki. Þá er kominn tími til að gera hreint fyrir sínum dyrum…

>>Memory full << Out of storage >>Can’t be saved

>>Memory full << Out of Storage >>Can’t be saved

Here we have work to do which can't be escaped. Unite hands and find one’s feet again, bind loose ends, cut the string, build up, put in contact, charge the battery, make a phone call, answer the phone, send a mail, unlock the door, pour into the glass and press PLAY. Mist of global leftover leaves footprints in a slush in Prophetess Mountain (Völvufell) Is somebody home? have I lost it, it was here just a moment ago, wanted to be something else, some of it exploited other went for a walk…. was it something, at any point? dream? an idea about a dream or an idea inside of a dream. “It´s almost an object,” he said before the alarm rang. I'm lost in upper hemisphere – prophetess well hidden. But like the Lion King, Mufasa once said: It’s the circle of life And it moves us all Through despair and hope

It’s the circle of life And it moves us all Through despair and hope Molar hnattrænnar þoku skilja eftir sig fótspor í slabbi í VÖLVUFELLI

Þetta er: „næstum því hlutur“ sagði hann þegar hann opnaði augun áður en vekjarklukkan Hér er verk að vinna sem hringdi. ekki verður umflúið þó flugið hafi gengið vel. Taka saman Kristín Karólína sýnir úrval höndum og fótum, rétta úr úr ferðatöskunni kútnum, binda lausa enda, klippa á strenginn, byggja upp, setja í samband, setja í hleðslu, slá á þráðinn, svara í símann, senda póst, taka úr lás, hella í glasið og ýta á PLAY! Þegar hlutirnir taka til máls má hugsunin hafa sig hæga, hún getur allt eins pakkað niður í ferðatösku og hypjað sig austur á bóginn – Duhopp Asia express en þunglamalegir fæturnir eru hvergi á förum. Er einhver heima? er ég búin að týna þessu, það var hérna rétt áðan, vildi vera eitthvað annað, sumt sprakk og annað fór á flakk… var þetta annars eitthvað, einhverntímann? draumur? hugmynd um draum eða hugmynd í draumi. Ég er villt í efra heilahveli – Völvan vel fallin. En eins og konungar ljónanna, Mufasa sagði:




Paper Houses, Paper Paintings “Paper Houses, Paper Paintings” is an exhibition of work by Aissa Lopez and Shea Dalton. Lopez works with photography and Dalton’s works are gouache on paper. Both artists are influenced by their environment, interpreting the ephemeral occurrences in the home or the wider environment. There is a consideration of atmospheres created by light,form and space; an appreciation for the temporary juxtapositions to be found in the city, the planned architectural coming up against the more lived human element.



Aissa Lopez Shea Dalton




Juliette Frenay Hanne Korsnes Nína Kristín Guðmundsdóttir Juliette Frenay (France) is doing her second year Master. Hanne Korsnes (Norway) is doing her third year Bachelor. Nina (Iceland) is doing her second year Bachelor. They all study in the Fine Art department of the Iceland Academy of the Arts.

hannekorsnes.com juliette.frenay@gmail.com gudmundsdottir15@gmail.com 76

Why would you do that 1/12-3/12

I just need to extend myself enough. To grab. To gather. To stay. Something forever escaping. I reach into my body, gather the things that I don't want to forget and pull them out. Too much world became available. It does not pretend to be from it. The window is my opening to another world, a possibility to observe what is happening on the other side of the barrier that is containing me. I can be passive and observe from afar. Or I can smile, wave, maybe even knock on the glass. To move. To emerge. To reach. I’d like to dive into it without breaking my teeth. Not as an individual, but as a tool




Sótt í ferli Blautt Ferli Lýsir þeim breytingum á hlutnum sem ljósmyndin er hefur tekið. Skref sem voru mikilvæg til að pappír yrði að ljósmynd. Ferli sem nú er orðið ósýnilegt og ósnert fyrr en myndin kemur tilbúinn. Dökkur djúpur liturinn sem við sjáum á skjánum er orðin flatur. Rauður hverfur fyrst í myrkrinnu og er þess vegna felulitur í sjónum, og þess vegna er peran rauð í myrkrarherberginnu. Þar fer pappírinn í vökva, gegnsætt. Við sjáum myndina birtast. Þegar pappírinn er svo blautur í gegn hefst þurrkunnar ferli. sem veldur því að pappírinn tekur á sig sitt eigið form. Það eru líkamleg tengsl við pappírinn og vatnið sem sem er að hverfa úr ljósmyndinni verður ósýnilegt, þurrkun tekur um.þ.b. 15 sek.


