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English below<\/em><\/p>\n Laugardaginn n\u00e6stkomandi, 30.4. kl 15, ver\u00f0ur haldi\u00f0 listamannaspjall \u00ed s\u00fdningar\u00fdminu Harbinger.\u00a0\u00dear segir \u00d3l\u00f6f Nordal fr\u00e1 s\u00fdningu sinni Viaggio Sentimentale og eru allir velkomnir!<\/p>\n S\u00fdningin opna\u00f0i 9. apr\u00edl og stendur til 8. ma\u00ed.<\/p>\n Harbinger er til h\u00fasa a\u00f0 Freyjug\u00f6tu 1 og er opi\u00f0 fimmtudaga, f\u00f6studaga og laugardaga \u00e1 milli 14 og 17.<\/p>\n S\u00fdningin er m.a. haldin \u00ed tilefni af 90 \u00e1ra afm\u00e6li f\u00f6\u00f0ur hennar, t\u00f3nsk\u00e1ldsins J\u00f3ns Nordal, en \u00e1 \u00feessum t\u00edmam\u00f3tum l\u00edtur h\u00fan 60 \u00e1r tilbaka, til annarra t\u00edmam\u00f3ta \u00ed \u00e6vi f\u00f6\u00f0ur hennar, br\u00fa\u00f0kaupsfer\u00f0alags hans og m\u00f3\u00f0ur hennar og kynnist \u00feeirri listr\u00e6nu deiglu sem hann var \u00ed \u00e1 \u00feessu t\u00edmabili. \u00c1 s\u00fdningunni er a\u00f0 finna lj\u00f3smyndaverk, hlj\u00f3\u00f0verk og b\u00f3kverk.<\/p>\n Um \u00d3l\u00f6fu Nordal:<\/p>\n \u00d3l\u00f6f Nordal stunda\u00f0i n\u00e1m vi\u00f0 Myndlista- og hand\u00ed\u00f0ask\u00f3la \u00cdslands og lauk s\u00ed\u00f0an masterspr\u00f3fi fr\u00e1 Cranbrook Academy of Art, Michigan og MFA fr\u00e1 h\u00f6ggmyndadeild Yale H\u00e1sk\u00f3lans \u00ed New Haven, BNA. Af einkas\u00fdningum og m\u00e1 nefna s\u00fdningarnar Corpus dulcis (1998) og \u00cdslenskt d\u00fdrasafn (2005) \u00ed Galler\u00ed i8, Ropi (2001) \u00ed N\u00fdlistasafninu, Hanaegg (2005) og Fyrirmyndir (2010) \u00ed Listasafni AS\u00cd og n\u00fa s\u00ed\u00f0ast Mus\u00e9e Islandique \u00ed Listasafni \u00cdslands. \u00c1 me\u00f0al verka \u00ed almannar\u00fdmi m\u00e1 nefna Geirfugl (1997), sem stendur \u00ed Skerjafir\u00f0inum, Vitu\u00f0 \u00e9r enn – e\u00f0a hva\u00f0? (2002) \u00ed Al\u00feingish\u00fasinu og Bollasteinn (2005) \u00e1 Seltjarnarnesi. \u00c1ri\u00f0 2007 var v\u00edgt verki\u00f0 Fuglar himinsins, altarisverk \u00ed \u00cdsafjar\u00f0arkirkju og minnisvar\u00f0i um Br\u00edeti Bjarnh\u00e9\u00f0insd\u00f3ttur \u00ed \u00deingholtsstr\u00e6ti.\u00a0\u00c1ri\u00f0 2013 var reist umhverfisverki\u00f0 \u00de\u00fafa vi\u00f0 h\u00f6fnina \u00ed Reykjav\u00edk.<\/p>\n Verk \u00d3lafar er m.a. a\u00f0 finna \u00ed Listasafni \u00cdslands, Listasafni Reykjav\u00edkur, Listasafni SPRON og Safni, auk einkasafna \u00ed \u00fdmsum l\u00f6ndum. \u00d3l\u00f6f hefur hloti\u00f0 \u00fdmsa styrki og vi\u00f0urkenningar fyrir list s\u00edna, svo sem \u00fathlutun \u00far Listasj\u00f3\u00f0i Dungal, Err\u00f3- styrkinn og vi\u00f0urkenningu \u00far h\u00f6ggmyndasj\u00f3\u00f0i Richard Serra.<\/p>\n Um s\u00fdninguna:<\/strong><\/p>\n \u00deegar \u00d3l\u00f6f Nordal h\u00e9lt af sta\u00f0 til R\u00f3mar \u00ed upphafi \u00feessa \u00e1rs haf\u00f0i h\u00fan me\u00f0 \u00ed farangrinum nokkrar sext\u00edu \u00e1ra gamlar svarthv\u00edtar lj\u00f3smyndir sem teknar voru \u00ed br\u00fa\u00f0kaupsfer\u00f0 foreldra hennar. Myndirnar s\u00fdna minnismerki og merkar byggingar \u00ed borginni, \u00fear sem\u00a0 foreldrum \u00d3lafar breg\u00f0ur einnig fyrir. \u00de\u00f3tt \u00fea\u00f0 hafi ekki veri\u00f0 megintilgangur fer\u00f0ar hennar til R\u00f3mar a\u00f0 feta \u00ed f\u00f3tspor foreldranna \u00ed br\u00fa\u00f0kaupsfer\u00f0inni er \u00fea\u00f0 s\u00e1 hluti hennar sem n\u00fa er or\u00f0inn a\u00f0 s\u00fdningu. Gamlar lj\u00f3smyndir mynda grunn a\u00f0 tilfinningalegu fer\u00f0alagi d\u00f3ttur \u00e1 sl\u00f3\u00f0ir sem foreldrarnir heims\u00f3ttu\u00a0 nokkrum \u00e1rum \u00e1\u00f0ur en h\u00fan f\u00e6ddist. Minningar \u00far br\u00fa\u00f0kaupsfer\u00f0inni tilheyra ekki henni sj\u00e1lfri, en h\u00fan getur n\u00e1lgast \u00fe\u00e6r fyrir millig\u00f6ngu lj\u00f3smynda og dagb\u00f3ka f\u00f6\u00f0ur s\u00edns sem lei\u00f0a hana \u00e1 s\u00f6mu sta\u00f0i. Me\u00f0 vitneskju \u00far dagb\u00f3kunum og lj\u00f3smyndirnar \u00ed farteskinu f\u00f3r \u00d3l\u00f6f \u00e1 sta\u00f0ina \u00fear sem myndirnar voru teknar og leita\u00f0i a\u00f0 sama sj\u00f3narhorni og er a\u00f0 finna \u00e1 eldri\u00a0 myndunum.<\/p>\n S\u00fa ath\u00f6fn a\u00f0 fara \u00e1 sta\u00f0ina sem foreldrar hennar heims\u00f3ttu saman eftir br\u00fa\u00f0kaupi\u00f0 er \u00ed sj\u00e1lfur s\u00e9r tilfinningalegs e\u00f0lis. H\u00fan er kn\u00fain \u00e1fram af \u00fe\u00f6rf fyrir tengingu vi\u00f0 fort\u00ed\u00f0 sem tilheyrir foreldrunum. Um lei\u00f0 felur h\u00fan \u00ed s\u00e9r leit a\u00f0 eigin uppruna \u00ed endurtekinni upplifun sem \u00fe\u00f3 getur aldrei or\u00f0i\u00f0 eins. Tilgangurinn me\u00f0 endurtekningunni var heldur ekki a\u00f0eins s\u00e1 a\u00f0 sj\u00e1 s\u00f6mu sta\u00f0i og foreldrarnir \u00ed br\u00fa\u00f0kaupsfer\u00f0inni. A\u00f0 baki bj\u00f3 einnig l\u00f6ngun til a\u00f0 kanna hvort \u00fea\u00f0 geti veri\u00f0 r\u00e9tt sem v\u00edsindamenn halda fram, a\u00f0 minningar foreldra, tilfinningar \u00feeirra og reynsla, s\u00e9u skr\u00e1\u00f0 \u00ed genamengi afkomenda \u00feeirra. Getur veri\u00f0 a\u00f0 h\u00fan sj\u00e1lf hafi \u00e1 einhvern h\u00e1tt m\u00f3tast af \u00feessu fer\u00f0alagi \u00fe\u00f3tt \u00fea\u00f0 hafi veri\u00f0 fari\u00f0 nokkrum \u00e1rum \u00e1\u00f0ur en h\u00fan kom \u00ed \u00feennan heim? Og ef svo er, er \u00fe\u00e1 m\u00f6gulega h\u00e6gt a\u00f0 endurupplifa borgina eins og foreldrarnir ger\u00f0u \u00e1 s\u00ednum t\u00edma \u00ed minningum geymdum \u00ed genunum? Er \u00feannig h\u00e6gt a\u00f0 finna tilfinningar tengdar st\u00f6\u00f0um sem \u00feau heims\u00f3ttu og ekki er skrifa\u00f0 um \u00ed dagb\u00f3kum e\u00f0a h\u00e6gt a\u00f0 taka af myndir? Sv\u00f6r vi\u00f0 \u00feessum tilteknu spurningum liggja ekki \u00e1 lausu, en lj\u00f3smyndirnar sem \u00d3l\u00f6f t\u00f3k \u00ed s\u00ednu fer\u00f0alagi \u00e1 s\u00f6mu st\u00f6\u00f0um og lj\u00f3smyndir foreldranna voru teknar s\u00fdna okkur a\u00f0 l\u00edti\u00f0 hefur breyst \u00ed R\u00f3m. Borgin er s\u00f6m vi\u00f0 sig. \u00deau sext\u00edu \u00e1r sem l\u00ed\u00f0a fr\u00e1 fyrri myndat\u00f6kunni til hinnar seinni m\u00e1st \u00fat \u00feegar lj\u00f3smyndirnar hafa veri\u00f0 skeyttar saman. N\u00fdja samsetta myndin rennur saman vi\u00f0 eldri myndina \u00fear sem jafnvel atbur\u00f0ir endurtaka sig. Svo litlar breytingar hafa or\u00f0i\u00f0 \u00e1 umhverfinu a\u00f0 samsetta lj\u00f3smyndin getur ekki anna\u00f0 en minnt \u00e1 hva\u00f0 ein manns\u00e6vi er stutt \u00ed samanbur\u00f0i vi\u00f0 aldur bygginga sem veri\u00f0 hafa hluti af atbur\u00f0ar\u00e1s er m\u00f3ta\u00f0 hefur s\u00f6gu mannkynsins. M\u00f6rghundru\u00f0 \u00e1ra g\u00f6mul h\u00fas og g\u00f6tumyndir hafa sta\u00f0i\u00f0 af s\u00e9r gegnumstreymi kynsl\u00f3\u00f0anna og minna \u00e1 hve \u00e6vi mannsins er stutt \u00ed samanbur\u00f0i. D\u00f3ttirin ver\u00f0ur samt\u00ed\u00f0a foreldrunum og foreldrarnir henni.<\/p>\n Tilraun \u00d3lafar til a\u00f0 setja sig \u00ed spor foreldranna sinna \u00feegar \u00feau voru a\u00f0 hefja l\u00edf sitt saman r\u00famlega tv\u00edtug, minnir \u00e1 verk listamanna sem hafa endurskapa\u00f0 s\u00f6gulega atbur\u00f0i sem \u00feeir hafa ekki geta\u00f0 upplifa\u00f0 sj\u00e1lfir. \u00cd umfj\u00f6llun Inke Arns um sl\u00edkar svi\u00f0setningar \u00fear sem reynt er a\u00f0 n\u00e1 utan um atbur\u00f0inn me\u00f0 endurtekningu, segir a\u00f0 tilgangurinn s\u00e9 a\u00f0 fjalla um atbur\u00f0i \u00far fort\u00ed\u00f0inni sem skipta m\u00e1li fyrir samt\u00edmann. Sl\u00edkar endurtekningar eiga \u00fea\u00f0 sameiginlegt me\u00f0 endurger\u00f0 \u00d3lafar \u00e1 lj\u00f3smyndum \u00far br\u00fa\u00f0kaupsfer\u00f0 foreldra sinna a\u00f0 byggja \u00e1 atbur\u00f0um sem hefur veri\u00f0 mi\u00f0la\u00f0. Mi\u00f0illinn, \u00ed \u00feessu tilfelli lj\u00f3smyndin, leikur lykilhlutverk \u00ed a\u00f0 tengja saman kynsl\u00f3\u00f0ir. Er \u00fe\u00e1 gengi\u00f0 \u00fat fr\u00e1 \u00feeirri hugmynd a\u00f0 a\u00f0eins s\u00e9 h\u00e6gt a\u00f0 kynnast \u00feeim hluta fort\u00ed\u00f0arinnar sem hefur veri\u00f0 mi\u00f0la\u00f0. En til a\u00f0 upplifa atbur\u00f0inn aftur er nau\u00f0synlegt a\u00f0 endurtaka hann og mi\u00f0la honum aftur. Sl\u00edkar endurtekningar mi\u00f0ast oftar en ekki vi\u00f0 reynslu sem haft hefur \u00e1hrif \u00e1 heil samf\u00e9l\u00f6g e\u00f0a h\u00f3pa, \u00f6fugt vi\u00f0 reynslu sem er pers\u00f3nuleg – e\u00f0a erfist. Sl\u00edk reynsla byggir \u00e1 arflei\u00f0 fj\u00f6lskyldu og foreldra. H\u00fan er einkam\u00e1l eins og br\u00fa\u00f0kaupsfer\u00f0in sem markar upphafi\u00f0 af n\u00fdjum \u00e6ttlegg, en einnig eiginlegt upphafi\u00f0 a\u00f0 ferli J\u00f3ns Nordal, f\u00f6\u00f0ur \u00d3lafar, sem t\u00f3nsk\u00e1lds. \u00cd \u00feessari fer\u00f0 t\u00f3k hann \u00fe\u00e1 \u00e1kv\u00f6r\u00f0un a\u00f0 hann yr\u00f0i a\u00f0 skapa s\u00e9r sinn eigin heim sem t\u00f3nsk\u00e1ld, sitt eigi\u00f0 t\u00f3nm\u00e1l. Fer\u00f0alagi\u00f0 til R\u00f3mar var n\u00fallpunktur, upphafi\u00f0 af t\u00f3nverkum framt\u00ed\u00f0arinnar og \u00feeim t\u00f3nheimi sem \u00e1tti eftir a\u00f0 ver\u00f0a undirleikurinn \u00ed uppvexti \u00d3lafar. S\u00e1 t\u00f3nheimur var ekki t\u00f3nlistin sj\u00e1lf, heldur hlj\u00f3\u00f0r\u00e1s t\u00f3nverka \u00ed m\u00f3tun. Leit t\u00f3nsk\u00e1ldsins og tilraunir. Sj\u00e1lft sk\u00f6punarferli\u00f0 sem listama\u00f0urinn fer \u00ed gegnum \u00feegar hann byrjar a\u00f0 \u00fereifa fyrir s\u00e9r og m\u00f3ta \u00fea\u00f0 sem s\u00ed\u00f0ar \u00e1 eftir a\u00f0 ver\u00f0a heilst\u00e6tt verk.<\/p>\n \u00deess vegna er annar hluti s\u00fdningarinnar Viaggio sentimentale ekki s\u00ed\u00f0ur mikilv\u00e6gur en s\u00e1 hluti er sn\u00fdr a\u00f0 lj\u00f3smyndunum \u00far br\u00fa\u00f0kaupsfer\u00f0inni. Hann v\u00edsar til ver\u00f0andi listamanns og \u00feeirrar \u00e1kv\u00f6r\u00f0unar hins unga t\u00f3nsk\u00e1lds, a\u00f0 semja sig fr\u00e1 \u00fev\u00ed sem hann haf\u00f0i l\u00e6rt \u00ed \u00feeim tilgangi a\u00f0 finna sitt h\u00f6fundareinkenni. \u00dea\u00f0 eru \u00feessar tilraunir, fengnar a\u00f0 l\u00e1ni \u00far skissub\u00f3k t\u00f3nsk\u00e1ldsins sem skrifu\u00f0 var \u00ed R\u00f3marfer\u00f0inni, sem m\u00f3ta hlj\u00f3\u00f0heim s\u00fdningarinnar Viaggio sentimentale. Hlj\u00f3mar leiknir hr\u00e1tt eins og \u00feeir voru skrifa\u00f0ir. Brot \u00far t\u00f3nverkum sem aldrei ur\u00f0u til. Sj\u00e1lfst\u00e6\u00f0ir