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ELASTIC HOURS

Íslenska neðar

My first visit to Iceland took place at the height of winter. Daylight was limited to several hours of twilight in the middle of the day while the deep darkness of nighttime stretched from the early evening through the late morning as people began their daily commutes. I have been back several times since, mostly in the early spring, when the length of daylight would grow in steady increments so that the daytime was nearly an hour longer at the end of the week than it was when I first arrived. When the passage of time is thus, so acutely palpable, one senses a heightened awareness of the universe beyond our daily preoccupations—such as the fact that we are on a planet slowly rotating on a course around the sun. This mercurial experience of time, so ever-present in Iceland, may open pathways to resisting conventional ideas and imagining the exceptional. As Icelandic Nobel laureate Halldór Laxness observed in his novel Under the Glacier (a novel which has been a point of inspiration for Sequences VIII honorary artist Joan Jonas), “Time is the one thing that we can all agree to call supernatural. It is neither energy nor matter; not dimension either; let alone function; and yet it is the beginning and end of the creation of the world.”

“Sequences VIII: Elastic Hours” presents a constellation of art installations, performances, sonic works, video, and public interventions throughout the city of Reykjavík. While the Sequences festival uses the term “real time” to refer to time-based media, “Elastic Hours” considers how the term might be applied to the experience of art making, exploring how artists manipulate time as a raw material. The term “real time” also inherently conjures a juxtaposition with “unreal time,” posing the question as to why an abstract metric such as a clock may be considered more real than time as it is subjectively experienced. The clock allows for synchronicity, yet our concept of time is limited when considering microscopic or geologic time scales. Stretching, echoing, and inverting hours, the works included in Sequences VIII often go beyond standardized metrics to investigate alternative systems. These works remind us that our daily rhythms are not solely determined by tradition and locality but can be individualized—customized even—or rooted in natural forces beyond our control.

By proposing a more nuanced system of measuring and experiencing time, the artists included in Sequences VIII transform the experience of an artwork. They switch tracks into a parallel span of time, hover in its ambiguity, and notice from that vantage point the peculiarities of standardized systems. Not only do they recall days past measured by sunrise and sunset, but point in the other direction toward the complexities of digital time, its capacity for continuity, accumulation, and anonymity. With the increasing integration of technology and information culture into the everyday, the experience of viewing an artwork has shifted in recent years. No longer do viewers spend prolonged periods contemplating objects, but rather, the experience of looking is interrupted by images captured on smartphones and shared on social media, and by the consistent bombardment of emails and texted conversations. By challenging the notion of temporality itself, the works on view exhibit a sensitivity to this evolving contemporary condition and highlight the importance of immersion into an artwork’s own terms. In charting the passage of time through unconventional means, they bring heightened awareness and critical insights into our relationships with objects, society, and the universe around us.

Milvægi þess að sökkva sér ofan í listaverk á þeirra eigin forsendum. Verkin stika út framrás tímans á óhefðbundinn hátt og færa þannig aukna vitund og gagnrýna innsýn í samband okkar við hluti, samfélagið og umheiminn.

Margot Norton

TEYGJANLEGIR TÍMAR

Fyrsta heimsókn mín til Íslands var um hávetur. Dagsljós takmarkaðist við nokkrar klukkustundir af birtubrigðum um miðjan dag, en djúpt næturmyrkrið teygði sig frá síðdegi og langt fram yfir morgun þegar fólk var komið á fætur. Ég hef komið hingað margoft síðan þá, oftast snemma vors þegar dagsbirtan bætir sífellt við sig þannig að dagurinn er nánast klukkutíma lengri í lok vikunnar en hann var þegar ég kom. Þegar framrás tímans er með þessum hætti – svo auðgreinanleg – verður maður meðvitaðri um heiminn utan hins hversdaglega amsturs, eins og t.d. að við erum á plánetu sem snýst hægt á braut um sólu. Þessi kvika upplifun á tímanum, sem er ávallt til staðar á Íslandi, getur opnað leiðir til að veita hefðbundnum hugmyndum viðnám og ímynda sér hið óvenjulega. Eins og nóbelskáldið Halldór Laxness sagði í Kristnihaldi undir jökli (en sú skáldsaga veitti heiðurslistamanni Sequences VIII Joan Jonas mikinn innblástur): „Tíminn [er] sá hlutur sem við getum allir sæst á að kalla yfirnáttúrlegan. Hann er að minnsta kosti hvorki afl né efni; ekki dímensjón heldur; og því síður fúnxjón; – þó upphaf og endir á sköpun heimsins.”

„Sequences VIII: Teygjanlegir tímar“ býður upp á margvíslegar innsetningar, gjörninga, hljóðverk, vídeóverk og íhlutun í almenningsrými um alla Reykjavík. Um leið og Sequences-hátíðin notar hugtakið „rauntími“ til að vísa til miðlunar í tíma, felur „teygjanlegur tími“ í sér hvernig nota má hugtakið um þá reynslu og upplifun að skapa list, með því að skoða hvernig listamenn eiga við tímann sem hráefni. Hugtakið „rauntími“ kallar svo ósjálfrátt fram orðið „órauntími“ og varpar þannig fram spurningum um hvers vegna afstrakt mælitæki eins og klukka teljist raunverulegri en tíminn eins og einstaklingurinn upplifir hann. Klukkan veitir vissulega samstillingu, en engu að síður er hugmynd okkar um tímann takmörkuð þegar tekið er tillit til smásærra eða jarðfræðilegra tímakvarða. Með því að teygja, bergmála og snúa upp á tímann fara verkin á Sequences VIII oft handan staðlaðra mælinga til að kanna óhefðbundin kerfi. Þessi verk minna okku á að hrynjandi hversdagsins ákvarðast ekki eingöngu af hefðum og stað, heldur getur hún líka verið einstaklingsbundin, sérsniðin jafnvel, eða rótgróin í náttúruöflum sem við höfum enga stjórn á.

Með því að leggja til blæbrigðaríkara kerfi til að mæla og upplifa tímann hafa listamennirnir á Sequences VIII umbreytt því hvernig skynja má listaverk. Þeir beygja af braut inn í samhverft tímaskeið, sveima í margræðni þess og greina frá því sjónarhorni einkenni og kyndugleika staðlaðra kerfa. Þeir minnast ekki aðeins horfinna daga sem mældir voru af sólarupprás og sólsetri, heldur vísa þeir einnig í hina áttina að flóknum breytum stafræns tíma, eiginleika hans til að halda órofa samhengi og hlaðast upp án nafngreiningar. Með aukinni samþættingu tækni- og upplýsingamenningar og hversdagsins hefur orðið breyting á því hvernig við skoðum listaverk. Áhorfendur verja ekki lengur löngum tíma í að velta fyrir sér hlutunum því upplifunin er rofin af myndum teknum á snjallsíma, sem er síðan deilt á samfélagsmiðlum, og með stöðugum hrinum af tölvupósti og textaskilaboðum. Með því að takast á við hugmyndir um eðli tímans bera verkin á hátíðinni með sér næmi fyrir þessari þróun í samtímanum og varpa ljósi á mikilvægi þess að sökkva sér ofan í listaverk á þeirra eigin forsendum. Verkin stika út framrás tímans á óhefðbundinn hátt og færa þannig aukna vitund og gagnrýna innsýn í samband okkar við hluti, samfélagið og umheiminn.

Margot Norton

Honorary Artist of Sequences VIII  is Joan Jonas

Joan Jonas, Song Delay, 1973, film still © 2017 Joan Jonas – Artists Rights Society (ARS), New York

Íslenska neðar

Since the late 1960s, Joan Jonas (b. 1936 New York. Lives and works in New York) has created groundbreaking multidisciplinary works that investigate time-based structures and the politics of spectatorship.  Her projects often simultaneously incorporate elements of theater, dance, sound, text, drawing, sculpture, and video projection. They rely on alternate identities, narrative symbols and threads, but they also refuse linearity, privileging instead the doubled and fractured tale. Initially trained as a sculptor, by the late 1960s she became known for her work in performance, and completed her first film work, Wind, in 1968. A pioneer of video art, Jonas began using the Portapak video system in 1970 to explore the shifts that occur from the camera to the projection to the body and the space of the live action. For her recent videos, performances, and installations, Jonas has frequently collaborated with musicians and dancers and has drawn from literary sources and mythic tales in realizing her multi-layered explorations.

