{"id":13382,"date":"2022-04-26T11:47:40","date_gmt":"2022-04-26T11:47:40","guid":{"rendered":"https:\/\/artzine.is\/?p=13382"},"modified":"2022-04-26T11:48:46","modified_gmt":"2022-04-26T11:48:46","slug":"flat-theatre-for-an-uneven-revolution-the-berlin-years-of-omar-stefansson","status":"publish","type":"post","link":"https:\/\/artzine.is\/?p=13382","title":{"rendered":"Flat Theatre for an Uneven Revolution &#8211;  The Berlin years of \u00d3mar Stef\u00e1nsson"},"content":{"rendered":"<p>[et_pb_section fb_built=&#8220;1&#8243; fullwidth=&#8220;on&#8220; custom_padding_last_edited=&#8220;on|desktop&#8220; _builder_version=&#8220;4.16&#8243; custom_padding_tablet=&#8220;50px|0|50px|0&#8243; custom_padding_phone=&#8220;&#8220; transparent_background=&#8220;off&#8220; padding_mobile=&#8220;off&#8220; make_fullwidth=&#8220;off&#8220; use_custom_width=&#8220;off&#8220; width_unit=&#8220;off&#8220; custom_width_px=&#8220;1080px&#8220; custom_width_percent=&#8220;80%&#8220; global_colors_info=&#8220;{}&#8220;][et_pb_fullwidth_image src=&#8220;https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefansson.jpg&#8220; title_text=&#8220;\u00d3mar Stef\u00e1nsson&#8220; _builder_version=&#8220;4.17.2&#8243; module_alignment=&#8220;center&#8220; z_index_tablet=&#8220;500&#8243; animation=&#8220;off&#8220; global_colors_info=&#8220;{}&#8220;][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=&#8220;1&#8243; custom_padding_last_edited=&#8220;on|desktop&#8220; admin_label=&#8220;section&#8220; _builder_version=&#8220;4.16&#8243; custom_padding=&#8220;||9px|||&#8220; custom_padding_tablet=&#8220;2px|0|2px|0|true|&#8220; custom_padding_phone=&#8220;&#8220; transparent_background=&#8220;off&#8220; padding_mobile=&#8220;off&#8220; global_colors_info=&#8220;{}&#8220;][et_pb_row use_custom_gutter=&#8220;on&#8220; make_equal=&#8220;on&#8220; column_padding_mobile=&#8220;on&#8220; custom_padding_last_edited=&#8220;on|phone&#8220; _builder_version=&#8220;4.16&#8243; background_size=&#8220;initial&#8220; background_position=&#8220;top_left&#8220; background_repeat=&#8220;repeat&#8220; max_width=&#8220;900px&#8220; module_alignment=&#8220;center&#8220; custom_padding=&#8220;||0px|||&#8220; custom_padding_tablet=&#8220;30px|0px|0|0px|false|false&#8220; custom_padding_phone=&#8220;30px|0px|0|0px|false|false&#8220; global_colors_info=&#8220;{}&#8220;][et_pb_column type=&#8220;4_4&#8243; _builder_version=&#8220;4.16&#8243; custom_padding=&#8220;|||&#8220; global_colors_info=&#8220;{}&#8220; custom_padding__hover=&#8220;|||&#8220;][et_pb_post_title author=&#8220;off&#8220; date_format=&#8220;j.m. Y&#8220; comments=&#8220;off&#8220; featured_image=&#8220;off&#8220; _builder_version=&#8220;4.14.7&#8243; title_font=&#8220;|300||on|||||&#8220; title_text_align=&#8220;center&#8220; title_font_size=&#8220;40px&#8220; title_letter_spacing=&#8220;1px&#8220; title_line_height=&#8220;1.4em&#8220; title_all_caps=&#8220;on&#8220; meta_text_align=&#8220;center&#8220; background_color=&#8220;rgba(255,255,255,0)&#8220; parallax=&#8220;on&#8220; parallax_method=&#8220;off&#8220; width=&#8220;100%&#8220; width_tablet=&#8220;&#8220; width_phone=&#8220;&#8220; width_last_edited=&#8220;on|desktop&#8220; max_width=&#8220;100%&#8220; module_alignment=&#8220;center&#8220; custom_margin=&#8220;||10px||false|false&#8220; custom_padding=&#8220;||0px||false|false&#8220; title_font_size_tablet=&#8220;30px&#8220; title_font_size_phone=&#8220;26px&#8220; title_font_size_last_edited=&#8220;on|phone&#8220; use_border_color=&#8220;off&#8220; border_color=&#8220;#ffffff&#8220; border_style=&#8220;solid&#8220; parallax_effect=&#8220;on&#8220; module_bg_color=&#8220;rgba(255,255,255,0)&#8220; global_module=&#8220;3887&#8243; saved_tabs=&#8220;all&#8220; locked=&#8220;off&#8220; global_colors_info=&#8220;{}&#8220;][\/et_pb_post_title][et_pb_text admin_label=&#8220;t1&#8243; _builder_version=&#8220;4.17.3&#8243; background_size=&#8220;initial&#8220; background_position=&#8220;top_left&#8220; background_repeat=&#8220;repeat&#8220; global_colors_info=&#8220;{}&#8220;]<\/p>\n<p><b>&#8222;The sorcerer destroys the deception of the Creator, by creating another deception instead. But at the same time, it is important that he immediately eliminates all the deceptions he himself creates&#8220;<\/b><\/p>\n<p><span style=\"font-weight: 400;\">The Icelandic visual artist, \u00d3mar Stef\u00e1nsson, is known by many for his unconventional ways of life and art. At the age of sixteen, he gave an interview to the Icelandic paper, V\u00edsir, as a young artist and a magician. The same year he got admitted to the Reykjav\u00edk School of Fine Arts at an exceptionally young age, where he graduated from the then new Experimental Arts Department in 1981. His art career now spans in huge excess across painting, sculpture, writing and published books as well as notorious performance work staged with the Art Brut bands Bruni BB and Inferno 5<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Throughout his art career of almost 50 years,\u00a0 \u00d3mar has been consistent with the concept of his work, as seen in the above quote from the 1976 interview with V\u00edsir. The controversial satire of human history, science and religion is a never ending theme and nothing is ever as it seems.<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/700302583?h=1aeaf5928f&amp;byline=0&amp;portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><span style=\"font-weight: 400;\">The exhibition Flat Theatre for an Uneven Revolution at ForA Contemporary Platform in Berlin, features paintings, sculptures and diaries that were made in the past five years at the artist&#8217;s studio in the metropolis city of Germany. These works tell, among other things, a story about the social transformation that took place during the pandemic, mixed with other dizzying chaos. For example the astronaut who almost drowned in his own piss. Thus, the exhibition leads us through the poetic and grotesque satire of human beings who live and die. A cloud-enclosed vault controls floods and tides, while the human being belongs to gravity along with other bottom creatures that it reflects on, in its daily activities.