“Journey to Home” is a walking tour exhibition located in downtown Reykjavik initiated by the Wind and Weather Window Gallery. The exhibition will take place as a part of the Reykjavik Arts Festival opening on 3 June and ending on 22 June, 2018. The exhibition is about a spiritual journey to ‘home’ within the context of the festival’s theme ’home’. The journey is something real and self-reflective; it can be plotted and mapped. How can or should you arrive to this place called ‘home’? The exhibition project is located in commercial and residential windows including inside an extracted window of Wind and Weather Window Gallery that travels.
Dragsúgur (the Icelandic name for the wind that comes in from a window) is an embodiment of the gallery. He has been transformed through his longing to experience walking in human form into a mobile gallery. The window is actually taking its journey home, meaning, home doesn’t always have to be in the place of your origins. In his travels, Dragsúgur, will hold a space for artists to perform and place installations. In this way, he comes to understand even more the embodied experience of human consciousness. Throughout the exhibition, Dragsúgur will be parked in front of public squares and meeting places. Can a nomadic window traveling home find home wherever it rests? What is more, the window exists as an embodiment of the viewer’s aesthetic, sensual and emotional experience.
Dragsúgur, the window gallery that began to wander.
As an embodiment of Wind and Weather Window Gallery, Dragsúgur will travel amongst different locations in Reykjavik during the Reykjavik Arts Festival 2018. The window is actually taking its journey home, meaning, home doesn’t always have to be where your origins are but can be a place you find after a long journey. On Dragsúgur’s journey, he comes across a variety of characters that take part in the story of his journey home.
Like the building that houses the window gallery, which was built in 1913, Dragsúgur shares memories with the building. They share the same origins from a time when Iceland was a vastly different place than it is now. He has been transformed through his longing to experience walking in human form into a mobile gallery. Dragsúgur, in his travels, holds a space for artists to perform and place installations, and in this way, he comes to understand even more the embodied experience of human consciousness.
The window as a man as well as a window into man.
If a human is to embody a house, he/she must walk with it and feel as the house would feel flesh. How can a structure not fall in love with the landscape in which it rests and long to see what the slants of pavements and rolling coasts feel like underfoot? One hundred years is a long time to be stationary, gazing, calculating, and musing on the surroundings as Dragsúgur did before he became Dragsúgur:
I have returned to my first love, the landscape, this vast and eternal space that tells me on the wind that I am understood even without my container as I spill out into a body – complete unconditional acceptance, containing me in my growing without architecture. Now I am learning to walk in the land I fell in love with from my stationary position for almost one hundred years. I have been gazing - before the camera, before the poetry, before the painting, before the vase, before the songs, before the film – landscape carried me even then in my arriving and departing. This landscape is the cityscape in the way that everything that was before will come again – the ghosts of culture rest in landscape. Now, in the early years of this century, the landscape is a ruin and a precipice, a construction and a screen.
Can a nomadic window traveling home find home wherever it rests? Always changing with each experience, the window is not a fixed base, but an embodiment of home. As the window itself looks out, the viewer in turn gazes in. The window then comes to be an embodiment of the viewer as well.