t\u00f3nar sem hafa enga s\u00e9rstaka merkingu e\u00f0a sk\u00edrskotun \u00ed \u00f6nnur verk. N\u00f3tnab\u00f3kin sj\u00e1lf \u00e1samt athugasemdum t\u00f3nsk\u00e1ldsins\u00a0 \u00fear sem hann l\u00fdsir \u00e1rangurslausri leit sinni er einnig hluti s\u00fdningarinnar. \u00deessar athugasemdir segja einnig s\u00f6gu af sj\u00e1lfsaga. T\u00f3nsk\u00e1ldi\u00f0 veit a\u00f0 hann mun aldrei komast a\u00f0 ni\u00f0urst\u00f6\u00f0u nema me\u00f0 \u00fev\u00ed beita sig aga og s\u00fdna \u00fathald. \u00dathaldi\u00f0 og \u00f6gunin kallast \u00e1 vi\u00f0 listamannsferil \u00d3lafar sj\u00e1lfrar og \u00feeirrar k\u00favendingar sem h\u00fan t\u00f3k \u00ed upphafi s\u00edns eigin listferils. Skissub\u00f3k t\u00f3nsk\u00e1ldsins v\u00edsar \u00feannig \u00f3v\u00e6nt til hennar eigin sta\u00f0festu og \u00feess aga sem h\u00fan hefur s\u00fdnt sem listama\u00f0ur \u00ed leit a\u00f0 pers\u00f3nulegu vi\u00f0fangsefni og myndm\u00e1li. Um lei\u00f0 er s\u00fdningin saga allra \u00feeirra listamanna sem \u00feurft hafa a\u00f0 takast \u00e1 vi\u00f0 s\u00f6mu gl\u00edmu.<\/p>\n Fer\u00f0l\u00f6g til R\u00f3mar voru lengi talin \u00f3missandi hluti af m\u00f3tun hvers listamanns. Fer\u00f0lag \u00e1 vit m\u00f6rg hundru\u00f0 \u00e1ra gamalla bygginga og meistaraverka, sem ekki var a\u00f0eins h\u00e6gt a\u00f0 l\u00e6ra af til a\u00f0 endurtaka heldur til a\u00f0 \u00f6\u00f0last skilning \u00e1 hlutverki listarinnar og samhengi hlutanna. Skilning \u00e1 \u00fev\u00ed a\u00f0 list sem skiptir m\u00e1li muni skilja eftir sig d\u00fdpri spor \u00ed framt\u00ed\u00f0inni en f\u00f3tspor einstaklings. List sem lifir l\u00f6ngu eftir a\u00f0 h\u00f6fundurinn er horfinn.<\/p>\n texti: Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir<\/p>\n ENGLISH<\/p>\n Announcement:<\/p>\n Saturday 30th of April at 3pm, Harbinger Project Space will host an artist talk, where the artist \u00d3l\u00f6f Nordal will discuss her exhibition Viaggio Sentimentale.<\/p>\n The show runs from 9th of April until 8th of May and is open Thursday to Saturday from 2pm \u2013 5pm The show is in part a celebration of her father, the composer J\u00f3n Nordal, on the occasion of his 90th birthday, delving back in time to another great transition in her parents’ lives, 60 years ago, as they traveled to Rome on their honeymoon. We get to know his artistic struggles at the time through the intimate works in the show, which consists of photographs, a sound piece and an artist book.<\/p>\n About the artist: \u00d3l\u00f6f has had many solo exhibitions and partaken in group exhibitions in Iceland and abroad. Solo exhibitions are, for example; Corpus dulcis (1998) and Iceland Specimen Collection (2005) Gallery i8, Burp (2001) Living Art Museum, Cock’s Egg (2005) and Models (2010) the AS\u00cd Museum of Art and most recently Mus\u00e9e Islandique, Icelandic Museum of Art. Among works in public space are Great Auk (1997), Would you know yet more? (2002) in the Icelandic Parliament and Cupstone (2005) on the shore in Seltjarnarnes. In 2007 the work Birds of the sky was inaugurated in the church of \u00cdsafj\u00f6r\u00f0ur and a memorial of Br\u00edet Bjarnh\u00e9\u00f0insd\u00f3ttir in \u00deingholtsstr\u00e6ti, Reykjav\u00edk center. In the year 2013 the environmental work \u00de\u00fafa was built at the harbour of Reykjav\u00edk.<\/p>\n \u00d3l\u00f6f’s works can be found in the collections of the Icelandic Museum of Art, the Reykjav\u00edk Museum of Art, Spron Art collection and Safn, as well as in private collections internationally. \u00d3l\u00f6f has received a variety for grants and recognitions for her work, i.g. from the Dungal Art fund, the Err\u00f3 grant and a recognition from the sculpture fund of Richard Serra.<\/p>\n About the exhibition:<\/p>\n Earlier this year, as \u00d3l\u00f6f Nordal embarked on a journey to Rome, she brought along several black and white photographs, taken 60 years ago on her parents’ honeymoon. The photographs show landmarks and famous buildings in the city, and the occasional glimpse of her mother and father. Although it wasn\u00b4t Nordal\u00b4s main objective to trace the journey of her parents\u00b4 honeymoon, that very element has now evolved into an exhibition. Old photographs shape a foundation for the daughter\u00b4s sentimental journey through the places visited by her parents a few years before she was born. The memories of the honeymoon do not belong to her, but she can explore them through these photographs along with her father\u00b4s diary, which lead her to the same places. With a sense of familiarity acquired through the journals and the photographs, Nordal located the sites where the photos were taken and sought the same angles in order to photograph them once more.