<\/span><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13397\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians.jpg\" alt=\"\" width=\"1920\" height=\"1897\" srcset=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians.jpg 1920w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians-1280x1265.jpg 1280w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians-980x968.jpg 980w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians-480x474.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1920px, 100vw\" \/><br \/><span style=\"font-size: small;\"><strong>Cloud makers and Tidal Technicians. Oil on canvas, 140 x 140 cm. 2017-2022<\/strong><\/span><\/span><\/p>\n<p><b>&#8222;Flat theatre is simply an explanation of what is going on here, the translation of things unto a two-dimensional surface, such as when maps are made. For example, where three-dimensional landscapes are projected onto two-dimensional surfaces. There are many methods for this, all of which are just as correct, or just as misleading, depending on how you say it, the glass is half full or half empty&#8220;<\/b><\/p>\n<p><span style=\"font-weight: 400;\">\u00d3mar&#8217;s student years include performance tours along with Hermann Nitsch around Europe, an internship with Dieter Roth and jobs with the Illuminati congregation in the Alps in Switzerland. All of which can be seen to influence his work to this day. \u00d3mar went to Berlin to further his studies and became a Meisterschuler with Professor Fussmann at the Hochschule der K\u00fcnste in 1987. But fate brought \u00d3mar back to Berlin about 30 years later when he lost his studio in Reykjav\u00edk, and at the same time he started keeping a diary in German where he describes his daily events through words, collages and drawings. Thirty diaries with his reflections, ideas and destiny now cover \u00d3mar&#8217;s stormy years in Berlin 2017-2021, which end with a near-death experience, a physical death &#8211; &#8222;and rebirth in the zodiac sign of Scorpio in November 2021&#8220;, the artist adds and starts boasting about their new birthday.<\/span><\/p>\n<p><b><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13398\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur.jpg\" alt=\"\" width=\"1920\" height=\"2041\" srcset=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur.jpg 1920w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur-1280x1361.jpg 1280w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur-980x1042.jpg 980w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur-480x510.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1920px, 100vw\" \/><br \/><span style=\"font-size: small;\">Samples from the Berlin Diaries, Vol. I &#8211; XXVI.<\/span><\/b><\/p>\n<p><span style=\"font-weight: 400;\">The architecture of words and ideas speaks to the tangible structure of buildings in \u00d3mar&#8217;s paintings, which are both formal and surreal. Forms take on a vivid structure that seems to be able to move and rearrange at any given moment. Man grows into himself, out of himself, becomes a house, becomes an animal and swings in the world, on the playground of existence. The exhibition at ForA gallery includes paintings about cosmogony and all kinds of uncertainties, what the artist saw during the pandemic in Berlin but also personal still lives.<\/span><\/p>\n<p><b>&#8222;Every artist must make at least one Tempus Fugit work (Lat. Time flies) \u2026 And think of death. Every artist must think of death. And it happened to me here in Berlin, for example, to just fall ill and die and that was not my plan at all. And at this exhibition here we also have art which you can learn from. There\u2019s a box that says what is forward and what is back. I had an intellectual conversation about this painting at the opening with a professor of philosophy and a dispute even. I was very pleased that this picture should provoke a controversy, even though it&#8217;s just a picture of a box. I said at least up and down were obvious facts. But there are different of opinions about that as well even&#8220;<\/b><span style=\"font-weight: 400;\"><br \/><\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/702451698?h=1e0984cfbb&amp;byline=0&amp;portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/700306402?h=4e99486bdd&amp;byline=0&amp;portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p>\n<p>We seem to live in a ready-made world where nothing is accidental. But the same cannot be said about the drawing in \u00d3mar&#8217;s paintings, which appear to man as a wild and untamed phenomenon. Powerful and confident strokes draw a world that unites all the art movements of the 20th century, even further back. The violent and unrestrained subject matter has an obvious connection to the works of artists as diverse as Otto Dix, Hiernonymous Bosch and Hans Bellmer.<\/p>\n<p><b>&#8222;I do not know what to say &#8230; I have been called a classical modernist. Which is also a little funny. The old new style or the new new style. First came Art Nouveau, the new style and then came modernism, then the new style and then the new new style. And this has all become a classical new style, so I&#8217;m very classical, I\u2019d say, a classical artist. And traditional, compared to many\u201d<\/b><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"alignnone size-full wp-image-13400\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1.jpg\" alt=\"\" width=\"1866\" height=\"1932\" srcset=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1.jpg 1866w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1-1280x1325.jpg 1280w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1-980x1015.jpg 980w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1-480x497.