Tuesday, November 8, 2016

STARA issue 7

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

Cyclone 3 at Gallery Titanik

I'm taking part in the exhibition Cyclone 3 at Gallery Titanik in Turku Finland with

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?"

—Mari Krappala

                                     Cyclone 3, installation by Lilja Birgisdottir in Gallery Titanik

After the Solar Eclipse (2016)

Friday, May 27, 2016



Yellow Curtains 3, (2008)

Work from my series Equivocal is currently at view at the National Gallery of Iceland.
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. 

                                Installation view from LIGHTPAINT at The National Gallery of Iceland
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

                       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.