For Sequences VIII, a solo exhibition of Jonas’ work is presented at the Living Art Museum, which includes a selection of works from throughout her career—from her early videos Wind (1968) and Songdelay (1973) to Stream or River, Flight or Pattern (2016), a project that she conceived on recent travels to Venice, Singapore, Nova Scotia, and Vietnam. In her early works, Jonas explores the rhythms of film—recording and projecting a standard number of frames per second—to record the discrepancies between aural and visual time. This is particularly evident in Songdelay, an experiment in the production and receipt of sound. Though sound itself is not visible, the camera registers differences in distance, scale, sound, and time as subjects clap two blocks of wood together, first near, then far. In Wind, a seemingly invisible, natural force is rendered visible in the subjects’ efforts to move against the gusts. Shot at silent speed but sped up in the projection at 24 frames-per-second, this work mimics the rhythms of early cinema. Mirage (1976/1994/2005), which is also included in the exhibition, was originally conceived as a performance in which gestural drawing and repetitious physical movements were intercut with a variety of video projections and sculptural components such as paper cones suggesting the form of volcanoes. In 2005 she reimagined this work as a discrete installation, which combines elements of memory, games, experimentation, drawn actions, and syncopated rhythms. This work was inspired by the “Endless Drawings” described in the Melukean Book of the Dead from New Guinea, where it is said that in order to go from one world to the next, one must finish a drawing in sand at the boundary between life and death.

As the United States representative for the 2015 Venice Biennale, Jonas presented an installation, They Come to Us Without a Word (2015). This work focused on the tenuous, rapidly changing state of our planet. This piece, and an earlier project, Reanimation (2010/2012/2013) drew inspiration from Halldór Laxness’ novel Under the Glacier, particularly his writing about animals and the miraculous and fragile aspects of the natural world. Jonas’ recent work and most significant project since her presentation in Venice, Stream or River, Flight or Pattern continues her long-standing interest in temporality and the environment. The videos for this work combine footage of Jonas’ performances in projections, mosaic floors of Venice, redwoods in California and various trees in Spain, birds caged in Singapore, a graveyard in Genoa, and footage from her recent travels to Cambodia and Vietnam. The non-linear narrative of her intercut footage recall vivid memories from past trips or the contents of a dream, which the artist describes as relating to “our world of animals, of life, of death, of beauty, and sadness.” Hanging from the ceiling in the double-height space in the Living Art Museum are delicate paper kites, which Jonas found in a village in Vietnam that specializes in traditional kite making. Echoing her videos, the kites are souvenirs from her travels, which she brought back with her, hand-painted, and altered by hand. Jonas will also present Moving Off the Land (2016/2017) an ongoing experimental lecture demonstration at Tjarnarbíó on Sunday, October 8, featuring a new collaboration with Icelandic composer and musician María Huld Markan Sigfúsdóttir.

Joan Jonas

Joan Jonas, Oceans – Sketches & Notes, 2016-2017, performance, TBA21 Augarten, Vienna, Austria, 2017. Photo by Christoph Liebentritt © 2017 Joan Jonas – Artists Rights Society.

Íslenskur texti

Joan Jonas (f. 1936 í New York. Býr og starfar í New York) hefur síðan á síðari hluta sjöunda áratugarins skapað brautryðjandi þverfagleg verk þar sem hún kannar formgerðir sem grundvallast á tíma og þá pólitík sem felst í áhorfi. Verkefni hennar fela oft í sér leikhús, dans, hljóð, texta, teikningu, skúlptúr og vídeóvörpun. Þau reiða sig á breytilegar samsvaranir, tákn og þræði frásagnar, en hafna einnig hinu línulega og leggja fremur áherslu á hina tvíþættu og brotnu sögu. Joan lærði skúlptúr en á síðari hluta sjöunda áratugarins varð hún þekkt fyrir gjörningalist og árið 1968 lauk hún við fyrsta kvikmyndaverk sitt, Wind. Joan var brautryðjandi í vídeólist og hóf að nota Portapak myndbandskerfið árið 1970 til að skoða þá breytingu sem á sér stað frá myndavélinni til vörpunar að líkamanum og rýminu þar sem athafnir eiga sér stað í rauntíma. Í nýlegum vídeóverkum, gjörningum og innsetningum sínum hefur Joan oft starfað með tónlistarfólki og dönsurum og sótt í brunn bókmennta og goðsagna við úrvinnslu á marglaga rannsóknum sínum.

Á Sequences VIII er að finna einkasýningu Joan Jonas í Nýlistasafninu, en þar eru verk sem spanna allan starfsferil hennar – allt frá elstu myndbandsverkum eins og Wind (1968) og Songdelay (1973) til nýlegra verka eins og Stream or River, Flight or Pattern (2016), en það er verk sem hún vann í ferðum til Feneyja, Singapúr, Nova Scotia og Víetnam. Í eldri verkum sínum skoðar Joan hrynjandi kvikmyndar með því að taka upp og varpa stöðluðum fjölda af römmum á sekúndu og með því að taka upp misræmi milli hljóðræns og sjónræns tíma. Þetta er sérstaklega áberandi í Songdelay, sem var tilraun með framleiðslu og móttöku hljóðs. Þótt hljóðið sjálft sé ekki sjáanlegt greinir myndavélin mismun á fjarlægð, stærðarhlutföllum, hljóði og tíma þar sem viðfangið slær saman tveimur viðarbútum, fyrst nálægt, síðan í fjarlægð. Í Wind er ósýnilegt náttúruafl gert sýnilegt með því að láta viðfangið færast gegnt vindinum. Myndin var tekin án hljóðs en hraðað í sýningu upp í 24 ramma á sekúndu og líkir þannig eftir hrynjandi í myndum frá árdögum kvikmyndalistarinnar. Mirage (1976/1994/2005), sem einnig er að finna á sýningunni, var upphaflega hugsað sem gjörningur þar sem teiknun og endurteknar líkamlegar hreyfingar voru rofnar með mismunandi vídeósýningum og skúlptúrískum hlutum, svo sem pappírskeilum sem vísa í form eldfjalla. Árið 2005 endurvann hún þetta verk sem afmarkaða innsetningu, þar sem koma saman þættir minnis, leikja, tilrauna, teiknaðra hreyfingar og misgengra takta. Verkið var innblásið af „endalausu teikningunum“ sem lýst er í Bók hinna dauðu frá Nýju Gíneu, en þar er því haldið fram að til þess að komast úr einum heimi yfir í annan verði maður að klára teikningu í sandinum við landamæri lífs og dauða.

Joan var fulltrúi Bandaríkjanna á Feneyjartvíæringnum 2015 og sýndi þar innsetninguna, They Come to Us Without a Word (2015). Þetta verk einblínir á fíngert og ört breytilegt ástand plánetunar. Þetta verk og annað fyrra verk, Reanimation (2010/2012/2013) sótti innblástur í Kristnihald undir Jökli eftir Halldór Laxness, og þá sérstaklega það sem skáldið hafði að segja um dýrin og hina undraverðu og viðkvæmu þætti lífríkisins. Í nýlegu verki Joan, sem er eitt merkasta verkefni hennar síðan hún sýndi á tvíæringnum, Stream or River, Flight or Pattern, vinnur hún áfram með umhverfið og rótgróinn áhuga sinn á tímanum. Myndböndin í þessu verki spyrða saman myndskeiðum af gjörningum, mósaíkgólfum í Feneyjum, risafurum í Kaliforníu, ýmisskonar trjám á Spáni, fuglum í búri í Singapúr, grafreit í Genúa og myndskeiðum frá ferðum hennar um Kambódíu og Víetnam. Ólínuleg frásögnin dregur fram skýrar minningar af fyrri ferðum og efnistökum úr draumum, sem listamaðurinn segir eiga við „okkar veröld dýra, lífs, dauða, fegurðar og sorgar.“ Í Nýlistasafninu er rými með aukinni lofthæð og þar hanga neðan úr loftinu fíngerðir pappírsflugdrekar sem Joan fann í þorpi í Víetnam sem sérhæfir sig í gerð hefðbundinna flugdreka. Flugdrekarnir eru minjagripir frá ferðum hennar um þennan heimshluta og þeir kallast á við vídeóverkin. Joan handmálaði flugdrekana og breytti þeim. Joan sýnir einnig Moving Off the Land (2016/2017) en það er tilraunakennt erindi í Tjarnarbíói sem verður haldið sunnudaginn 8. október næstkomandi í samvinnu við tónskáldið og hljóðfæraleikarann Maríu Huld Markan Sigfúsdóttir.

