An Invitation to Think Through Many Doorways: Interview with curator, Erin Honeycutt

An Invitation to Think Through Many Doorways: Interview with curator, Erin Honeycutt

An Invitation to Think Through Many Doorways: Interview with curator, Erin Honeycutt

4 Solo Exhibitions opened on February 5th at Listasafn Árnesinga Art Museum and are now on view until May 22nd

  • Þú ert Kveikjan / You are the Input by Ingunn Fjóla Ingþórsdóttir
  • Hringrás / Routine by Þórdís Erla Zöega 
  • Rólon / Roll On by Magnús Helgasson 
  • Buxnadragt / Powersuit by Lóa H. Hjálmtýsdóttir 

Artzine: What is the common thread running through these solo exhibitions?

Erin: The exhibitions are indeed separate but there is a common thread running through them and that thread is perception, the framing of perception, and the nature of the surface image. The exhibition also highlights art as a symbiotic system between the object and the observer, a kind of archaeology of the surface image where the surface has many layers. 

You can see with Ingunn Fjóla that the whole installation is a way of playing with the frame. It’s moveable and you set it into motion. There are also certain colors on the wall that are also framed while not necessarily being a traditional frame. It’s a very delicate look at the way we move through space, also. 

With þórdís Erla, the surface perception is about this material, this dichroic film that lets light in and deflects it. With her lightboxes, she takes the elements of what you know to be digital surfaces and she creates an imitation of a digital surface but it’s all analog which is fascinating. Also, there is a certain… routine, it’s about a routine that brings you into the nature of time as a framework and a surface image. 

With Magnús, it’s a constellation of materials. There’s a poem of objects in the room that don’t necessarily belong together but they all have an inner motor of movement that, once they are put together spark something. I always refer to him as a tinkerer- someone that doesn’t necessarily rest easily into the box of Fine Art, but instead rejects that box and looks for something else, or rebels against the idea of those rules and in that sense describes it very well in the rebellion against it. 

With Lóa´s work, there are so many ways to approach it and one that is particularly interesting to me is to relate to her paintings installed in the exhibition as one-panel comics, as akin to meme culture on the internet. There is a lore to them that is extremely public and private at the same time; an inside joke as well as the most publicly relatable incidents imaginable.

Artzine: What do the poems included in the exhibition publication bring to these threads?

Erin: Although not part of the exhibitions, but very important for me in thinking of them as a whole, is found in the publication printed on the occasion of the exhibition in which I chose poems both in English and Icelandic. I chose to do this because, for me as a person who writes about art, the perception of the image of the artwork is difficult to have a sense of without words so my writing about the artwork helps me to understand what I think and feel about the artwork. It’s almost like I am dyslexic to the image without writing. I found it to be a reflection of a way in which the works in the exhibition are about moving beyond ocular-centric perception, the perception that is just about the eyes and getting a sense of the artworks with an inner image as well. 

Artzine: What can poetry bring to more traditional art writing? 

Erin: The poetry interspersed throughout the catalog is next to more critical essays that are more strictly this category of ‘art writing’ as we know it. The poems provide a type of language for the reader that is more reflexive of an artwork rather than trying to describe or analyze an artwork. They’re more about a kind of language that is less about the critical mind and more about the sensing mind, about a language that has many doorways, inviting you to think through many doorways – it is not linear. 

Artzine: All of that being said, the exhibitions are still very light and fun, even playful – how does that tie in to the sense of surface perception that is being explored?

Erin: Yes, another thread that connects all of the exhibitions is playfulness and a sense of playfulness of surface perception and playing with the rules of surface perception. It’s very playful. I like the idea of difficulties and problems being welcome when you are playing. There’s no game without problems. You can’t play without them. So although the artworks don’t address problems in society directly, they highlight the necessity and inevitability of change in any environment, for sure. 

