Snípa / Sandpiper

Snípa / Sandpiper

by | May 31, 2023 | Project Space

Snípa / Sandpiper

 
Sindri Leifsson er fæddur árið 1988 í Reykjavík. Hann lauk MFA-gráðu frá Listaháskólanum í Malmö, Svíþjóð árið 2013 og BA-námi frá Listaháskóla Íslands árið 2011. Táknmyndir og umbreyting efniviðarins eru endurtekin skref í verkum Sindra en umhverfi og samfélag koma gjarnan við sögu. Efnið fær oftar en ekki að standa sjálfstætt og hrátt í bland við mikið unna og slípaða fleti. Hann hefur verið virkur í sýningarhaldi síðustu ár og má meðal annars nefna einkasýninguna Næmi, næmi, næm í Ásmundarsal 2021 og samsýninguna Veit andinn af efninu? í Nýlistasafninu sama ár. Verk Sindra má finna í safneignum Listasafns Íslands, Listasafns ASÍ og Nýlistasafnsins ásamt einkasöfnum.
–
  • Sýningin mun standa inn í haustið 2023 og er opin skv. samkomulagi.
  • Nýp Sýningarrými er aðili að Samtökum um listamannarekin myndlistarými
  • Sýningin er gerð möguleg með stuðningi Myndlistarsjóðs og Frumkvæðissjóðs DalaAuðs.

     

 
SNÍPA/SANDPIPER
–

The base of a mountain, where it meets normal ground, is a weighty site. Furthest away from the peak or summit, it’s a place both protected and vulnerable. You could say it is an unstable location that cannot escape, but also highlights the things in its surroundings – for instance when humans come into play. Humans plant trees, build stone walls, dig drains around their houses in unison with mountains, in hopes of maintaining stability. Yet remains the ever-lurking possibility that pieces or screes might loosen and will most likely descend or tumble down. Falling from their mountain ridges they land in meadows, riverbeds and valleys below. Sometimes, on their way, they bounce or break, leaving dotted trails and marks like bites in the chocolatey soil. Where will they land? And what is left missing at the point of break, descended and gone elsewhere? Some head downhill for the sea, others land in fields below, stick out like sore thumbs or aimless glacial erratics, some dive deep, deep down. In a large field of clay, spotted by the eyes of those humans. Others push up to the surface, ground-stained, and are annoying for those tending to those exact fields.

Up, up high, Tumble down, down. Later plucked up.

Sindri’s work focuses on materials within-reach, whether sourced, found or spotted; like tree parts, steel and clay-stained stone. His search for the right rock or bark “eyes” is not unlike the Whimbrel or Godwit with its beak stuck in the mud looking for food. In picking them up, meeting them where they are and letting them speak for themselves, his minimal, but direct and sometimes physical, intentions are material-led and reference human interaction. Places can be interpreted in volumes, multitudes, and here below the Nýpurhyrna mountain in Breiðafjörður fjord, Sindri does so in a new kind of erratics, rock-human hybrids and plucked tree parts. Vulnerability is taken further by human gesture that only slightly changes what is in hand, and in doing so, reinforces making, tasting or trying as ways of relating to the new environment one sometimes finds themselves in.

Text © Becky Forsythe 2023

Sindri Leifsson was born in 1988 in Reykjavík. He completed an MFA degree from the University of the Arts in Malmö, Sweden in 2013 and a BA from the Iceland University of the Arts in 2011. Symbols and the transformation of the material wood are repeated steps in Sindri’s work, where the environment and society also come into play. More often than not, the materials stand alone and are raw, mixed with highly processed and polished surfaces. He has been active in exhibitions for the last few years, among those, his solo exhibition in Ásmundarsalur Næmi, næmi, næm and a group show in the Living Art Museum 2021 Does the soul know about the subject? Sindri’s works can be found in the collections of the National Gallery of Iceland, ASÍ Art Museum and the Living Art Museum, as well as private collections. Text © Becky Forsythe 2023 Snípa /Sandpiper  2023  Sindri Leifsson´s exhibtion in Nýp Project Space is made possible by the support of The Icelandic Visual Arts Fund, The Visual Art State Grants and DalaAudur Fund Opening at Nýp Project Space on June 3rd at 16:00 and then open into fall 2023. Welcome to visit the exhibition by appointment: nyp@nyp.is

Sýningin er gerð möguleg með stuðningi Myndlistarsjóðs, Starfslaunasjóðs myndlistarmanna og Frumkvæðissjóðs DalaAuðs.

