{"id":13730,"date":"2022-08-10T08:17:56","date_gmt":"2022-08-10T08:17:56","guid":{"rendered":"https:\/\/artzine.is\/?p=13730"},"modified":"2022-08-11T11:46:08","modified_gmt":"2022-08-11T11:46:08","slug":"cloud-mineral-satellite-story-afield-at-skaftfell-center-for-visual-art","status":"publish","type":"post","link":"https:\/\/artzine.is\/?p=13730","title":{"rendered":"Cloud, mineral, satellite, story: Afield at Skaftfell Center for Visual Art"},"content":{"rendered":"

[et_pb_section fb_built=“1″ fullwidth=“on“ custom_padding_last_edited=“on|desktop“ _builder_version=“4.16″ custom_padding_tablet=“50px|0|50px|0″ custom_padding_phone=““ transparent_background=“off“ padding_mobile=“off“ make_fullwidth=“off“ use_custom_width=“off“ width_unit=“off“ custom_width_px=“1080px“ custom_width_percent=“80%“ global_colors_info=“{}“][et_pb_fullwidth_image src=“https:\/\/artzine.is\/wp-content\/uploads\/2022\/07\/Baejarstaedi-2021-28-104.jpg“ alt=“Fj\u00e6r“ title_text=“Fj\u00e6r“ _builder_version=“4.17.6″ _module_preset=“default“ global_colors_info=“{}“][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=“1″ custom_padding_last_edited=“on|desktop“ admin_label=“section“ _builder_version=“4.16″ custom_padding=“||9px|||“ custom_padding_tablet=“2px|0|2px|0|true|“ custom_padding_phone=““ transparent_background=“off“ padding_mobile=“off“ global_colors_info=“{}“][et_pb_row use_custom_gutter=“on“ make_equal=“on“ column_padding_mobile=“on“ custom_padding_last_edited=“on|phone“ _builder_version=“4.17.6″ background_size=“initial“ background_position=“top_left“ background_repeat=“repeat“ max_width=“900px“ module_alignment=“center“ custom_padding=“||0px|||“ custom_padding_tablet=“30px|0px|0|0px|false|false“ custom_padding_phone=“30px|0px|0|0px|false|false“ global_colors_info=“{}“][et_pb_column type=“4_4″ _builder_version=“4.17.6″ custom_padding=“|||“ global_colors_info=“{}“ custom_padding__hover=“|||“][et_pb_post_title author=“off“ date_format=“j.m. Y“ comments=“off“ featured_image=“off“ _builder_version=“4.14.7″ title_font=“|300||on|||||“ title_text_align=“center“ title_font_size=“40px“ title_letter_spacing=“1px“ title_line_height=“1.4em“ title_all_caps=“on“ meta_text_align=“center“ background_color=“rgba(255,255,255,0)“ parallax=“on“ parallax_method=“off“ width=“100%“ width_tablet=““ width_phone=““ width_last_edited=“on|desktop“ max_width=“100%“ module_alignment=“center“ custom_margin=“||10px||false|false“ custom_padding=“||0px||false|false“ title_font_size_tablet=“30px“ title_font_size_phone=“26px“ title_font_size_last_edited=“on|phone“ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“ parallax_effect=“on“ module_bg_color=“rgba(255,255,255,0)“ global_module=“3887″ saved_tabs=“all“ locked=“off“ global_colors_info=“{}“][\/et_pb_post_title][et_pb_text admin_label=“Becky“ _builder_version=“4.17.6″ background_size=“initial“ background_position=“top_left“ background_repeat=“repeat“ width_tablet=“80%“ width_phone=“80%“ width_last_edited=“on|phone“ module_alignment=“center“ global_colors_info=“{}“]<\/p>\n

Skaftfell\u2019s 2022 summer exhibition Afield (Fj\u00e6r) is connected to curator Becky Forsythe\u2019s ongoing research-based project that considers land-based practices, materials and themes. The exhibition brings together works by Icelandic and Canadian and American artists, as well as found objects collected in archeological and geological excavations on loan from The National Museum of Iceland and The Icelandic Institute of Natural History. The multidisciplinary curatorial approach tells new stories through art and scientific research. Alongside works by Canadian and American artists Diane Borsato (1973) and Geoffrey Hendricks (1931 \u2013 2018) and Icelandic artist \u00deorger\u00f0ur \u00d3lafsd\u00f3ttir\u00a0<\/span>(1985), the exhibition includes minerals collected by the Icelandic photographer Nicoline Weywadt (1848 \u2013 1921) at her family farm in Teigarhorn, in the East Fjords of Iceland, as well as objects excavated from the archaeological dig at Fj\u00f6r\u00f0 in Sey\u00f0isfj\u00f6r\u00f0ur, during summer 2020 and 2021. The exhibition is an example of Skaftfell\u2019s importance as a venue for lively artist-led activity and curatorial experimentation.\u00a0<\/span><\/b><\/p>\n