It is probably just a question of provoking the loud encounter,  la rencontre bruyante

It is probably just a question of provoking the loud encounter, la rencontre bruyante

It is probably just a question of provoking the loud encounter, la rencontre bruyante

Louane Lelu-Ribaimont

“We must learn to be at home in the quivering tension of the in-
between. No other home is available. In-between nature and culture, in-between biology and Philosophy, in-between the human and everything we ram ourselves up against, everything we desperately shield ourselves from, everything we throw ourselves into, wrecked and recklessly, watching, amazed, as our skins become thinner”

Astrida Neimasis – Hydrofemenism, or on becoming bodies of water /chapter 6; Ecotone

Sýningarstjórar/curators: Díana Gylfadóttir, Louane Lelu-Ribaimont

English below:

Verkið sýnir málmplötu sem hefur verið hömruð til að skapa lífræn form. Platan er staðsett utandyra í landslaginu, í snjónum, þar sem náttúrulegt ljós fellur á hana og lýsir hana upp. Við sjáum skugga af líkama sem reynir að mynda tengsl við formin og fanga þau. Skugginn getur í raun ekki náð formunum, hann getur aðeins flotið eftir yfirborðinu. Verkið fjallar um rými þar sem samfundur og tengsl milli landslags, líkama og efnis eiga sér stað. Það fjallar um skynjun á líkamlegum samskiptum við náttúru, rými og efni sem lætur okkur íhuga hvernig við erum tengd þessum þáttum.

Það er spurning um að kalla eftir flæði, að skapa flæði milli okkar og rýmis, landlags, efnis og hluta og vera opin fyrir því umhverfi sem við búum í og því sem býr í okkur. Í verkinu er leitast við að vera á brúninni, la lisiére, og býður áhorfendum að ganga á línunni, landamærunum, jaðrinum, á svæði umbreytinga. Þessi samfundur þátta sýnir okkur stöðugt flæði og viðvarandi samtal milli þeirra, þar sem þeir tengjast hver öðrum. Með því að mynda samband og reyna að tengjast umhverfi okkar, getum við séð skýrar hvernig mismunandi þættir koma saman sem heild.

Um listamanninn:

Louane Lelu-Ribaimont (Angers – 2001)  er að vinna að BA gráðu í listum við Myndlistarskólann í Nantes (Beux-Arts de Nantes) og hefur ákveðið að verja vorönninni 2022 við nám í Listaháskóla Íslands. Verk hennar er marglaga athugun á líkamlegum tengslum og birtist í gegnum margs konar miðla. Hún kannar líkama sem býr í heiminum, flæðir um í rými og hreyfingu og ber vitni um líkamsminni sem blandast skynjun, hugmyndum og myndum. Þegar hún gengur um kannar hún ferla og leiðir sem ætlað er að grípa og ræða nýjar upplifanir sem við rekumst á í umhverfi okkar.

Sýningarstjórar:

Louane Lelu-Ribaimont (Angers – 2001)  er að vinna að BA gráðu í listum við Myndlistarskólann í Nantes (Beux-Arts de Nantes) og hefur ákveðið að verja vorönninni 2022 við nám í Listaháskóla Íslands.

Díana Gylfadóttir er fædd í Reykjavík og er á öðru ári í Listfræði við Háskóla Íslands.

Sýning þessi var möguleg vegna stuðnings frá Lemmy bar

Sýningarstjórarnir  / The curators: Díana Gylfadóttir, Louane Lelu-Ribaimont
Innstallation view
From the opening.

The work shows a metal plate which was hammered to create organic shapes. The plate is placed outside in the landscape, in the snow, where natural light falls on the metal and illuminates it. There is a shadow of a body interacting with the shapes, trying to grasp them. The shadow can‘t really catch the forms, it can only glide on the surface. The work is about a space where meeting and interaction between landscape, body and material happens. It is about perception of our bodily communication with nature, spaces and materials that leaves us wondering how we are related to these elements. It is a question of calling on the porosity. Making our skin porous to spaces, landscapes, matters, objects. Being porous to what we inhabit and what inhabits us.

The work is about creating the meeting and provoking the fresh eyes; eyes that ask questions. Lines are thin between the elements, and not everything is clearly readable. It isn’t quite a sculpture, not quite a landscape, and not quite a body either. Nonetheless, the whole produces the one : the encounter.

Le tout crée l’un, ou plutôt l’unla rencontre. 

It is a project that seeks to inhabit the edge, la lisière, and invites its observers to walk along the line, the border, the periphery, the ecotone.

About the artist:

Louane Lelu–Ribaimont was born in Angers (France-2001) Her work is a multilayered exploration of physicality, revealing its essence through a variety of media. She explores a body that inhabits, flows in space and movement and bears witness to a memory body that superimposes perceptions, ideas and figures. As she is walking, she explores lines and passages, intended to catch and discuss new experiences we encounter in our environment.