<\/p>\n The endeavour to visit the same places her parents vacationed after their wedding, is in itself an emotional one. She is driven by a need to connect with a past which belongs not to her, but her parents. It also involves a search for her own origins through repeated experience, even though it can never be the same. The purpose of this repetition was not only to view the same locations as her parents during their honeymoon. It was also to explore theories put forward by scientists, that parents’ memories, emotions, and experiences, are listed in their descendants’ DNA. Could it be that she herself was somehow influenced by this voyage, even if it was undertaken a few years before her own birth? And if so, is it possible for her to relive the city as her parents did during their time, through memories preserved in her genes? Is it possible to experience in this way, emotions related to places they visited, which aren’t accounted for in the journals or can’t be photographed? The answers to these questions aren’t readily available, but the photographs taken by Nordal demonstrate that little has changed in Rome. The city remains the same. The 60 years that have passed since the original photographs were taken are erased as they merge with the recent ones. The new image morphs into the original photograph, where events are even repeated. Such few changes have occurred in the environment that the conjoined image cannot but demonstrate the relative brevity of a lifetime, especially when compared with buildings that have played part in events that have influenced the history of mankind. Old buildings and streets have withstood the passing of generations. The daughter becomes a contemporary of her parents and they become hers.<\/p>\n Nordal\u00b4s experiment in placing herself in her parents’ footsteps as they embark on their unified life, brings to mind the works of artists that have restaged historic events which they could not experience themselves. Inke Arns’ writings on productions where one tries to comprehend the event through reenactment, explain that their purpose is to deal with events from the past that are important for the present. There are similarities to Inke\u00b4s theories of reenactment and Nordal\u00b4s remakes of the photographs, as they both build on events already imparted. But in order to relive the event, one must repeat it, and convey it once again. Such repetitions are often drawn from experiences which have influenced whole societies or large groups of people, rather than personal encounters \u2013 or inherited. Such experience builds on the heritage of families. It is a private matter, much as the honeymoon which marks the beginning of a new phase in the lineage, but also the beginning of Jon Nordal’s, Olof’s father, career as a composer. During this journey he came to the conclusion that he needed to create his own world as a composer, his own musical language. The journey to Rome was his ground zero, the source of future compositions, and the soundscape which would be the accompaniment of \u00d3l\u00f6f’s upbringing. This soundscape wasn’t the music itself, but a soundtrack of compositions in the making. The composer’s exploration and experiments. The creative process the artist must take on as he starts to explore and to mold what will later become a complete work of art.<\/p>\n The second part of the exhibition Viaggio sentimentale is therefore no less important than the first one; the one dealing with the photographs from the honeymoon. The second part indicates an artist in the making, as it demonstrates the young composer’s decision to write himself away from what he has learned, in order to find his personal traits. These are the experiments, borrowed from the composer’s Roman holiday sketchbook, which constitute the soundscape of the exhibition Viaggio sentimentale. Chords played as raw as they were written. Fractions of compositions that never became. Independent notes without a specific meaning or connotations to other works. The notebook itself, complete with the composer’s remarks detailing his unsuccessful search is also a part of the exhibition. These comments tell a tale of self-discipline. The composer knows he will never reach a conclusion without discipline and endurance. The endurance and the self-mastery is a parallel to \u00d3l\u00f6f’s own career and the complete U-turn she made in its early stages. In this way the composer’s sketchbook unexpectedly alludes to her own determination, and the discipline she has displayed as an artist in search of a personal subject matter and visual language. Furthermore, the exhibition is an account of any artist who has found himself in the same crucible.<\/p>\n Visits to Rome were long considered an indispensable part of every artist’s formation. Voyages to visit centuries-old buildings and masterpieces, not only in order to study and learn from, but also to gain an understanding of the role of art and the context of things. An understanding that art that matters will leave deeper marks on our future than a single individual can. Art that lives long after its author is gone.<\/p>\n text by Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir<\/em><\/p>\n [\/et_pb_text][\/et_pb_column_inner][\/et_pb_row_inner][\/et_pb_column][et_pb_column type=“1_3″][et_pb_gallery admin_label=“Gallery“ gallery_ids=“830,831,832″ fullwidth=“off“ show_title_and_caption=“on“ show_pagination=“off“ background_layout=“light“ auto=“off“ hover_overlay_color=“rgba(255,255,255,0.9)“ caption_all_caps=“off“ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“ title_font=“Lato||||“ title_font_size=“13″ title_text_color=“#333333″] [\/et_pb_gallery][\/et_pb_column][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" English below Laugardaginn n\u00e6stkomandi, 30.4. kl 15, ver\u00f0ur haldi\u00f0 listamannaspjall \u00ed s\u00fdningar\u00fdminu Harbinger.