Sequences VII presents a spectrum of video installations, exhibitions, screenings, performances and discussions centred on the theme of “Plumbing,” highlighting the often-unseen infrastructure that underlies digital communication and its complex network of pipes and wires and its metaphorical correspondence with the physical structure of the body as well as of the earth.
The seventh edition looks at the developments in the areas of DIY culture, body visualization and the dynamic possibilities offered by installation, sound and time-based media with an unbiased approach which embraces, rather than avoids, notions of amateurism, improvisation, “glitch” aesthetics and bottom-up creative initiative.
Drawing on influences from the local environment as well as the global phenomenon of data space, Sequences VII includes a selection of 26 artists, performers and manipulators of images, data and bodies who were keen to exchange, mix and reconfigure thoughts, doubts, works, time and space. Sequences VII will take place in publicly-funded and commercial galleries, artist-run spaces, project spaces and informal locations in Reykjavík.
Alfredo Cramerotti, director of MOSTYN, is the artistic director of Sequences VII.
Carolee Schneemann (b. 1939) is a multi-disciplinary artist. She transformed the definition of art, especially discourse on the body, sexuality and gender. The history of her work is characterized by research into archaic visual traditions, pleasure wrested from suppressive taboos, the body of the artist in dynamic relationship with the social body. She has taught at many institutions including New York University, California Institute of the Arts, Bard College, the School of the Art Institute of Chicago. Recipient of a 1999 Art Pace International Artist Residency, San Antonio, Texas; Pollock-Krasner Foundation Grant (1997, 1998); 1993 Guggenheim Fellowship; Gottlieb Foundation Grant; National Endowment for the Arts Fellowship.
Schneemann trained as a painter during the 1950s at Columbia University, New York City, Bard College, New York and the University of Illinois, Urbana. Although her reputation as an artist was built on her pioneering work in performance and film, she thinks of herself as a painter. Her radical early performance, Eye Body 1963 and Meat Joy 1964, brought first the artist’s naked body and then the semi-naked bodies of a group of young performers into the expressive realm of the painter’s canvas. In such films as Fuses 1964-7 (based on footage of Schneemann and her partner making love) and in many of her later performances, Schneemann insisted on the body explicitly sexual. Her refusal to divorce sexual experience from art making was intended as a return to the body as a source of knowledge and experience (as the artist perceived it to be for archaic cultures) and to unify its internal energies with the visual information it provides. In the context of the women’s movement in the 1970s, Schneemann’s performances introduced the body of the female artist as the source of her creative and imaginative energy as well as the site and the subject of the work.
Edda Kristín Sigurjónsdóttir, curatorial consultant and project manager
Edda Halldórsdóttir, managing director
Anna Berger, assistant
Ragnheiður Maísól Sturludóttir, PR
Unndór Egill Jónsson, technician
The graphic design is in the hands of Arnar Freyr Guðmundsson, a true smooth operator with a sharp eye.
Ragnheiður Gestsdóttir, 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
Guðlaug Mía Eyþórsdóttir, designated board member
Sindri Leifsson, designated board member
Sequences is made possible with support from The Icelandic Visual Arts Fund, Reykjavik City Cultural Fund, Promote Iceland, Collezzione Maramotti Reggio Emilia, Iceland Naturally, Goethe-Institut, Estonian Cultural Endowment, Langskipafélagið, GAMMA, Búrið, Gray Line Iceland and more art loving supporters.