{"id":2483,"date":"2016-08-24T11:29:14","date_gmt":"2016-08-24T11:29:14","guid":{"rendered":"http:\/\/artzine.is\/?p=2483"},"modified":"2016-10-09T09:07:56","modified_gmt":"2016-10-09T09:07:56","slug":"local-art-performances-plan-b-art-festival","status":"publish","type":"post","link":"https:\/\/artzine.is\/?p=2483","title":{"rendered":"Local Art Performances by Icelandic and International Artists: Plan B Art Festival in Borgarnes"},"content":{"rendered":"

[et_pb_section admin_label=“Section“ fullwidth=“on“ specialty=“off“][et_pb_fullwidth_image admin_label=“Fullwidth Image“ src=“http:\/\/artzine.is\/wp-content\/uploads\/2016\/08\/unnamed-3b.jpg“ show_in_lightbox=“off“ url_new_window=“off“ use_overlay=“off“ animation=“off“ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“] [\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section admin_label=“section“][et_pb_row admin_label=“row“][et_pb_column type=“4_4″][et_pb_post_title admin_label=“Post Title“ title=“on“ meta=“off“ author=“off“ date=“off“ date_format=“M j, Y“ categories=“on“ comments=“off“ featured_image=“off“ featured_placement=“below“ parallax_effect=“on“ parallax_method=“on“ text_orientation=“left“ text_color=“dark“ text_background=“off“ text_bg_color=“rgba(255,255,255,0.9)“ title_font=“Lato|on|||“ title_font_size=“35px“ title_all_caps=“on“ use_border_color=“off“ border_color=“#ffffff“ border_width=“1px“ border_style=“solid“ disabled=“off“] [\/et_pb_post_title][et_pb_text admin_label=“Text“ background_layout=“light“ text_orientation=“left“ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“]<\/p>\n

Last Saturday I attended the inaugural Plan B Art Festival in Borgarnes, a town just an hour\u2019s drive north of Reykjav\u00edk. It was a free event, organized by a group of artists, an art theorist, and an architect, many of them hailing from Borgarnes. The festival was arranged through an open call for submissions which ran earlier this year, from April to July. The exhibition spaces were filled with paintings, sculptures, videos, and installations, while the fourth space, Studio Mj\u00f3lk, was a venue for a few works and performances on Saturday night. A foggy day filled with structured gallery hopping in the city ended with an emotional spasm when I completely gave myself up to the performances at Studio Mj\u00f3lk\u2014they each demanded a different type of mental effort and level of concentration to process and understand. In case you didn\u2019t make the performances on Saturday night, I\u2019ve got you covered: this is a short summary of my thoughts.<\/strong><\/p>\n

First, in order to get to the performance venue from downtown Borgarnes, you had to hop into a car and follow a treasure map that was drawn up for the event. If you scanned your eyes to the right side of the map, you would have found a large X surrounded by three arrows, labeled COW SHED. Yes, indeed, Studio Mj\u00f3lk was located on a farm but the space, entirely cleaned up and converted, fit the performances perfectly.<\/p>\n

\"kort\"<\/p>\n

The night began in the first part of the shed, where digital projections were displayed around the room, showcasing the works of Harpa Einars<\/strong> and Jakob Veigar<\/strong>. In the back of the room, artist Maiken St\u00e6r<\/strong> was unsuspectingly reclining in a hay filled stable as an early part of her performance \u201cstrap-on butterfly.\u201d After 8 pm, more visitors filled the barn and grabbed a beer. (See image on top of article)<\/p>\n