Sé (að Nýp)

Sé (að Nýp)

by | May 23, 2022 | Project Space

Sé (að Nýp)

29.05.-15.09. 2022

Ráfa, horfa, grípa, krafsa, skoða, pota, brenna, grafa, geyma, nota.

Með verkinu Sé (að Nýp) vefur Brák Jónsdóttir saman þræði veruleika og ímyndunar við rannsókn á umhverfi sínu.

Vísanir verksins í heim vísinda, safna, geymslu og myndlistar varpa ljósi á dvöl listamannsins að Nýp í aðdraganda að vinnslu verksins. Gler spilar stórt hlutverk í innsetningunni; horft er inn um það, út um það, gegnum það. Áhorfandinn stendur andspænis þeim viðhorfum mannsins að meta náttúruna út frá sjálfum sér, aðskilja sig frá henni, fanga hana, færa hana úr stað og laga að eigin afstöðu.

Brák Jónsdóttir (f. 1996) er sjálfstætt starfandi myndlistarmaður og fjalla verkefni hennar um samband fólks og náttúru. Hún vinnur gjarnan með staði þar sem menning og náttúra mætast og valdið sem þar birtist. Brák dregst að hinu sjaldgæfa og hversdagslega í senn, í anda arfleiðar Cabinets of curiosities. Það birtist í áhuga hennar á því sem er einstakt hvað varðar áferð og lit, því sem er dularfullt og tengist jafnvel hinu yfirnáttúrulega.

Nýp-sýningarrými er opið samkvæmt samkomulagi, hringið í síma 8961930 eða sendið erindi á nyp@nyp.is

 

“Oh steady now
Everything in its place
Steady now”
– Jason Molina (Magnolia Electric Co. – Steady Now)

There is a place for the inside and there is a place for the outside, Brák Jónsdóttir has made a place for the parts in between, a filter to blur these borders. In the exhibition See, there are two wooden structures placed precariously in the windows of the gallery, intuitively yet carefully constructed, shelf by shelf. Brák has embraced the history and previous function of the wooden material, with its blemishes and sun bleached spots. What was perhaps once a bookshelf or cupboard is now an open scaffolding displaying glass panes, jars and ornaments, filled with unspecific specimens of the land around Nyp. Within these jars and containers is where the outside is contemplated, she has collected stones, seaweed, leaves, rotten wood and other items from around the exhibition site, just as she collected the wood and glass to house them. These objects are brought inside and they play with our focus of the outside, a filter or a threshold to pinpoint the vague idea of ones surroundings.

This installation contemplates the very human act of displaying objects of intrigue and beauty, referencing the history of cabinets of curiosity and their amalgamation of science and art. Whilst these cabinets suggest hiddenness and sacredness, Brák’s open and fragile structure allows for ethereal and abstract notions to be displayed. There are shadows and lines cast by the stained glass. There is water with its unknown origin, evaporating and blending with plants and remnants of wood and stone. There is the colour of the glass that changes with the daylight. You can look at what is within these jars, or just as easily peak through to where they once existed, in sight but out of reach. She has taken moments of intrigue and inquiry, experimenting with time and space trapped in glass and barely preserved, left to deteriorate, change, sprout and grow.

When arriving somewhere new, you gather your surroundings, collect your thoughts, and in such an affecting landscape there is plenty to gather. Brák has gathered the immaterial feeling of arriving somewhere beautiful.

Text © Joe Keys 2022

Sýningin er gerð möguleg með stuðningi Myndlistarsjóðs og Sóknaráætlun Vesturlands

TIL STAÐAR  2021

TIL STAÐAR  2021

by | Mar 23, 2021 | Project Space

TIL STAÐAR  2021

Til STAÐAR er ein af þremur innsetningum/sýningum sem Katrín hefur unnið í jafnmörgum landsfjórðungum hér á landi árið 2020-21: Við Hoffell undir Vatnajökli, á Skarðsströnd við Breiðafjörð og í Svalbarðshreppi í Norður-Þingeyjarsýslu.

Hugmyndin að baki verkinu tengist samspili hráefnis á ákveðnum stað, mannlegu inngripi og ferlum náttúrunnar. Verkið er sumarsýning ársins 2021 í Sýningarrými Nýpur á Skarðsströnd.

TIL STAÐAR er innsetning í náttúrulegt umhverfi. Á sýningunni eru þrjú ljósmyndaverk ásamt heimildum um gerð verkanna, myndband og ljósmyndir á borðum. 