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1866px, 100vw\" \/><br \/><span style=\"font-size: small;\"><strong>Paintings from the exhibition Flat Theatre for an Uneven Revolutio. From left to right: Infected, The Battle of Amari with the Cyclope Cannibals in Crete, Inflated man falling, KaliYuga, Farming for spare parts, Choronzon, Mooning on Mars, The crazy old town.\u00a0<\/strong><\/span><\/span><\/p>\n<p><span style=\"font-weight: 400;\">In \u00d3mar&#8217;s abstract paintings and sculptures, however, one can discern the influence from his mentors Dieter Roth, Hermann Nitsch and also Magn\u00fas P\u00e1lsson, the founder of the Icelandic Experimental Art Department. Fast and energetic work methods give rise to grotesque lines and shapes in action works done with paint on canvas, mixed media and found material. Every now and then, comical titles pop up, which give this frantic world of images another angle. However, \u00d3mar is better known for his large-scale paintings, which testify to his unique mastery of the medium and his great drawing skills. These paintings refer to the image structure of the cubists, futurists and surrealists and, at the same time, the dimensional illustrative tradition of graphic comic novels.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400;\">The art works currently on display at the ForA exhibition are also remarkable for having escaped unscathed from the artist&#8217;s years in Berlin. Some of \u00d3mar&#8217;s works was kept in storage at a building in the city which caught fire. He rented a studio in a building along with hundreds of other artists in Lichtenberg, which was confiscated with one day&#8217;s <\/span><span style=\"font-weight: 400;\">notice causing <\/span><span style=\"font-weight: 400;\">him and others to lose all their belongings in consequences that will not be listed here. <\/span><span style=\"font-weight: 400;\">&#8222;You are not human until you have lost everything&#8220;, says \u00d3mar and quotes his former teacher at the Living Art Department, Magn\u00fas P\u00e1lsson, but it is obvious that the loss takes a heavy toll on him.<\/span><span style=\"font-weight: 400;\"><br \/><\/span><\/p>\n<p>[\/et_pb_text][et_pb_image src=&#8220;https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Studio-Lichtenberg.jpg&#8220; title_text=&#8220;Studio Lichtenberg&#8220; show_in_lightbox=&#8220;on&#8220; _builder_version=&#8220;4.17.2&#8243; _module_preset=&#8220;default&#8220; custom_margin=&#8220;||3px|||&#8220; global_colors_info=&#8220;{}&#8220;][\/et_pb_image][et_pb_text admin_label=&#8220;t2&#8243; _builder_version=&#8220;4.17.3&#8243; background_size=&#8220;initial&#8220; background_position=&#8220;top_left&#8220; background_repeat=&#8220;repeat&#8220; global_colors_info=&#8220;{}&#8220;]<\/p>\n<p><span style=\"font-size: small;\"><strong>Panorama from \u00d3mar&#8217;s studio in Lichtenberg, Berl\u00edn, 2019. Click to enlarge the image.<\/strong><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">The pages of the diaries \u00d3mar kept in Berlin are filled with drawings and collages that translate, like the Flat theatre, the five-dimensional reality of the <\/span><span style=\"font-weight: 400;\">artist&#8217;s<\/span><span style=\"font-weight: 400;\">inner world onto a two-dimensional surface. From the amount of books and the pages completed in these five years, it is clear that the artist does not let a day go by without working with these disciplines.<\/span><\/p>\n<p><iframe loading=\"lazy\" src=\"https:\/\/player.vimeo.com\/video\/700307634?h=8b89da4d55&amp;byline=0&amp;portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\"><\/span><\/iframe><\/p>\n<p>Even while the artist was in the intensive care unit at the hospital, the time he had awake was used for art creation and writing, with collages compiled from the hospital&#8217;s food stamps and the near-death experience written similar to other documented accounts surroundingthe deathbed. According to \u00d3mar, he was suddenly dragged on his feet through a tunnel, which <span style=\"font-weight: 400;\">eventually led <\/span><span style=\"font-weight: 400;\">him back into the world, but not away into the light.<\/span><\/p>\n<p><em><b>And what was it like to die? <\/b><\/em>&#8222;It was absolutely awful &#8230; Stay alive as long as you possibly can&#8220;<\/p>\n<p><span style=\"font-weight: 400;\">In fact, it can be said that \u00d3mar Stef\u00e1nsson&#8217;s entire art career offers the audience a highly dramatic Flat Theatre exhibition. His art exhibitions and their preparation, art brut performances and their consequences, excerpts from declarative interviews with him, as well as the audience&#8217;s accounts of his fate throughout his life. All of this paints a vivid picture of an artist\u2019s life trajectory who has walked untrodden and uneasy paths through life. Victories meet defeats in the rough oceanic waves of the typical artist\u2019s life, which, however, form a decent curriculum vitae today. A lifespan of an uneven revolution where nothing is ever as it seems, with struggle between good and evil as serious and comical as it can be at the same time. Even when the artist himself is obviously upset about what he\u2019s sharing, he uses his sense of humor as a tool in his narrative. His own near-death experience becomes a source of endless jokes. And what is right and what is wrong, what is truth, what is deception\u2026 the world contains only endless questions and hairy answers.<\/span><\/p>\n<p>And do you really think the world is that confusing? A guest at the opening was heard asking the artist\u00a0 &#8211; Yes and even more confusing than I could ever interpret in this show.<\/p>\n<p><b>Flat theater, of sorts<br \/><\/b><b>at the parking lot of existence\u00a0<\/b><\/p>\n<p><b>Squares move<br \/><\/b><b>and on them triangles feed.<\/b><\/p>\n<p><b>It all goes in circles,<br \/><\/b><b>yellow, blue, red,<\/b><\/p>\n<p><b>Flat theatre, of sorts,<br \/>in the parking lot of existence.