Text written by Erin Honeycutt & Annabelle Von Girsewald
1. Hverfisgata 37 : Olga Bergmann & Anna Hallin
2. Hverfisgata 37 : Eygló Harðardóttir
3. Hverfisgata 37 : Hekla Dögg Jonsdottir
4. Hverfisgata 37 : Claudia Hausfeld
5. Hverfisgata 52 : Ragnheiður Gestsdóttir
6. Laugavegur 78 : Auður Ómarsdóttir
7. Laugavegur 63B : Arna Óttarsdóttir
8. Laugavegur 41 : Hrafnkell Sigurðsson
9. Njálsgata 15 : Ásdís Sif Gunnarsdóttir
10. Óðinsgata 8b : Helgi Þorgils Friðjónsson
11. Skólavörðustígur 12 : David Zehla
12. Bergstaðarstræti 2 : Rebecca Erin Moran
13. Ingólfsstræti 8 : Theresa Himmer
1. Hverfisgata 37 : Espresso Bar by Egill Sæbjörnsson and Ívar Glói (26 May-2 June)
2. Austurvöllur : Espresso Bar by Egill Sæbjörnsson and Ívar Glói (3-8 June)
3. Hallgrímskirkja : The Night Station by Styrmir Örn Guðmundsson and Agata Mickiewicz (10-14 June)
4. Bernhöftstorfan : The Night Station by Styrmir Örn Guðmundsson and Agata Mickiewicz (15-20 June)
5. Hverfisgata 37 : Dragsúgur´s homing coming: The Night Station by Styrmir Örn Guðmundsson and Agata Mickiewicz (21-24 June)
The work is a personal and visual measurement of time, each handwoven stripe the equivalent of a day. The width of the stripe depends on how you feel that day, whether you can get into the right state of mind to work fast, if you have a lot of time to work or if you are busy doing something else. My work often deals with the tension between what's considered important vs. insignificant by focusing on the everyday. Not necessarily by glorifying it but simply by drawing attention to everyday things and putting them in different context.
Arna Óttarsdóttir graduated with a BFA from Iceland University of the Arts in 2009. She has exhibited in Iceland and abroad, most recently in Turner Contemporary in Margate, UK and Ger›arsafn in Iceland.She is represented by i8 Gallery and lives and works in Reykjavík, Iceland.
With these figurative works I create a picture from A to Z and apply (as much as possible) absolute control on its realisation. Unlike what is recommended for painting or artworks in general, there is no such thing as accident in these works. I deploy a plan for the layers and I lead the painting through it like a well done chess game. It is a mental thing after all. David Zehla is a pianist and painter. He focuses on traditional painting and its marriage with abstract and formalist works as well. He aims to create dialogue rather than opposition between the so-called categories. David graduated from the National Superior art school of Nice - Villa Arson - France, in 2013. He was born in Madagasacar in 1990 and lives and works in Reykjavik.
A window mirroring the passerby and the viewer. Everyone is on their own journey and at this very moment in font of this window they are reminded where they are. Hekla makes interactive constellations, big scale paper installations, a group or cluster of related things, creating a dialog of sound sensitive cold cathode lights, a frozen puddle in the middle of the summer, pop- up igloos and wishing wells. Moments of wonder, magic, and the unexpected are pivotal in her works. She graduated from the Icelandic College of Art and Crafts in 1994 and spent two years as a guest student in Germany. In 1997 she received a BFA and in 1999 a MFA from the California Institute of the Arts, Los Angeles. In 1998 she received a Fellowship to attend Skowhegan School of Painting and Sculpture in Maine. Since 1999 she has actively exhibited her works internationally. She has taken on the role of a curator for several exhibitions and currently holds the position of a Professor of Fine Art at the Iceland Academy of the Arts alongside maintaining her art practice from a studio in Reykjavík. Hekla is one of the founders of Kling & Bang gallery in Reykjavík. Hekla lives and works in Reykjavík, Iceland.
The collapse of hérna hér.
Rebecca Erin Moran is an visual artist based in Reykjavik Iceland. Her work oscillates around themes of perception: of the external world, of time, of materiality. It observes and examines the questions we pose towards reality and how affects our interactions in daily life.
Who are we, what are we, how do we understand the word around us, how does that world understand itself. What is real, virtual, imaginary, perceived. What IS? The most re-occuring themes in her work question the linearity of time, play with its materiality, pause its flow, or studies the still images that become motion with our conscious mind. How does our vision, our language, or identity affect how we transcribe the world beyond us. How does the agency of objects, places, and processes form us? Form themselves? Rebecca graduated from the Art Institute of Chicago with a degree in fine art in 2000. Her work has been exhibited across Europe Asia and America. Rebecca lives and works in Reykjavík, Iceland.
Styrmir is an artist who creates objects, drawings, stories and songs. He asks death what he is doing with his life but death doesn’t answer. He studied art in Amsterdam and later moved to Warsaw where he continued practicing. Styrmir lives and works in Reykavík, Iceland.