Bleik Afleiðing Gegnsæ filma, það sem er sérstakt við slides myndir er að þær eru jákvæðar, ég tek upp brún umslög, hringlótta pakka, sýningar varpa, þykkt gler, gegnsæjar filmur, ílangir plast ferningar merktir; með Pétri á flugi, ferð í Gallal. skóg, landréttir, snæfellsnes og flatey 1966, guðmundur ä Sólvöllum, minningar á tíma áður en ég varð til. Týni upp litla ferninga og sting þeim inní skanna, skoða þær á skjá sem er jafnstór og ferningarnir. Eins og flest sjónrænt efni í dag sjáum við myndirnar í gegnum ljós. Valdar eru bleikar slides myndir sem leiddi mig til hugtaksins um rósrauð gleraugu og hvernig við erum vön að líta fortíðinna með þessum filter. Orsök afleiðingarinnar er ófundinn.


Sýningin talar um breytingar sem vatn veldur á umhverfi sínu, við inngang sýningarinnar eru tveir slæds sýningavarpar sem varpa mynd á vegg og áhorfendur þegar þeir stíga inn í sýningarrýmið. Myndirnar verða ein bleik mynd og skuggar. Fjarstýring hangir í augnhæð sem gestir geta notað til að breyta myndinni á veggnum, viðvarandi er önnur mynd af öldubakka, hinar myndirnar eru af fólki, útá sjó eða langt inní landi komandi af fjöllum og ofan á jöklum. Við hlið fjarstýringarinnar hangir svarthvítt ljósmynd af tveim fullkomnum holum í stein sem hafa myndast á ísöld og vatnið hefur holað steininn. Annað sýningarapparrat situr inní skúmaskoti á grófum veggnum og sýnir eina slæds mynd. Við því taka þrjár bláar ljósmyndir á veggnum, fjöll ljómynduð í rigningu. Bláa birtan kemur á móti þessari bleiku og setur okkur í samtímann. Í miðju sýningarrýminnu liggur ljósmynd ofan á niðurfalli, hún er sett á flot við upphaf sýningar og leyft að þorna. Myndin er svarthvít, tekinn beint ofan í hafið við bryggjukantinn. Áhorfandi er settur í sömu stellingu og ljósmyndari. Fyrir ofan myndina hangir hlý ljósapera. Önnur smærri ljósmynd liggur á öðru niðurfalli sem hefur fengið að þorna fyrir opnun sýningarinnar, sú mynd er af annari holu mótuð af vatni.

Í öðru horni rýmisins liggur vatnskanna, spreybrúsi og framköllunnar fat með ljósmynd og vökva. Ljósi er beint að vatni sem varpast á vegg. Þegar hellt er í fatið brotnar myndin á veggnum sem líkir eftir sólar geislum á hafsbotni.

Berglind Hreiðarsdóttir

berglindhreidarsdottir.com 81



Andri Þór Arason Anika Laufey Baldursdóttir Anna Vilhjálmsdóttir Atli Pálsson Auðunn Kvaran Birkir Mar Hjaltested Daníel Ágúst Ágústsson Didde Borup Larsen Einar Lúðvík Ólafsson Gréta Jónsdóttir Hólmfríður Guðmundsdóttir Kristján Thorlacius Finnsson María Lind Baldursdóttir Matthildur B Sigrúnardóttir Rakel Andrésdóttir Renate Feizaka Sara Björk Hauksdóttir Silfrún Una Guðlaugsdóttir Sólbjört Vera Ómarsdóttir Tara Njála Ingvarsdóttir


Halló! 15/12-17/12

Halló! Í lok annar héldu nemendur fyrsta árs í myndlist samsýningu. Markmið hennar var að hver þátttakandi skyldi vinna verk utan háskólans og nýta tækifærið til að þróa hugmyndir sem ekki hafði gefist tími til að þróa í gegnum önnina. Þar sem þetta var fyrsta sjálfstæða sýning nemandanna var þetta um leið kynning á verkum þeirra í listheiminn Halló! Hér erum við!

