Ragnheiður Gestsdóttir<\/strong> (1975), an Icelandic artist whose background in visual anthropology permeates her work, also uses it to question the very writing of history in the exhibition. After a residency in Beirut in 2016, Ragnheiður found an outlet for her questioning in the form of the Athenian marble column often found in Middle-Eastern and Mediterranean ruins.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/andyri2.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″] Installation View.<\/strong> [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-2″ _builder_version=“3.0.51″]<\/p>\n In Column<\/em>, a large thin pink slab of marble holds an empty column-shaped center, symbolizing at once the material’s permanence, yet fragility, with its many visible breaking lines from their time spent in transit. The column’s outline asks, “What doesn’t get a voice in our history?” as the material has been so shaped by manufacturing. The column echoes the column shapes to be found in the museum’s architecture, which Ragnheiður embellishes with pieces of the same pink marble from Beirut.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/Ragnh1.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″] Ragnhei\u00f0ur Gestsd\u00f3ttir discusses her work, Column, 2017.<\/strong> [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-3″ _builder_version=“3.0.51″]<\/p>\n In the hallway between the two exhibition rooms at Ger\u00f0arsafn, which is usually passable, Ragnhei\u00f0ur has installed a rippling red carpet, the perfect shape to reminisce the malleability of the timeline.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/07\/Ragnh-teppi7.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Ragnhei\u00f0ur Gestsd\u00f3ttir, Carpet, 2017, Installation View.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-4″ _builder_version=“3.0.51″]<\/p>\n She approaches Ger\u00f0ur\u00b4s work as a fellow female artist in art history. Do we have to reshuffle the timeline to get closer to the truth? Like the red carpet, now a Hollywood symbol, it is also a construction laid down by a hierarchy.<\/p>\n Cleverly and humorously, the red carpet forces us to take the long way around the exhibition space, backtracking from where we came. Time which was once a line, is now broken, and perhaps for the better as reshuffling the layers brings new perspectives to light.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/07\/EmilyWeiner.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″] Emily Wiener discusses her paintings.<\/strong> [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-5″ _builder_version=“3.0.51″]<\/p>\n Emily Weiner<\/strong> (1981), an American painter based in Brooklyn, has placed a hanging textile ladder from the ceiling. With an allusion to \u2018breaking through the glass ceiling,\u2019 the ladder is seemingly a connection point with which you can traverse between the earthly and the divine. It also likewise rests somewhere in between painting and sculpture and also becomes transition points between different time periods and context within the exhibition.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/Gerdur2.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Emily Wiener\u00b4s Glyphs, 2017, next to a sculptural piece by Ger\u00f0ur Helgad\u00f3ttir.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-7″ _builder_version=“3.0.51″]<\/p>\n \u00a0In Weiner\u2019s oil paintings, symbols that have been extracted from larger conversations in different cultures throughout history are placed in a new context. She uses many symbols often used in modern culture which are placed on the same plane across mediums, but everyone can relate to these images as they are universal\/timeless images both specific and personal.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/malverk.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Emily Wiener, Hands and Moon, 2017, Installation View.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-8″ _builder_version=“3.0.51″]<\/p>\n They allude to a certain spiritualism with moons, half moons, triangles, the outlines of hands, planets, pyramids- the paintings collapse these symbols in the timeline of linearity to reiterate just how universal they are and how eligible visual language can be. The paintings converse with Ger\u00f0ur\u00b4s motifs and interests in Egyptian art, geometry, and Spiritualist teachings.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/theresa1.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Theresa Himmer discusses her mosaic work, In House Production 1-3, 2017.<\/strong><\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/07\/theresa.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Theresa Himmer, In House Production 1-3, 2017, Installation View.