Agata Mickiewicz is an artist and fashion designer. She creates under astral energy. She studied sculpture in Wrocław, fashion in Antwerpen and Amsterdam, she worked in fashion in Paris and Warsaw. Slowly drifting through different planets she is collecting impressions, signs and energies to work with, transform and send back as good intentions. Agata lives and works in Reykavík, Iceland.
Concept and design of Dragsúgur by Kathy Clark.
An ever-present figure will chronicle the events of Dragsúgur's journey. During a performance, The Chronicler reveals their relationship as she narrates her observations, finding how they relate to the larger themes of language, technology, and home. The collected chronicles, detailed descriptions of Dragsúgur’s experiences on multiple levels, will become an historical journal of the rare occurrence of his transformation.
Erin Honeycutt is a freelance curator and text-based performer. She also writes in a variety of collaborations with local artists. Her work-in-progress is the mobile screening platform and art writing journal, Baroque Beekeeping. She teaches video art at the University of Iceland. Erin lives and works in Reykjavík, Iceland.
The window gallery that has magically turned into a mobile window gallery and becomes its ultra-ego and wants to go on his own “Journey to Home” to have a human experiance while discovering the sites and sounds of the real world. Kathy Clark is an artist and curator living and working in Reykjavik since 2005. Her sculptures and installations involve fantasy, storytelling, and the inner and outer landscapes in which they take place. In addition, she has been curating Wind and Weather Window Gallery in Reykjavik since 2012, exhibiting local artists through site-specific installations viewed from the street. She is very pleased to be a part of Reykjavík Art Festival as both a co-curator of the art window walking tour event as well as the artist and collaborator for the mobile window Dragsúgur. Kathy lives and works in Reykjavík, Iceland.
She will be creating a cinematic/theatrical scene with a script and a choreography of movement and communication of people in a party. The conversations will be heard from a speaker from the balcony during the performance. There will be actors in the audience who will have interaction with the her character, on the balcony. In addition, she will be performing inside the four windows that is her personal home. This is an reenactment her memorable moments in her home as if it were a staged past experience. The audience can become the voyeur looking into her private life.
Ásdís Sif Gunnarsdóttir´s work often deals with the tension between what's considered important vs insignificant by focusing on the everyday. Not necessarily by glorifying it but simply by drawing attention to everyday things and putting them in different context. In her performances, transformation, disguise and play are essential elements of her work, as are references to ceremony and rituals. She graduated from the School of Visual Arts, New York in 2000 with a BFA with honours in Fine Arts; she received her MA in New Genres from the University of California, Los Angeles in 2004. She lives and works in Reykjavík, Iceland.
This is a series of oil paintings on plywood and represents every room I have lived in since childhood. The piece is about time and ones life. How places change when you visit it after some time, and how you as the person has changed from your time there. This adds an extra layer of archaeology and settlement which is also home. His paintings re-interpret and reclaim ideas about nature and myth. Animals, fishes and birds are just as likely as humans to be the protagonists in his visual scenarios. He posits a democratisation of nature and suggests we need to think in anti-hierarchical terms – man being nothing more than a biological form among other biological forms. A recurring motif is mirroring and duality, drawing attention to the things that unify humans and animals: the symmetry of the human body, the symmetry of the non-human body and the importance of eyes. He has has major solo exhibitions all over the world, to name a few,1980 Biennale de Paris, France,1983 Thick Air, Fodor Museum, Amsterdam, 1990 Venice Biennale, Venice, Italy, 1993 Prospect ´93, Frankfurt, Germany, 2002 Confronting Nature, the Corcoran Gallery of Art, Washington D.C. Helgi lives and works in Reykjavík, Iceland.