The artworks on view by Borsato<\/strong>, Hendricks<\/strong> and \u00d3lafsd\u00f3ttir<\/strong>, are shown alongside minerals and plastic artifacts found in history and natural history museum collections today. Together they constellate references to the sky, geology, land, and push further into themes of archeological exploration, mineral extraction, taxonomy and classification, and human-led environmental impact. In the exhibition human and environmental ecologies are unearthed in fieldwork, research and performance that in various ways speak to our current position in the Anthropocene.<\/p>\n

\"\"Installation view. Courtesy of Skaftfell.<\/span><\/h4>\n

\"InstallationInstallation view. Courtesy of Skaftfell.<\/span><\/h4>\n

\"InstallationInstallation view. Courtesy of Skaftfell.<\/span><\/h4>\n

In A Large Sky for Iceland<\/em> Geoffrey Hendricks<\/strong> preserves the clouds in the sky. Fleeting and phenomenal, the reference to that which is impermanent invites viewers to look up high and take note of the changes that are happening as quick as clouds, and in doing so, make further connections between the sky and the earth. In his back-to-the-land way and his many interpretations of clouds, Geoffrey\u2019s performances, which often resulted in works like this, incorporated natural materials that, in unison with his body, were a point of reference and closeness to what surrounds us.<\/p>\n

\"Geoffrey<\/p>\n

\"GeoffreyGeoffrey Hendricks<\/strong>, A Large Sky for Iceland, <\/i>1984, acrylic and graphite drawing on paper, collection of The Living Art Museum.<\/span><\/h4>\n

In the photograph The Sky Below Sey\u00f0isf\u00f6r\u00f0ur<\/i>, \u00d3lafsd\u00f3ttir<\/strong> has assembled vibrant blue pottery fragments found at the archaeology dig in Fj\u00f6r\u00f0ur, in a nod to Hendricks\u2019 paintings of clouds and skies. The pottery fragments were recently unearthed in Sey\u00f0isfj\u00f6r\u00f0ur in an archeological excavation being led by Ragnhei\u00f0ur Traustad\u00f3ttir\u2019s Antikva project; they are now preserved at the National Museum of Iceland along with other pot shards featured in another photograph, Flowers for Sey\u00f0isfj\u00f6r\u00f0ur. <\/i>In the assemblage composed of plastic finds entitled Atlas of the Heavens, <\/i>the found objects are shown against found prints of the heavens as if to evoke a distant place, with the plastic performing as potential satellites in a near-future sky. Not all of the synthetic objects found at Fj\u00f6r\u00f0ur, arriving from our everyday lives, have been turned precious. Rather, as documented in photographs reproduced as risographs entitled Almost Artifacts<\/i>, some objects have been discarded again, placed back into the ground. Time Capsules<\/i>, a work based on photographs of core samples serves as an cyclical archive of time as it disappears.<\/p>\n

\"\u00deorger\u00f0ur\u00deorger\u00f0ur \u00d3lafsd\u00f3ttir<\/strong>, Himinkort \/ Atlas of the Heavens, 1950 \/ 2022<\/em>, offset print, excavated plastic artifacts (detail). Courtesy of the artist.<\/span><\/h4>\n

\"Plastic<\/em>\u00deorger\u00f0ur \u00d3lafsd\u00f3ttir<\/strong>, Riso\u00a0print, excavated plastic artifacts<\/em> (detail). Courtesy of the artist. Documentation by Rannveig \u00de\u00f3rhallsd\u00f3ttir. Discarded plastic remains found in the excavation dig in Fj\u00f6r\u00f0ur.<\/span><\/h4>\n