<\/b><\/p>\n<p><b>The end of reality,<br \/><\/b><b>sort of.<\/b><\/p>\n<p><span style=\"font-weight: 400;\"><img loading=\"lazy\" decoding=\"async\" class=\"wp-image-13422 alignnone size-full\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Platform-scaled.jpg\" alt=\"\" width=\"1736\" height=\"2560\" srcset=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Platform-scaled.jpg 1736w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Platform-1280x1888.jpg 1280w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Platform-980x1445.jpg 980w, https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Platform-480x708.jpg 480w\" sizes=\"(min-width: 0px) and (max-width: 480px) 480px, (min-width: 481px) and (max-width: 980px) 980px, (min-width: 981px) and (max-width: 1280px) 1280px, (min-width: 1281px) 1736px, 100vw\" \/><br \/><span style=\"font-size: small;\"><strong>Exhibition overview at ForA Contemporary Platform<\/strong><\/span><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00d3mar Stef\u00e1nsson was born in 1960 in Iceland and has exhibited at the Reykjav\u00edk Art Museum, the National Gallery of Iceland and had numerous solo exhibitions in Iceland. Works by him have also been shown at Heine Onstadt in Oslo, Norway and at an exhibition with Cy Twombly, Joseph Beuys at Gallery H\u00e4ndschin in Basel, Switzerland. The National Gallery of Iceland and the Reykjav\u00edk Art Museum have paintings by \u00d3mar in their collection as well as the Technical School of Iceland, Eimskip and an Illuminati congregation in Switzerland. \u00d3mar also created works especially for the train station in Basel, Switzerland, together with the artists Dieter Roth, Dominik Steiger and Andr\u00e9 Thomkins.<\/span><\/p>\n<p>Further information about \u00d3mar Stef\u00e1nsson, his work and exhibition can be found at the sites <a href=\"https:\/\/omarstefansson.com\/\" target=\"_blank\" rel=\"noopener\">omarstefansson.com<\/a><\/p>\n<p style=\"text-align: right;\"><em>Freyja Eil\u00edf<\/em><\/p>\n<hr \/>\n<p><span style=\"font-weight: 400;\">Flat Theatre for an Uneven Revolution by \u00d3mar Stef\u00e1nsson was exhibited at ForA Contemporary Platform in Berlin, March 14th &#8211; April 10th, 2022, curated by Freyja Eil\u00edf.<\/span><\/p>\n<p><span style=\"font-weight: 400;\">Featured image: Freyja Eil\u00edf. Video, recording and editing: Freyja Eil\u00edf. Images of artwork: courtesy of the artist.<\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>\n<p>[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"<p>&#8222;The sorcerer destroys the deception of the Creator, by creating another deception instead. But at the same time, it is important that he immediately eliminates all the deceptions he himself creates&#8220; The Icelandic visual artist, \u00d3mar Stef\u00e1nsson, is known by many for his unconventional ways of life and art. At the age of sixteen, he [&hellip;]<\/p>\n","protected":false},"author":2,"featured_media":13461,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"<p><b>\"The sorcerer destroys the deception of the Creator, by creating another deception instead\". But at the same time, it is important that he immediately eliminates all the deceptions he himself creates \u201d<\/b><\/p><p><span style=\"font-weight: 400;\">The Icelandic visual artist, \u00d3mar Stef\u00e1nsson, is known by many for his unconventional ways of life and art. At the age of sixteen, he gave an interview to the Icelandic paper, V\u00edsir, as a young artist and a magician. The same year he got admitted to the Reykjav\u00edk School of Fine Arts at an exceptionally young age, where he graduated from the then new Experimental Arts Department in 1981. His art career now spans in huge excess across painting, sculpture, writing and published books as well as notorious performance work staged with the Art Brut bands Bruni BB and Inferno 5<\/span><\/p><p><span style=\"font-weight: 400;\">Throughout his art career of almost 50 years,\u00a0 \u00d3mar has been consistent with the concept of his work, as seen in the above quote from the 1976 interview with V\u00edsir. The controversial satire of human history, science and religion is a never ending theme and nothing is ever as it seems.<\/span><\/p><p><iframe src=\"https:\/\/player.vimeo.com\/video\/700302583?h=1aeaf5928f&byline=0&portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p><p><span style=\"font-weight: 400;\">The exhibition Flat Theatre for an Uneven Revolution at ForA Contemporary Platform in Berlin, features paintings, sculptures and diaries that were made in the past five years at the artist's studio in the metropolis city of Germany. These works tell, among other things, a story about the social transformation that took place during the pandemic, mixed with other dizzying chaos. For example the astronaut who almost drowned in his own piss. Thus, the exhibition leads us through the poetic and grotesque satire of human beings who live and die. A cloud-enclosed vault controls floods and tides, while the human being belongs to gravity along with other bottom creatures that it reflects on, in its daily activities.<\/span><\/p><p><span style=\"font-weight: 400;\"><img class=\"alignnone size-full wp-image-13397\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/1.