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-9″ _builder_version=“3.0.51″]<\/p>\n Theresa Himmer\u2019s<\/strong> (1976) approach to Ger\u00f0ur\u00b4s legacy is through mosaics in the way they relate to spaces. K\u00f3pavogur was Ger\u00f0ur\u00b4s returning place between travels. Himmer\u00b4s mosaics map the surrounding area and were built by the next generation of brothers who manufactured Ger\u00f0ur\u2019s mosaics. In a series of photographs, the interior of El\u00edn P\u00e1lmad\u00f3ttir\u00b4s apartment (now 90 years old), a close friend of Ger\u00f0ur\u2019s, feature intimate artworks and gifts from Ger\u00f0ur. In this way the architecture of the personal and the public are merged into a narrative in which memory is carried.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/elin.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n El\u00edn P\u00e1lmad\u00f3ttir, journalist and the writer of Ger\u00f0ur’s biography was a close friend of Ger\u00f0ur Helgad\u00f3ttir. She is pictured here in front of Theresa Himmer\u00b4s photographic series, The Space of Friendship (El\u00edn), 1-5, 2017.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-10″ _builder_version=“3.0.51″]<\/p>\n The In, With and Between Us<\/em> captures the ways in which contemporary art does what it does best, by constellating the present into an open relationship with the past and the future- everything becomes present and put on the table. The exhibition had two prior incarnations in 2011, when the three artists met at the School of Visual Arts in New York City, and later in a group exhibition in 2015 at the Soloway gallery in Brooklyn, New York titled Speak Nearby.<\/em> Each artist seems to create a node across a constellation of meanings to be found in which the personal becomes the political- it is this inversion that has the ability to reshuffle the timeline to see how the narrative is preserved, as well as the open relationships between materials that carry the body of time.<\/p>\n [\/et_pb_text][et_pb_image src=“http:\/\/artzine.is\/wp-content\/uploads\/2017\/06\/video2.jpg“ animation=“off“ sticky=“on“ align=“center“ admin_label=“Image“ _builder_version=“3.0.51″][\/et_pb_image][et_pb_text admin_label=“mynda-Texti“ _builder_version=“3.0.51″]<\/p>\n Ragnhei\u00f0ur Gestsd\u00f3ttir\u00b4s video works, Bust, 2017, and Stairs, 2016, Installation View.<\/strong><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text-ger\u00f0ars-master“ _builder_version=“3.0.51″]<\/p>\n The exhibition brings to mind Gilles Deleuze\u00b4s notion of the fold <\/em>in Baroque architecture which he uses to expound on the idea of infinite process, an open continuation of the work to infinity, instead of to a standstill (or glass ceiling.) Deleuze\u00b4s fold<\/em>, like the multitude of nodes in Baroque architecture, affects material in its multitude of possible forms, constantly introducing a new variable on which to produce an expression. The artists in the exhibition have enacted a fold, as intricate as one of the Baroque, amongst materials and locations and years. From the marble column of Ragnhei\u00f0ur to the classical busts of Ger\u00f0ur, to the half-moons in the paintings of Weiner to the architecture of Ger\u00f0arsafn itself, from the intimate apartment of Ger\u00f0ur\u00b4s close friend, to the suburban mapping of K\u00f3pavogur.<\/p>\n Erin Honeycutt<\/em><\/p>\n Artist Websites<\/strong>:\u00a0Ragnhei\u00f0ur Gestd\u00f3ttir<\/a>\u00a0\/\u00a0Emily Weiner<\/a>\u00a0\/\u00a0Theresa Himmer<\/a><\/p>\n Photography:\u00a0Helga \u00d3skarsd\u00f3ttir<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" At Gerðarsafn Kópavogur Art Museum from June 3rd to August 20th a group show titled The In, With and Between Us \/ Innra, með og á milli will be on display. Curated by Malene Dam, from Denmark, the show features works by four different female artists, including Gerður Helgadóttir (1928-1975) after whom the museum is […]<\/p>\n","protected":false},"author":15,"featured_media":4674,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" At Ger\u00f0arsafn K\u00f3pavogur Art Museum from June 3rd<\/sup> to August 20th <\/sup> a group show titled The In, With and Between Us \/ Innra, me\u00f0 og \u00e1 milli <\/em>will be on display. Curated by Malene Dam, from Denmark, the show features works by four different female artists, including Ger\u00f0ur Helgad\u00f3ttir (1928-1975) after whom the museum is named. The exhibition leaves more questions open to interpretation than settled answers for the viewer. The open conversation between four women of different generations relate time and space across contexts including the role of the art museum in the story being told. Ger\u00f0ur\u2019s work in the museum collection formed the cornerstone upon which the other artist\u2019s turned.<\/strong><\/p> Ragnhei\u00f0ur Gestsd\u00f3ttir<\/strong> (1975) an Icelandic artist whose background in visual anthropology permeates her work, also uses it to question the very writing of history in the exhibition. After a residency in Beirut in 2016, Ragnhei\u00f0ur found an outlet for her questioning in the form of the Athenian marble column often found in Middle-Eastern and Mediterranean ruins.