A voice then emanated from a speaker and announced to us that we were being invited, or possibly being summoned, into the following room. I heard banging and clanging from behind the interior double doors, and a bright red light shined through the crack in between them. After the first two audience members abandoned the comfort of the beer and projection room, and left the rest of us standing in the dark, we quickly decided to follow suit and entered the performance space: an industrial environment flooded with bright spotlights and bits and pieces of used metal. \u201cThis feels like a dungeon,\u201d I remember thinking, and in my head I knew we were all going to be in for a surprise. I had just entered Olga Szymula\u2019s<\/strong> installation but had not anticipated to become a part of it along with the rest of the audience. What ensued was a brilliant ensemble of aluminum-foil-rattling, horseshoe-banging, hand-holding, circle-walking, and balloon-kicking, in a dark room in an empty cowshed in the middle of nowhere. We began to hum a song together, led by Olga, who walked around in the center of the room with a microphone in her hand, encouraging us to hum a certain way. When the room was completely filled with \u201cuhms\u201d and \u201cahms,\u201d and when we were all holding hands, walking around in a circle, I felt that each of us in the room and even the baby being pushed in the stroller had become a family. That baby became my baby. Olga became my sister. I loved every minute of the performance and I want to relive it every week for the rest of my life.<\/p>\n

\"olga\"<\/p>\n

Olga performing \u201cnational song.\u201d Photograph courtesy of the author.<\/em><\/p>\n

Some time later, a naked boy emerged crouching on the floor by the far wall of the room, surrounded by computer monitors on red cloth-draped pedestals. We curiously huddled around him. He looked like a beautiful kinetic statue in that moment, demanding attention to his softly lit body in the the dim room. He then stood up and perched himself atop the concrete floor with a bowed head and his arms at his side. This was Anton Logi Olafsson\u2019s<\/strong> performance entitled \u201cROOSTING.\u201d He reached for a pair of shorts on the ground, and before I knew it, he was leaving the room and heading out of the shed. I headed for the door as well, entranced, confused, fascinated. I felt his adrenaline pass itself onto me, and I wanted to run away with him. But I never did, and I never caught up to him, because he headed down the road and ran away from the shed and the farm. I don\u2019t know what happened to him. Anton, are you okay? I thought about what he could be running away from so determinedly, and I feel that his instinct to run away from a technologically reliant enclosure and into an open, natural space is one we could all relate to.<\/p>\n

The next performance was a continuation of \u201cstrap-on butterfly.\u201d I was suddenly standing in front of a girl with her wrists chained to her body, positioned in front of an industrial white double sink, and she was diligently pouring water from one sink to the other. The lighting in the shed was haunting and dramatic. The sinks rapidly but rhythmically dripped water from their bottoms. Maiken wore a lopapeysa<\/em> with no sleeves, and her entire body glimmered as it reflected the only two lights in the dark room. An unexpected whale vertebra became the center of her attention and she eventually abandoned the sinks, but the interplay between these objects was flawless\u2014Maiken\u2019s body connected them and brought them to life while the rest of us watched with curiosity and unpredictability. Crouching on the floor, she began to cradle the large vertebra, and this intimate dialogue between the two actively progressed as she went on to wrap her chains around the bone, rode it, caressed it, and worshipped its presence.<\/p>\n

Emma Gu\u00f0nason<\/strong> brought the laughter to the evening with her performance \u201cshitcore; a loud statement against all wars!!!<\/strong>\u201d Clad in an eclectic homemade costume with a cape made of B\u00f3nus<\/em> and Kr\u00f3nan<\/em> shopping bags, an aluminum foil cap, and a toothbrush attached to her forehead, Emma revealed a complex relationship with a metal sheet and an amplifier, generating chaotic but epic sound clashes through the whole performance. Frustrated but actively moving around the littered paper on the floor, Emma revealed a sign and taped it to the wall \u2013 the title of the performance. The pink pigs on Emma\u2019s cape occupied my vision as I listened to the persistent clanging of the metal sheet, and I was then transported to a reality of bizarre, but here in the shed, totally normal happenings. Energy and angry emotions filled my own body while I watched Emma, whose performance motivated me to think about our members of humanity who continue to fight for our freedom of speech and expression, freedom to react and to protest, and freedom to fight for peace in the midst of \u201call wars.\u201d<\/p>\n

