My work Solar Eclipse Shadow is featured on the cover of the Magazine STARA, which is published by SÍM (The Association of Icelandic Visual Artist. STARA is an online magazine created with the vision and aim to strengthen and contribute to artistic knowledge, as well as being a platform to share information about SÍM. Click here to read the magazine: SIM
Thursday, August 11, 2016
From left Hertta Kiiski, Katrín Elvarsdóttir, Mari Krappala, Lilja Birgisdóttir, Marko Mäetamm (on Screen)
Solar Eclipse Shadow ( 2016 )
The exhibition is curated by Mari Krappala
"Cyclone is an area of closed, circular fluid motion rotating in the same direction as the Earth, characterized by inward spiraling winds. Cyclone 3. is a travelling exhibition which leads us to the threshold of circular motions that follow the rotational direction of the earth.
What happens, if we start to think, that human beings are not inherently superior to other living things, in a way that encompasses all species; human, seeds, plants, animals and bacteria are part of a system of interdependence. Cyclone 3. is an interdisciplinary process of exploring this repositioning.
French philosopher Michael Serres calls us to listen what is said both by living beings and the sustainability of our planet as a whole, to look for ways to let the planet speak. Will it help us make sense of our flexible and multiple identities, which are / could be fluid and changeable?
Cyclone 3. is responsive to our changing understanding of life with differences and our world with diversity, facing bio-technologies, climate change, peregrination… Are we able to locate ourselves to be partners of all living beings and all things on the planet with ongoing environmental and social transformations?
The eye of Cyclone is surrounded by a dense ring of cloud known as the eye wall. This marks the most dangerous part of the cyclone having the strongest winds and heaviest rainfall. While exploring different strands of humannature thoughts, there is an interest to provide a voice for marginal communities, organic and non-organic parallers. In response to ‘shared planetary threats’ we might start to find ways to enter to the new kind of civilization with different forms and laws.
What could they be?"
Cyclone 3, installation by Lilja Birgisdottir in Gallery Titanik
After the Solar Eclipse (2016)
Friday, May 27, 2016
THE PHOTO AND THE PAINTING IN OUR TIMES
Yellow Curtains 3, (2008)
The exhibition LIGHTPAINT is an attempt to study various manifestations of paintings in Icelandic contemporary photography. Tradition maintains that each artistic medium is perfectly distinct and unique in nature and constitution. Nevertheless, the marriage of photography and painting has always been complex and it is never easy to gather how ideas and influences entwine in the presentation of reality in these media. Photography and painting are often defined as opposites by reference to their different nature, but what seems in our times to characterize the relationship is the impossibility of either assuming supremacy. Their limits and disposition merge when the painting emerges in the photo and dissipates along with it.
The exhibition is curated by Birta Guðjónsdóttir and it runs until November 9th 2016.
Wednesday, January 27, 2016
Double Happiness at Gerðarsafn Kópavogur Art Museum
My solo exhibition Double Happiness opened last week at Gerðarsafn Kópavogur Art Museum curated by Brynja Sveinsdóttir.
The series Double Happiness was created in China in 2010-2014. The series depicts a city on the edge of everyday and fiction with portraits of elderly people, nature in a man-made environment, living quarters and found sculptures. The solemn and unattainable settings of the photographs are contrasted by the title of the series, the double Chinese sign for happiness used as decoration and to mark celebrations.
Tuesday, June 30, 2015
The exhibition No site is an exhibition of the works of eight artists living in Iceland who are turning their gaze towards Icelandic nature. Björn Árnason, Claudia Hausfeld, Daniel Reuter, Edda Fransisca Kjarval, Ingvar Högni Ragnarsson, Katrín Elvarsdóttir, Pétur Thomsen and Stuart Richardson all work with photography as a medium. The works are all made in the timespan 2008 – 2015. The curators are Áslaug Íris Friðjónsdóttir and Unnur Mjöll S. Leifsdóttir.