\"\"\u00deorger\u00f0ur \u00d3lafsd\u00f3ttir<\/strong>,\u00a0Bl\u00f3m handa Sey\u00f0isfir\u00f0i \/ Flowers for Sey\u00f0isfj\u00f6r\u00f0ur<\/em> and\u00a0Himinninn undir Sey\u00f0isfir\u00f0i \/ The Sky below Sey\u00f0isfj\u00f6r\u00f0ur, 2022, photographic work. Courtesy of Skaftfell.<\/span><\/h4>\n

Borsato\u2019s<\/strong> video Gems and Minerals<\/i> speaks to some of the world\u2019s oldest geological resources: the rocks and minerals found in the Teck Suite: Earth\u2019s Treasures galleries at the Royal Ontario Museum in Toronto. In the video, museum guides use American Sign Language (ASL) and site-responsive dance to illuminate and focus a critical lens on stories that are not usually told about the social impact of mining and extraction, and of the seductive beauty of the materials we mine. The work asks us to pay close attention to the curiosities found in natural history collections, and to push further to consider their less-impermanent objects to the stories that are told through them \u2014 by whom and at what cost? Sometimes with humor, but more often disturbing and complex, the performed stories shed light on questions of personal attachment and reliance, of land theft leading to loss of Indigenous spiritual traditions, and the environmental and economical impacts of mining and resource extraction.<\/p>\n

\"Diane<\/p>\n

\"\"<\/p>\n

\"\"Diane Borsato<\/strong>, Gems and Minerals<\/em>, 2018, video, 25 m\u00edn. (video stills). Courtesy of the artist.<\/span><\/h4>\n

Gathered, organized and assembled in response to works by Borsato and \u00deorger\u00f0ur, minerals collected by Nicoline Weywadt (1848-1921) demonstrate the human desire to collection and classify. Weywadt, who studied mineralogy in Copenhagen in the 1870s (and, significantly, was Iceland\u2019s first professionally-trained photographers) collected minerals at Teigarhorn, in D\u00fapavogshreppur, in east Iceland, a mineral-rich area where Schoolite, stilbite, epistilbite, mordenite, laumontite and heulandite, seladonite, opal, chalcedony, rock crystal, calcite and Iceland spar are found. Although the region was declared a natural monument in 1976, for over 200 years the zeolites here were used in various geological studies and, in the 18th century, specimens were sold to museums around the world.\u00a0<\/span><\/p>\n

Taken together, the objects in the exhibition ask the view to consider the many ways we attend to land and its beauty, but also the equally many ways we extract what is precious from it. In Afield<\/i>, ethereal hand-painted and found skies, collected gems and minerals, performed stories and archeological finds counter notions of decay to become catalysts for memory and the experience of the the passage and suspension in geologic time. By considering human desire and its impact on change in the natural, non-human world, the exhibition asks: how can the ritual of heading out into the environment, newly navigating our relationship to it, move us closer to knowing this changing world?<\/p>\n

Becky Forsythe<\/em><\/p>\n

\n

Afield \/ Fj\u00e6r opened on June 4th and is currently on view at Skaftfell Center for Visual Art until September 4th 2022.<\/p>\n

The exhibition is curated by Becky Forsythe, with the support of staff at Skaftfell.<\/p>\n

For more on the artists and their work:
dianeborsato.net<\/a>
thorgerdurolafsdottir.info<\/a><\/p>\n

Skaftfell \u2014 myndlistarmi\u00f0st\u00f6\u00f0 Austurlands \/ Center for Visual Art
Austurvegur 42, Sey\u00f0isfj\u00f6r\u00f0ur – www.skaftfell.is<\/a><\/p>\n

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":"

Skaftfell\u2019s 2022 summer exhibition Afield (Fj\u00e6r) is connected to curator Becky Forsythe\u2019s ongoing research-based project that considers land-based practices, materials and themes. The exhibition brings together works by Icelandic and Canadian and American artists, as well as found objects collected in archeological and geological excavations on loan from The National Museum of Iceland and The […]<\/p>\n","protected":false},"author":1,"featured_media":13743,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