The only appropriate ending to the night had to be epic and highly intensive, and Ylfa \u00de\u00f6ll \u00d3lafsd\u00f3ttir\u2019s<\/strong> performance did not disappoint. Ylfa pulled into the barn shed in her small car, parked it, and darted out of the vehicle. Wearing a car mechanic\u2019s outfit, she opened the doors and trunk of the car and hopped onto the roof. A deep, primal roar came out of her throat: \u201cDAME MAS GASOLINA.<\/strong>\u201d She would continue to demand more gasoline as she assumed various positions both inside and outside of the car and, ahem<\/em>, \u2013 humped\u2014the car. Fast and furious, potentially painful, and completely serious, it was difficult to look away. Her moans and groans, and the frequent repetition of \u201cdame mas gasolina\u201d penetrated every corner of the shed. The emergency lights on the car blinked, the windshield spray shot out and away from the car in a completely sexual way, and Ylfa continued pounding the car for the entire length of the performance. No door or seat was safe from her hips. At one point, she smeared what looked to be car oil on her face, and the act quite visibly satisfied her. I imagined the type of response the car would had given if it could have given one\u2014was this rape or was this consensual? Ylfa\u2019s costume filled in the gaps for me. A hilarious situation came to life before my eyes\u2014a desperate, gasless car mechanic, with no physical gas around, took a final attempt to revive the car and exhausted herself in the process. When Ylfa finished, she shut the gas tank, the doors, and trunk, got into the driver\u2019s seat, miraculously turned on the car, and backed out of the shed to a clapping frenzy from the audience. It must have worked. While I was watching Ylfa I was also scanning the room, looking at the faces of the audience. Some were at total peace, their faces completely neutral, while others were entirely giddy with laughter. Even some children were watching. Ylfa\u2019s performance challenged me to accept her behavior. I tried to identify what it was about the performance that initially disturbed me. Was it her seriousness, or perhaps the sound of the satisfaction in her voice? I was caught off guard and without an explanation. Thinking about the act of putting gas in a car, I realized that the gas pump is entirely phallic and the act of putting it into a hole in the car really emphasizes this analogy. When the performance ended, I was relieved in the sense that I finally understood Ylfa\u2019s efforts\u2014she fueled up the car by fully committing her body to the cause. I think we all walked away a little bit changed by \u201cGasoline,\u201d and maybe quite relieved that we actually put gas in our cars in a less demanding way. I would have enjoyed a Puerto-Rican ready made cocktail as a mid-performance refreshment.<\/p>\n

\u00a0\"unnamed\"<\/p>\n

Ylfa performing \u201cGasoline.\u201d Photograph courtesy of Gissur P\u00e1lsson.<\/em><\/p>\n

If you missed Plan B Art Festival this year, do not worry, because it will be back to Borgarnes next summer. You can still view works that are up at Mj\u00f3lkursamlagi\u00f0, the venue on Sk\u00falagata, as it will run its exhibition through August 27th<\/sup>. However, an entire set of artworks were not covered by this review, but you can read about the full selection of artists who participated and find more information on their work at www.planbartfestival.is. The weekend proved to be a fantastic engagement with the Icelandic community, but the festival also brought international artists to Iceland and even provided some of them with a residency studio leading up to the date of the festival. You can read more about Plan B Art Festival, and stay up-to-date with news, access more photos, and hear about the next open call applications by following their Facebook page: facebook.com\/planbartfestival. If this first festival is any indication of the festival\u2019s projection, I say come prepared to be completely unprepared for the newest, weirdest, coolest art being made in Iceland and internationally.<\/p>\n

Anna Toptchi is an art history graduate student living and writing in New York City.<\/em><\/p>\n

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Last Saturday I attended the inaugural Plan B Art Festival in Borgarnes, a town just an hour\u2019s drive north of Reykjav\u00edk. It was a free event, organized by a group of artists, an art theorist, and an architect, many of them hailing from Borgarnes. The festival was arranged through an open call for submissions which […]<\/p>\n","protected":false},"author":11,"featured_media":2490,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":"

[et_pb_section admin_label=\"Section\" fullwidth=\"on\" specialty=\"off\"][et_pb_fullwidth_image admin_label=\"Fullwidth Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/06-2.jpg\" show_in_lightbox=\"off\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section admin_label=\"section\"][et_pb_row admin_label=\"row\"][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"]<\/p>