Loop video, booklet – 2022

Curators:

Louane Lelu–Ribaimont (Angers – 2001) is currently pursuing a BA in ne art from the Beaux-Arts de Nantes and has decided to spend the spring semester 2022 in Iceland University of the Arts.

Díana Gylfadóttir was born in Reykjavík and is pursuing her second year studies in art theory at the University of Iceland. 


This show was made possible with support from Lemmy bar

The interview is part of a collaboration between Artzine and a new MA in Curatorial Practice at the Iceland University of the Arts.

Viðtalið er hluti af samstarfsverkefni Artzine og nýrrar meistaranámsleiðar í sýningagerð við myndlistardeild Listaháskóla Íslands á vorönn 2021.

Tumble-humble-weed


Tumble-humble-weed


Tumble-humble-weed


Ásgerður Birna Björnsdóttir

Sýningarstjórar/ Curators: Megan Auður, Neele Marie Denker, Katrín Helga Guðmundsdóttir, Mirra Elísabet Valdísardóttir

English below:

Sýningin býður áhorfendanum upp á margar víddir sem kanna gagnvirka möguleika líkamlegra og stafrænna sviða með áherslu á sjónarhorn minninga. Með skynfærin í huga skoðum við hvernig útvíkkun inn í sýndarveruleika hefur áhrif á skynjun okkar af minningu. Hér sameinast listin tækninni, þróun sem er að færast í aukanna í okkar samtíma. Hefur nostalgía áhrif á hvernig við berum kennsl á efnislega hluti í heimi þar sem stafræn væðing er orðin mjög hröð? Ljósmyndir teknar á snjallsíma af verkinu mynda 3D skúlptúr og er hann sýndur með alþjóðlegum aðgangi í gegnum streymi. 3D prentuð útgáfa af skúlptúrnum verður til sýnins.

Í verkinu “Tumble-humble-weed” vinnur Birna með lifandi efni, kartöflur. Skúlptúrinn er afsteypa af tveimur kartöflum sem hafa hvor um sig spírað. Þær eru síðan settar í mót með sandi sem myndar hjúp utan um þær og þar á eftir er málmblöndu hellt í mótið sem myndar skúlptúrinn. Langur og mjór stilkur úr málm blöndunni myndast á milli kartaflanna og tengir þær. Það má sjá ummerki af mismunandi lögum þýðingar í verki Birnu í formi spíranna, svörtu sandkornunum og álinu. Kartöflurnar veltast áfram og spírunarferlið heldur áfram í nýjum efnislegum víddum. Með ljósmyndun, streymi á vefsíðu Artzine.is og með 3D prentun á verkinu verða til fleiri lög og kartöfluspíran heldur áfram að vaxa í nýjum efnislegum þýðingum.

Listamaðurinn:

Ásgerður Birna Björnsdóttir (f.1990) er sjálfstætt starfandi listamaður með aðsetur í Amsterdam og í Reykjavík. Hún útskrifaðist með B.A gráðu í myndlist frá Gerrit Rietveld Academy árið 2016. Verk hennar hafa verið sýnd til dæmis í Kling og Bang, Nýlistasafninu, Elswhere Museum og á Listasafni Reykjavíkur. Á. Birna hefur unnið með miðla eins og vídeó, skúlptúr og innsetningar.

Vefsíða listamanns: http://bbbirna.info/

Sýning þessi hlaut stuðning frá Lemmy bar og 3dverk.is

Sýningarstjórarnir  / The curators, mynd til vinstri/Image in the left: Neele Marie Denker, Katrín Helga Guðmundsdóttir, Mirra Elísabet Valdísardóttir, Megan Auður. Right image: with the instagram filter.
Installation view.

Birna questions the daily assumptions she herself is guilty of concerning her own engagement with the world and the forces around her. Translating them into almost light-hearted material interactions she tries to trace the outlines of the nature of things: where waves become solid, matter becomes thing, nature becomes man and facts become truth. Using and activating matter of various consistency she creates works that take place on a broad scale of materiality. Birna is especially drawn to that which seems to exist on the verge of perception; the intangible, invisible and indiscernible play an important role contrasted with the concrete, voluminous and seemingly more important. 