ARTISTS

Helena Aðalsteinsdóttir

(b. 1990 Reykjavík. Lives and works in Amsterdam)

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Work:

A gigantic vehicle made of rock: the digital native is a myth — a yeti with a smartphone, 2017. Video, color, sound, metal. Dimensions variable. Courtesy the artist

Venue:

Ekkisens

Work:

(From) Memory, 2015. Video, color, sound. 3:35 min. Courtesy the artist.

Icelandair Hotel Marina Film Program.

Considering memory as an arrangement of traces, Helena Aðalsteinsdóttir employs a carefully balanced sculptural language of presence and absence. Soft shapes and familiar objects dot her installations as if floating in a landscape. Wooden beams and television screens serve as primary structures while small objects like sponges or tassels become supporting details. Yet while her specific materials may evoke the body and its orchestration of the installation, she never depicts the body itself.

Instead, human presence is suggested by a pair of shoes left behind or a delicately hung ornament. In her videos, Aðalsteinsdóttir similarly employs a concise vocabulary of materials, but in these works the body functions as a mechanism for replaying and breaking down specific actions: molding a block of clay, bouncing a rubber ball, or toying with materials. By isolating movements and giving them prolonged durations, she gives a sculptural quality to the everyday rhythms of the body.

One such familiar rhythm is the pace of our interactions with the smartphone screen, an object whose dimensions and capabilities often dictate a particular pattern of swiping, tapping, and scrolling. These actions have become habitual, repeated even in the absence of interesting content or, conceivably, even in the absence of the phone itself.

Aðalsteinsdóttir’s piece for Sequences, A gigantic vehicle made of rock (2017) shows a hand holding a flat stone of the same dimensions as an iPhone 6. A familiar choreography follows: click, swipe, swipe, swipe, zoom, swipe, swipe. Though it does not appear that the stone responds, the hand continues its routine. A voice in the video mythologizes the stone’s origins from a sky ship in a cloud, a site of memory and data storage, and a place to shelf one’s responsibilities.

The site of the video itself, in northern Iceland, has particularly high levels of magnetic energy and emits high frequency sounds. It, too, seems to be part of an otherworldly network in which objects of the earth may have smart capabilities.

Birgir Andrésson

(b. 1955 Westman Islands, Iceland. d. 2007 Reykjavík)

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Work:

The Infinite Day / Endalaus dagurinn, 2005.

Wall painting, household paint; dimensions variable. Courtesy of the Estate of Birgir Andrésson and i8 Gallery Reykjavík

Venue:

Grandagarður Birgir Andrésson primarily explores color as the formal language of Icelandic culture, its landscape and art history. These exercises in color are earnest, futile, and superfluous; the artist’s palette is “real” insofar as any trait can be considered inherent in a culture. They are a sort of derivative translation or extraction, illustrating Andrésson’s perceptions of his home country and personal upbringing.

Some paintings resemble paint color samples, suggesting that these paintings are s subset of larger series and palettes, and directly referencing Andrésson’s larger practice. Within his painting practice, Andrésson may address specific elements of the Icelandic environment or culture.

Sequences VIII presents a wall painting of Andrésson’s work The Infinite Day (2005) by the Reykjavík harbor. This work points to the Icelandic sky at a particular moment in the calendar year when daylight takes on an infinite quality, stretching beyond the 24-hour cycle of a day. In this work, time and color are conflated, suggesting that both concepts are dependent on the viewer’s perception and evocative of individual experiences of daylight and infinity.

Hildigunnur Birgisdóttir

(b. 1980 Reykjavík. Lives and works in Reykjavík)

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Work:

TIME PASSES: Camera accidentally taking video instead of still pictures, 2017. Diasec mounted prints, small potted plants, and live streamed YouTube video; dimensions variable. Courtesy the artist and i8 Gallery, Reykjavik

Venue:

Stairway, Vesturgata 7

Hildigunnur Birgisdóttir is concerned with the lives of everyday objects—their inherent properties, material affiliations, and relationships to human time. In installations, Birgisdóttir juxtaposes display mechanisms and hanging apparatuses with found, often mass-produced items, such as car freshener tags, labels, notebooks, stickers, or single sheets of paper. These sculptural compositions give urgency and meaning to the quotidian and expose the latent aesthetic potential of each element. Because her items are typically overlooked and ephemeral, they propose a critique of the concept of value. Here, this is an arbitrary metric, determined in part by the context of the work.

For Sequences VIII, Birgisdóttir will present TIME PASSES: Camera accidentally taking video instead of still pictures, a multi-media installation that contemplates the experience of time of nonhuman objects, in a progression often revealed by the background presence of these objects in photographs and on social media. Through a series of interconnected images, objects, and live-streamed footage from the internet, she explores the slow, steady time of the houseplant—a living object used by humans to fill space in homes, institutions, and waiting rooms. While we may not notice their growth, the images that we post function as markers, capturing a still in a continuum. Like many of her projects, TIME PASSES: Camera accidentally taking video instead of still pictures reveals the unsung sublime within the mundane.

Margrét Bjarnadóttir and Elín Hansdóttir

(b. 1980 Reykjavík. Live and work in Reykjavík)

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Works:

DEN FRIE REFINED, 2014. Two-channel video, color, sound. 6:31 min.

Courtesy the artists and i8 Gallery, Reykjavík

Venue:

Icelandair Hotel Marina

Film Program Elin Hansdóttir constructs installations, videos, and sculptural situations that engage and deconstruct the act of perception. Implementing sharp angles, cast shadows, mirrors, and digital renderings, she finds techniques both contemporary and art historical to play with spatial tropes and illusions. In her video work Suspension of Disbelief, she layered scenes and chronologies filmed within the set of a single gallery. Within this confined set, Hansdóttir stages a physically ‘impossible’ choreography of her own body dancing throughout the space. By generating such disruptions of images, Hansdóttir breaks the fourth wall, not only of her stage set and performance, but also of the artwork itself.

Margrét Bjarnadóttír has worked more explicitly on the stage as a choreographer and performer, and these practices inform her video, photography, and installation work as well, both in terms of coordinating the movement of bodies within a space, and of considering the audience who may be watching, or at times moving throughout her works. As in Hansdóttir’s work, Bjarnadóttír frequently uses mirrors and projections to experiment with the optics of movement and depth.

For their collaborative work, DEN FRIE REFINED (2014), Bjarnadóttír and Hansdóttir turn their interests to the architecture of the Den Frie Center for Contemporary Art, for which the video was originally conceived. An image of the large rotunda of Den Frie is printed onto a curtain, which is hung as a backdrop so that it appears within the filmic frame to be an actual three-dimensional space itself. The two-channel video begins with a woman entering the rotunda and then pulling the curtain with the printed image of the same rotunda and dragging it across the filmic frame. Once the architectural double is established, the body, too, is doubled—each channel shows a woman in the same outfit walking through the same space, but the scenes are different in other ways: the lighting, the length of the woman’s hair, the timing of her movements, and the exact position of the camera are all slightly askew. This mimesis is held in a deliberate tension, at times disrupted, but more often believed; the simultaneity of the two channels creates a mirrored effect. Now displaced from its original site, DEN FRIE REFINED speaks to the function of architecture within memories—as a general awareness or image of a place that may not be identical to the space itself. In addition, because the two channels were evidently filmed at different times, the viewer might imagine the woman rehearsing and tracing her own steps to attempt to recreate a remembered path, and might observe that her relative speed is measured by displacement over time.