REITIR er tveggja vikna smi\u00f0ja sem hefur fari\u00f0 fram \u00e1 Siglufir\u00f0i \u00e1 hverju sumri s\u00ed\u00f0an 2012. REITIR byggja \u00e1 \u00feeirri hugmynd a\u00f0 me\u00f0 \u00fev\u00ed a\u00f0 stefna saman framtaks\u00f6mu og \u00f6flugu f\u00f3lki \u00far \u00f3l\u00edkum starfsgreinum, n\u00fdtist fj\u00f6lbreytt reynsla \u00feeirra sem grunnur a\u00f0 \u00e1hrifar\u00edku samstarfi. Margir \u00fe\u00e1tttakendur smi\u00f0junnar eru \u00far skapandi greinum, \u00fe\u00f3 inn\u00e1 milli megi finna st\u00e6r\u00f0fr\u00e6\u00f0inga, forritara, mannfr\u00e6\u00f0inga og \u00fdmsa a\u00f0ra. \u00dea\u00f0 er mikilv\u00e6gt a\u00f0 hafa sem mesta breidd innan h\u00f3psins, en hver \u00fe\u00e1tttakandi er vandlega valinn \u00far fj\u00f6lda al\u00fej\u00f3\u00f0legra ums\u00e6kjenda.<\/strong><\/div>
-\u00a0<\/span><\/div>
REITIR er sta\u00f0bundin smi\u00f0ja sem dregur b\u00e6jarf\u00e9lagi\u00f0 inn\u00ed starfi\u00f0 \u00e1 marga vegu. Smi\u00f0jan er \u00ed samstarfi vi\u00f0 Fjallabygg\u00f0, \u00fdmsa sj\u00f3\u00f0i, fyrirt\u00e6ki og Al\u00fe\u00fd\u00f0uh\u00fasi\u00f0 \u00e1 Siglufir\u00f0i sem skaffar smi\u00f0junni h\u00fasn\u00e6\u00f0i og a\u00f0sto\u00f0 vi\u00f0 framkv\u00e6md. \u00de\u00e1tttakendur er hvattir til a\u00f0 vinna me\u00f0 b\u00e6jarb\u00faum, vera s\u00fdnilegir og n\u00fdta \u00feau t\u00e6kif\u00e6ri sem b\u00e6rinn b\u00fd\u00f0ur upp\u00e1. \u00deau m\u00e6ta \u00e1 sta\u00f0inn \u00e1n fyrirfram m\u00f3ta\u00f0ra hugmynda en me\u00f0 opinn hug gagnvart \u00f3eigingj\u00f6rnu samstarfi og drifkraft til a\u00f0 skapa. \u00dea\u00f0 fer miki\u00f0 fyrir smi\u00f0junni \u00e1 hverju sumri en \u00e1hersla er l\u00f6g\u00f0 \u00e1 enduruppg\u00f6tvun og n\u00fdn\u00e6mi \u00ed not \u00e1 almenningsr\u00fdminu. Verkefnin sem hafa veri\u00f0 unnin \u00e1 REITUM s\u00ed\u00f0astli\u00f0in fimm \u00e1r eru mj\u00f6g fj\u00f6lbreytt, en \u00fe\u00e1tttakendur hafa t.a.m. opna\u00f0 t\u00edmabundi\u00f0 kaffih\u00fas \u00e1 ruslahaugunum, mi\u00f0la\u00f0 s\u00f6gum heimaf\u00f3lks \u00ed gegnum s\u00e9rhanna\u00f0 snjalls\u00edmaforrit, haldi\u00f0 hundas\u00fdningu, unni\u00f0 t\u00edmabundi\u00f0 \u00ed bakar\u00edinu, framkv\u00e6mt gj\u00f6rninga um allan b\u00e6, teki\u00f0 yfir gamlar verksmi\u00f0jur, gefi\u00f0 \u00fat \u00fdmis sm\u00e1rit, haldi\u00f0 \u00fati metna\u00f0arfullri \u00fatvarpsdagskr\u00e1 og margt fleira.<\/div>

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Myndbandager\u00f0 er gegnumgangandi tilrauna og listform \u00e1 me\u00f0an \u00e1 smi\u00f0junni stendur.<\/p>

