Come Rain or Shine by the International Young Female Artist Club

Come Rain or Shine by the International Young Female Artist Club

Come Rain or Shine by the International Young Female Artist Club

Human beings have always had a peculiar love-hate relationship with the weather. Our existence on earth is possible thanks to the atmosphere, the set of layers of gases surrounding our planet, and the first of these layers, the troposphere, the one closest to earth, is associated with the weather, since here is where most of the clouds we see in the sky are. When human beings weren’t in possession of any tool to protect themselves from the weather conditions, they used to just adapt to the external climate, but through the centuries we developed specific techniques: we discovered the fire which kept us warm, we sewed clothes, we built houses, we invented umbrellas, and time after time our relationship with the weather changed, storms ceased to be feared, uncontrollable and destructive forces of nature, because we learnt how to deal with them. We became more and more independent from the weather, and we are now able to carry on with our lives despite the meteorological conditions. But we went too far, we lost all respect for the weather and for nature, our anthropocentrism took over and we forgot how we used to live in connection with nature.

We only just recently started to think about the way our presence in the world influences the weather: we are around 7.5 billions individuals and we can’t pretend anymore we are not a factor in the environmental changes happening on planet earth. We need to acknowledge that such a large population has a huge impact on nature, the earth itself is begging us to review our behaviour toward nature: destructive natural phenomenons are becoming more and more frequent, signs of warning are everywhere.

The philosopher Timothy Morton claims that the humankind urges to rethink its approach to non-human entities, such as animals, plants, and nature in general. He states we need to reconsider the effects produced by our intrusive existence on earth, we need to find a new balance to re-establish a healthy relationship with the planet and the its other inhabitants, and in order to achieve this, we need to get over our anthropocentric view.

The show Come Rain or Shine moves toward this direction: the artists collective IYFAC (International Young Female Artist Club) aims to awake the viewers’ conscience by showing them how deeply we are connected to the weather. The works by Ragnheiður Maísól Sturludóttir and Ragnheiður Harpa Leifsdóttir reference to a time in which the meteorological conditions used to have an active role in our daily life, when we used to interpret the future by looking at the sky, to use stones to navigate the sea, a time in which we used to respect nature and to live in symbiosis with it.

Sturludóttir created the series Placing a Ranke in a Field with Its Teeth Toward the Sky which is a sort of calendar reporting traditional knowledge connected to specific days and to the weather. For instance, the 9th of March is the Knight day, and “The weather on this day predicts the weather for the next 7 weeks”. This work reflects about the way the inhabitants of a place find a logic in the way the weather changes, and, time after time, deduce general rules from what they see. This folkloristic knowledge affirms our deep connection with the atmospheric changes: we wouldn’t have bothered to try to understand the way weather works if it hadn’t been important for us. Alongside this calendar the artist presents pictures which catch the consequences of the weather on persons and object: the sunshine softly getting across the curtain and projecting a light into the room, a mounting pole of a windsock bent from the wind, a wrist with a mark from a watch, elements which are witnesses to certain meteorological conditions.

Ragnheiður Harpa Leifsdóttir hung a long yellow drape from the ceiling of Hafnaborg all the way the floor downstairs, creating a “golden waterfall” which embodies a ray of sunshine. The light and soft material and its warm colour reflect our perception of the sunlight: a peaceful, joyful and embracing immaterial entity which gently warms up our bodies and our states. This site specific installation has been thought in relations to a particular architectural element present in the space: a little circular window on the top of a wall functions as a natural clock: by looking at the way the sunlight come through it we can deduct the height of the sun, and so the time.
Leifsdóttir contributes to the show with another beautiful and poetic work: the installation Polarity is constituted by two videos of close ups of hands turning the pages of the book The Sorrow Gondola by Tomas Tranströmer and placing on them an Icelandic spar, a transparent local stone through which everything looks double. This stone has been used by the vikings to navigate the seas, the properties of the stone allowed them to individuate the position of the sun despite it was hidden behind layers of clouds.

The artists Steinunn Lilja Emilsdóttir and Halla Birgisdóttir decided to work on the individual’s inner and intimate connection with the weather, a precious and unique relationship each of us develops with our surroundings.

Steinunn Lilja Emilsdóttir’s work It’s escalating deals with extreme natural phenomena, she transformed pictures of natural disasters such as desertification, the melting of icebergs, forest fires, tornadoes, and realaborated them into abstract and geometrical collages, associating each of them to a personal thoughts about the dramatic event portrayed. Her work aims to have an aesthetic impact on the viewer: within the frames the images are deconstructed in a style which resembles the Neoplasticism Art of Piet Mondrian, breaking the connection with reality and focusing on a subjective representation, a personal understanding of these tragedies. The sentences the artist wrote underneath each piece emphasise the belonging of the images to the her personal sphere, letting us get a glimpse inside her thoughts and inviting us to reflect on how those dramatic events are understood by us.