Florence Lam

(b. 1992, Vancouver, Canada. Lives and works in Reykjavík)

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Work:

The Picture of Causality, 2017. Performance and video installation; dimensions variable. Courtesy the artist

 Venue:

Mengi, Saturday, October 14

Work:

My heart in a broken nutshell

 Venue:

GSM, Frequences on Sequences, RÚV National Broadcasting Service, October 10, 21:56

Working at the intersection of sculpture and performance, Florence Lam isolates, decontextualizes, and prolongs everyday actions. Her works test abstract ideas about perception, such as the materiality of time and weight, or the ways in which social conduct is communicated. In I choose to sleep (2016), for example, Lam slept in the gallery and observed how viewers responded to her sleeping body. For Gravity (2007), she undressed in front of an audience and ate apples until she returned to her clothed body weight. These performances are substitutions that require the audience to suspend their disbelief in order to resolve the work. They also test the materiality of the artist herself—what composes her body, how does it change over time, and how should one react to her corporeal presence?

With The Picture of Causality (2017), Lam looks specifically at language as a material that may constitute or structure experiences of time. The Hindu or Buddhist concept of “karma” is traditionally tied to reincarnation, as an explanation of how one’s actions in the present may influence, or be influenced by, one’s past and future. Lam excavates the meaning and potential of karma by analyzing how it is written in Chinese characters, which are largely pictorial. For her performance, which combines text, projections, and live commentary, Lam excavates the many layers of meaning that reside within the Chinese word for “karma” or “causality,” which is written as a combination of two words: cause/reason and effect/consequence. Lam draws further significance from these words and their component parts in her performance, in which the characters are projected as constellations and she, along with Icelandic students who are learning Chinese, describe the poetics of these linguistic and embodied expressions.

Nancy Lupo

(b. 1983 Flagstaff, Arizona. Lives and works in Los Angeles)

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Work:

Nancy Lupo, AAA, 2016 (detail).

Forks, (ECOSOURCE Plant Starch, Eco-gecko, Perfect Stix Green, Bambu, 120 Silver Visions Silver Serving Forks, Visions Clear Forks, Fineline Platter Pleasers, Comet Petites, Clear Sabert Serving, etc.), dental floss (RADIUS cranberry, Listerine Ultraclean, Dr. Fresh Waxed, Rite Aid Spearmint Waxed, Rite-Aid Mint Waxed, CVS Waxed and Unwaxed, Well at Walgreens, etc.), pine needles, orange and mint chocolate break apart balls (Ferrara Candy Orange Milk, Mint, Dark, Peppermint, Terry’s Chocolate Orange), 120 gumpaste carnations (extra large, large, medium, small), 4 emu eggs (half and whole), 5 rhea eggs, stress balls, fake lemons, lemons, Meyer lemons, oranges, a watermelon, a cantaloupe, a lime, a tomatillo, avocados, green and yellow Peanut M&M’s, rosemary, green twist ties, wasabi peas, Jordan almonds, 30 cabinet shelves, Magic-Sculpt, Fresh Step kitty litter, aluminum roof tar, aluminum ball chain, various lead sinkers, a corsage (sometimes), 36 Nylabone Dura Chew Textured Ring Dog Chews, 23 Nylabone Dura Chew Textured Ring Dog Chews (Holiday), 30 Nylabone Dura Chew Textured Ring Dog Chews cast in aluminum and some painted, 19 Nylabone Dura Chew Medium Textured Tugs cast in aluminum; Dimensions variable. Courtesy the artist and Kristina Kite Gallery, Los Angeles

Venue:

Kling & Bang

Through subtle manipulation, repurposing, and juxtaposition, Nancy Lupo reveaals layers of meaning that underlie the seemingly familiar. Redundant interventions (such as recoating the exterior surface of a shelf with putty) and modifications in scale or use of objects (such as creating a “sofa” with chia seeds and kitty litter) contribute to a disquieting sensibility in her work. While her sculptural objects do, as Lupo notes, remain “haunted by the circumstances of their making,” they are also given new tasks and supporting roles. These may be enabled in part by the viewer’s own desires and perceptions and their efforts to comprehend the purpose of each object and the aesthetic and utilitarian choices that contributed to their making. When Lupo places objects into arrangements and narratives, she attempts to restructure the ways that we perceive these everyday items, and critiqes our definitions of value, utility, and productivity. In fetishizing foods, products for pets and children, and industrial and domestic furnishings, Lupo also reveals the latent consumerist desires expressed by their designs.

In AAA, Lupo focuses more specifically on the aesthetics of waste, excess production and consumption. The floor is littered with objects, the majority of which are meant to be consumed or used once and disposed of: Plastic forks are interwoven with dental floss, both in an array of brands so that their forms and colors slightly vary. Food items, fake and real—such as a chocolate “orange” and actual pieces of fruit—mime one another at regular intervals throughout her composition on the gallery floor. The installation appears to be an image of chaos, yet in fact, it was laboriously constructed in careful increments over the course of a year. The four sections of the installation, which are differentiated by the color and brand of her materials, stand in for the seasons in which she worked. Day by day, Lupo carried out the additive process of construction as her materials began a subtractive process of decay. The natural or local times of her organic materials and products, circumscribed by their limited shelf-lifes, are thus juxtaposed with the daily rhythms of her manipulations and preserved as an artwork for the duration of the exhibition in the apparently timeless space of the gallery in which her work is shown.

Sara Magenheimer

(b. 1981, Philadelphia, Pennsylvania. Lives and works in New York)

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Work:

No Clock (You can’t be late twice), 2017. HD video, color, silent; 3:08 min. Courtesy the artist

Venue:

Kling & Bang

Works: 

Best is Man’s Breath Quality, 2017. HD video, color, sound; 15:30 min. Courtesy the artist and Video Data Bank

Art and Theft, 2017. HD video, color, sound; 7:22 min. Courtesy the artist and Video Data Bank

Venue: Icelandair Hotel Marina Film Program

Work: Slow Zoom Long Pause No Image

Venue: GSM, Frequences on Sequences, RÚV National Broadcasting Service, October 11, 21:56

Sara Magenheimer’s videos disrupt, manipulate, and defamiliarize language in combinations of image and text that provoke the imaginary. She incorporates traditional filmic techniques, such as using intertitles or introducing a sound before the image of its emitter, as well as those inspired by hip hop and collage, where scenes are further spliced, words are broken up and pronounced to an off-beat. Magenheimer’s works also have a distinct relationship to the time of the internet, where memes loop images and superimpose language, fonts, and special effects from different sources and eras—creating a space of presentational parity. By toying with narration through each of these aesthetic devices, Magenheimer creates gaps of understanding for the viewer, inviting their individual elaborations.

With No Clock (You can’t be late twice) (2017), Magenheimer presents a series of flatscreen monitors arranged in a serial configuration to mimic those in airport terminals or financial markets, with time differences of major cities around the globe displayed. Exploring a rhythmic and linguistic vocabulary of time, her videos cycle images and words to a steady beat. The video’s syncopated progression of images and words encourages the viewer to lose track of time, or to become engrossed in the film’s time (no time) than in “real” time. Art and Theft (2017) takes place within the seven minutes and twenty-two seconds that it reportedly takes to rob a house. In this film, Magenheimer weaves multiple forms of storytelling, all containing accounts of various intruders and masters of slight-of-hand. A wide range of sources are represented, from medieval art to popular cinema and “live” news coverage outside Trump Tower. Best is Man’s Breath Quality (2017) further explores the bounds of narrative and the absorption of information from the perspective of the jellyfish—a translucent animal whose “intelligence is in [its] body.” As with many of Mangenheimer’s works, this piece charts circuitous storylines through vernacular associations, revealing how visual and verbal language mutate and guide multivalent pathways to understanding.