Multidimensional exhibition exploring the interactive realms of the physical and digital spheres in reference to our contemporary perspective of memory. With the senses in mind, we will inquire how expanding into the virtual domain affects our perception of memory, as art increasingly combines with technology. Does nostalgia influence or condition how we identify with material objects in the current climate of rapid digitalisation? Photogrammetry of the exhibited sculpture will be displayed with international access through streaming. At the exhibition there will be a 3D printed figure of the sculpture. 

In Birna ́s work “Tumble-humble-weed” the artist makes use of organic living material, potatoes. “Tumble-humble-weed” is a sculpture that is a casting of two potatoes that have each sprouted. The potatoes are placed in a two piece mold with sand that forms a coating around them. Melted metal is then poured into the mold to form the sculpture. The metal pouring channel becomes a conveyer of connectivity, resulting in a long and narrow stalk, bonding the two potatoes as if perceiving alternate layers within the same spectrum. The varying layers can be seen in Birna’s work in the shape of the spear, in the traces of the black grains of sand, and in the metal itself. The potato tumbles on and the sprouting process is continued in new material dimensions. With photogrammetry, live streaming on Artzine.is, and 3D printing of the work in situ, digital layers are added creating an aspect of hybridity to the physical artwork. Thus the work is in constant flux, adding new layers and the potato sprout continues to grow in new material translations. 

The artist:

Ásgerður Birna Björnsdóttir (b.1990) is a visual artist based in Amsterdam and Reykjavík. She graduated with a B.A. in fine arts from the Gerrit Rietveld Academy in 2016. Her works have been shown in Kling and Bang, Nýlistasafnið, Elswhere Museum and Listasafn Reykjavíkur. Á. Birna ́s work can be seen within mediums such as video, sculpture and installations for various settings and platforms.

Artist website: http://bbbirna.info/

Contact: birnulingur@gmail.com

Instagram: @b__i__r__n__a

Link to Instagram Filter: https://www.instagram.com/ar/1218807015320699/

The curators:

Megan Auður (b. Reykjavík, Iceland, 1994) is an interdisciplinary art worker and community organizer currently based in Iceland. Her works explore pervasive myths of neutrality, through creating frameworks for dialog and support. Megan holds a BA in Fine Arts from HKU University of the Arts Utrecht (2020) and is currently obtaining a MA in Fine Arts from LHÍ, Iceland University of the Arts. In her practice she has co-initiated various long-term collaborations – such as the initiative Tools for the Times (2019- ongoing), and the advocacy group AIVAG, Artists in Iceland Visa Action Group (2021-ongoing). Megan Auður has previously worked with The Living Art Museum, Basis Voor Actuele Kunst, Kunsthalle Wien, and the Impakt festival. She is currently a guest lecturer at HKU University of the Arts Utrecht. www.meganaudur.art

Neele Marie Denker (b. 1993, Germany) is a spatial strategist, independent curator, and exhibition designer focusing on collective projects in physical and digital space. As coordinator of collectives and initiatives, she works on connecting and network building with artists and designers. Her tools are performative and collaborative, formats that range from exhibitions and workshops to interventions, installations, and scenography. Neele holds a BFA in Scenography/Interior Design. She is a Master’s Student in the Department for Spatial Strategies at the Muthesius Academy in Kiel, Germany. Currently she studies abroad at the Iceland University of the Arts in the Curatorial Practice MA. www.neeledenker.de

Katrín Helga Guðmundsdóttir (b.1997) is a 3rd year student at Háskóli Íslands with a major in art history and theory and a minor in media studies. This Happy Hour exhibition is her first experience of curating.

Mirra Elísabet Valdísardóttir (b. Reykjavík, Iceland 1988) is an Art History and Theory student at the University of Iceland. She is currently working at the Reykjavík Art Museum group specialising in visitor information. She has previously interned at I8 Gallery and Studio Ólafur Eliasson as an exhibition docent and digital archive curator. Her passion lies in creative exhibition writing and collective curatorial practice.


This show was made possible with support from Lemmy bar and 3dverk.is

The interview is part of a collaboration between Artzine and a new MA in Curatorial Practice at the Iceland University of the Arts.

