GJÖRNINGUR | PERFORMANCE
04.11.18 Nýlistasafnið, The Living Art Museum
Marshallhúsið | Marshall House
Samstarfsverkefni milli Ensemble Mosaik og tónskáldanna Rama Gottfried, Ann Cleare, Kaj Duncan David og myndlistarfólksins Haralds Jónssonar, Margrétar H. Blöndal, Önnu Rúnar Tryggvadóttur og Darra Lorenzen.
A collaboration between Ensemble Mosaik and the composers Rama Gottfried, Ann Cleare and Kaj Duncan David and the visual artists Haraldur Jónsson, Margrét H. Blöndal, Anna Rún Tryggvadóttir and Darri Lorenzen.
Margrét H Blöndal
Margrét H. Blöndal (f. 1970) lauk MFA gráðu frá Rutgers University, New Jersey en býr nú og starfar í Reykjavík. Verk hennar eru rýmistengdar innsetningar sem fjalla meðal annars um upplifunina á því að vera á lífi. Verk hennar hafa verið sýnd í fjölda einka- og samsýninga og á listamessum víðsvegar um heiminn.
Margrét H Blöndal
Margrét H. Blöndal (b. 1970) completed her MFA at Rutgers University, New Jersey but now lives and works in Reykjavík. She works with mixed media, site specific installations around the concept of being alive. She has been exhibited internationally in solo- and group shows, institutions and art festivals.
Margrét H. Blöndal’s sculptural works are composed of objects; usually found, manmade objects. They are arranged in subtle accumulations and singular moments, incurring and occupying a particular sense of space. They share a lyricism that speaks of the object’s past uses and the incongruity of their juxtaposing as they unwind and implicate the space of their architectural setting. [...] They make sense as formal sculptures and as things in the world, even though how they achieve this is not obvious. And despite them not being surrealist in sentiment there is a continuity between the sculptures and the quote from Lautréamont—favoured by André Breton—concerning the chance meeting “between an umbrella and a sewing-machine upon a dissecting-table.” It is difficult to ascribe meaning to such a description but it nonetheless has a palpably unsettling logic. Similarly Blöndal’s accumulations have sense and a poetics which melds form and history but one which is also difficult for language to quantify or explain. As much as we try to overlay narrative and metaphor upon these sculptural arrangements, it is as though the work welcomes them but then effortlessly shrugs them off.
Based on a text by Gavin Morrison in Margrét H. Blöndal – Drawings. Crymogea, Reykjavík, 2016.