Undanfarin ár hefur Katrín unnið með jörðina og frumferla náttúrunnar í verkum sínum. Þessir ferlar, sem eru hefðbundin viðfangsefni fornleifafræði og jarðfræði, bera fortíðinni og minni efnisins vitni, sýna brot af sögu jarðar og mannkyns. Katrín notast við aðferðafræði námuvinnslu þar sem hún beinlínis nemur efni úr jörð og nýtir framleiðsluferla og flutningsaðferðir sambærileg við aðferðir sem tengdar hafa verið við iðnvæðingu og nýlendustefnu.

Í verkinu TIL STAÐAR  skilur á milli að Katrín skilar efninu aftur til upprunastaðar. Katrín hefur gefið efninu form byggingareininga/bygginga um stund og varðveitt augnablikið í ljósmyndunum. Síðan raðar hún einingunum að nýju á þann stað þar sem hún gróf efnið upp og við tekur náttúruleg þróun; jörð snýr aftur til jarðar. 

Í verki Katrínar má lesa marglaga frásögn um örlög manneskjunnar.  Stef sem á öllum tímum hafa verið viðfangsefni lista og menningar. Forgengileiki tilverunnar og getan – eða vanmátturinn – til að horfast í augu við hann. En í verkinu birtist jafnframt áhugaverðar vísanir – og spurningar – um efni listaverka, gildi listrænnar ástundunar, markaðsásælni samtímans, virði listaverka, kostun og fjármagn. Undir hvaða kringumstæðum þrífast listir og menning? Hvað þarf til? Ratar listin til sinna eða er hún á tuttugustu og fyrstu öld með öllu undirorpin fjármagni stórfyrirtækja?

Við látum gestinum eftir að finna sínar tengingar við verk Katrínar, vissulega opnar það hugann fyrir margvíslegum hugrenningum. 

Katrín Sigurðardóttir hefur á 30 ára ferli sínum sýnt skúlptúra, teikningar, ljósmyndaverk og stórar innsetningar sem leitast við að hafa áhrif á/umbreyta reynslu og upplifun áhorfandans. Katrín hefur átt velgengni að fagna innan listheimsins og verk hennar hafa verið sýnd hér heima og víða erlendis.

Hún hefur m.a. verið fulltrúi Íslands á Feneyjatvíæringnum, á Sao Paulo Tvíæringnum í Brasilíu, Momentum í Noregi og Rabat tvíæringnum í Marokkó. Einkasýning hennar í Metropolitan safninu í New York borg árið 2010 vakti mikla athygli. Verk hennar eru í eigu Listasafns Íslands og Listasafns Reykjavíkur en einnig  stórra alþjóðlegra safna s.s. Metropolitan Museum í New York.

Sjá viðtöl við Katrínu um verk hennar hér: openspace.sfmoma.org and in Places Journal.Places Journal.

Sýning hennar í Sýningarrýminu að Nýp mun standa frá 22 maí og fram í október 2021. Vinsamlega hafið samband og bókið heimsókn: nyp@nyp.is

Nýp Project Space presents Katrín Sigurðardóttir´s work
TIL STAÐAR

TIL STAÐAR is one of three installations/exhibitions by Katrín Sigurðardóttir in three separate regions of Iceland: Hoffell at Vatnajökull, Skarðströnd in Breiðafjörður and Svalbarðshreppur in Norður-Þingeyjarsýsla.

The artwork TIL STAÐAR is an installation in the the natural environment. The exhibition consists of three photographic works, and an archive documenting the making of the works. The underlying theme of the work is the interplay between local resources, human intervention and the processes of nature itself. The title TIL STAÐAR literally means “Towards a Place”, but can also mean “present”, “in-place”, and even “a dedication to a place”. The work comprises the 2021 summer exhibition of the Nýp Project Space.

In recent years Katrín has in her art worked with the elemental processes of nature and the earth. These processes, traditionally the subjects of archaeology and geology, bear witness to the past, demonstrate the memory in the material itself, and reveal fragments of the history of the earth and humankind. Katrín uses techniques borrowed from industrial mining; she extracts materials from the earth, using processes and transportation methods that have been linked to industrialisation and colonialism.

However, in TIL STAÐAR, Katrín’s methods differ in that she returns the materials back to their point of origin. For a brief moment in time, she gives her material the form of a building, made of unfired bricks/paving stones, and preserves this in photographs. Then, she arranges the bricks back at the place from which they were taken, and the processes of nature take over from there; earth returns to earth.

In Katrín’s work, there is a multilayered narrative to be read about the lot of humanity – themes that art throughout history has engaged with: the transience of human existence, and the ability – or inability – to face that transience. The work also poses some interesting questions concerning today’s fixation on the market, the perceived worth of art, the art material and arts financing and capital. Under what conditions does art and culture flourish? Does art always find its way to its audience, or is it at all times dependent on corporate patronage?