Anna K.E. (b. 1986, Tbilisi, Georgia. Lives and works in New York and Düsseldorf, Germany)

and Florian Meisenberg (b. 1980, Berlin. Lives and works in New York and Düsseldorf, Germany)

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Work:

Late Checkout I-IV, 2015-16. Video, color, sound. Courtesy the artists and Simone Subal Gallery, New York

Venue:

Kling & Bang

Work:

Late Checkout (Iceland Edition), 2017. Performance. Courtesy the artists and Simone Subal Gallery, New York

Venue:

Icelandair Hotel Marina, Saturday, October 7, 15:00

While they also maintain distinct independent practices, Anna K.E. and Florian Meisenberg’s collaborative projects explore the realms of digital intimacy: drawings pass between their phones and paintings shift from one artist’s hand to the other’s. Their resulting installations tend to constitute a literal and metaphorical platform for their creative dialogue. In these projects, screens, sculptures, paintings, drawings, prints, and textiles point to an evolving technological interdependency that opens up new universes of information and communication. Their works call attention to the seemingly limitless hall of mirrors that our screens generate, and the content that appears on them seems to be ever-reproducing in the timeless, space-less vacuum of our digital platforms.

The high-rise hotel room provides a similar non-space for K.E. and Meisenberg’s Late Checkout series (2015-ongoing). Each part in the series takes place in a different generically designed modern hotel room. The duo circumambulates these spaces, acting as observer and muse, and performing before screen-like windows that overlook cities buzzing silently below. In the films, Meisenberg manages a camera trained on K.E., the footage of which streams seamlessly on K.E.’s phone, which she vigilantly watches as she dances in a fluid combination of statuesque poses and quotidian gestures, often aligning her body with the architecture. Meisenberg and K.E. thus monitor themselves while adjusting and guiding each other—an attentive, psychological, and wireless process. Along with the presentation of the Late Checkout series at Kling and Bang Gallery, K.E. and Meisenberg will also perform Late Checkout (life performance II) (2017) at the Icelandair Hotel Marina, which will live-stream from one hotel room to another. While the artists are physically present with each other in the room, they are also watching themselves, and being watched by others. This process echoes the desires for immediate feedback, connectivity, visibility, and gratification that are integrated within the seemingly limitless feedback loops proliferating across our digital communication.

Rebecca Erin Moran

(b. 1976 Greeley, Colorado. Lives and works in Reykjavík)

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Work:

498seconds, 2017. Salt, silver, sun; dimensions variable. Courtesy the artist.

Venues:

Kling & Bang and throughout the Sequences venues

Primarily working in 16mm film, installation, and performance, Rebecca Erin Moran breaks apart the perceived narratives, components, and material properties of these media, dissolving structures so that they may be repeated without a definitive conclusion. Her play with duration is combined with an exploration of alternative uses for her chosen media: a performance may never seem to end; a film set may become a scene for the defeat of narrative; or the film strip may itself become the surface for the methodical removal of paint from a brush. Self-reflexive visual clues are often embedded within her works. A tumbleweed and a green screen may signify her interest in investigating the limits of real and represented time and questioning its perceived linearity.

With 498seconds, Moran follows her continued interest in the material properties of film as she paints with a film emulsion composed of salt and silver directly into the space of the gallery. A thin strip of emulsion the same thickness as a strip of film lines the pathway that one would take through the exhibition. As light comes through the windows, projecting into the space, the emulsion will slowly become exposed over the course of the exhibition, transforming from a creamy white to a deep grey. The areas where the sun shines most strongly into the space will thus be the darkest towards the end of the exhibition—charting the gallery’s solar exposure over the course of the show. The painted emulsion stripe becomes a type of map, recording the texture and patterns of the sunlight, reflected and refracted by the objects and people that move through the space. Moran will also paint shapes based on those made by the sun through windows on the surfaces of other Sequences venues. The title of the work refers to the amount of time that it takes for the sun to reach Reykjavik on the date of the exhibition’s opening and become absorbed by Moran’s emulsion.

Eduardo Navarro

(b. 1979 Buenos Aires, Argentina. Lives and works in Buenos Aires, Argentina)

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Work:

In collaboration with the Sun (2017). Seven mirrored suits and solar synchronization; duration and dimensions variable. Courtesy the artist and Galeria Nara Roesler

Venue:

Kling & Bang 

Performances:

Friday, October 6, 17:00 / Sunday, October 15, 16:30

Eduardo Navarro’s performances and interventions incorporate meditative practices that offer alternative ways of seeing and experiencing the world. Through a combination of empathy and intense observation, he seeks to minimize the distance between himself and his object of study. With Timeless Alex (2015), for example, Navarro challenged the human body to consider the position of the turtle, and how it’s perception of time might affect their cognition and self-awareness. For this work, he created a sculptural model of a Galápagos tortoise, which he donned and endeavored to embody the animal’s experience of a slower state of being. With Instruction from the Sky (2016), Navarro turned his attention to the unpredictable movement of clouds. For this work, a group of performers, outfitted with circular mirrors that reflect the sky, followed the passing of clouds floating above. The mirrored discs, as they gathered information from the sky, reflected the pathways of clouds and dictated the movements of the performers who traveled in sync with them.

 In collaboration with the Sun (2017) continues Navarro’s interest in the conversation between celestial and terrestrial worlds. For this work, Navarro has constructed seven golden suits with mirrored masks and geometrical mirrors for the hands to operate. They are worn by dancers who will reflect the sunlight into the surrounding space, using the movements of their bodies as human sundials. Performances will take place towards the end of the day as the sun descends, and on a clear day, typically sets Reykjavik aglow—directly hitting the city on an angle as the earth spins away from its rays. As the exhibition takes place in the autumn-to-winter months, the duration of daylight will change dramatically from the beginning to end of the exhibition—from nearly eleven hours at the start of the show to a mere four hours twenty minutes at the end. While the movements of the dancers are choreographed by the sun, the suits will also guide the sun’s movements as they reflect its light into the exhibition space and also confuse the boundaries between inside and outside, daylight and artificial light, our earthly bodies and solar forms.

Ragnar Helgi Ólafsson

(b. 1971 Reykjavík. Lives and works in Reykjavík)

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Work:

Days, nights, weeks, months, years / Almanac (A few a priori contingent facts), 2017. One voice, one song, two screens, two cameras, seven pens, seven poets, one hundred calendars, and one hundred years; very big, very long. Courtesy the artist.

Venue:

Harbinger

Work:

Daybreak Forever v.3.1, 2010-ongoing. Directional speaker, amplifier, script, and thirty microphones; dimensions variable. Courtesy the artist.

Venue:

Reykjavik harbor

In a practice that spans the visual arts, filmmaking, and publishing, Ragnar Helgi Olafsson reconsiders the expected timelines and traditional objectives of the working artist. By expanding or collapsing the “moment” of his artwork, he collages temporalities and diffuses what may be considered the art object. His publishing house aims to produce books within one cycle of the moon (roughly one month), print 69 copies, and burn the unsold copies thereafter. In contrast to a book, a performance is thought to be ephemeral; Olafsson challenges this model by constructing scenarios in which sound or video recordings from other locations or time periods are re-projected into the exhibition space. For viewers confronted with his work, concepts of present and past become indistinct as they are encouraged to imagine how the sound we hear or the image we see might be projected into the future.

For the past year, Olafsson has installed his piece Daybreak Forever (2010-ongoing) in a small space by the Reykjavik harbor, where it remains on view. This work transmits the sounds of daybreak as it travels across the globe. A sound-dome continuously switches and sequences through thirty audio-streams from microphones placed around the world, playing the sound from the one closest to the rising sun. The listener thus hears the constant sound of day breaking, in real-time, night and day, every day. For Sequences, Olafsson will also install a publishing house in the Harbinger Gallery. As an ongoing performance work, he will occupy the space for the duration of the festival, printing editions, publications, and calendars for future years and times unknown.

Roman Ondak

(b. 1966 Žilina, Slovakia. Lives and works in Bratislava, Slovakia)

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Work: Lightness of Being, 2017. Performance. Courtesy the artist

Venue:

Sequences venues and streets of Reykjavík, Friday, October 6

In his sculptures, performances, and social and architectural interventions, Roman Ondak marks the metrics of change, particularly as it is instigated by the visitors to his work or charted against the duration of his exhibitions. These categories highlight the framework of the institution, whose operations are tied to standardized measurements and precise calculations. As a gathering place in which people can congregate, the institution functions as a catalyst for a process of accumulation with his artworks—whether they result in time capsules, drawings, or a wall label that fosters suspicion. Juxtaposed against the precise metrics inherent in the institutional framework in which his work is shown, Ondak subtly manipulates the scale, time, and perceptions of his objects and performances.