Hello! At the end of the semester the first year students put together a group exhibition. The primary goal of the show was for each participant to produce a piece outside the university and give the opportunity to expand on ideas that hadn’t had time to be developed throughout the semester. As it was the first independant group show for these students it also served as their debut to the art world. Hello! Here we are!




RĂ?MD's satellite space focuses on single channel video and media-based work. It's located in the fine arts building of the Iceland Academy of the Arts at Laugarnesvegur 91.


RĂ?MD Video space projects - 2017


VĂŚrnes The film takes place in the spa area of a Scandic airport hotel. It rhythmically discovers the phenomena of the room, the first ripples betraying movement and reflected light dancing across tile. A starched crisp bath robe puckers at the surface, crackling as it hydrates. In one fell swoop it descends, waterlogged. Sunken and out of sight, bubbling still. At once the piece pulls into a nearly hypnotic depth, and refuses it with the flat irony of jungle wall paper framed by a steel grid.


Susanna Barlow Susanna Barlow lives and works in Berlin. She holds an MFA from Norwegian University of Science and Technology, and a BFA from the University of Alberta. Her lens-based practice examines the ecology of the self and non-human material world. Some recent exhibitions include EXIT at Trondheim Kunstmuseum (Norway), Kyoto Hanga 2016 at Kyoto Municipal Museum of Art (Japan) and Only By Analogy at Peggy Phelps Gallery in Los Angeles (USA).

VĂŚrnes, Susanna Barlow, 06:18, 2017

www.susannabarlow.ca 91

Katie Lawson Maddie Alexander Maddie Alexander is a Canadian artist practicing in Toronto, Ontario. They began their education at NSCAD University in Halifax, Nova Scotia, and completed their BFA in Photography at OCAD University. They have exhibited both locally and internationally, and received the Project 31 Photography Aw a r d i n 2 0 1 6 . T h e i r practice is multidisciplinary but manifests mainly in moving or still image, text, and installation. Their work combines gesture + language to explore narratives around queer identity, intersectional feminist discourse, and mental illness.

maddie-alexander.com 92

Katie Lawson is currently a student in the Master of Visual Studies Curatorial program at the University of Toronto, where she previously completed her MA in Contemporary Art. A writer, researcher and art educator, Lawson is the Art Editor for the Hart House Review and an advisory board member for Critical Distance Centre for Curators. She has lectured and participated in programming with Images Festival, The Gladstone Hotel, The Power Plant Contemporary Art Gallery, and Universities throughout Ontario.

blue is the colour of longing for the distance you never arrive in In the book, A Field Guide to Getting Lost, Rebecca Solnit offers meditations on the seemingly unending process of (dis)orienting ourselves, whether it be to a moment; to the world; to our selves. She writes of a generative potential — to be lost is to be fully present, and to be fully present is to be capable of being in uncertainty, with the opportunity for a transformative experience. This state may be a conscious choice; a chosen surrender; or a psychic state achievable through geography. Could it be that there is something inherent in a geographic mark or specific locality which facilitates a particular kind of experience? What does it mean to reflect upon a period of uncertainty once you have returned home, so to speak?

In thinking through the process of locating oneself through the lens of corporeal feminism and embodied subjectivity, RÝMD in Reykjavík and Y+ contemporary in Scarborough will co-present newly commissioned work by Canadian artist Maddie Alexander. During a recent visit to Iceland, Alexander spent their time embedded in an unfamiliar landscape, walking, writing and attempting to come to terms with prevailing feelings of isolation and disorientation. The resulting video work will be screened at the satellite space of RÝMD in conjunction with an extended body of work produced at Y+ as a part of the gallery’s new residency/exhibition model. It is accompanied by a publication collaboratively produced by the artist and curator.