[\/et_pb_text][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"]<\/p>

Smi\u00f0jan skiptist \u00ed tvo hluta: fyrri hluti REITA er tileinka\u00f0ur ranns\u00f3kna- og hugmyndavinnu, en seinni hlutinn \u00farvinnslu og framkv\u00e6md verka. Fyrstu fj\u00f3rir dagar smi\u00f0junnar fara \u00ed a\u00f0 kynna \u00fe\u00e1tttakendum fyrir Siglufir\u00f0i \u00e1 skilvirkan \u00fe\u00e1tt. Verkefnastj\u00f3rar Reita sj\u00e1 um \u00feessa hnitmi\u00f0u\u00f0u kynningu \u00e1 b\u00e6num, m.a. me\u00f0 opnum vi\u00f0bur\u00f0um, lei\u00f0s\u00f6gnum um b\u00e6inn og matarbo\u00f0um hj\u00e1 heimaf\u00f3lki. \u00de\u00e1tttakendur hafa svo um t\u00edu daga til a\u00f0 vinna og framkv\u00e6ma verkefni, innbl\u00e1sin af Siglufir\u00f0i \u00e1 einn e\u00f0a annan h\u00e1tt.<\/div>
-<\/span><\/div>
Reitir vinna a\u00f0 gegnumgangandi endursko\u00f0un Siglufjar\u00f0ar \u00fear sem \u00fe\u00e1tttakendur beita s\u00e9rkunn\u00e1ttu sinni \u00ed samstarfi vi\u00f0 a\u00f0ra til a\u00f0 m\u00f3ta n\u00fdja n\u00e1lgun \u00e1 mynd b\u00e6jarins. Reitir eru verkf\u00e6ri sem m\u00e1 beita \u00e1 b\u00e6inn til a\u00f0 sko\u00f0a m\u00f6guleika, pr\u00f3fa lausnir og gera tilraunir \u00e1n langt\u00edmaskuldbindinga, \u00fear sem flest verkefnin eru t\u00edmabundin. Smi\u00f0jan veitir b\u00e6jarb\u00faum n\u00fdja s\u00fdn og gefur \u00fe\u00e1tttakendum t\u00e6kif\u00e6ri \u00e1 a\u00f0 \u00fer\u00f3a s\u00edna eigin i\u00f0ju, me\u00f0 \u00e1herslu \u00e1 skemmtilegt, skapandi og s\u00fdnilegt samstarf. Reitir eru grunnur a\u00f0 skapandi al\u00fej\u00f3\u00f0asamstarfi \u00ed \u00fe\u00e1gu Siglufjar\u00f0ar en er einnig mi\u00f0punktur \u00ed vaxandi tengslaneti sem teygir sig \u00fevert yfir heiminn.<\/div>
-<\/span><\/div>
REITIR eru styrktir af Al\u00fe\u00fd\u00f0uh\u00fasinu \u00e1 Siglufir\u00f0i, Uppbyggingasj\u00f3\u00f0 Nor\u00f0urlands Eystra, Evr\u00f3pu Unga F\u00f3lksins, Erasmus+ og Fjallabygg\u00f0, auk fj\u00f6lda fyrirt\u00e6kja \u00e1 Siglufir\u00f0i.<\/div>
-<\/span><\/div>
N\u00fa vinna skipuleggjendur REITA a\u00f0 b\u00f3k um smi\u00f0juna sem kemur \u00fat s\u00ed\u00f0ar \u00e1 \u00e1rinu og nefnist Tools for Transformation<\/i>. Markmi\u00f0 hennar er a\u00f0 mi\u00f0la hugmynda- og a\u00f0fer\u00f0arfr\u00e6\u00f0i smi\u00f0junnar og veita \u00f6\u00f0rum innbl\u00e1stur. REITIR fjalla um sj\u00e1lfsprotti\u00f0 menningarstarf og frumkv\u00e6\u00f0i einstaklinga, en b\u00f3kin mun innihalda \u00fdmislegt gagnlegt fyrir frumkv\u00f6\u00f0la \u00e1 \u00f6llum svi\u00f0um: a\u00f0fer\u00f0ir vi\u00f0 val \u00e1 \u00fe\u00e1tttakendum og lei\u00f0ir til a\u00f0 tengja samf\u00e9lagsh\u00f3pa og rannsaka n\u00e6rumhverfi, mataruppskriftir fyrir st\u00f3ra h\u00f3pa og margt fleira.<\/div>
\u00a0<\/div>

