Bout: Q&A - Ásdís Sif Gunnarsdóttir, Dodda Maggý and The Icelandic Love Corporation
During the exhibition there are regular artist talks, delving into the making of the works, their subject and production. The works will be reviewed in light of the artists' oeuvre and the development of video art. Sigurður Trausti Traustason, Head of Collections and Research, and Markús Þór Andrésson, Head of Exhibitions and Education, will speak with the artists and guests are welcome to contribute.
Ásdís Sif Gunnarsdóttir (1976) Shipwreck from the Future / TV from the Past (2014)
Ásdís Sif’s work was initially a part of an installation in Gallery A in Hafnarhús, but it can be adjusted to different surroundings and circumstances each time it is put on display. In her work, Ásdís recycles older material while adding new components, thus creating a comprehensive and continuous visual world of her own. The foundation is often a performance and text that is subsequently processed through recording, material and space where different layers are added until the linear sequence of video and text is toppled. Ásdís takes on various guises that enhance the deconstruction she seems to work with in her art.
Dodda Maggý (1981) Lucy (2009)
Dodda Maggý tends to work with either audio or visuals, having studied both in the fields of music and fine art. Here, she combines the two in an installation where she multiplies her own singing vocals, that are amplified or dwindle in tandem with a disappearing and reappearing image of the artist. In the dim light of the space you can sense how the voice is separated from the actual performer, the sound seemingly coming at you from various directions even though it originates from the same windpipes. The sound in this work seems to control the image rather than it being the other way around – with audio simply supplementing the image.
The Icelandic Love Corporation (1996) Women Good Enough to Eat (1996)
This work stems from the early years of the Icelandic Love Corporation. The video is a recording of a performance where the artist collective worked with live sculptures, and it is accompanied by four photographs of the completed sculptures. The naked female body is the basis of the four, elaborately decorated cakes, with whipped cream, chocolate, pink icing, and savoury mayo and bread. The recurring objectification of the female form in service to art is addressed here in a humorous yet critical way. Another strong motif from the history of art, the reminder of mortality, is also at play.
The talk will take place in Icelandic. Free with admission.