What is the object? Entering the space you hear a female voice giving directions like put up your hands on the wall.. now slowly move your hands down. Moving into the room you see light from a screen. On the other side of a wall you see one guy kissing a wall, then another guy kissing another wall, still hearing the female voice giving directions. I want to put power structures and intimacy in to question. Who is responsible and who is active? Who is in power? What is the object? The work relates to fetishizing and Lacan’s ideas about giving other meanings to an object. I’m interested in the performative aspect. How does the actors and the spectators relate to the architecture? My voice directs the actors movements. I am curious to know if the situation create feelings of guilt and/or pleasure.



Emma Sjรถvall Emma Sjรถvall is currently studying at Bergen Academy of Art, working with installation, new media, performance and social situations. She sees her work as an ongoing dialogue, a process that takes different forms, aiming to create conditions for another kind of communication.


Kristen Rästas Kristen Rästas is an Estonian artist born in 1992. He is currently studying at the Estonian Academy of Arts in the fine arts masters program. Kristen has participated in public exhibitions since the year of 2012. He mostly creates paintings and video works.The artist's style has been described as 'expressive pop'. Kristen lives and works in Tallinn, Estonia.

kristen.rastas@gmail.com kristenrastas.tumblr.com 96

Purgatory 9/11-1/12

"In a world full of conflicts and jolts, in which humanism is being seriously jeopardized, art is the most precious part of the human being. It is the ideal place for reflection, individual expression, freedom and fundamental questions. It is a 'yes' to life, although sometimes a 'but' lies behind. More than ever, the role, the voice and the responsibility of the artist are crucial in the framework of contemporary debates. Christine Macel, Curator of 57th Venice Biennale The project deals with the hardships of being a young artist. It’s the time when one’s peers are pursuing their careers while for an artist there is no job application with a headline “artist needed”. I am questioning how much time does an artist need to spend on collecting ideas and really becoming ready. The project is a self-ironic take on how being an artist is often overly glorified while actually we also have our everyday needs which take a great part of our everyday routine. Doing the manicure implies for avoidance. It’s a preparation that never ends. The source of the sound: https://www.youtube.com/watch?v=VBlFHuCzPgY&t=2667s 97

List of Images Strange weather isn’t it? *Hildigunnur Birgisdóttir, A Couple of Couples, 2015. *Bára Bjarnadóttir, Dada Data, 2016. *Brigitte Louter, Flashback/ Flashforward Machine, 2017, Anna Hrúnd Másdóttir, Untitled (tapestries), 2016. *Bára Bjarnadóttir, PB&J, 2014. *Florence Lam, The Particularities of a Place, 2015. *Hildigunnur Birgisdóttir, A Thing, 2015. *Anna Hrúnd Másdóttir, Untitled (pyramid), 2015.

The Third Place Dear Wilson Annie Eliasson, Antonia González Ieva Grigelionyte Alarcón, 2017. Images courtesy of the Artist. Images courtesy of the Artists. Test Driving Our Art Practices Sel það ekki dýrara en ég keypti Sigrún Gyða Sveinsdóttir, Hildur það Elísa Jónsdóttir.

*Harpa Dís Hákonardóttir Ósk Gunnlaugsdóttir María Lind Sigurðardóttir *Hákon Bragason Sigrún Erna Sigurðardóttir Katla Rúnarsdóttir Bergur Nordal *Nína Kristín Guðmundsdóttir Mothers Garage *Óskar Þór Ámundason *Stefán Hermannsson, Hljóð Ólöf Björk Ingólfsdóttir fimmund / Silent bar’s, Gips 2017 Harpa Dís Hákonardóttir *Shani Leseman, infinitesmal, *Ólöf Björk Ingólfsdóttir 2017. *Katla Rúnarsdóttir *Almar korteri of Seinn Atlason, minnisvarði um það sem aldrei Photos: Hjördís Gréta var. remembering that which Guðmundsdóttir never was., sound installation, 2017. Robot, Plant, Animal and *Beatrice Kejsely Bolstad Human *Map Florence Lam, 2017. *Clemens Baiker, Steinepiele *Jökull Helgi Sigurðsson, 2017. Images courtesy of the Artist. *Valur Hreggviðsson, Ásbjörn Erlingsson ,,Kallarðu þetta In such pure animal rhythm list!?”, veggmynd, 2017. Guðrún Elísabet Birta Sveinsdóttir Sigurðardóttir, Killing time, Crocheted sculpture 40 cm x 40 Images courtesy of the Artist. cm, wool. 2017 Gengur Vel *Brigitte Louter, 2017. Íris Indriðadóttir,Helena Margrét *Alma Balmes, 2017. Jónsdóttir, Katla Rúnarsdóttir, Ólöf Björk Ingólfsdóttir, Signý Photos: Carl Boutard. Jónsdóttir Images courtesy of the Artists. 98