Halla Birgisdóttir’s work highs/lows occupies a long wall of the room filling it with drawings topped with short sentences, sometimes just single words, which express feelings, states, thoughts of the characters portrayed. Her work adopts the guises of a sort of comic stripe with no narrative: the characters appear just once, the words do not conform to comics’ dialogs, but they are captions of inner states or thoughts. The only element these drawings share with each others is the role of the weather which arouses emotional responses in the characters. Birgisdóttir portrays men, women, human beings caught in intimate moments, she explores the many ways in which the weather still influences our inner selves by illustrating our inner weather forecast. 

Sigrún Hlín Sigurðardóttir works within the contemporaneity, she sees clothes as a meeting point between the weather and the human beings, layers of fabrics which create an intermediate bridge between us and the natural elements. For the show Come Rain or Shine she created a huge winter jacket, which, despite its big dimensions, gives an impression of lightness: it is made out of fluffy plastic material stuffed into a semitransparent fabric, and hangs from the ceiling as it was floating in the air, suspended in the space, resembling a cloud formation standing in the sky. Winter jackets, as well as many of our clothes, have an inherent contradiction: they are made to protect us from the weather, but the synthetic material they are made of, plus the consumerism affecting the contemporary society, transforms jackets into a non recyclable waste in a short time, contributing to the increasing of pollution. We protect ourselves from the weather by using something which damages our planet and, consequently, affects the weather, so that we will need to shelter ourselves into more layers, and the history repeats itself over and over.

The curator Marta Sigríður Pétursdóttir has been able to coordinate a show where the pieces by the five artists work together: each of them apports a personal research to shape a comprehensive overview of the environmental problem the world is facing, sending out a clear message.

We are part of something bigger, and, as Timothy Morton says, the whole is not bigger than its part, but instead it is smaller: a hand it’s made of five fingers, countless muscles and nerves, but it’s just one hand, which sounds extremely reductive. If we endeavour to invert the course of the progressive destruction of planet earth individually, we may achieve some results, but first we need to realize how important the weather is for our lives, and the show Come Rain or Shine has this first step covered.

Ana Victoria Bruno

Photos by: Ana Victoria Bruno

Díana að eilífu: Prinsessa, goðsögn, fórnarlamb

Díana að eilífu: Prinsessa, goðsögn, fórnarlamb

Díana að eilífu: Prinsessa, goðsögn, fórnarlamb

Nýverið opnaði sýning í tilefni þess að tuttugu ár eru liðin frá dauða Díönu prinsessu af Wales og er titill sýningarinnar, Díana, að eilífu eða Diana, Forever. Sýningin er haldin annarsvegar í Gallerí Port að Laugavegi 23b og hinsvegar í Ekkisens sem er staðsett að Bergstaðastræti 25b. Blaðamaður artzine hitti sýningarstjórana og listamennina Auði Lóu Guðnadóttur og Starkað Sigurðarson og spurði þau um um sýninguna.

Starkaður Sigurðarson, Andrea Arnarsdóttir og Auður Lóa Guðnadóttir

Fjórtán listamenn á öllum aldri taka þátt í sýningunni og varpa, með fjölbreyttum listaverkum, ljósi á samband sitt við viðfangsefnið. Hugmyndin kviknaði þegar Auður Lóa var að leita að myndefni af rómversku gyðjunni, Díönu, að baða sig. „Sagan segir að veiðimaður hafi komið að Díönu berskjaldaðri að baða sig og að hún hafi breytt honum í hjört svo veiðihundar hans snerust gegn honum og drápu hann. Þegar ég var að leita að tilvísunum í eldra myndefni af þessu á Google fann ég fullt af flottum olíumálverkum, en sirka fimmta hver mynd var ljósmynd af Díönu prinsessu að sóla sig á snekkju, í túrkíslituðum 90’s sundbol“.

Við frekari leit fann Auður dýpri tengingu á milli gyðjunnar Díönu og prinsessunnar Díönu. Því ákvað hún að samtvinna goðsögnina við líf Díönu prinsessu, sem virðist að mörgu leiti hafa verið „nútímalegur harmleikur“, sviðsettur af fjölmiðlum.

Auður Lóa Guðnadóttir, Gallerí Port.

Auður Lóa Guðnadóttir, Gallerí Port.

Una Sigtryggsdóttir og Svein Steinar Benediktsson, Gallerí Port.

