Á kaldri vetrarnóttu siglir drekkhlaðinn frystitogari inn í gömlu höfnina í Reykjavík. Í frystilestinni eru 20.000 fiskikassar, hitastigið er -35 C. Hópur manna hefur tvo sólarhringa til að tæma skipið. Á meðan við fylgjumst með þeim framkvæma hið ómögulega heyrum við sögur af karlmennsku og rómantík, gamni og dauðans alvöru.
Meira um listamanninn: www.huldarosgudnadottir.is
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The documentary ‘Keep Frozen is a part of a larger art-practice-as-research project by Hulda Rós Gudnadóttir but earlier she has showed mixed-media installations and performances with a focus on the aesthetics of the harbour and in collaboration with harbour workers. ‘Keep Frozen part two’ was curated by Aldis Snorradottir and shown at Thoka gallery as part of Reykjavik Art Festival in the spring of 2014 and ‘Keep Frozen part four’ was exhibited at ASI art Museum this February. Other exhibitions belonging to the Keep Frozen series have been shown in New York and Leipzig. A book publication about the project was released last year by support of the Nordic Culture Point with contributions from philosophers, curators and other artists and is on sale at Mengi, Reykjavik and various book shops around Europe. (see www.huldarosgudnadottir.is).
The cinema film ‘Keep Frozen’ was premiered at the prestigious film festival Visions de Reel in Nyon, Switzerland in April this year.
In the night and cold of the Icelandic winter, workers are organised around a trawler returning from deep-sea fishing whose holds are full of frozen fish. There are 20,000 crates of 25 kg to unload in 48 hours. The temperature in the fridge is -35°C and, on the quays, the snow crunches under big safety boots. The guys doing this work are tough. The slightest error, the slightest wrong move, could be an accident that costs them their lives.
In Keep Frozen they become virtuosos. The forklift trucks intersect as if in a dance, the crates seem incredibly light and float among the snowflakes. Here, the crude lamp lighting carves out the stage of a real ballet in which the setting, between the hangars of the docks and the fishing trawler, covered with a soft layer of snow, contrasts sharply with the harshness of the work. It is the sound that reminds us of their true status. In voiceover, their stories, disembodied as never linked to a particular man, evoke their lives beyond this scene. At the same time, it is this treatment that transforms this group of men into a real team, which is united, and which gives the strength of achievement.- Madeline Robert (Visions du Réel)