2005

Pacifiers

Installation with robotic sculptures and video. Three figures shaking their heads with electrical cords leading out of their mouths into a pile of cords continuing into baby bottles hanging from the ceiling serving as chandeliers. In the back room was a rotating machine sculpture. (polyurethane / wood / plastic / motors / electrical cords). Pacifiers performance as part of the exhibition, ten pacifiers were placed on each finger and organizers of the galley and project space Kling & Bang were asked to volunteer to kneel down and suck them as artist Asmundur Asmundsson gave an opening speech about the public consuming the arts and the general art public.

Some insighters of the icelandic art world have commented on the situation of the icelandic art scene in the summer of 2005, and state that its phase nowadays is similar to the phase of a young maid, who is ready for foreign love, adoration and freedom from mommy and daddy´s domain. It´s time for the icelandic art to become known in other kitchens than those of the icelandic middle class, which owes more than it earns, and where the arts are discussed passionately in late evening hours, many times a long way into the night, which is black in the winter and yellow in the summer. In spiritual need for more space and bigger audience and in economical need to escape from the icelandic poverty the artist much leave the home-yard and get global recognition. How this young maid is going to survive, and nobody survives, we will all die, in the universal art world is for tomorrow to judge. Already in the country lives and works at their art a brigade of artists who don´t underestimate birth control medicines and understands english and often many other languages fluently. This is the statical point of view. For a writer who has has a one eye opened for art and the other one open for literature, the situation of the icelandic arts are weighing between industrialization and art, and the guest for the borders between these two, if there is a border. These are times when icelanders have finally discovered that life, e.g. the social structure of the society, is a serious matter, that our innocent playfulness, irresponsible oblivion into our creative minds, is a dangerous game for our health and quality of our life. Nobody takes the icelandic fool/ icel. clown seriously. These are times when icel. artists are seeking new self images, and like the icel. businessman melting into theirs the spirit of the world citizen. And in this chaotic atmosphere we find the artist and art student in magister project of The Sandberg Institute of Fine Arts in Amsterdam Gunnhildur Hauksdóttir. 

(Kristín  Ómarsdóttir Reykjavík 2005)

 

 

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