<\/p> In Column<\/em>, a large thin pink slab of marble holds an empty column-shaped center, symbolizing at once the materials permanence, yet fragility with its many visible breaking lines from their time spent in transit. The column\u2019s outline asks, \u201cWhat doesn\u2019t get a voice in our history?\u201d as the material has been so shaped by manufacturing. The column echoes the column shapes to be found in the museum\u2019s architecture, which Ragnhei\u00f0ur embellishes with pieces of the same pink marble from Beirut.<\/p> In the hallway between the two exhibition rooms at Ger\u00f0arsafn, which is usually passable, Ragnhei\u00f0ur has installed a rippling red carpet, the perfect shape to reminisce the malleability of the timeline.<\/p> She approaches Ger\u00f0ur\u00b4s work as a fellow female artist in art history. Do we have to reshuffle the timeline to get closer to the truth? Like the red carpet, now a Hollywood symbol, it is also a construction laid down by a hierarchy.<\/p> Cleverly and humorously, the red carpet forces us to take the long way around the exhibition space, backtracking from where we came. Time which was once a line, is now broken, and perhaps for the better as reshuffling the layers brings new perspectives to light.<\/p> Emily Weiner<\/strong> (1981), an American painter based in Brooklyn, has placed a hanging textile ladder from the ceiling. With an allusion to \u2018breaking through the glass ceiling,\u2019 the ladder is seemingly a connection point with which you can traverse between the earthly and the divine. It also likewise rests somewhere in between painting and sculpture and also becomes transition points between different time periods and context within the exhibition.<\/p> In Weiner\u2019s oil paintings, symbols that have been extracted from larger conversations in different cultures throughout history are placed in a new context. She uses many symbols often used in modern culture which are placed on the same plane across mediums, but everyone can relate to these images as they are universal\/timeless images both specific and personal.<\/p> They allude to a certain spiritualism with moons, half moons, triangles, the outlines of hands, planets, pyramids- the paintings collapse these symbols in the timeline of linearity to reiterate just how universal they are and how eligible visual language can be. The paintings converse with Ger\u00f0ur\u00b4s motifs and interests in Egyptian art, geometry, and Spiritualist teachings.<\/p> Theresa Himmer\u2019s<\/strong> (1976) approach to Ger\u00f0ur\u00b4s legacy is through mosaics in the way they relate to spaces. K\u00f3pavogur was Ger\u00f0ur\u00b4s returning place between travels. Himmer\u00b4s mosaics map the surrounding area and were built by the next generation of brothers who manufactured Ger\u00f0ur\u2019s mosaics. In a series of photographs, the interior of El\u00edn P\u00e1lmad\u00f3ttir\u00b4s apartment (now 90 years old), a close friend of Ger\u00f0ur\u2019s, feature intimate artworks and gifts from Ger\u00f0ur. In this way the architecture of the personal and the public are merged into a narrative in which memory is carried.<\/p> The In, With and Between Us<\/em> captures the ways in which contemporary art does what it does best, by constellating the present into an open relationship with the past and the future- everything becomes present and put on the table. The exhibition had two prior incarnations in 2011, when the three artists met at the School of Visual Arts in New York City, and later in a group exhibition in 2015 at the Soloway gallery in Brooklyn, New York titled Speak Nearby.<\/em> Each artist seems to create a node across a constellation of meanings to be found in which the personal becomes the political- it is this inversion that has the ability to reshuffle the timeline to see how the narrative is preserved, as well as the open relationships between materials that carry the body of time.<\/p> The exhibition brings to mind Gilles Deleuze\u00b4s notion of the fold <\/em>in Baroque architecture which he uses to expound on the idea of infinite process, an open continuation of the work to infinity, instead of to a standstill (or glass ceiling.) Deleuze\u00b4s fold<\/em>, like the multitude of nodes in Baroque architecture, affects material in its multitude of possible forms, constantly introducing a new variable on which to produce an expression. The artists in the exhibition have enacted a fold, as intricate as one of the Baroque, amongst materials and locations and years. From the marble column of Ragnhei\u00f0ur to the classical busts of Ger\u00f0ur, to the half-moons in the paintings of Weiner to the architecture of Ger\u00f0arsafn itself, from the intimate apartment of Ger\u00f0ur\u00b4s close friend, to the suburban mapping of K\u00f3pavogur.<\/p> Artist Websites:<\/p> Ragnhei\u00f0ur Gestd\u00f3ttir<\/a><\/p>
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