The 2022 summer exhibition at Skaftfell is titled Afield<\/em> or, in Icelandic Fj\u00e6r<\/em>, and is connected to an ongoing research-based project that considers land-based practices, materials and themes. As curator of the exhibition, the opportunity bring together works by artists in Iceland and in Canada, to newly present an important work from The Living Art Museum Collection and crossover with collections at The National Museum of Iceland and The Icelandic Institute of Natural History supports the importance of multidisciplinary collaboration in telling new stories through art. Alongside works by Diane Borsato, Geoffrey Hendricks (1931 \u2013 2018) and \u00deorger\u00f0ur \u00d3lafsd\u00f3ttir the exhibition includes minerals collected by Nicoline Weywadt (1848 \u2013 1921) at Teigarhorn and plastic objects excavated from the archaeological dig at the farm Fj\u00f6r\u00f0 in Sey\u00f0isfj\u00f6r\u00f0ur, during summer 2020 and 2021. In this instance, Skaftfell continues its role as an integral site for lively artist-led activity and exhibition-making, a place for curatorial experimentation, and so much more.<\/strong><\/p>

In Afield<\/em>, works offer a distant view and at first glance seem far away. These works, by Diane Borsato, Geoffrey Hendricks and \u00deorger\u00f0ur \u00d3lafsd\u00f3ttir, are gathered with minerals and plastic artifacts that are cared for in natural history and archaeological collections today. Together they constellate references to the sky, geology, land, and push further into themes of land exploration and extraction, classification and human-led change. In the exhibition human and environmental ecologies are unearthed in fieldwork, research and performance that trace our current position in the Anthropocene.

In A Big Sky for Iceland<\/em> Geoffrey Hendricks<\/strong> preserves the clouds in the sky. Fleeting and phenomenal, the reference to that which is impermanent invites viewers to look up high and take note of the changes that are happening as quick as clouds, and in doing so, make further connections between the sky and the earth. In his back-to-the-land way and his many interpretations of clouds, Geoffrey\u2019s performances, which often resulted in works like this, incorporated natural materials that, in unison with his body, were a point of reference and closeness to what surrounds us.<\/p>

With a nod to Hendricks and to Sey\u00f0isfj\u00f6r\u00f0ur, \u00deorger\u00f0ur \u00d3lafsd\u00f3ttir<\/strong> assembles vibrant blue pottery fragments found at the archaeology dig in Fj\u00f6r\u00f0ur during summers 2020 and 2021 and calls the work The Sky below Sey\u00f0isfj\u00f6r\u00f0ur<\/em>. Part of the research is informed by Ragnhei\u00f0ur Traustad\u00f3ttir\u2019s Antikva project, the artifacts are preserved at the National Museum of Iceland along with their relatives in Flowers for Sey\u00f0isfj\u00f6r\u00f0ur<\/em>, and the plastic remains turned artifacts in Atlas of the Heavens<\/em>. The found prints echo a distant place, with the plastic performing as potential satellites in a near-future sky. Not all of the synthetic objects found at Fj\u00f6r\u00f0ur, arriving from our everyday lives, have been turned precious. Rather as documented photographs in Almost Artifacts,<\/em> they have been discarded again, back into the ground. Time Capsules<\/em> crystalize the changes, big and small, trapped in receding glaciers, and serve as an cyclical archive of time as it disappears.<\/p>

Diane Borsato<\/strong>\u2019s Gems and Minerals<\/em> speak to the world\u2019s oldest geological resources, rocks and minerals found in the Teck Suite: Earth\u2019s Treasures galleries<\/em> at the Royal Ontario Museum in Toronto. There, museum guides use American Sign Language (ASL) and site-responsive dance to illuminate and focus a critical lens on stories that are not usually told of the social impact of mining and extraction, but also the seductive beauty of the materials we mine. The work asks us to pay close attention to the complexities and curiosities of natural history collections, their less-impermanent objects and the stories that are told through them \u2014 by whom and at what cost?<\/em> Sometimes with humor, most often disturbing and complex, the bodily stories of personal attachment and reliance, land theft leading to loss of tradition, the environmental, economical and spiritual impacts of mining and resource extraction give new view into the need to collect, and display from the natural world.<\/p>

Gathered, organized and assembled in response to works by Borsato and \u00deorger\u00f0ur, minerals collected by Nicoline Weywadt<\/strong> (1848-1921) at Teigarhorn, her family home and one of the most significant mining sites of zeolites in the world, ground the exhibition. Schoolite, stilbite, epistilbite, mordenite, laumontite and heulandite are found amongst other minerals at Teigarhorn, like seladonite, opal, chalcedony, rock crystal, calcite and Icelandic spar. Although protected as a natural monument since 1976, for over 200 years the zeolites here were used in various geological studies and, in the 18th century, sold to museums around the world. You might think about the many ways we attend to land and its beauty, but also the equally many ways we extract what is precious from it.<\/p>