[\/et_pb_text][et_pb_text admin_label=\"b\u00f3ka Text\" background_layout=\"light\" text_orientation=\"left\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\" text_font=\"Lato||||\" text_text_color=\"#333333\" text_font_size=\"18\" custom_padding=\"10px|10px|10px|10px\" background_color=\"#ededed\"]<\/p>

Veri\u00f0 er a\u00f0\u00a0vinna a\u00f0 b\u00f3k um REITI og eru myndverkin a\u00f0 ne\u00f0an \u00far \u00fev\u00ed verkefni. Teikningarnar eru unnar af Morgane Parma og Sophie Haack<\/p>

[\/et_pb_text][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\"Row\"][et_pb_column type=\"1_4\"][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/T-32-Intro-research-walk.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/Mexico_Soup-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][\/et_pb_column][et_pb_column type=\"1_4\"][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/T-30-Brainstorming-sessions-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/Mugs-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][\/et_pb_column][et_pb_column type=\"1_4\"][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/T-26-Power-to-the-people-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/Lummur-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][\/et_pb_column][et_pb_column type=\"1_4\"][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/T-24-Cross-disciplinary2-small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][et_pb_image admin_label=\"Image\" src=\"http:\/\/artzine.is\/wp-content\/uploads\/2016\/07\/Astarpungur_small.jpg\" show_in_lightbox=\"on\" url_new_window=\"off\" use_overlay=\"off\" animation=\"off\" sticky=\"off\" align=\"left\" force_fullwidth=\"off\" always_center_on_mobile=\"on\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\"] [\/et_pb_image][\/et_pb_column][\/et_pb_row][et_pb_row admin_label=\"Row\"][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\" background_layout=\"light\" text_orientation=\"left\" background_color=\"#ededed\" use_border_color=\"off\" border_color=\"#ffffff\" border_style=\"solid\" custom_padding=\"10px|10px|10px|10px\" text_font=\"Lato||||\"]<\/p>

Fylgist me\u00f0 REITUM \u00e1 eftirfarandi mi\u00f0lum:<\/p>

facebook.com\/reitir<\/a><\/p>

instagram.com\/reitir\/<\/a><\/p>

reitir.com\/<\/a><\/p>

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section admin_label=\"section\"][et_pb_row admin_label=\"row\"][et_pb_column type=\"4_4\"][et_pb_text admin_label=\"Text\"]<\/p>

Last Saturday I attended the inaugural Plan B Art Festival in Borgarnes, a town just an hour\u2019s drive north of Reykjav\u00edk. It was a free event, organized by a group of artists, an art theorist, and an architect, many of them hailing from Borgarnes. The festival was arranged through an open call for submissions which ran earlier this year, from April to July. The exhibition spaces were filled with paintings, sculptures, videos, and installations, while the fourth space, Studio Mj\u00f3lk, was a venue for a few works and performances on Saturday night. A foggy day filled with structured gallery hopping in the city ended with an emotional spasm when I completely gave myself up to the performances at Studio Mj\u00f3lk\u2014they each demanded a different type of mental effort and level of concentration to process and understand. In case you didn\u2019t make the performances on Saturday night, I\u2019ve got you covered: this is a short summary of my thoughts.<\/p>

First, in order to get to the performance venue from downtown Borgarnes, you had to hop into a car and follow a treasure map that was drawn up for the event. If you scanned your eyes to the right side of the map, you would have found a large X surrounded by three arrows, labeled COW SHED. Yes, indeed, Studio Mj\u00f3lk was located on a farm but the space, entirely cleaned up and converted, fit the performances perfectly.<\/p>

The night began in the first part of the shed, where digital projections were displayed around the room, showcasing the works of Harpa Einars and Jakob Veigar. In the back of the room, artist Maiken St\u00e6r was unsuspectingly reclining in a hay filled stable as an early part of her performance \u201cstrap-on butterfly.\u201d After 8 pm, more visitors filled the barn and grabbed a beer.<\/p>