Images courtesy of the Artists. MERGUR *Anna Andrea Winther, Leki, 2017. *Sarah Maria Yasdani, Instrument of expanded perception, 2017. *Hillevi Cecilia Högström, Crassostrea/Ostrea, 2017. *Svanhildur Haraldsdóttir, Tapestry 2017. *Svanhildur Haraldsdóttir, Tapestry, detail, 2017. *Sarah Maria Yasdani, Instrument of expanded perception, detail, 2017. *Anna Andrea Winther, Leki, detail, 2017. Images courtesy of the Artists. I’m your venus Harpa Dís Hakonardóttir, Hedvig Schroeder, Sisterhood and Sauna, 2017. Images courtesy of the Artists. the thing must fit under the seat in front of you Brigitte Louter, Nikki Selser, Shani leseman. Images courtesy of the Artists.

Infra Jóhann Ingi Skúlason, 2017. Images courtesy of the Artist. Ófjall Ósk Gunnlaugsdóttir, 2017. Images courtesy of the Artist. Root Border, Plant defense *Æsa Saga Otrsdóttir Árdal, Infinite Body , 2017. *Æsa Saga Otrsdóttir Árdal, Infinite Body, 2017. *Yukari Nakamichi, Floating Roots 2017. *Æsa Saga Otrsdóttir Árdal, Infinite Body , 2017. *Yukari Nakamichi, Floating Roots, 2017. *Sigrún Erna Sigúrðardóttir, Lunaria Annua, 2017. *Clemens Baiker, The hunting of the S, 2017. *Sigrún Erna Sigúrðardóttir, Lunaria Annua, 2017. Images courtesy of the Artists. Café Aleppo Kristín Karolína Helgadóttir Images courtesy of the Artist. Paper Houses, Paper Paintings *Aissa Lopez, Installation view *Shea Dalton, Installation view *Aissa Lopez *Overview *Shea Dalton *Shea Dalton Images courtesy of the Artists.

Why would you do that *Nína Kristín Guðmundsdóttir, photo prints, 2017. Hanne Korsnes, embroderies on polyester veils, 2017. *Nína Kristín Guðmundsdóttir,.2017. *Juliette Frenay, video perfomance, 2017. *Juliette Frenay, video perfomance, 2017. *Hanne Korsnes, Loss of something you don’t know e, embroidery, 2017. *Juliette Frenay, video installation and sculpture, 2017. *Nína Kristín Guðmundsdóttir, clay and threads, 2017. Photos: Juliette Frenay. Sótt í Ferli

Susanna Barlow, Værnes, 06:18, 2017. Images courtesy of the Artist. blue is the color of longing fot the distance you never arrive in Maddie Alexander, Katie Lawson, 2017. Screening documentation. Photos: Juliane Foronda. What’s the Object? Emma Sjövall, Screenshots from video, 2017. Purgatory Kristen Rästas - Purgatory, installation view, 2017. Images courtesy of the Artist.

Berglind Hreiðarsdóttir, 2017 Images courtesy of the Artist. Halló *Gréta Jónsdóttir, 2017. *Atli Pálsson, 2017. *Auðunn Kvaran, Ambedo Kairosclerosis Morii, 2017. *Anika Laufey Baldursdóttir, Hvítt satín, 2017. *Renate Feizaka, A little memory (of my mother), 2017. *Solbjört Vera Ómarsdóttir, 2017. *Silfrún Una Guðlaugsdóttir, Johnny Cash síns tíma 2017. Photos: Didde Borup Larsen Værnes 99


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