\u00a0\u00dear segir \u00d3l\u00f6f Nordal fr\u00e1 s\u00fdningu sinni Viaggio Sentimentale og eru allir velkomnir! S\u00fdningin opna\u00f0i 9. apr\u00edl og stendur til 8. ma\u00ed. Harbinger er til h\u00fasa a\u00f0 Freyjug\u00f6tu 1 og er opi\u00f0 fimmtudaga, f\u00f6studaga og laugardaga \u00e1 milli 14 og 17. S\u00fdningin er […]<\/p>\n","protected":false},"author":1,"featured_media":829,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" English below<\/em><\/p> Laugardaginn n\u00e6stkomandi, 30.4. kl 15, ver\u00f0ur haldi\u00f0 listamannaspjall \u00ed s\u00fdningar\u00fdminu Harbinger.\u00a0<\/strong>\u00dear segir \u00d3l\u00f6f Nordal fr\u00e1 s\u00fdningu sinni Viaggio Sentimentale og eru allir velkomnir!<\/strong> Harbinger er til h\u00fasa a\u00f0 Freyjug\u00f6tu 1 og er opi\u00f0 fimmtudaga, f\u00f6studaga og laugardaga \u00e1 milli 14 og 17. \u00deegar \u00d3l\u00f6f Nordal h\u00e9lt af sta\u00f0 til R\u00f3mar \u00ed upphafi \u00feessa \u00e1rs haf\u00f0i h\u00fan me\u00f0 \u00ed farangrinum nokkrar sext\u00edu \u00e1ra gamlar svarthv\u00edtar lj\u00f3smyndir sem teknar voru \u00ed br\u00fa\u00f0kaupsfer\u00f0 foreldra hennar. Myndirnar s\u00fdna minnismerki og merkar byggingar \u00ed borginni, \u00fear sem\u00a0 foreldrum \u00d3lafar breg\u00f0ur einnig fyrir. \u00de\u00f3tt \u00fea\u00f0 hafi ekki veri\u00f0 megintilgangur fer\u00f0ar hennar til R\u00f3mar a\u00f0 feta \u00ed f\u00f3tspor foreldranna \u00ed br\u00fa\u00f0kaupsfer\u00f0inni er \u00fea\u00f0 s\u00e1 hluti hennar sem n\u00fa er or\u00f0inn a\u00f0 s\u00fdningu. Gamlar lj\u00f3smyndir mynda grunn a\u00f0 tilfinningalegu fer\u00f0alagi d\u00f3ttur \u00e1 sl\u00f3\u00f0ir sem foreldrarnir heims\u00f3ttu\u00a0 nokkrum \u00e1rum \u00e1\u00f0ur en h\u00fan f\u00e6ddist. Minningar \u00far br\u00fa\u00f0kaupsfer\u00f0inni tilheyra ekki henni sj\u00e1lfri, en h\u00fan getur n\u00e1lgast \u00fe\u00e6r fyrir millig\u00f6ngu lj\u00f3smynda og dagb\u00f3ka f\u00f6\u00f0ur s\u00edns sem lei\u00f0a hana \u00e1 s\u00f6mu sta\u00f0i. Me\u00f0 vitneskju \u00far dagb\u00f3kunum og lj\u00f3smyndirnar \u00ed farteskinu f\u00f3r \u00d3l\u00f6f \u00e1 sta\u00f0ina \u00fear sem myndirnar voru teknar og leita\u00f0i a\u00f0 sama sj\u00f3narhorni og er a\u00f0 finna \u00e1 eldri\u00a0 myndunum.\u00a0 Earlier this year, as \u00d3l\u00f6f Nordal embarked on a journey to Rome, she brought along several black and white photographs, taken 60 years ago on her parents' honeymoon. The photographs show landmarks and famous buildings in the city, and the occasional glimpse of her mother and father. Although it wasn\u00b4t Nordal\u00b4s main objective to trace the journey of her parents\u00b4 honeymoon, that very element has now evolved into an exhibition. Old photographs shape a foundation for the daughter\u00b4s sentimental journey through the places visited by her parents a few years before she was born. The memories of the honeymoon do not belong to her, but she can explore them through these photographs along with her father\u00b4s diary, which lead her to the same places. With a sense of familiarity acquired through the journals and the photographs, Nordal located the sites where the photos were taken and sought the same angles in order to photograph them once more. text by Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir<\/em><\/p>
\n\u00d3l\u00f6f hefur haldi\u00f0 fj\u00f6lda einkas\u00fdninga og teki\u00f0 \u00fe\u00e1tt \u00ed sams\u00fdningum h\u00e9rlendis sem erlendis.<\/p>\nMinningar annarra<\/em><\/h4>\n
\n
\nThe attached photos can be used to announce the talk and the exhibition. Further information available from \u00d3l\u00f6f (8966906) or Steinunn\/Harbinger (6180440).<\/p>\n
\n\u00d3l\u00f6f Nordal studied at the Icelandic school of Arts and Crafts (now the Iceland Academy of Arts). She completed her masters at the Cranbrook Academy of Art, Michigan and received her MFA from the Yale University Sculpture department in New Haven, USA.<\/p>\nThe memories of others<\/em><\/h4>\n
S\u00fdningin opna\u00f0i 9. apr\u00edl og stendur til 8. ma\u00ed.\u00a0<\/strong><\/p>
S\u00fdningin er m.a. haldin \u00ed tilefni af 90 \u00e1ra afm\u00e6li f\u00f6\u00f0ur hennar, t\u00f3nsk\u00e1ldsins J\u00f3ns Nordal, en \u00e1 \u00feessum t\u00edmam\u00f3tum l\u00edtur h\u00fan 60 \u00e1r tilbaka, til annarra t\u00edmam\u00f3ta \u00ed \u00e6vi f\u00f6\u00f0ur hennar, br\u00fa\u00f0kaupsfer\u00f0alags hans og m\u00f3\u00f0ur hennar og kynnist \u00feeirri listr\u00e6nu deiglu sem hann var \u00ed \u00e1 \u00feessu t\u00edmabili. \u00c1 s\u00fdningunni er a\u00f0 finna lj\u00f3smyndaverk, hlj\u00f3\u00f0verk og b\u00f3kverk.<\/strong><\/em>
Um \u00d3l\u00f6fu Nordal:<\/strong>
\u00d3l\u00f6f Nordal stunda\u00f0i n\u00e1m vi\u00f0 Myndlista- og hand\u00ed\u00f0ask\u00f3la \u00cdslands og lauk s\u00ed\u00f0an masterspr\u00f3fi fr\u00e1 Cranbrook Academy of Art, Michigan og MFA fr\u00e1 h\u00f6ggmyndadeild Yale H\u00e1sk\u00f3lans \u00ed New Haven, BNA.