Viðtalið er hluti af samstarfsverkefni Artzine og nýrrar meistaranámsleiðar í sýningagerð við myndlistardeild Listaháskóla Íslands á vorönn 2021.

Út frá einu og yfir í annað

Út frá einu og yfir í annað

Út frá einu og yfir í annað

Ásgerður Arnardóttir

Sýningarstjórar/ Curators: Klara Malin Þorsteinsdóttir, Lilja María Tómasdóttir, Thora Karlsdóttir

English below:

Ásgerður veltir fyrir sér meintu mikilvægi þess að flokka listaverk niður eftir miðlum. Það sem einkennir sköpunarferli hennar er leikur með sjónarhorn í gegnum endurtekningaraðferðina og sýningin einkennist þannig af ferðalagi skúlptúra gegnum heima, mismunandi miðla og tíma. Það mætti segja að verkin séu millibilsástand þess óhlutbundna og þess hlutbundna. Verður viðfangsefnið sem kannski var óhlutbundið í byrjun að hlutbundnu um leið og það er meðhöndlað oftar en einu sinni? Er það endurtekningin sem skapar hið hlutbundna? Og er yfir höfuð hægt að telja eitthvað sem óhlutbundið?

Verkin eru partur af stærri sýningu Ásgerðar, Út frá einu og yfir í annað, sem haldin var í Listasal Mosfellsbæjar í júní árið 2020. Á þeirri sýningunni tekur Ásgerður fyrir þrjá skúlptúra sem hún síðan varpar fram í mismunandi útfærslum og reynir þannig í hvert sinn að skapa nýja upplifun. Hún speglar þá fram og aftur í ólíkum miðlum til þess að fá enn dýpri tilfinningu fyrir þeim skúlptúr sem hún vinnur með hverju sinni. Með hverri útfærslu virðist eitthvað nýtt koma fram og ákveðnu einkenni gefið meiri gaum en fyrr.

Um listamanninn:

Ásgerður Arnardóttir (f. 1994) myndlistarmaður er með aðsetur í Reykjavík og Los Angeles. Ásgerður útskrifaðist með Bachelor gráðu í myndlist frá Listaháskóla Íslands árið 2018 og stundar um þessar mundir meistaranám í myndlist í California Institute of the Arts. Verk hennar hafa meðal annars verið sýnd í Listasal Mosfellsbæjar, Núllinu Gallery, Plan–B Art Festival og Kaffi Laugalæk.

Sýning þessi hlaut stuðning frá Skuggabaldur bar


Nokkrar myndir frá sýningunni / Images from the exhibition

Sýningarstjórarnir/The curators: Lilja María Hönnudóttir, Þóra Love, Klara Malín Þorsteinsdóttir


Ásgerður contemplates the alleged importance of categorizing works of art by their mediums. What characterizes her creative process is a play with perspective through the method of repetition and the exhibition is thus characterized by the journey of sculptures through the worlds, different mediums and time. It could be said that the works are the intermediate state of the abstract and the objective. Will the subject that may have been abstract in the beginning become objective as soon as it is dealt with more than once? Is it repetition that creates the objective? And can anything be considered abstract?

The works are part of Ásgerður’s larger exihibition, From one thing to another, which was held in Listasalur Mosfellsbæjar in June 2020. In that exhibition, Ásgerður takes on three sculptures which she then projects in different implementations, each time trying to create a new experience. She reflects them back and forth in different mediums to get an even deeper feeling for the sculptures she works with each time. With each execution, something new seems to emerge and certain characteristics are given more attention to than before.

About the artist:

Ásgerður Arnardóttir (b. 1994) is a visual artist based in Reykjavík and Los Angeles. Ásgerður graduated with a Bachelor’s degree in fine art from the Iceland University of the Arts in 2018 and is currently pursuing a master’s degree in fine art at the California Institute of the Arts. Her works have for example been exhibited at Listasalur Mosfellsbæjar, Núllið Gallery, Plan–B Art Festival and Kaffi Laugalækur.

Artist website: http://asgerdurarnar.com
Contact: asgerdurarnar@gmail.com
Instagram: @asgerdurarnar

Curators: 

Thora Love is a Visual Artist/Curator who is currently in the Masters program of Fine Arts in the University of Fine Arts in Iceland. Thora is also CEO of Artak.ehf, founder of Gallery Artak105 in Reykjavík and Residency Artak350 in Grundarfjördur, hosting visual Artists from around the world.