-Cloud-Makers-and-tidal-technicians.jpg\" alt=\"\" width=\"1920\" height=\"1897\" \/><br \/>Cloud makers and Tidal Technicians. Oil on canvas, 140 x 140 cm. 2017-2022<\/span><\/p><p><b>\"Flat theatre is simply an explanation of what is going on here, the translation of things unto a two-dimensional surface, such as when maps are made. For example, where three-dimensional landscapes are projected onto two-dimensional surfaces. There are many methods for this, all of which are just as correct, or just as misleading, depending on how you say it, the glass is half full or half empty \u201d<\/b><\/p><p><span style=\"font-weight: 400;\">\u00a0<\/span><span style=\"font-weight: 400;\">\u00d3mar's student years include performance tours along with Hermann Nitsch around Europe, an internship with Dieter Roth and jobs with the Illuminati congregation in the Alps in Switzerland. All of which can be seen to influence his work to this day. \u00d3mar went to Berlin to further his studies and became a Meisterschuler with Professor Fussmann at the Hochschule der K\u00fcnste in 1987. But fate brought \u00d3mar back to Berlin about 30 years later when he lost his studio in Reykjav\u00edk, and at the same time he started keeping a diary in German where he describes his daily events through words, collages and drawings. Thirty diaries with his reflections, ideas and destiny now cover \u00d3mar's stormy years in Berlin 2017-2021, which end with a near-death experience, a physical death - \"and rebirth in the zodiac sign of Scorpio in November 2021 \", the artist adds and starts boasting about their new birthday.<\/span><\/p><p><b><img class=\"alignnone size-full wp-image-13398\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Dagbaekur.jpg\" alt=\"\" width=\"1920\" height=\"2041\" \/><br \/>Samples from the Berlin Diaries, Vol. I - XXVI.<\/b><\/p><p><span style=\"font-weight: 400;\">The architecture of words and ideas speaks to the tangible structure of buildings in \u00d3mar's paintings, which are both formal and surreal. Forms take on a vivid structure that seems to be able to move and rearrange at any given moment. Man grows into himself, out of himself, becomes a house, becomes an animal and swings in the world, on the playground of existence. The exhibition at ForA gallery includes paintings about cosmogony and all kinds of uncertainties, what the artist saw during the pandemic in Berlin but also personal still lifes.<\/span><\/p><p><b>\"Every artist must make at least one Tempus Fugit work (Lat. Time flies) \u2026 And think of death. Every artist must think of death. And it happened to me here in Berlin, for example, to just fall ill and die and that was not my plan at all. And at this exhibition here we also have art which you can learn from. There\u2019s a box that says what is forward and what is back. I had an intellectual conversation about this painting at the opening with a professor of philosophy and a dispute even. I was very pleased that this picture should provoke a controversy, even though it's just a picture of a box. I said at least up and down were obvious facts. But there are different of opinions about that as well even\"<\/b><span style=\"font-weight: 400;\"><br \/><\/span><\/p><p><iframe src=\"https:\/\/player.vimeo.com\/video\/702451698?h=1e0984cfbb&byline=0&portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p><p><iframe src=\"https:\/\/player.vimeo.com\/video\/700306402?h=4e99486bdd&byline=0&portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><\/iframe><\/p><p>We seem to live in a ready-made world where nothing is accidental. But the same cannot be said about the drawing in \u00d3mar's paintings, which appear to man as a wild and untamed phenomenon. Powerful and confident strokes draw a world that unites all the art movements of the 20th century, even further back. The violent and unrestrained subject matter has an obvious connection to the works of artists as diverse as Otto Dix, Hiernonymous Bosch and Hans Bellmer.<\/p><p><b>\"I do not know what to say ... I have been called a classical modernist. Which is also a little funny. The old new style or the new new style. First came Art Nouveau, the new style and then came modernism, then the new style and then the new new style. And this has all become a classical new style, so I'm very classical, I\u2019d say, a classical artist. And traditional, compared to many\u201d<\/b><\/p><p><span style=\"font-weight: 400;\"><img class=\"alignnone size-full wp-image-13400\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Flatleikhus1.jpg\" alt=\"\" width=\"1866\" height=\"1932\" \/><br \/>Paintings from the exhibition Flat Theatre for an Uneven Revolutio. From left to right: Infected, The Battle of Amari with the Cyclope Cannibals in Crete, Inflated man falling, KaliYuga, Farming for spare parts, Choronzon, Mooning on Mars, The crazy old town.\u00a0<\/span><\/p><p><span style=\"font-weight: 400;\">In \u00d3mar's abstract paintings and sculptures, however, one can discern the influence from his mentors Dieter Roth, Hermann Nitsch and also Magn\u00fas P\u00e1lsson, the founder of the Icelandic Experimental Art Department. Fast and energetic work methods give rise to grotesque lines and shapes in action works done with paint on canvas, mixed media and found material. Every now and then, comical titles pop up, which give this frantic world of images another angle. However, \u00d3mar is better known for his large-scale paintings, which testify to his unique mastery of the medium and his great drawing skills. These paintings refer to the image structure of the cubists, futurists and surrealists and, at the same time, the dimensional illustrative tradition of graphic comic novels.\u00a0<\/span><\/p><p><span style=\"font-weight: 400;\">The art works currently on display at the ForA exhibition are also remarkable for having escaped unscathed from the artist's years in Berlin. Some of \u00d3mar's works was kept in storage at a building in the city which caught fire. He rented a studio in a building along with hundreds of other artists in Lichtenberg, which was confiscated with one day's <\/span><span style=\"font-weight: 400;\">notice causing <\/span><span style=\"font-weight: 400;\">him and others to lose all their belongings in consequences that will not be listed here. <\/span><span style=\"font-weight: 400;\">\"You are not human until you have lost everything\", says \u00d3mar and quotes his former teacher at the Living Art Department, Magn\u00fas P\u00e1lsson, but it is obvious that the loss takes a heavy toll on him.<\/span><\/p><p><img class=\"alignnone size-full wp-image-13406\" src=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/Studio-Lichtenberg.jpg\" alt=\"\" width=\"1920\" height=\"425\" \/><br \/>Panorama from \u00d3mar's studio in Lichtenberg, Berl\u00edn, 2019.