\u00d3l\u00f6f hefur haldi\u00f0 fj\u00f6lda einkas\u00fdninga og teki\u00f0 \u00fe\u00e1tt \u00ed sams\u00fdningum h\u00e9rlendis sem erlendis.\u00a0
Af einkas\u00fdningum og m\u00e1 nefna s\u00fdningarnar Corpus dulcis (1998) og \u00cdslenskt d\u00fdrasafn (2005) \u00ed Galler\u00ed i8, Ropi (2001) \u00ed N\u00fdlistasafninu, Hanaegg (2005) og Fyrirmyndir (2010) \u00ed Listasafni AS\u00cd og n\u00fa s\u00ed\u00f0ast Mus\u00e9e Islandique \u00ed Listasafni \u00cdslands. \u00c1 me\u00f0al verka \u00ed almannar\u00fdmi m\u00e1 nefna Geirfugl (1997), sem stendur \u00ed Skerjafir\u00f0inum, Vitu\u00f0 \u00e9r enn - e\u00f0a hva\u00f0? (2002) \u00ed Al\u00feingish\u00fasinu og Bollasteinn (2005) \u00e1 Seltjarnarnesi. \u00c1ri\u00f0 2007 var v\u00edgt verki\u00f0 Fuglar himinsins, altarisverk \u00ed \u00cdsafjar\u00f0arkirkju og minnisvar\u00f0i um Br\u00edeti Bjarnh\u00e9\u00f0insd\u00f3ttur \u00ed \u00deingholtsstr\u00e6ti.\u00a0\u00c1ri\u00f0 2013 var reist umhverfisverki\u00f0 \u00de\u00fafa vi\u00f0 h\u00f6fnina \u00ed Reykjav\u00edk.
Verk \u00d3lafar er m.a. a\u00f0 finna \u00ed Listasafni \u00cdslands, Listasafni Reykjav\u00edkur, Listasafni SPRON og Safni, auk einkasafna \u00ed \u00fdmsum l\u00f6ndum. \u00d3l\u00f6f hefur hloti\u00f0 \u00fdmsa styrki og vi\u00f0urkenningar fyrir list s\u00edna, svo sem \u00fathlutun \u00far Listasj\u00f3\u00f0i Dungal, Err\u00f3- styrkinn og vi\u00f0urkenningu \u00far h\u00f6ggmyndasj\u00f3\u00f0i Richard Serra.
Um s\u00fdninguna:<\/strong>
Minningar annarra<\/em><\/p>
S\u00fa ath\u00f6fn a\u00f0 fara \u00e1 sta\u00f0ina sem foreldrar hennar heims\u00f3ttu saman eftir br\u00fa\u00f0kaupi\u00f0 er \u00ed sj\u00e1lfur s\u00e9r tilfinningalegs e\u00f0lis. H\u00fan er kn\u00fain \u00e1fram af \u00fe\u00f6rf fyrir tengingu vi\u00f0 fort\u00ed\u00f0 sem tilheyrir foreldrunum. Um lei\u00f0 felur h\u00fan \u00ed s\u00e9r leit a\u00f0 eigin uppruna \u00ed endurtekinni upplifun sem \u00fe\u00f3 getur aldrei or\u00f0i\u00f0 eins. Tilgangurinn me\u00f0 endurtekningunni var heldur ekki a\u00f0eins s\u00e1 a\u00f0 sj\u00e1 s\u00f6mu sta\u00f0i og foreldrarnir \u00ed br\u00fa\u00f0kaupsfer\u00f0inni. A\u00f0 baki bj\u00f3 einnig l\u00f6ngun til a\u00f0 kanna hvort \u00fea\u00f0 geti veri\u00f0 r\u00e9tt sem v\u00edsindamenn halda fram, a\u00f0 minningar foreldra, tilfinningar \u00feeirra og reynsla, s\u00e9u skr\u00e1\u00f0 \u00ed genamengi afkomenda \u00feeirra. Getur veri\u00f0 a\u00f0 h\u00fan sj\u00e1lf hafi \u00e1 einhvern h\u00e1tt m\u00f3tast af \u00feessu fer\u00f0alagi \u00fe\u00f3tt \u00fea\u00f0 hafi veri\u00f0 fari\u00f0 nokkrum \u00e1rum \u00e1\u00f0ur en h\u00fan kom \u00ed \u00feennan heim? Og ef svo er, er \u00fe\u00e1 m\u00f6gulega h\u00e6gt a\u00f0 endurupplifa borgina eins og foreldrarnir ger\u00f0u \u00e1 s\u00ednum t\u00edma \u00ed minningum geymdum \u00ed genunum? Er \u00feannig h\u00e6gt a\u00f0 finna tilfinningar tengdar st\u00f6\u00f0um sem \u00feau heims\u00f3ttu og ekki er skrifa\u00f0 um \u00ed dagb\u00f3kum e\u00f0a h\u00e6gt a\u00f0 taka af myndir? Sv\u00f6r vi\u00f0 \u00feessum tilteknu spurningum liggja ekki \u00e1 lausu, en lj\u00f3smyndirnar sem \u00d3l\u00f6f t\u00f3k \u00ed s\u00ednu fer\u00f0alagi \u00e1 s\u00f6mu st\u00f6\u00f0um og lj\u00f3smyndir foreldranna voru teknar s\u00fdna okkur a\u00f0 l\u00edti\u00f0 hefur breyst \u00ed R\u00f3m. Borgin er s\u00f6m vi\u00f0 sig. \u00deau sext\u00edu \u00e1r sem l\u00ed\u00f0a fr\u00e1 fyrri myndat\u00f6kunni til hinnar seinni m\u00e1st \u00fat \u00feegar lj\u00f3smyndirnar hafa veri\u00f0 skeyttar saman. N\u00fdja samsetta myndin rennur saman vi\u00f0 eldri myndina \u00fear sem jafnvel atbur\u00f0ir endurtaka sig. Svo litlar breytingar hafa or\u00f0i\u00f0 \u00e1 umhverfinu a\u00f0 samsetta lj\u00f3smyndin getur ekki anna\u00f0 en minnt \u00e1 hva\u00f0 ein manns\u00e6vi er stutt \u00ed samanbur\u00f0i vi\u00f0 aldur bygginga sem veri\u00f0 hafa hluti af atbur\u00f0ar\u00e1s er m\u00f3ta\u00f0 hefur s\u00f6gu mannkynsins. M\u00f6rghundru\u00f0 \u00e1ra g\u00f6mul h\u00fas og g\u00f6tumyndir hafa sta\u00f0i\u00f0 af s\u00e9r gegnumstreymi kynsl\u00f3\u00f0anna og minna \u00e1 hve \u00e6vi mannsins er stutt \u00ed samanbur\u00f0i. D\u00f3ttirin ver\u00f0ur samt\u00ed\u00f0a foreldrunum og foreldrarnir henni.\u00a0