Lilja María Hönnudóttir is currently studying Art History in the University of Iceland. Before that she gained a Fine Arts degree from Fjölbrautaskólinn í Garðabær and attended the Fine Arts course in Krabbesholm.

Klara Malín Þorsteinsdóttir is currently pursuing a BA degree from the University of Iceland with a major in Art Theory and History and a minor in Philosophy from the University of Iceland.


This show was made possible with support from Skuggabaldur bar

The interview is part of a collaboration between Artzine and a new MA in Curatorial Practice at the Iceland University of the Arts.

Viðtalið er hluti af samstarfsverkefni Artzine og nýrrar meistaranámsleiðar í sýningagerð við myndlistardeild Listaháskóla Íslands á vorönn 2021.

The ants

The ants

The ants

Vitalii Shupliak

Sýningarstjórar/ Curators: Weronika Balcerak, Freyja Hafþórsdóttir

English below:

Vitalii Shupliak, kynnir ný verk byggð á sjálfsmynd og sýndarveruleika, með tilliti til þess hvernig stafræn væðing er að búa til nýjar leiðir til að byggja upp sjálfsmynd á vettvangi þar sem áþreifanleg fjarlægð er smækkuð og henni miðlað. Stafrænar og áþreifanlegar væðingar eru viðfangsefni vídeóverks hans, The ants. Myndavél súmar frá hóp af maurum, og sýnir áhorfandanum að sumir mauranna eru í myndbandi sem spilast á snjallsíma sem liggur á jörðinni, meðan hluti mauranna er raunverulegur og þeir ganga ofan á símanum.

Listamaðurinn:

Віталій Шупляк (f. 1993, Úkraínu) er listamaður og gjörningalistamaður, búsettur í Berlín. Hann vinnur mest með innsetningar og gjörninga. Frá árunum 2013-14 var Vitalii meðlimur listahópsins „Carrousel“. Árið 2014 var galleríið „Pi“ sett á fót að hans frumkvæði og hann hefur verið að þróa Kruta Art Residency frá árinu 2019.

Sýningarstjórar:

Weronika Balcerak (f. 1996) Búsett í Reykjavík, er myndlistarkona frá Póllandi sem vinnur með textíl, vídeóverk og prent. Verk hennar endurspegla deilurnar sem eru inngrónar í menningu heimalands hennar. Weronika stundar BA nám í myndlist við Listaháskóla Íslands.

Freyja Hafþórsdóttir (f. 2000) stundar BA nám í listfræði við Háskóla Íslands. Þetta er hennar fyrsta reynsla af sýningargerð.

Sýning þessi hlaut stuðning frá Lemmy bar.

Sýningarstjórarnir  / The curators: Freyja Hafþórsdóttir & Weronica Balcerak
Installation View

Vitalii Shupliak, presents new works based on identity and virtuality, considering the way digitalisation is enacting new ways of construction of the identity in a realm where physical distance is mediated and reduced. The digital and the physical realms are subject of his video work The ants a camera zooms out of a crowd of ants, revealing to the viewer that some of the ants are actually in a video played on a smartphone placed on the ground, while other ants are real and are actually walking on the phone.

The artist:

Віталій Шупляк (1993, Ukraine) is an artist and performer, based in Berlin. He mainly works with video, installation and performance. In 2013-14 Vitalii was a member of the group „Carrousel“. In 2014 he initiated „Pi“ Gallery and has been developing Kruta Art Residency since 2019.

Curators:

Weronika Balcerak (b. 1996) based in Reykjavik is a visual artist from Poland working with textile, video and prints. Her work reflects on the controversies embedded within the culture of her place of origin. Weronika studies in the BA program at the Iceland University of the Arts.

Freyja Hafþórsdóttir (b. 2000) studies in the BA program in art theory/ art history at The University of Iceland. This is her first experience with art curation.


This show was made possible with support from Lemmy bar

The interview is part of a collaboration between Artzine and a new MA in Curatorial Practice at the Iceland University of the Arts.

Viðtalið er hluti af samstarfsverkefni Artzine og nýrrar meistaranámsleiðar í sýningagerð við myndlistardeild Listaháskóla Íslands á vorönn 2021.

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