For Sequences, Ondak presents Lightness of Being (2017), a performance in which a group of twelve people of various ages form a line from eldest to youngest. As if they were in a chain, the group is joined to one another by soft bands of fabric, which are in the form of a Möbius strip—a surface with no beginning or end. During the performance, the group walks, rests, sits, talks, and moves together in and around the Marshall House and the city of Reykjavik. The title of this work refers to The Unbearable Lightness of Being, a 1984 novel by the Czech author Milan Kundera about two women, two men, and a dog living in the 1968 Prague Spring period of Czechoslovak history. Kundera’s novel challenges philosopher Friedrich Nietzsche’s concept of eternal recurrence—the idea that events in the universe have already occurred and will continue to recur endlessly. The novel poses the concept that each person has one life to live, and this life will occur only once. Kundera’s “lightness” refers to the freedom that this idea proposes in opposition to the weight or burden of having one’s actions in this life carry into the future. Ondak’s performance contemplates these philosophical ideas in a simple and poetic portrait of age and ageing, drawing awareness to our limited time on this earth and proposing that we might visualize our future and past in the line of people behind and ahead of us.

Habbý Ósk

(b. 1979 Akureyri, Iceland. Lives and works in New York.

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Works: 

Forever Us, 2012. Single-channel video, color, sound; 04:30 minutes. Courtesy the artist

Let Go, 2014. Single-channel video, color, sound; 04:17 minutes. Courtesy the artist

Venues: 

Ekkisens

Icelandair Hotel Marina Film Program

Habbý Ósk’s projects are often titled with verbs: sustain, slide, descend, remain. As much sculptures as experiments, Ósk’s works challenge gravity and its influence over time. How long can a pyramid of burning candles support itself? How will the number of viewers present in the gallery change how quickly the stakes fall? Can two columns of Jello stand on end long enough to be photographed? Osk’s video works similarly test such boundaries, often incorporating human interactions, such as stomping out territory, attempting to pass someone by, performing a blindfolded trust fall, and playing a three-way tug of war. These simple scenarios set up complex dynamics of intimacy, play, humor, and exasperation.

Habby Ósk combines her sculptural and filmic interests in Forever Us (2012), in which an object and a human are suspended in a state of tension. Two gloved hands appear on the sides of the frame, each holding a burning candlestick, one lit from the flame of the other. As they burn, the candles drip their wax and their length is decreased. The length of the video is determined by the time it takes for the flames to lick the fingers, at which point the candles are nearly stumps. The title of the video suggests that the candles could be a metaphor for a relationship, hinting at the tension and promise in a shared light that must inevitably come to an end. Let Go (2014) posits a similar scenario with two hands pushing and pulling the surface of a giant balloon, which will inevitably pop, or “let go,” given the right amount of pressure.  

Agnieszka Polska

(b. 1985, Lublin, Poland. Lives and works in Berlin)

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Works:

The Leisure Time of Firearm, 2015 (still). HD video, color, silent; 20 min. Courtesy Żak | Branicka Gallery, Berlin and Overduin & Co., Los Angeles

I Am the Mouth II, 2014 (still). HD video, color, sound; 5:45 min. Courtesy Żak | Branicka Gallery, Berlin and Overduin & Co., Los Angeles

My Little Planet, 2016 (still). HD video, color, sound; 7:57 min. Courtesy Żak | Branicka Gallery, Berlin and Overduin & Co., Los Angeles 

Venues: 

Ekkisens 

Icelandair Hotel Marina Film Program

Working primarily with digital animation, collage, and computer-generated imagery (CGI), Agnieszka Polska creates dreamlike films that investigate the psychological effects of slowed time and altered perceptions. The ideas for many of Polska’s works derive from her own scripts and poems, as the discovery of connections between words, and the surreal aspects of meaning that arise from their juxtaposition, commonly form the foundation of her films. The resulting works are hallucinatory, lucid, and fragmented, and also self-reflexive, as the narratives they construct echo the same manipulations of text and image. Seemingly operating from their own state of consciousness, the videos then invite the viewer to think and listen on the film’s time, as if engaged in a conversation.

In My Little Planet (2016) a gong and a cuckoo clock keep time to the slow beat of a gavel and the atmospheric dissipation of cigarette smoke. “We are able to measure time precisely,” the video reads, “by following the movement of astronomical objects across the sky.” A critique of conventions as much as a gesture toward a long history of galactic speculation, the video imagines a cigarette butt as the orbital object to which a clock is calibrated. How do we know what we know, and why do we measure time as we do? Abstract reflections of these questions are evident in I Am the Mouth II (2014): animated lips whisper into the water, as if into the viewer’s ear, to explain sonic time. In the contemplative time of The Leisure Time of Firearm (2015), an eye stares down the barrel of a gun, dangerously close to its mechanisms, which could fire at any moment. Together, Polska’s videos conjure a permeable medium where inner and outer space, artificial and constructed time, embodied and learned knowledge might coexist and comingle.

Aki Sasamoto

(b. 1980 Yokohama, Japan. Lives and works in New York)

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Work:

Yield Point, 2017. Performance and mixed-media installation; dimensions variable. Courtesy the artist and Take Ninagawa, Tokyo

Venue:

Reykjavik Art Museum—Hafnarhús, Friday, October 6, 4pm and Monday, October 9, 4:30pm

A grandfather turns into an abacus; a dung beetle rolls his dirty sheets into a menacing ball; a spaghetti dinner leaves behind only the taste of an elongated metal fork. Aki Sasamoto constructs these vivid images and surreal narratives through a combination of spoken explanations, manipulations of objects and props, and the sculptural elements of her installations. Sasamoto’s performances are not only illustrative of stories and memories, they are also an opportunity for her to test out an idea, ruminate on particular psychological states or learn from the objects with which she performs. While her works are commonly composed of everyday household items—trashcans, garbage bags, chests of drawers, mops, chairs, or shoes, to name a few—she reveals new meanings through their juxtaposition, alteration, and use. Distinctly absurd and drily humorous, Sasamoto’s performances and installations derail commonplace realities askew and propose alternative scenarios for relationships between cause and effect.

For Sequences, Sasamoto will present Yield Point (2017), a performance and multimedia installation. The title of the work is taken from a common engineering term that refers to the level of stress beyond which a material begins to deform plastically. For this work, the artist filmed experiments in which she stretched and broke apart her materials as if to test their strength and flexibility. As she inserts rods of steel and brass into a tensile machine, or slowly stretches a strip of elastic to its breaking point, she finds the moment at which the tested object ‘fails’ or the length of time it takes to destroy what is meant to be durable. In conducting these experiments, she unpacks elasticity—measuring both states of matter and the metaphoric ‘elasticity’ of human existence: How much might we withstand and for how long before reaching our limit and what happens to us as we approach our ‘yield point’?

Una Sigtryggsdóttir

(b. 1990, Reykjavik. Lives and works in Reykjavik)

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Work:

Does time move faster when we watch it pass, 2016/17. Wooden rod and tape, dimensions variable. Courtesy the artist.

Venue:

Kling & Bang

Una Sigtryggsdóttir breaks apart the apparent dichotomy between objective time (mechanisms such as clocks and calendars) and subjective time (perceived changes and experiences), choosing to focus on how these two methods of keeping time may intersect. In her work, flipbooks, shadows on draped fabric, and changes in Gross Domestic Product are equally valid as measures of time. These and other time-metric constructs are folded into her sculptures, videos, installations, and music. Her work measures measures and asks: Which is most intuitive? How can we visually experience time? Where has it gone and where is it going?

In an explicit juxtaposition of such metrics, Does time move faster when we watch it pass (2017) incorporates a quotidian material, tape, which is commonly associated with cohesion and tactility. Selecting a multitude of types of tape, varying in width, color, pattern, durability, and practicality, Sigtryggsdóttir fastens one end of each roll to a hanging rod on high. After each roll of tape is released, it initially unfurls to a different length, depending on its weight and tackiness. It then continues to unroll over time throughout the course of the exhibition at varying rates responding to the forces of gravity. In this work, each roll of tape is repurposed to become a clock of sorts, which similarly calibrates the hours and rotates as time passes. However, countering the cohesion associated with the material, this work also makes clear that each “clock” experiences and expresses time differently.