\u00a0<span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">The pages of the diaries \u00d3mar kept in Berlin are filled with drawings and collages that translate, like the Flat theatre, the five-dimensional reality of the <\/span><span style=\"font-weight: 400;\">artist's<\/span><span style=\"font-weight: 400;\">inner world onto a two-dimensional surface. From the amount of books and the pages completed in these five years, it is clear that the artist does not let a day go by without working with these disciplines.<\/span><\/p><p><iframe src=\"https:\/\/player.vimeo.com\/video\/700307634?h=8b89da4d55&byline=0&portrait=0\" width=\"900\" height=\"506\" frameborder=\"0\" allowfullscreen=\"allowfullscreen\"><span data-mce-type=\"bookmark\" style=\"display: inline-block; width: 0px; overflow: hidden; line-height: 0;\" class=\"mce_SELRES_start\">\ufeff<\/span><\/iframe><\/p><p>Even while the artist was in the intensive care unit at the hospital, the time he had awake was used for art creation and writing, with collages compiled from the hospital's food stamps and the near-death experience written similar to other documented accounts surroundingthe deathbed. According to \u00d3mar, he was suddenly dragged on his feet through a tunnel, which <span style=\"font-weight: 400;\">eventually led <\/span><span style=\"font-weight: 400;\">him back into the world, but not away into the light.<\/span><\/p><p><b>And what was it like to die? <\/b><b>\"It was absolutely awful ... Stay alive as long as you possibly can\"<\/b><\/p><p><span style=\"font-weight: 400;\">In fact, it can be said that \u00d3mar Stef\u00e1nsson's entire art career offers the audience a highly dramatic Flat Theatre exhibition. His art exhibitions and their preparation, art brut performances and their consequences, excerpts from declarative interviews with him, as well as the audience's accounts of his fate throughout his life. All of this paints a vivid picture of an artist\u2019s life trajectory who has walked untrodden and uneasy paths through life. Victories meet defeats in the rough oceanic waves of the typical artist\u2019s life, which, however, form a decent curriculum vitae today. A lifespan of an uneven revolution where nothing is ever as it seems, with struggle between good and evil as serious and comical as it can be at the same time. Even when the artist himself is obviously upset about what he\u2019s sharing, he uses his sense of humor as a tool in his narrative. His own near-death experience becomes a source of endless jokes. And what is right and what is wrong, what is truth, what is deception\u2026 the world contains only endless questions and hairy answers.<\/span><\/p><p>And do you really think the world is that confusing? A guest at the opening was heard asking the artist\u00a0 - Yes and even more confusing than I could ever interpret in this show.<\/p><p><b>Flat theater, of sorts<br \/><\/b><b>at the parking lot of existence\u00a0<\/b><\/p><p><b>Squares move<br \/><\/b><b>and on them triangles feed.<\/b><\/p><p><b>It all goes in circles,<br \/><\/b><b>yellow, blue, red,<\/b><\/p><p><b>Flat theatre, of sorts,<br \/>in the parking lot of existence.<\/b><\/p><p><b>The end of reality,<br \/><\/b><b>sort of.<\/b><\/p><p>Flat Theatre for an Uneven Revolution by \u00d3mar Stef\u00e1nsson was exhibited at ForA Contemporary Platform in Berlin, March 14th - April 10th, 2022, curated by Freyja Eil\u00edf.<\/p><p><span style=\"font-weight: 400;\">IMAGE:<br \/>Exhibition overview at ForA Contemporary Platform<br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00d3mar Stef\u00e1nsson was born in 1960 in Iceland and has exhibited at the Reykjav\u00edk Art Museum, the National Gallery of Iceland and had numerous solo exhibitions in Iceland. Works by him have also been shown at Heine Onstadt in Oslo, Norway and at an exhibition with Cy Twombly, Joseph Beuys at Gallery H\u00e4ndschin in Basel, Switzerland. The National Gallery of Iceland and the Reykjav\u00edk Art Museum have paintings by \u00d3mar in their collection as well as the Technical School of Iceland, Eimskip and an Illuminati congregation in Switzerland. \u00d3mar also created works especially for the train station in Basel, Switzerland, together with the artists Dieter Roth, Dominik Steiger and Andr\u00e9 Thomkins<\/span><\/p><p>Further information about \u00d3mar Stef\u00e1nsson, his work and exhibition can be found at the sites omarstefansson.com<\/p><p><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0<\/span><\/p><p><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\"><br \/><\/span><span style=\"font-weight: 400;\">\u00a0<\/span><\/p>","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[16],"tags":[],"class_list":["post-13382","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artzine-in-english"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v27.6 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/artzine.is\/?p=13382\" \/>\n<meta property=\"og:locale\" content=\"is_IS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is\" \/>\n<meta property=\"og:description\" content=\"&quot;The sorcerer destroys the deception of the Creator, by creating another deception instead. But at the same time, it is important that he immediately eliminates all the deceptions he himself creates&quot; The Icelandic visual artist, \u00d3mar Stef\u00e1nsson, is known by many for his unconventional ways of life and art. At the age of sixteen, he [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artzine.is\/?p=13382\" \/>\n<meta property=\"og:site_name\" content=\"artzine.is\" \/>\n<meta property=\"article:publisher\" content=\"https:\/\/www.facebook.com\/artzinevefrit\/?fref=ts\" \/>\n<meta property=\"article:published_time\" content=\"2022-04-26T11:47:40+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-04-26T11:48:46+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"770\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"Freyja