Tilraun \u00d3lafar til a\u00f0 setja sig \u00ed spor foreldranna sinna \u00feegar \u00feau voru a\u00f0 hefja l\u00edf sitt saman r\u00famlega tv\u00edtug, minnir \u00e1 verk listamanna sem hafa endurskapa\u00f0 s\u00f6gulega atbur\u00f0i sem \u00feeir hafa ekki geta\u00f0 upplifa\u00f0 sj\u00e1lfir. \u00cd umfj\u00f6llun Inke Arns um sl\u00edkar svi\u00f0setningar \u00fear sem reynt er a\u00f0 n\u00e1 utan um atbur\u00f0inn me\u00f0 endurtekningu, segir a\u00f0 tilgangurinn s\u00e9 a\u00f0 fjalla um atbur\u00f0i \u00far fort\u00ed\u00f0inni sem skipta m\u00e1li fyrir samt\u00edmann. Sl\u00edkar endurtekningar eiga \u00fea\u00f0 sameiginlegt me\u00f0 endurger\u00f0 \u00d3lafar \u00e1 lj\u00f3smyndum \u00far br\u00fa\u00f0kaupsfer\u00f0 foreldra sinna a\u00f0 byggja \u00e1 atbur\u00f0um sem hefur veri\u00f0 mi\u00f0la\u00f0. Mi\u00f0illinn, \u00ed \u00feessu tilfelli lj\u00f3smyndin, leikur lykilhlutverk \u00ed a\u00f0 tengja saman kynsl\u00f3\u00f0ir. Er \u00fe\u00e1 gengi\u00f0 \u00fat fr\u00e1 \u00feeirri hugmynd a\u00f0 a\u00f0eins s\u00e9 h\u00e6gt a\u00f0 kynnast \u00feeim hluta fort\u00ed\u00f0arinnar sem hefur veri\u00f0 mi\u00f0la\u00f0. En til a\u00f0 upplifa atbur\u00f0inn aftur er nau\u00f0synlegt a\u00f0 endurtaka hann og mi\u00f0la honum aftur. Sl\u00edkar endurtekningar mi\u00f0ast oftar en ekki vi\u00f0 reynslu sem haft hefur \u00e1hrif \u00e1 heil samf\u00e9l\u00f6g e\u00f0a h\u00f3pa, \u00f6fugt vi\u00f0 reynslu sem er pers\u00f3nuleg - e\u00f0a erfist. Sl\u00edk reynsla byggir \u00e1 arflei\u00f0 fj\u00f6lskyldu og foreldra. H\u00fan er einkam\u00e1l eins og br\u00fa\u00f0kaupsfer\u00f0in sem markar upphafi\u00f0 af n\u00fdjum \u00e6ttlegg, en einnig eiginlegt upphafi\u00f0 a\u00f0 ferli J\u00f3ns Nordal, f\u00f6\u00f0ur \u00d3lafar, sem t\u00f3nsk\u00e1lds. \u00cd \u00feessari fer\u00f0 t\u00f3k hann \u00fe\u00e1 \u00e1kv\u00f6r\u00f0un a\u00f0 hann yr\u00f0i a\u00f0 skapa s\u00e9r sinn eigin heim sem t\u00f3nsk\u00e1ld, sitt eigi\u00f0 t\u00f3nm\u00e1l. Fer\u00f0alagi\u00f0 til R\u00f3mar var n\u00fallpunktur, upphafi\u00f0 af t\u00f3nverkum framt\u00ed\u00f0arinnar og \u00feeim t\u00f3nheimi sem \u00e1tti eftir a\u00f0 ver\u00f0a undirleikurinn \u00ed uppvexti \u00d3lafar. S\u00e1 t\u00f3nheimur var ekki t\u00f3nlistin sj\u00e1lf, heldur hlj\u00f3\u00f0r\u00e1s t\u00f3nverka \u00ed m\u00f3tun. Leit t\u00f3nsk\u00e1ldsins og tilraunir. Sj\u00e1lft sk\u00f6punarferli\u00f0 sem listama\u00f0urinn fer \u00ed gegnum \u00feegar hann byrjar a\u00f0 \u00fereifa fyrir s\u00e9r og m\u00f3ta \u00fea\u00f0 sem s\u00ed\u00f0ar \u00e1 eftir a\u00f0 ver\u00f0a heilst\u00e6tt verk.\u00a0
\u00deess vegna er annar hluti s\u00fdningarinnar Viaggio sentimentale ekki s\u00ed\u00f0ur mikilv\u00e6gur en s\u00e1 hluti er sn\u00fdr a\u00f0 lj\u00f3smyndunum \u00far br\u00fa\u00f0kaupsfer\u00f0inni. Hann v\u00edsar til ver\u00f0andi listamanns og \u00feeirrar \u00e1kv\u00f6r\u00f0unar hins unga t\u00f3nsk\u00e1lds, a\u00f0 semja sig fr\u00e1 \u00fev\u00ed sem hann haf\u00f0i l\u00e6rt \u00ed \u00feeim tilgangi a\u00f0 finna sitt h\u00f6fundareinkenni. \u00dea\u00f0 eru \u00feessar tilraunir, fengnar a\u00f0 l\u00e1ni \u00far skissub\u00f3k t\u00f3nsk\u00e1ldsins sem skrifu\u00f0 var \u00ed R\u00f3marfer\u00f0inni, sem m\u00f3ta hlj\u00f3\u00f0heim s\u00fdningarinnar Viaggio sentimentale. Hlj\u00f3mar leiknir hr\u00e1tt eins og \u00feeir voru skrifa\u00f0ir. Brot \u00far t\u00f3nverkum sem aldrei ur\u00f0u til. Sj\u00e1lfst\u00e6\u00f0ir t\u00f3nar sem hafa enga s\u00e9rstaka merkingu e\u00f0a sk\u00edrskotun \u00ed \u00f6nnur verk. N\u00f3tnab\u00f3kin sj\u00e1lf \u00e1samt athugasemdum t\u00f3nsk\u00e1ldsins\u00a0 \u00fear sem hann l\u00fdsir \u00e1rangurslausri leit sinni er einnig hluti s\u00fdningarinnar. \u00deessar athugasemdir segja einnig s\u00f6gu af sj\u00e1lfsaga. T\u00f3nsk\u00e1ldi\u00f0 veit a\u00f0 hann mun aldrei komast a\u00f0 ni\u00f0urst\u00f6\u00f0u nema me\u00f0 \u00fev\u00ed beita sig aga og s\u00fdna \u00fathald. \u00dathaldi\u00f0 og \u00f6gunin kallast \u00e1 vi\u00f0 listamannsferil \u00d3lafar sj\u00e1lfrar og \u00feeirrar k\u00favendingar sem h\u00fan t\u00f3k \u00ed upphafi s\u00edns eigin listferils. Skissub\u00f3k t\u00f3nsk\u00e1ldsins v\u00edsar \u00feannig \u00f3v\u00e6nt til hennar eigin sta\u00f0festu og \u00feess aga sem h\u00fan hefur s\u00fdnt sem listama\u00f0ur \u00ed leit a\u00f0 pers\u00f3nulegu vi\u00f0fangsefni og myndm\u00e1li. Um lei\u00f0 er s\u00fdningin saga allra \u00feeirra listamanna sem \u00feurft hafa a\u00f0 takast \u00e1 vi\u00f0 s\u00f6mu gl\u00edmu.\u00a0
Fer\u00f0l\u00f6g til R\u00f3mar voru lengi talin \u00f3missandi hluti af m\u00f3tun hvers listamanns. Fer\u00f0lag \u00e1 vit m\u00f6rg hundru\u00f0 \u00e1ra gamalla bygginga og meistaraverka, sem ekki var a\u00f0eins h\u00e6gt a\u00f0 l\u00e6ra af til a\u00f0 endurtaka heldur til a\u00f0 \u00f6\u00f0last skilning \u00e1 hlutverki listarinnar og samhengi hlutanna. Skilning \u00e1 \u00fev\u00ed a\u00f0 list sem skiptir m\u00e1li muni skilja eftir sig d\u00fdpri spor \u00ed framt\u00ed\u00f0inni en f\u00f3tspor einstaklings. List sem lifir l\u00f6ngu eftir a\u00f0 h\u00f6fundurinn er horfinn.\u00a0
texti: Margr\u00e9t El\u00edsabet \u00d3lafsd\u00f3ttir
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ENGLISH
Announcement:
Saturday 30th of April at 3pm, Harbinger Project Space will host an artist talk, where the artist \u00d3l\u00f6f Nordal will discuss her exhibition Viaggio Sentimentale.\u00a0
The show runs from 9th of April until 8th of May and is open Thursday to Saturday from 2pm \u2013 5pm
The attached photos can be used to announce the talk and the exhibition. Further information available from \u00d3l\u00f6f (8966906) or Steinunn\/Harbinger (6180440).