Cally Spooner

(b. 1983 Ascot, England. Lives and works in London and Athens, Greece)

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Work:

On False Tears and Outsourcing; musicians audition in public to become a manufactured band, in Iceland, 2017. Performance. Courtesy the artist, Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette production, and Vleeshal, Middleburg [LOGO]

Venue:

Mengi, Saturday, October 14

Work: On False Tears and Outsourcing; musicians respond to emails and manufacture a pop song, just in time

Venue:

GSM, Frequences on Sequences, RÚV National Broadcasting Service, October 12, 21:56

What happens before and around a performance, and how might those mechanics be considered part of the act? Cally Spooner uses performance as a semiotic tool for processing the languages of the body, labor, and creative production. In each of these languages, there are specific grammars, systems of measurement, and collaborations between producers and receivers. Spooner’s works disrupt and closely examine the product of performance, whether this might result in an item, a thought or an effect. Though most of her performances might begin with a script or rehearsal, they typically hover in the space of becoming—finding traction, dissolving, mounting tension, and waiting. With a distinctive amalgam of theoretical research, pop music, current affairs, and corporate rhetoric, Spooner considers how dematerialized and unmediated performance can inhabit the worlds of extreme visibility in today’s entertainment and attention economies.

For Sequences, Spooner presents On False Tears and Outsourcing; musicians audition in public to become a manufactured band, in Iceland (2017), a new chapter in an ongoing series in which she gathers musicians to create a hit pop song. In Iceland, Spooner will conduct an audition for the pop band “False Tears,” who will eventually be selected and record the hit song, NAH NAH NAH!. Exploring the corporate manufacture of pop music, with examples ranging from the German 1990s R&B band Milli Vanilli to bands marketed for a teenage audience such as *NSYNC in the US or the Spice Girls in the UK, Spooner highlights the demarcation that exists in these context between creative output (the song) and the image of a related product (the band). In July 2015, Spooner worked with five musicians at Vleeshal in the Netherlands to write the song based on a chain of emails between herself, the musicians, lawyers, and corporate executives. She then worked with Lafayette Anticipation in Paris to gather a group of professional musicians and singers to participate in the recording of the song. In Iceland, Spooner will assemble the “face” or image of the band, through auditions hosted at Mengi for the “freshest talent.” These chosen individuals will participate in a band photoshoot for the album cover. The panel of judges for this selection process will echo those in scripted reality television shows where accomplished celebrities with outsized personalities ‘who know what it takes to be the next pop superstar’ pass judgment on the less-well-known and the unproven.

Ásgerður Birna Björnsdóttir

(b. 1990 Reykjavík. Lives and works in Amsterdam)

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Work:

All those elephants I, 2017. Resin, aluminium, Moog Etherwave circuit board, Raspberry Pi, electromagnetic waves, brass, plastic wheels, electric cables, electricity, and Lycra; dimensions variable. Courtesy the artist

Venue:

Geysishúsinu, Aðalstræti 2

Work:

All those elephants II, 2017. (Vsoundmax vibration speaker, suction cap, sound waves, glass, resin, bluetooth, ipod, wifi, brass, plastic wheels, electric cables, electricity, and Lycra; dimensions variable. Courtesy the artist

Very important, 2017. Lead; dimensions variable. Courtesy the artist

Mjög mikilvægt, 2017. (Blý)

Venue: Kling and Bang Gallery

Ásgerður Birna Björnsdóttir compiles and fictionalizes images, narratives, and histories to create anomalous explanations for the real and mystical objects in our lives. By playing with scale, causation, and visual similarities, she highlights unusual coincidences within otherwise banal occurrences. Pulling at the strings of doubt harbored within us, Björnsdóttir contemplates how the moonstone in your ring may differ from the aerogel developed by NASA to collect galactic dust or whether or not we should believe in the geological explanation behind the Sailing Stones of Death Valley, which move on their own without human or animal intervention. Inspired by these phenomenological objects and their dubious origins, Björnsdóttir creates elaborate structures for her work: a scavenger hunt in a parking garage, a “drive-by” performance, a scattered PDF.

For Sequences VIII, Björnsdóttir will present All those elephants (2017) a sculptural work incorporating a theramin—an electronic musical instrument that similarly evokes the mystical through a physically-based, engineered process. The theramin, invented in the early twentieth century, generates electromagnetic fields which are sensitive to the distance of a body from their antennae. In order to change the sound they emit, a player simply changes the distance of their hands from the antennae. The touchless musical instrument emits eerie sounds that uncannily resemble a human voice. Björnsdóttir has engineered her own theramin that is similarly sensitive to the movements of viewers who circumambulate her structure. Instead of emitting its sounds into the surrounding space, her theramin transmits its sound into a distant space. With sound and source separated, she compounds the sense of mystery evoked for viewers in both locations. The title of the work references the proverbial “elephant in the room,” which for Björnsdóttir, are the intangible materials invisibly and incessantly working around us, from the electromagnetic fields that operate the theramin, to the billions of dark matter particles that are said to pass through us daily, to countless other waves, atoms, emotions, vibrations. 

David Horvitz

(b. 1982 Los Angeles. Lives and works in Los Angeles)

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Work:

Some Meditations for Resonating Hourglasses Sounding the Shapes of Hours, 2017. Blown glass; dimensions variable. Courtesy the artist and ChertLüdde, Berlin

Venue:

Kling & Bang

Work:

Watering a Glass Flower, 2017. Performance by JFDR

Venue:

Mengi, Saturday, October 7, 21.00

Work:

Proposals for Clocks (A Clock that Falls Asleep, A Clock that Follows the Shadows of Cats, A Clock whose Hands are the Shapes of Rivers, A Clock whose Seconds are Synchronized to your Heartbeat), 2016-ongoing. Screen-printed posters wheat-pasted across Reykjavík. Courtesy the artist, ChertLüdde, Berlin, and Yvon Lambert, Paris

Venue:

Streets of Reykjavik

Work:

When the Ocean Sounds, 2017. Sound performance, musical score. Courtesy the artist and ChertLüdde, Berlin

Venue:

Marshall House, Sunday, October 15

In his practice, David Horvitz suggests alternative methods of conceiving time, space, and synergy, incorporating both new and ancient technologies to measure, record, and transmit our distances. He often draws from long-established rhythms for human perceptions of time, such as the sunset and sunrise, or the unit of a single breath, to demonstrate how relationships, communication, and technology form a network of rituals in and outside of time. Beginning with an initial act, online post, or image, his works gain momentum through word of mouth, physical movement, or online distribution. Because they operate across real and virtual distances, the works often coalesce into absurd narratives. His past works have involved impersonation, self-substitution, and a viral effect, which destabilizes the notion of the unique art object or artist and finds inspiration in the possibilities of endless reproducibility. Horvitz’s wry exchanges with anonymous audiences challenge our societal constitutions of boundaries while providing alternate systems or rhythms of time and communication.

For Sequences VIII, Horvitz presents Some Meditations for Resonating Hourglasses Sounding the Shapes of Hours (2015/2017), sculptures of hourglasses at Kling & Bang Gallery, each of which is made from colored glass that echoes the colors of the sky at different points throughout the day. Instead of being used in their traditional capacity, these hourglasses will be filled with water and will function as instruments in a collaboration with Icelandic musician and composer Jófríður Ákadóttir (JFDR) for her performance Watering a Glass Flower (2017). JFDR will play the hourglasses in a layered composition in which time is experienced visually, aurally, and metaphorically. Creating these vessels out of molds from a collection of hourglasses that he found online, Horvitz imbues their defined, quantified measurements with subjectivity, assigning a sound to the units of time that they are meant to carry. Along with his hourglasses, the piece includes a text that is available as a takeaway in the gallery, which offers meditations on thinking beyond standardized measurements of time. In addition to this work, Horvitz presents Proposals for Clocks (2017) a limited edition of posters which offer ideas for alternative clocks in sync with natural rhythms. He will also stage a performance at the closing event for Sequences VIII that features a score that he created of the sounds of the ocean, designed for a choir to perform. For this work, Horvitz went out to a beach below Donald Trump’s golf course in Palos Verdes, California with his computer and typed the sounds that he heard with the characters of the English alphabet. With this performance, as with many of Horvitz’s works that provide counterpoint to our age of virtual connectedness, the viewer is reminded of the physical world and of the fact that they exist somewhere unique, both spatially and temporally.