In Afield<\/em>, the hand-painted and found skies, collected gems and minerals, performed stories and plastic remains propose counters to decay and become catalysts for memory, passage and suspension in geologic time. Led by human desire and change in the natural, non-human world, the exhibition asks: how can the ritual of heading out into the environment, newly navigating our relationship to it, move us closer to knowing this changing world?<\/p>

Becky Forsythe<\/em><\/p>


Afield \/ Fj\u00e6r opened on June 4th and is currently on view at Skaftfell Center for Visual Art until September 4th 2022.<\/p>

The exhibition is curated by Becky Forsythe, with the support of staff and friends at Skaftfell.<\/p>

For more on the artists and their work:
www.dianeborsato.net<\/a>
thorgerdurolafsdottir.info<\/a><\/p>

Skaftfell \u2014 myndlistarmi\u00f0st\u00f6\u00f0 Austurlands \/ Center for Visual Art
Austurvegur 42, Sey\u00f0isfj\u00f6r\u00f0ur - www.skaftfell.is<\/a> <\/p>","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[16,962],"tags":[365,249,616,963],"class_list":["post-13730","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artzine-in-english","category-syningartexti","tag-becky-forsythe","tag-pari-stave","tag-skaftfell","tag-thorgerdur-olafsdottir"],"yoast_head":"\nCloud, mineral, satellite, story: Afield at Skaftfell Center for Visual Art - 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=13730\" \/>\n<meta property=\"og:locale\" content=\"is_IS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Cloud, mineral, satellite, story: Afield at Skaftfell Center for Visual Art - artzine.is\" \/>\n<meta property=\"og:description\" content=\"Skaftfell\u2019s 2022 summer exhibition Afield (Fj\u00e6r) is connected to curator Becky Forsythe\u2019s ongoing research-based project that considers land-based practices, materials and themes. The exhibition brings together works by Icelandic and Canadian and American artists, as well as found objects collected in archeological and geological excavations on loan from The National Museum of Iceland and The […]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/artzine.is\/?p=13730\" \/>\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:author\" content=\"https:\/\/www.facebook.com\/artzinevefrit\/?notif_t=page_fan&notif_id=1461337370566763\" \/>\n<meta property=\"article:published_time\" content=\"2022-08-10T08:17:56+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-08-11T11:46:08+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/artzine.is\/wp-content\/uploads\/2022\/07\/Baejarstaedi-2021-28-104.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"1920\" \/>\n\t<meta property=\"og:image:height\" content=\"1280\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"artzine\" \/>\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=\"artzine\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"9 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\\\/\\\/schema.org\",\"@graph\":[{\"@type\":\"Article\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13730#article\",\"isPartOf\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13730\"},\"author\":{\"name\":\"artzine\",\"@id\":\"https:\\\/\\\/artzine.is\\\/#\\\/schema\\\/person\\\/20e4057b68072a5449d18f9fb31c2a72\"},\"headline\":\"Cloud, mineral, satellite, story: Afield at Skaftfell Center for Visual Art\",\"datePublished\":\"2022-08-10T08:17:56+00:00\",\"dateModified\":\"2022-08-11T11:46:08+00:00\",\"mainEntityOfPage\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13730\"},\"wordCount\":1479,\"commentCount\":0,\"image\":{\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13730#primaryimage\"},\"thumbnailUrl\":\"https:\\\/\\\/artzine.is\\\/wp-content\\\/uploads\\\/2022\\\/07\\\/Baejarstaedi-2021-28-104.jpg\",\"keywords\":[\"Becky Forsythe\",\"Pari Stave\",\"Skaftfell\",\"\u00deorger\u00f0ur \u00d3lafsd\u00f3ttir\"],\"articleSection\":[\"artzine in english\",\"S\u00fdningartexti\"],\"inLanguage\":\"is\",\"potentialAction\":[{\"@type\":\"CommentAction\",\"name\":\"Comment\",\"target\":[\"https:\\\/\\\/artzine.is\\\/?p=13730#respond\"]}]},{\"@type\":\"WebPage\",\"@id\":\"https:\\\/\\\/artzine.is\\\/?p=13730\",\"url\":\"https:\\\/\\\/artzine.is\\\/?p=13730\",\"name\":\"Cloud, mineral, satellite, story: Afield at Skaftfell Center for Visual Art - 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