Ragnheiður will create an installation the window that explores the penetrative eye of the film camera, looking through layers of lenses, windows, holes and mirrors. Ragnheiður Gestsdóttir is heavily influenced by her background in visual anthropology, a field that deals critically with representation and the staging of culture and identity. Through film, sculpture and installation she explores the human desire for uniformity and absolute truths, while revealing the futility of a true translation between different systems, languages, times or places. Ragnheiður has exhibited at the Reykjavík Art Museum, Gerðarsafn museum, The Living Art Museum, Göteborgs Konsthall, Southeastern Center for Contemporary Art, Soloway Gallery and Kunstschlager, amongst other venues. Ragnheiður received an MA in Visual Anthropology from Goldsmiths College in 2001 and an MFA in Fine Arts from Bard Collegein 2012. Ragnheiður lives and works in Reykjavík, Iceland.
Periaktos, (Greek: “revolving”)
Ancient theatrical device by which a scene or change of scene was indicated. It was described by Vitruvius in his De architectura (c. 14 BC) as a revolving triangular prism made of wood, bearing on each of its three sides a different pictured scene. In her work, which includes installation, photography and single- channel video, Theresa Himmer uses architectural tropes, pop cultural elements, and psychoanalytical references, to reflect on aspects of place, spatial representation and dynamics of spectatorship. Through gestures of mediation, translation or doubling, she holds up marginalised sites for critical analysis and poetic contemplation. Theresa graduated in the Whitney Museum Independent Study program, received her M.F.A. from School of Visual Arts, New York and her M.Arch. from Aarhus School of Architecture, Denmark. Her work has been shown in museums, galleries, solo projects and group exhibitions internationally. She has received awards and grants from TheDanish Arts Foundation The Danish Arts Council, The Paula Rhodes Memorial Award and The American-Scandinavian Foundation. Theresa lives and works in Denmark.
Egill Sæbjörnsson is an Icelandic artist residing in Berlin. His works often consist of combinations of real objects, the illusion and magic of projected video images, sound performance and he is also known for his music. Sæbjörnsson is witty, ingenious and deep, all in one. He makes us confused and surprised and leads us to pose ontological questions, doing so in a way that both he and we enjoy. Sæbjörnsson’s works are of an experiential nature, requiring neither instructions nor education in order to beunderstood. In 2017 Egill Sæbjörnsson represented Iceland at the Biennale Arte 2017 in Venice, where he let two imaginary friends—the 36-meter tall, people-eating trolls—Ugh & Boogar, take over the exhibition concept. He is represented by i8 Gallery in Iceland and Hopstreet Gallery in Brussels. Egill lives and works in Berlin, Germany.
Ívar Glói's works deal with the context of the art installation and the idea of the unique art object in an age marked by virtual connectedness. Using different media to project hints of different places into each exhibition space. The works play with the notion of the viewer being somewhere unique, however staged the setting of it may be. Ívar Glói has studied in the Iceland Academy of Arts, where he finished his BA in Fine Arts in 2014, Hochschule für Bildende Künste in Hamburg and Konsthögskolan i Malmö. Recent projects include Round and round; north, east, south, west on repeat at Delfi, Malmö, Floating, hanging, cloudy, lit up floor plans & Ikea Snapshots at Bismút, Reykjavík and the release of his 7-inch vinyl record ‘Into the Groove’. Glói lives an works in Reykjavik.
Annabelle von Girsewald (1972, USA) is an exhibition maker, tour manager and art agent based in Berlin. Her M.A. education in American Studies and Empirische Kulturwissenschaften took place at the University of Tübingen, Germany. Her academic ‘home’ themed shows started in her apartment in Frankfurt am Main 2005. In London 2007 her project “HomeBodies” was initiated at Birkbeck College and she curated “Cornered Rooms”. Her Berlin Lottery funded project “homecomings” resulted in two exhibitions, a symposium and forthcoming publication. She began researching Icelandic turf houses in 2016. Last year she led a workshop on Icelandic turf houses at Gerdarsafn – Kopavogur Art Museum. Annabelle lives and works in Berlin, Germany.
This installation is about the idea of borders as visible and invisible boundaries in perception, whether as an impenetrable transparent layer or a solid concrete block. Auður Ómarsdóttir graduated from the Reykjavík School of Visual Arts in 2010 and the Icelandic Academy of Arts in 2013. Auður lives and works in Reykjavík, Iceland.