Alicja Kwade

(b. 1979 Katowice, Poland. Lives and works in Berlin)

More / meira

Work:

Against the Run, 2014. Found clock, 4 cm deep, 28 cm in diameter. Private Collection, Nürnberg

Venue:

Alicja Kwade explores our subjective realities through concrete disturbances she engineers that disrupt our expectations of materials, time, and gravity. Inquisitive and mesmerizing, her works prompt alternative logics and highlight the distinction between perception and understanding. Kwade tests the limits of everyday materials and our preconceived notions towards them: Mirrors appear to sink into corners; objects seem to pass through panels of glass; a heavy mass suddenly moves inexplicably. In testing the properties of her objects, she reveals the precarious nature of supposed universal truths, uncovering portholes to parallel worlds and allowing the set of rules governing ours to be confounded.

For Against the Run, Kwade manipulates the movements of a clock by reversing its conventional mechanism—the clock’s face rotates backwards while its hands appear to stand still. In so doing, she restructures a representation of time, compelling us to do a double-take and re-evaluate this quotidian object on which we rely. While her alteration is a simple one, it confounds our expectations and is virtually impossible to read, even though it continues to tell the correct time. With this work, she calls attention to the abstract nature of the systems we invent to make sense of the world. This shift in perspective has particular significance in Iceland, where the perception of a day may change dramatically in the progression of weeks, months, and seasons.

VENUES

Ekkisens

Bergstaðastræti 25b

6. – 15. október / 6 – 15 October
Daglega / Daily 14 -18

Agnieszka Polska, Ásgerður Birna Björnsdóttir, Habbý Ósk, Helena Aðalsteinsdóttir.

Kling & Bang

Grandagarður 20

6. október – 19. nóvember /
6 Oct – 19 Nov
Daglega / Daily 12 – 18

Fim / Thu 12 – 21
Frá 18. Okt / From Oct 18:

Þri – sun / Tue – Sun 12 – 18
Fim / Thu 12 – 21

Anna K.E. & Florian Meisenberg, Ásgerður Birna Björnsdóttir & Helena Aðalsteinsdóttir, David Horvitz, Eduardo Navarro, Nancy Lupo, Sara Magenheimer, Una Sigtryggsdóttir

Harbinger

Freyjugata 1

6. – 15. Október / October
Daglega / Daily 14-18

Ragnar Helgi Ólafsson

Dagar, nætur, vikur, mánuðir, ár / Almanak (Nokkrar fyrirframgefnar hendingar) 2017.

Days, nights, weeks, months, years / Almanac (A few a priori contingent facts), 2017.

Nýlistasafnið / The Living Art Museum

Grandagarður 20

  1. október – 10. desember /
    6 Oct – 10 Dec

Daglega / Daily 12 – 18
Fim / Thu 12 – 21

Frá 17. Okt / From Oct 17:
Þri – sun / Tue – Sun 12 – 18
Fim / Thu 12 – 21

Joan Jonas
Does the Mirror Make the Picture

Listasafn RVK /
Reykjavík Art Museum

6. – 15. október / 6 – 15 October
Mán-fös / Mon-fri 8 – 18

Hildigunnur Birgisdóttir

TIME PASSES: Camera accidentally taking video instead of still pictures

Geysishúsið

Aðalstræti 2
Glasshouse / glerhýsi

6. – 15. október / 6 – 15 October
Daglega / Daily 11 – 18

Ásgerður Birna Björnsdóttir
All Those Elephants I. Opnun / Opening.

Tjarnarbíó

Tjarnargötu 12

8. Október / October 8 
Kl. 20.00

Joan Jonas. Moving Off the Land, 2016/2017.

Mengi

7. Október / October 7
Kl. 21.00

David Horvitz & JFDR, Watering a Glass Flower

14. Október / October 14
Kl. 16.00 – 18.00 & 20:00

Cally Spooner. On False Tears and Outsourcing; musicians audition in public to become a manufactured band, in Iceland, 2017.

Stigagangur / Stairway Vesturgata 7

6. – 15. október / 6 – 15 October
Mán-fös / Mon-fri 8 – 18

Hildigunnur Birgisdóttir

TIME PASSES: Camera accidentally taking video instead of still pictures

Icelandair Hotel Reykjavík Marina

Mýrargata 2

9. – 15. október / Oct 9 – 15

Video dagskrá / Film program
17.30-20.30

Annað skv. Dagskrá / Otherwise according to the program

Reykjavíkurhöfn, úti á bryggjunni á Ægisgarði /
Reykajvík Harbor, on the pier at Ægisgarður

Opið allan sólarhringinn / 24h, 365d, until November 20, 2017

Ragnar Helgi Ólafsson
Dagrenning, að eilífu v. 3.1 / Daybreak, Forever v. 3.1

Grandagarður 39

Allan sólarhringinn / 24 h

Birgir Andrésson
Endalaus dagurinn / The Infinite Day

GSM (sýningarrými í útvarpi / exhibition space on radio)

RÚV, rás 1 / 93.5 FM.

9.- 13. október / 9 – 13 October
21.56

 Ásgerður Birna Björnsdóttir & Helena Aðalsteinsdóttir

(Eggert Pétursson, Florence Lam, Sara Magenheimer, Cally Spooner, Styrmir Örn Guðmundsson)

Í Frequences seríunni eru 5 einkasýningar:

Sýningarnar verða rétt fyrir kvöldfréttir klukkan 10 dagana 9. – 13. október. Lengd hverrar sýningar er 3 mínútur.

9. október: Eggert Pétursson
Kuðungur (hljóðblóm) / Conch (soundflower)

10. október: Florence Lam
My heart in a broken nutshell

11. október: Sara Magenheimer
Slow Zoom Long Pause No Image

12. október: Cally Spooner
On False Tears and Outsourcing; musicians respond to emails and manufacture a pop song, just in time

13. október: Styrmir Örn Guðmundsson
Fössari nr. 13

PHOTOS

Team

Sequences og sýningarstjórinn vilja þakka öllum listamönnunum, sýningarstöðunum og þeim sem lögðu sitt af mörkum til hátíðarinnar. Sérstaklega viljum við þakka öllum í teyminu, sem langflestir eru sjálfboðaliðar, fyrir örlætið og dugnaðinn.

Sequences and the curator wish to thank all the artists and venues and all those who contributed in some way to realise Elastic Hours. We particularly thank our team, largely comprised of volunteers for their hard work and generosity.

Þorgerður Ólafsdóttir / Ingibjörg Sigurjónsdóttir / Edda K. Sigurjónsdóttir / Klara Þórhallsdóttir / Björg Stefánsdóttir / Erling T.V. Klingenberg / Hekla Dögg Jónsdóttir / Elísabet Brynhildardóttir / Birkir Karlsson / Sindri Leifsson / Sigthora Odins / Ragnar Már Nikulásson / Helga Óskarsdóttir /Kristína Aðalsteinsdóttir / Edda Halldórsdóttir / Lilja Birgisdóttir / Dorothée Kirch / Elín Þórhallsdóttir / Margrét Bjarnadóttir / Ragnar Kjartansson / Lilja Gunnarsdóttir / Margarita Ogolceva / Anton Logi Ólafsson / Nienke van Hofslot / The Board of the Living Art Museum / Kling & Bang Gang

Sequences VIII identity is designed by Elsa Jónsdóttir and Björn Loki at Studíó Kleina.

The Board

  • Klara Þórhallsdóttir, appointed to board by The Icelandic Art Center.
  • Ingibjörg Sigurjónsdóttir, appointed to board by Kling & Bang gallery.
  • Þorgerður Ólafsdóttir, appointed to board by The Living Art Museum.
  • Helga Páley Friðþjófsdóttir, designated board member.
  • Sindri Leifsson, designated board member.

Visit

For those travelling onwards to mainland Europe or US, Icelandair offers a stopover in Iceland at no extra cost.
For press accreditation please contact Kristína Aðalsteinsdóttir at info@icelandicartcenter.is

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