Eil\u00edf\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:creator\" content=\"@ArtzineVefrit\" \/>\n<meta name=\"twitter:site\" content=\"@ArtzineVefrit\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"Freyja Eil\u00edf\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"22 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382\"},\"author\":{\"name\":\"Freyja Eil\u00edf\",\"@id\":\"https:\\\/\\\/artzine.is\\\/#\\\/schema\\\/person\\\/20202708a2555c465e8e8c0876f56454\"},\"headline\":\"Flat Theatre for an Uneven Revolution &#8211; The Berlin years of \u00d3mar Stef\u00e1nsson\",\"datePublished\":\"2022-04-26T11:47:40+00:00\",\"dateModified\":\"2022-04-26T11:48:46+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382\"},\"wordCount\":2257,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/artzine.is\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/OmarStefanssonFI.jpg\",\"articleSection\":[\"artzine in english\"],\"inLanguage\":\"is\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/artzine.is\\\/?p=13382#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382\",\"url\":\"https:\\\/\\\/artzine.is\\\/?p=13382\",\"name\":\"Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/#website\"},\"primaryImageOfPage\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#primaryimage\"},\"image\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/artzine.is\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/OmarStefanssonFI.jpg\",\"datePublished\":\"2022-04-26T11:47:40+00:00\",\"dateModified\":\"2022-04-26T11:48:46+00:00\",\"author\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/#\\\/schema\\\/person\\\/20202708a2555c465e8e8c0876f56454\"},\"breadcrumb\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#breadcrumb\"},\"inLanguage\":\"is\",\"potentialAction\":[{\"@type\":\"ReadAction\",\"target\":[\"https:\\\/\\\/artzine.is\\\/?p=13382\"]}]},{\"@type\":\"ImageObject\",\"inLanguage\":\"is\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#primaryimage\",\"url\":\"https:\\\/\\\/artzine.is\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/OmarStefanssonFI.jpg\",\"contentUrl\":\"https:\\\/\\\/artzine.is\\\/wp-content\\\/uploads\\\/2022\\\/04\\\/OmarStefanssonFI.jpg\",\"width\":1920,\"height\":770},{\"@type\":\"BreadcrumbList\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13382#breadcrumb\",\"itemListElement\":[{\"@type\":\"ListItem\",\"position\":1,\"name\":\"Home\",\"item\":\"https:\\\/\\\/artzine.is\\\/\"},{\"@type\":\"ListItem\",\"position\":2,\"name\":\"Flat Theatre for an Uneven Revolution &#8211; The Berlin years of \u00d3mar Stef\u00e1nsson\"}]},{\"@type\":\"WebSite\",\"@id\":\"https:\\\/\\\/artzine.is\\\/#website\",\"url\":\"https:\\\/\\\/artzine.is\\\/\",\"name\":\"artzine.is\",\"description\":\"Myndlistaumr\u00e6\u00f0a \u00e1 \u00cdslandi\",\"potentialAction\":[{\"@type\":\"SearchAction\",\"target\":{\"@type\":\"EntryPoint\",\"urlTemplate\":\"https:\\\/\\\/artzine.is\\\/?s={search_term_string}\"},\"query-input\":{\"@type\":\"PropertyValueSpecification\",\"valueRequired\":true,\"valueName\":\"search_term_string\"}}],\"inLanguage\":\"is\"},{\"@type\":\"Person\",\"@id\":\"https:\\\/\\\/artzine.is\\\/#\\\/schema\\\/person\\\/20202708a2555c465e8e8c0876f56454\",\"name\":\"Freyja Eil\u00edf\",\"image\":{\"@type\":\"ImageObject\",\"inLanguage\":\"is\",\"@id\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g\",\"url\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g\",\"contentUrl\":\"https:\\\/\\\/secure.gravatar.com\\\/avatar\\\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g\",\"caption\":\"Freyja Eil\u00edf\"},\"description\":\"Freyja Eil\u00edf (f. 1986) er sj\u00e1lfst\u00e6tt starfandi myndlistarkvendi sem b\u00fdr og starfar \u00ed Reykjav\u00edk. H\u00fan \u00fatskrifa\u00f0ist fr\u00e1 Myndlistardeild Listah\u00e1sk\u00f3la \u00cdslands vori\u00f0 2014 og stofna\u00f0i s\u00fdningar\u00fdmi\u00f0 Ekkisens hausti\u00f0 sama \u00e1r \u00ed kjallara \u00f6mmu sinnar \u00e1 Bergsta\u00f0astr\u00e6ti 25B og rekur \u00fea\u00f0 enn \u00e1samt \u00fev\u00ed a\u00f0 teyma h\u00fast\u00f6kus\u00fdningar \u00e1 vegum Ekkisens \u00ed \u00f6\u00f0rum r\u00fdmum. Freyja vinnur verk \u00ed mj\u00f6g blanda\u00f0a mi\u00f0la og oft \u00e1 t\u00ed\u00f0um fundi\u00f0 efni. Freyja hefur einnig gefi\u00f0 \u00fat \u00fe\u00f3nokkur b\u00f3kverk og stofna\u00f0i til a\u00f0 mynda t\u00edmariti\u00f0 Listv\u00edsi \u2013 M\u00e1lgagn um myndlist \u00e1ri\u00f0 2012, ritst\u00fdr\u00f0i fyrstu fj\u00f3rum t\u00f6lubl\u00f6\u00f0um af \u00fev\u00ed og situr n\u00fa \u00ed ritstj\u00f3rnarteymi Listv\u00edsi \u00e1samt \u00f6\u00f0rum myndlistarkvendum. H\u00fan er me\u00f0limur \u00ed myndh\u00f6ggvaraf\u00e9laginu, sambandi \u00cdslenskra myndlistarmanna og starfar \u00e1 vinnustofu sinni \u00e1 eigin heimili \u00ed Reykjav\u00edk.\",\"sameAs\":[\"http:\\\/\\\/ekkisens.com\\\/\"],\"url\":\"https:\\\/\\\/artzine.is\\\/?author=2\"}]}<\/script>\n<!-- \/ Yoast SEO plugin. -->","yoast_head_json":{"title":"Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is","robots":{"index":"index","follow":"follow","max-snippet":"max-snippet:-1","max-image-preview":"max-image-preview:large","max-video-preview":"max-video-preview:-1"},"canonical":"https:\/\/artzine.is\/?p=13382","og_locale":"is_IS","og_type":"article","og_title":"Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is","og_description":"\"The sorcerer destroys the deception of the Creator, by creating another deception instead. But at the same time, it is important that he immediately eliminates all the deceptions he himself creates\" The Icelandic visual artist, \u00d3mar Stef\u00e1nsson, is known by many for his unconventional ways of life and art. At the age of sixteen, he [&hellip;]","og_url":"https:\/\/artzine.is\/?p=13382","og_site_name":"artzine.is","article_publisher":"https:\/\/www.facebook.com\/artzinevefrit\/?fref=ts","article_published_time":"2022-04-26T11:47:40+00:00","article_modified_time":"2022-04-26T11:48:46+00:00","og_image":[{"width":1920,"height":770,"url":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","type":"image\/jpeg"}],"author":"Freyja