Andrea Arnarsdóttir, Ekkisens.

Starkaður Sigurðarson, Ekkisens.

Starkaður bætir við að það sem almenningur veit um Díönu prinsessu kemur að mestu leiti úr myndefni frá slúðurblöðum og fjölmiðlum. „Við erum strax komin með fyrsta lagið sem aðskilur okkur frá henni. Verkin fjalla um hugmyndir okkar um Díönu frekar er manneskjuna sjálfa: mynd af myndgerðri ímynd af óraunverulegri manneskju. Díana verður þannig nostalgísk, jafnvel goðsagnarkennd persóna. Hún á sér margar hliðar og þess vegna er hún áhugavert viðfangsefni í myndlist.“

Verkin sýna ýmsar ólíkar birtingarmyndir Díönu prinsessu. „Sýningin er svolítið ‘Díana og ég’. Nálgun hvers og eins listamans verður mjög persónuleg,“ segir Auður. „Alls voru þrjú verk til áður en ferlið hófst en öll hin verkin voru sérstaklega gerð fyrir sýninguna.“

Gjörningakvöld var haldið í Mengi í tengslum við sýninguna þar sem tveir gjörningar voru fluttir. Annar þeirra, Royality vs. Reality, fluttur af Rúnari Erni Marínóssyni og Berglindi Ernu Tryggvadóttur, tók á sig form listræns fyrirlesturs á meðan seinni gjörningurinn, Díana undir rós, saminn af Guðrúnu Heiði Ísaksdóttur og Maríu Worms, var eilítið leikrænni.

Frá gjörningakvöldi í Mengi

Rúnar Örn Marínósson og Berglind Erna Tryggvadóttir voru með listrænan fyrirlestur.

Berglind Erna Tryggvadóttir

Rúnar Örn Marínósson og Berglind Erna Tryggvadóttir.

Seinni gjörningurinn, fluttur af Maríu Worms, Auði Lóu og Starkaði Sigurðarsyni, var eilítið leikrænni.

Auður Lóa.

Auður Lóa og María Worms.

Auður Lóa og María Worms.

Verkin á sýningunni eru fjölbreytt og einkennast helst af málverkum, teikningum og skúlptúrum, auk hreyfi- og ljósverka. Hvert verk virðist spegla líf Díönu á sinn hátt. Verkin fjalla meðal annars um útlit hennar; ástina, kynið og goðsögnina; hlutgervinguna, ímyndina og fórnarlambið.

„Það er dálítil tvíræðni í öllum verkunum. Tvíræðnin er líka það sem gerir Díönu áhugaverða.“ segir Starkaður. „Það veit náttúrlega enginn okkar hvernig Díana var í raun og veru,“ bætir Auður við. „Því væri hægt að segja að allar framsetningarnar séu í raun ósannar. En svo er sannleikurinn náttúrlega bara það sem við trúum að sé satt. Ef ég tryði því að Díana væri lauslát væri það sannleikur fyrir mér, eins ef hún væri dýrlingur. Díana var ein þeirra fyrstu sem var elt uppi af fjölmiðlum og slúðurblöðum. Hún náði reyndar að nota það sem tól seinna meir og olli þannig miklum viðhorfsbreytingum í bresku samfélagi og heiminum öllum. Ég held að Díana hafi undir lokin verið manneskja sem vildi bara vera elskuð. Hún fékk ekki ástina eða lífið sem hún þráði þegar hún giftist Karli bretaprins, nítján ára, en ástina fékk hún frá almúganum sem virtist dýrka hana þá og virðist enn gera það í dag.“

Þáttakendur í verkefninu eru: Andrea Arnarsdóttir, Auður Lóa Guðnadóttir, Berglind Erna Tryggvadóttir, Guðrún Heiður Ísaksdóttir, Helga Skúladóttir Thoroddsen, Magnús Gestsson, María Worms, Rúnar Örn Marinósson, Sigrún Hlín Sigurðardóttir, Snorri Ásmundsson, Starkaður Sigurðarson, Steingrímur Eyfjörð, Sveinn Steinar Benediktsson, Una Sigtryggsdóttir.

Lokahóf sýningarinnar verður 25. Nóvember í Ekkisens. Við hvetjum fólk eindregið til að nýta tækifærið og skella sér á hina margbrotnu og litríku sýningu, Díana að eilífu.

Sólveig Eir Stewart

Ljósmyndir af verkum: Starkaður Sigurðarson (Ekkisens) Helga Óskarsdóttir (Gallerí Port)
Frá gjörningakvöldi í Mengi: Laufey Elíasdóttir


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