A voice then emanated from a speaker and announced to us that we were being invited, or possibly being summoned, into the following room. I heard banging and clanging from behind the interior double doors, and a bright red light shined through the crack in between them. After the first two audience members abandoned the comfort of the beer and projection room, and left the rest of us standing in the dark, we quickly decided to follow suit and entered the performance space: an industrial environment flooded with bright spotlights and bits and pieces of used metal. \u201cThis feels like a dungeon,\u201d I remember thinking, and in my head I knew we were all going to be in for a surprise. I had just entered Olga Szymula\u2019s installation but had not anticipated to become a part of it along with the rest of the audience. What ensued was a brilliant ensemble of aluminum-foil-rattling, horseshoe-banging, hand-holding, circle-walking, and balloon-kicking, in a dark room in an empty cowshed in the middle of nowhere. We began to hum a song together, led by Olga, who walked around in the center of the room with a microphone in her hand, encouraging us to hum a certain way. When the room was completely filled with \u201cuhms\u201d and \u201cahms,\u201d and when we were all holding hands, walking around in a circle, I felt that each of us in the room and even the baby being pushed in the stroller had become a family. That baby became my baby. Olga became my sister. I loved every minute of the performance and I want to relive it every week for the rest of my life.<\/p>

Some time later, a naked boy emerged crouching on the floor by the far wall of the room, surrounded by computer monitors on red cloth-draped pedestals. We curiously huddled around him. He looked like a beautiful kinetic statue in that moment, demanding attention to his softly lit body in the the dim room. He then stood up and perched himself atop the concrete floor with a bowed head and his arms at his side. This was Anton Logi Olafsson\u2019s performance entitled \u201cROOSTING.\u201d He reached for a pair of shorts on the ground, and before I knew it, he was leaving the room and heading out of the shed. I headed for the door as well, entranced, confused, fascinated. I felt his adrenaline pass itself onto me, and I wanted to run away with him. But I never did, and I never caught up to him, because he headed down the road and ran away from the shed and the farm. I don\u2019t know what happened to him. Anton, are you okay? I thought about what he could be running away from so determinedly, and I feel that his instinct to run away from a technologically reliant enclosure and into an open, natural space is one we could all relate to.<\/p>

The next performance was a continuation of \u201cstrap-on butterfly.\u201d I was suddenly standing in front of a girl with her wrists chained to her body, positioned in front of an industrial white double sink, and she was diligently pouring water from one sink to the other. The lighting in the shed was haunting and dramatic. The sinks rapidly but rhythmically dripped water from their bottoms. Maiken wore a lopapeysa<\/em> with no sleeves, and her entire body glimmered as it reflected the only two lights in the dark room. An unexpected whale vertebra became the center of her attention and she eventually abandoned the sinks, but the interplay between these objects was flawless\u2014Maiken\u2019s body connected them and brought them to life while the rest of us watched with curiosity and unpredictability. Crouching on the floor, she began to cradle the large vertebra, and this intimate dialogue between the two actively progressed as she went on to wrap her chains around the bone, rode it, caressed it, and worshipped its presence.<\/p>

Emma Gu\u00f0nason brought the laughter to the evening with her performance \u201cshitcore; a loud statement against all wars!!!\u201d Clad in an eclectic homemade costume with a cape made of B\u00f3nus and Kr\u00f3nan shopping bags, an aluminum foil cap, and a toothbrush attached to her forehead, Emma revealed a complex relationship with a metal sheet and an amplifier, generating chaotic but epic sound clashes through the whole performance. Frustrated but actively moving around the littered paper on the floor, Emma revealed a sign and taped it to the wall \u2013 the title of the performance. The pink pigs on Emma\u2019s cape occupied my vision as I listened to the persistent clanging of the metal sheet, and I was then transported to a reality of bizarre, but here in the shed, totally normal happenings. Energy and angry emotions filled my own body while I watched Emma, whose performance motivated me to think about our members of humanity who continue to fight for our freedom of speech and expression, freedom to react and to protest, and freedom to fight for peace in the midst of \u201call wars.\u201d<\/p>