Eil\u00edf","twitter_card":"summary_large_image","twitter_creator":"@ArtzineVefrit","twitter_site":"@ArtzineVefrit","twitter_misc":{"Written by":"Freyja Eil\u00edf","Est. reading time":"22 minutes"},"schema":{"@context":"https:\/\/schema.org","@graph":[{"@type":"Article","@id":"https:\/\/artzine.is\/?p=13382#article","isPartOf":{"@id":"https:\/\/artzine.is\/?p=13382"},"author":{"name":"Freyja Eil\u00edf","@id":"https:\/\/artzine.is\/#\/schema\/person\/20202708a2555c465e8e8c0876f56454"},"headline":"Flat Theatre for an Uneven Revolution &#8211; The Berlin years of \u00d3mar Stef\u00e1nsson","datePublished":"2022-04-26T11:47:40+00:00","dateModified":"2022-04-26T11:48:46+00:00","mainEntityOfPage":{"@id":"https:\/\/artzine.is\/?p=13382"},"wordCount":2257,"commentCount":0,"image":{"@id":"https:\/\/artzine.is\/?p=13382#primaryimage"},"thumbnailUrl":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","articleSection":["artzine in english"],"inLanguage":"is","potentialAction":[{"@type":"CommentAction","name":"Comment","target":["https:\/\/artzine.is\/?p=13382#respond"]}]},{"@type":"WebPage","@id":"https:\/\/artzine.is\/?p=13382","url":"https:\/\/artzine.is\/?p=13382","name":"Flat Theatre for an Uneven Revolution - The Berlin years of \u00d3mar Stef\u00e1nsson - artzine.is","isPartOf":{"@id":"https:\/\/artzine.is\/#website"},"primaryImageOfPage":{"@id":"https:\/\/artzine.is\/?p=13382#primaryimage"},"image":{"@id":"https:\/\/artzine.is\/?p=13382#primaryimage"},"thumbnailUrl":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","datePublished":"2022-04-26T11:47:40+00:00","dateModified":"2022-04-26T11:48:46+00:00","author":{"@id":"https:\/\/artzine.is\/#\/schema\/person\/20202708a2555c465e8e8c0876f56454"},"breadcrumb":{"@id":"https:\/\/artzine.is\/?p=13382#breadcrumb"},"inLanguage":"is","potentialAction":[{"@type":"ReadAction","target":["https:\/\/artzine.is\/?p=13382"]}]},{"@type":"ImageObject","inLanguage":"is","@id":"https:\/\/artzine.is\/?p=13382#primaryimage","url":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","contentUrl":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","width":1920,"height":770},{"@type":"BreadcrumbList","@id":"https:\/\/artzine.is\/?p=13382#breadcrumb","itemListElement":[{"@type":"ListItem","position":1,"name":"Home","item":"https:\/\/artzine.is\/"},{"@type":"ListItem","position":2,"name":"Flat Theatre for an Uneven Revolution &#8211; The Berlin years of \u00d3mar Stef\u00e1nsson"}]},{"@type":"WebSite","@id":"https:\/\/artzine.is\/#website","url":"https:\/\/artzine.is\/","name":"artzine.is","description":"Myndlistaumr\u00e6\u00f0a \u00e1 \u00cdslandi","potentialAction":[{"@type":"SearchAction","target":{"@type":"EntryPoint","urlTemplate":"https:\/\/artzine.is\/?s={search_term_string}"},"query-input":{"@type":"PropertyValueSpecification","valueRequired":true,"valueName":"search_term_string"}}],"inLanguage":"is"},{"@type":"Person","@id":"https:\/\/artzine.is\/#\/schema\/person\/20202708a2555c465e8e8c0876f56454","name":"Freyja Eil\u00edf","image":{"@type":"ImageObject","inLanguage":"is","@id":"https:\/\/secure.gravatar.com\/avatar\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g","url":"https:\/\/secure.gravatar.com\/avatar\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g","contentUrl":"https:\/\/secure.gravatar.com\/avatar\/d8c771870678f957668b03e5c625f680b6e6358f989be52c622956e6ba335b5b?s=96&d=wavatar&r=g","caption":"Freyja Eil\u00edf"},"description":"Freyja Eil\u00edf (f. 1986) er sj\u00e1lfst\u00e6tt starfandi myndlistarkvendi sem b\u00fdr og starfar \u00ed Reykjav\u00edk. H\u00fan \u00fatskrifa\u00f0ist fr\u00e1 Myndlistardeild Listah\u00e1sk\u00f3la \u00cdslands vori\u00f0 2014 og stofna\u00f0i s\u00fdningar\u00fdmi\u00f0 Ekkisens hausti\u00f0 sama \u00e1r \u00ed kjallara \u00f6mmu sinnar \u00e1 Bergsta\u00f0astr\u00e6ti 25B og rekur \u00fea\u00f0 enn \u00e1samt \u00fev\u00ed a\u00f0 teyma h\u00fast\u00f6kus\u00fdningar \u00e1 vegum Ekkisens \u00ed \u00f6\u00f0rum r\u00fdmum. Freyja vinnur verk \u00ed mj\u00f6g blanda\u00f0a mi\u00f0la og oft \u00e1 t\u00ed\u00f0um fundi\u00f0 efni. Freyja hefur einnig gefi\u00f0 \u00fat \u00fe\u00f3nokkur b\u00f3kverk og stofna\u00f0i til a\u00f0 mynda t\u00edmariti\u00f0 Listv\u00edsi \u2013 M\u00e1lgagn um myndlist \u00e1ri\u00f0 2012, ritst\u00fdr\u00f0i fyrstu fj\u00f3rum t\u00f6lubl\u00f6\u00f0um af \u00fev\u00ed og situr n\u00fa \u00ed ritstj\u00f3rnarteymi Listv\u00edsi \u00e1samt \u00f6\u00f0rum myndlistarkvendum. H\u00fan er me\u00f0limur \u00ed myndh\u00f6ggvaraf\u00e9laginu, sambandi \u00cdslenskra myndlistarmanna og starfar \u00e1 vinnustofu sinni \u00e1 eigin heimili \u00ed Reykjav\u00edk.","sameAs":["http:\/\/ekkisens.com\/"],"url":"https:\/\/artzine.is\/?author=2"}]}},"jetpack_featured_media_url":"https:\/\/artzine.is\/wp-content\/uploads\/2022\/04\/OmarStefanssonFI.jpg","jetpack_shortlink":"https:\/\/wp.me\/p7t8Rh-3tQ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/posts\/13382","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/artzine.is\/index.php?rest_route=%2Fwp%2Fv2%2Fcomments&post=13382"}],"version-history":[{"count":15,"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/posts\/13382\/revisions"}],"predecessor-version":[{"id":13477,"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/posts\/13382\/revisions\/13477"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/artzine.is\/index.php?rest_route=\/wp\/v2\/media\/13461"}],"wp:attachment":[{"href":"https:\/\/artzine.is\/index.php?rest_route=%2Fwp%2Fv2%2Fmedia&parent=13382"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/artzine.is\/index.php?rest_route=%2Fwp%2Fv2%2Fcategories&post=13382"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/artzine.is\/index.php?rest_route=%2Fwp%2Fv2%2Ftags&post=13382"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}