The show is in part a celebration of her father, the composer J\u00f3n Nordal, on the occasion of his 90th birthday, delving back in time to another great transition in her parents' lives, 60 years ago, as they traveled to Rome on their honeymoon. We get to know his artistic struggles at the time through the intimate works in the show, which consists of photographs, a sound piece and an artist book.<\/strong><\/em>
About the artist:
\u00d3l\u00f6f Nordal studied at the Icelandic school of Arts and Crafts (now the Iceland Academy of Arts). She completed her masters at the Cranbrook Academy of Art, Michigan and received her MFA from the Yale University Sculpture department in New Haven, USA.
\u00d3l\u00f6f has had many solo exhibitions and partaken in group exhibitions in Iceland and abroad. Solo exhibitions are, for example; Corpus dulcis (1998) and Iceland Specimen Collection (2005) Gallery i8, Burp (2001) Living Art Museum, Cock's Egg (2005) and Models (2010) the AS\u00cd Museum of Art and most recently Mus\u00e9e Islandique, Icelandic Museum of Art. Among works in public space are Great Auk (1997), Would you know yet more? (2002) in the Icelandic Parliament and Cupstone (2005) on the shore in Seltjarnarnes. In 2007 the work Birds of the sky was inaugurated in the church of \u00cdsafj\u00f6r\u00f0ur and a memorial of Br\u00edet Bjarnh\u00e9\u00f0insd\u00f3ttir in \u00deingholtsstr\u00e6ti, Reykjav\u00edk center. In the year 2013 the environmental work \u00de\u00fafa was built at the harbour of Reykjav\u00edk.
\u00d3l\u00f6f's works can be found in the collections of the Icelandic Museum of Art, the Reykjav\u00edk Museum of Art, Spron Art collection and Safn, as well as in private collections internationally. \u00d3l\u00f6f has received a variety for grants and recognitions for her work, i.g. from the Dungal Art fund, the Err\u00f3 grant and a recognition from the sculpture fund of Richard Serra.
About the exhibition:<\/p>The memories of others<\/em><\/h4>
The endeavour to visit the same places her parents vacationed after their wedding, is in itself an emotional one. She is driven by a need to connect with a past which belongs not to her, but her parents. It also involves a search for her own origins through repeated experience, even though it can never be the same. The purpose of this repetition was not only to view the same locations as her parents during their honeymoon. It was also to explore theories put forward by scientists, that parents' memories, emotions, and experiences, are listed in their descendants' DNA. Could it be that she herself was somehow influenced by this voyage, even if it was undertaken a few years before her own birth? And if so, is it possible for her to relive the city as her parents did during their time, through memories preserved in her genes? Is it possible to experience in this way, emotions related to places they visited, which aren't accounted for in the journals or can't be photographed? The answers to these questions aren't readily available, but the photographs taken by Nordal demonstrate that little has changed in Rome. The city remains the same. The 60 years that have passed since the original photographs were taken are erased as they merge with the recent ones. The new image morphs into the original photograph, where events are even repeated. Such few changes have occurred in the environment that the conjoined image cannot but demonstrate the relative brevity of a lifetime, especially when compared with buildings that have played part in events that have influenced the history of mankind. Old buildings and streets have withstood the passing of generations. The daughter becomes a contemporary of her parents and they become hers.
Nordal\u00b4s experiment in placing herself in her parents' footsteps as they embark on their unified life, brings to mind the works of artists that have restaged historic events which they could not experience themselves. Inke Arns' writings on productions where one tries to comprehend the event through reenactment, explain that their purpose is to deal with events from the past that are important for the present. There are similarities to Inke\u00b4s theories of reenactment and Nordal\u00b4s remakes of the photographs, as they both build on events already imparted. But in order to relive the event, one must repeat it, and convey it once again. Such repetitions are often drawn from experiences which have influenced whole societies or large groups of people, rather than personal encounters \u2013 or inherited. Such experience builds on the heritage of families. It is a private matter, much as the honeymoon which marks the beginning of a new phase in the lineage, but also the beginning of Jon Nordal's, Olof's father, career as a composer. During this journey he came to the conclusion that he needed to create his own world as a composer, his own musical language. The journey to Rome was his ground zero, the source of future compositions, and the soundscape which would be the accompaniment of \u00d3l\u00f6f's upbringing. This soundscape wasn't the music itself, but a soundtrack of compositions in the making. The composer's exploration and experiments. The creative process the artist must take on as he starts to explore and to mold what will later become a complete work of art.
The second part of the exhibition Viaggio sentimentale is therefore no less important than the first one; the one dealing with the photographs from the honeymoon. The second part indicates an artist in the making, as it demonstrates the young composer's decision to write himself away from what he has learned, in order to find his personal traits. These are the experiments, borrowed from the composer's Roman holiday sketchbook, which constitute the soundscape of the exhibition Viaggio sentimentale. Chords played as raw as they were written. Fractions of compositions that never became. Independent notes without a specific meaning or connotations to other works. The notebook itself, complete with the composer's remarks detailing his unsuccessful search is also a part of the exhibition. These comments tell a tale of self-discipline. The composer knows he will never reach a conclusion without discipline and endurance. The endurance and the self-mastery is a parallel to \u00d3l\u00f6f's own career and the complete U-turn she made in its early stages. In this way the composer's sketchbook unexpectedly alludes to her own determination, and the discipline she has displayed as an artist in search of a personal subject matter and visual language. Furthermore, the exhibition is an account of any artist who has found himself in the same crucible.
Visits to Rome were long considered an indispensable part of every artist's formation. Voyages to visit centuries-old buildings and masterpieces, not only in order to study and learn from, but also to gain an understanding of the role of art and the context of things. An understanding that art that matters will leave deeper marks on our future than a single individual can. Art that lives long after its author is gone.<\/p>