The only appropriate ending to the night had to be epic and highly intensive, and Ylfa \u00de\u00f6ll \u00d3lafsd\u00f3ttir\u2019s performance did not disappoint. Ylfa pulled into the barn shed in her small car, parked it, and darted out of the vehicle. Wearing a car mechanic\u2019s outfit, she opened the doors and trunk of the car and hopped onto the roof. A deep, primal roar came out of her throat: \u201cDAME MAS GASOLINA.\u201d She would continue to demand more gasoline as she assumed various positions both inside and outside of the car and, ahem<\/em>, \u2013 humped\u2014the car. Fast and furious, potentially painful, and completely serious, it was difficult to look away. Her moans and groans, and the frequent repetition of \u201cdame mas gasolina\u201d penetrated every corner of the shed. The emergency lights on the car blinked, the windshield spray shot out and away from the car in a completely sexual way, and Ylfa continued pounding the car for the entire length of the performance. No door or seat was safe from her hips. At one point, she smeared what looked to be car oil on her face, and the act quite visibly satisfied her. I imagined the type of response the car would had given if it could have given one\u2014was this rape or was this consensual? Ylfa\u2019s costume filled in the gaps for me. A hilarious situation came to life before my eyes\u2014a desperate, gasless car mechanic, with no physical gas around, took a final attempt to revive the car and exhausted herself in the process. When Ylfa finished, she shut the gas tank, the doors, and trunk, got into the driver\u2019s seat, miraculously turned on the car, and backed out of the shed to a clapping frenzy from the audience. It must have worked. While I was watching Ylfa I was also scanning the room, looking at the faces of the audience. Some were at total peace, their faces completely neutral, while others were entirely giddy with laughter. Even some children were watching. Ylfa\u2019s performance challenged me to accept her behavior. I tried to identify what it was about the performance that initially disturbed me. Was it her seriousness, or perhaps the sound of the satisfaction in her voice? I was caught off guard and without an explanation. Thinking about the act of putting gas in a car, I realized that the gas pump is entirely phallic and the act of putting it into a hole in the car really emphasizes this analogy. When the performance ended, I was relieved in the sense that I finally understood Ylfa\u2019s efforts\u2014she fueled up the car by fully committing her body to the cause. I think we all walked away a little bit changed by \u201cGasoline,\u201d and maybe quite relieved that we actually put gas in our cars in a less demanding way. I would have enjoyed a Puerto-Rican ready made cocktail as a mid-performance refreshment.<\/p>

If you missed Plan B Art Festival this year, do not worry, because it will be back to Borgarnes next summer. You can still view works that are up at Mj\u00f3lkursamlagi\u00f0, the venue on Sk\u00falagata, as it will run its exhibition through August 27th<\/sup>. However, an entire set of artworks were not covered by this review, but you can read about the full selection of artists who participated and find more information on their work at www.planbartfestival.is. The weekend proved to be a fantastic engagement with the Icelandic community, but the festival also brought international artists to Iceland and even provided some of them with a residency studio leading up to the date of the festival. You can read more about Plan B Art Festival, and stay up-to-date with news, access more photos, and hear about the next open call applications by following their Facebook page: facebook.com\/planbartfestival. If this first festival is any indication of the festival\u2019s projection, I say come prepared to be completely unprepared for the newest, weirdest, coolest art being made in Iceland and internationally.<\/p>

Anna Toptchi is an art history graduate student living and writing in New York City.<\/p>

[\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>","_et_gb_content_width":"","_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":true,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_post_was_ever_published":false},"categories":[16],"tags":[],"class_list":["post-2483","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-artzine-in-english"],"yoast_head":"\nLocal Art Performances by Icelandic and International Artists: Plan B Art Festival in Borgarnes - 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=2483\" \/>\n<meta property=\"og:locale\" content=\"is_IS\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Local Art Performances by Icelandic and International Artists: Plan B Art Festival in Borgarnes - artzine.is\" \/>\n<meta property=\"og:description\" content=\"Last Saturday I attended the inaugural Plan B Art Festival in Borgarnes, a town just an hour\u2019s drive north of Reykjav\u00edk. 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It was a free event, organized by a group of artists, an art theorist, and an architect, many of them hailing from Borgarnes. 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