During her 30-year career, Katrín Sigurðardóttir has exhibited sculptures, drawings, photographic art and large-scale installations that attempt to affect and transform the subjective experiences of the viewer. Katrín’s work has been exhibited widely, both in Iceland and abroad. She represented Iceland at the Venice Biennale, the São Paulo Biennale in Brazil, Momentum in Norway, and the Rabat Biennale in Morocco.

Her 2010 solo exhibition at the Metropolitan Museum of Art in New York attracted widespread attention. The National Gallery of Iceland and the Reykjavík Art Museum own works by Katrín, as do as international museums such as the aforementioned Metropolitan Museum in New York.

She represented Iceland at the Venice Biennale, the São Paulo Biennale in Brazil, Momentum in Norway, and the Rabat Biennale in Morocco. Her 2010 solo exhibition at the Metropolitan Museum of Art in New York attracted widespread attention.

See interviews:
openspace.sfmoma.org and in Places Journal.

Katrín’s exhibition will be in Nýp Project Space from May 22 into fall 2021. Welcome to visit the exhibition by appointment: nyp@nyp.is

Þýð. Steingrímur Teague

Samræða um verk Katrínar Sigurðardóttur TIL STAÐAR Að Nýp á Skarðsströnd þann 25.júlí 2021.

Ævar Kjartansson ræddi við Katrínu um verkið, tilurð þess og framkvæmd, en einnig um margslungnar vísanir verksins í veruleika samtímans.

Samtalið birtist einnig á www.artzine.is ásamt texta Þóru Sigurðardóttur

Katrín Sigurðardóttir hefur á ferli sínum sýnt skúlptúra, teikningar, ljósmyndaverk og stórar innsetningar. Hún hefur m.a. verið fulltrúi Íslands á Feneyjatvíæringnum, á Sao Paulo Tvíæringnum í Brasilíu, Momentum í Noregi og Rabat tvíæringnum í Marokkó. Einkasýning hennar í Metropolitan safninu í New York borg árið 2010 vakti mikla athygli. Verk Katrínar TIL STAÐAR er innsetning í náttúru Íslands, sem hún hefur unnið í þremur landsfjórðungum: Á Skarðsströnd, undir Vatnajökli, og í Þistilfirði.  Á sýningunni að Nýp eru þrjú ljósmyndaverk Katrínar ásamt heimildum um gerð verkanna. Sýningin að Nýp var opnuð í maí sl. og mun standa út sumarið. Opið skv. samkomulagi; vinsamlega hafið samband s. 8961930.

Ævar Kjartansson hefur stundað háskólanám í stjórnmálafræði og lokið embættisprófi í guðfræði auk þess að vera þjóðkunnur útvarpsmaður, ekki síst fyrir samræðuþætti sína Samtal í Ríkisútvarpinu á Rás 1.

Sýningin er gerð möguleg með stuðningi Myndlistarsjóðs, Starfslaunasjóðs myndlistar, Samtökum sveitarfélaga á Vesturlandi, handverksfólki og nágrönnum í héraði.

The exhibition is made possible with the support of The Icelandic Visual Arts Fund, The Visual Art State Grants, The West Iceland Cultural Council and the neighbours at Skarðsströnd

STUDIO BUA 2020

STUDIO BUA 2020

by | Mar 22, 2021 | Project Space

STUDIO BUA 2020

Fyrsta sýningin í nýju rými fjallaði um hönnunarferli arkítektateymisins STUDIO BUA að Nýp. 

Á sýningunni voru teikningar, ljósmyndir, og módel sem veittu innsýn í hönnunarferli og endurgerð húsakosts að Nýp. 

 

The first exhibition at Nýp Project Space showed a glimpse into the long incubation period, the process of the design and building period of the Nýp project. This exhibition lasted from fall 2018 into late autumn 2020 and included Studio Bua´s working models, drawings and photographs from the building site.

The design brief was to conceive a design that would make better use of the existing facilities. 

This involved renovating the main house, and rebuilding and enlarging the adjoining sheep-shed. Nýp’s first travellers/guests arrived in 2014 and were accommodated in two of the four bedrooms in the remodelled farmhouse. Then in 2018 the reimagined sheep shed added a further three ensuite guest rooms with a separate entrance. This offered the owners greater flexibility, with the possibility of hosting events in the main house without disturbing guests. The new entrance hall and connection to the farmhouse has been given generous dimensions allowing it to double as an exhibition/project space.