The work relates to ideas about parallel universes both fictional and possible and gateways between them. Anna & Olga have exhibited their works extensively in museums and galleries in Iceland and abroad and participated in several projects independently as well as a team. Most recently they participated in the Momentum 9. Biennial in Moss, Norway last year. Since 2005 Olga and Anna have collaborated on several exhibition projects as well as public art projects. They work in a variety of media and use installation, sculpture, photography, film and drawings in their works. The sources for the research and thought processes that are the foundation of their works are inspired by human-nature relationships genetics, evolutionary processes, historical and site specific elements, social structures as well as the elusive membrane between fact and fiction. Anna and Olga live and work in Reykjavík, Iceland.
A house offers shelter, warmth and safety. The crumpled or decaying hut is a metaphor for the changes around us, for rootlessness and the passing of time. The simple form of the house is bend and warped into absurdity. Clay huts, backdrop print on canvas. Claudia received a B.A. Fine Arts, Art Academy Iceland (LHÍ) and Prediploma photography, Studiengang Fotografie, Academy of the Arts Zürich, Switzerland. She lives and works in Reykjavík Iceland.
The making of the Ground Plan drawing: The work was drawn under hypnosis in cooperation with a professional in that field. The hypnotic suggestion was guided by questions that supported my aim, to map certain areas of the body into ground plans for buildings. The drawing is a simile; a cross section of a throat, divided into variable sized areas. “Ground Plan II” is based on a drawing made in 2007. Eygló's artworks are usually made with the exhibition space in mind, and deal with threedimensional painting. Through technical and material experiments with paper and diverse supporting materials, the works have developed into layered paintings and patched-up sculptures. They do not give concrete results, but guess at possibilities. They speak perception and tactility, rather than facts and logic. Eygló graduated from the Iceland College of Art and Crafts in 1987 and from AKI - Academy of Art & Design/Fine Art in the Netherlands in 1990. In 2014 she received an MA degree in Art Education from the Iceland University of the Arts. Eygló lives and works in Reykjavík, Iceland.
An attempt to reach beyond the beginning of time and space.
Hrafnkell Sigurðsson’s photographs record an intense, aesthetic exploration spanning more than two decades. They are remarkable for the clear and consistent approach they represent, so insistent that one almost doesn’t notice the eclectic selection of subject matter which includes compacted rubbish, pitched tents and soiled fishermen’s oilskins. The images are not united by a theme but by a network of unexpected connections that have as much to do with colours and textures as with the function or social role of the objects in the photograph. Hrafnkell’s art is hard to classify and he works in other media as well, including video, sculpture and installation.) Hrafnkell Sigurðsson was born in Reykjavík, where he commenced his studies before proceeding in Maastricht, before moving to London in 1993. He completed his MFA at Goldsmiths College in 2002 before returning to Reykjavík in 2004. Hrafnkell lives and works in Reykjavík, Iceland.
The practice of Arnar Ásgeirsson involves video works, drawings, installations and sculptures with performative aspects. The work deals with questions of creative ownership, originality, and the differences between creating and copying. By introducing objects into new scenarios, the possibility of unexpected narratives emerges.
Cloud Chamber explores questions of the beginning of the universe in relation to the earth’s crust, invisible structures, geo-traumas and deep time. It is a fictional visual meditation about contemporary science and a cross sections of the larger systems of power and the politics of desire. The relations between humans and nonhumans become transfigured and weaved equally into the new forms of life.
Emilija Škarnulytė is a nomadic visual artist and filmmaker. She has been making films and videos for the last ten years mostly in places where contemporary political issues are staged, and in particular, issues between human and nonhuman worlds. Most recently she has been working with philosopher Timothy Morton on collaborative texts and talks at QSO Lens, CAC, Vilnius (2015), Manifold, Decad, Berlin, Mirror Matter (2017), Künstlerhaus Bethanien, Berlin (2017). Škarnulytė has an MA from Tromsø Academy of Contemporary Art, based above the Arctic Circle. Emilija lives and works in Finland.