Vanished Summer 5
Nature and landscape have long been a subject for artists. Consciously and unconsciously the tendency has been to glorify nature, for instance by fixating on well-known landmarks and historically important sites. In that aspect photography is no exception and in recent years that medium has played an important role in the image making of the tourist industry. We are surrounded by stunning landscape photos of beaming northern lights, grand glaciers, glassy lakes and colourful mountains.
The works in the exhibition reflects both inner and outer landscapes. Each artist views nature from their own perspective, their works evoking consciousness toward places that are familiar. The characteristics of the landscape relate to familiar places or personal experiences and memories. This is the landscape that we all know, the image we see when we look out of the car window on our travels in the countryside, the places that don’t have any names, the environment which is in-between the remarkable places. We know the light, the yellow grass, the sands, the snowfields, the lava, the greyness and the rain that erases the outlines of mountains and landmarks.
The artists participating in the exhibition No site have a different view of the landscape. They seek to capture the beauty in the moments that often go unnoticed.
The exhibition is on view until August 23, 2015 at Hafnarborg Centre of Culture and Fine Art.
Monday, May 18, 2015
Equivocal at the Warsaw Festival of Art Photography 2015
The WFFA Festival will take place from May 15- June 15 2015, the theme of the Festival is “COMMON SPACE” and this year Iceland is the guest of honour.
The Icelandic program will consist of a group exhibition titled, Relooking – Icelandic Landscape Photography, showing the Icelandic landscape as perceived by the photographers of the middle generation and mature artists, such as: Invar Brynjolfsson, Haraldur Johnsson, Einar Falur Ingefsson or Ingvar Högni. Iceland Now! will show topics, tendencies and areas of interest of three young Icelandic photographers. There will also be four Solo expositions of well-known Icelandic photographers, Spessi (Food, People and Post Office), Katrin Elvarsdottir (Equivocal), Pétur Thomsen (Imported Landscape) and Bjargey Ólafsdóttir (Johanna). For more information: http://www.wffa.eu
from my opening at Schody Galeria, Warsaw.
Tuesday, January 20, 2015
On view January 15 through March 6, 2015, in the Harnett Museum of Art, is the exhibition Anti-Grand: Contemporary Perspectives on Landscape curated by N. Elizabeth Schlatter and Kenta Murakami. The exhibition features 24 contemporary, international artists, artists’ collectives and game developers who examine, challenge, and re-define the concept of landscape while simultaneously drawing attention to humanity’s hubristic attempts to relate to, preserve, and manage the natural environment. Anti-Grand includes 33 works of art, with video, installation, video games, and traditional two- and three-dimensional work.
All of the works in the exhibition were created since 2000 to focus on art made well after the initial developments of the modern and popular discourse on environmentalism and sustainability. The exhibition’s title Anti-Grand suggests an approach to the topic that is opposite one of awe and reverie of the past, approaches that are now difficult to consider without an implicit sense of irony. Contemporary Perspectives of Landscape emphasizes the role of the artist’s and/or viewer’s choice of framing device as applied to both the represented scenery and the genre at large. Engaging humor, tenderness, ambivalence, and respect, the artists look at many facets of this subject. Unifying the exhibition are issues of representation that are inherent to the genre and the various ways in which artists have self-reflexively considered their relationship to the artistic subject.
As a starting point, the exhibition considers the idea of the landscape as “an aesthetic category par excellence.” This concept is explored in Kim Keever’s (American, born 1955) photographs and video of landscapes constructed in 200-gallon tanks filled with water, the experimental prints of photographer Matthew Brandt (American, born 1982), and the voyeuristic dioramas of Patrick Jacobs’ (American, born 1971) set into the walls of a gallery. Katrín Elvarsdóttir (Icelandic, born 1964), the artists collective Flatform, and Jon-Phillip Sheridan (American, born 1977) all explore how landscape is perceived and framed, both by the camera and the viewer.
Vanished Summer 32, 2013
Online Catalog: http://www.antigrand.com