ILC presented at Björk’s retrospective in MoMA
Work by The Icelandic Love Corporation (ILC) will be presented at The Museum of Modern Art, New York (MoMA) as part of Björk Guðmundsdóttir’s retrospective exhibition opening march 8, 2015.
The Icelandic Love Corporation is a group of three artists who worked with Björk on her album Volta (2007), creating visuals for the album cover and other press material. This included crochet costumes or wearable sculptures called WildWomanWoodooGrannyDoilyCrochet, which the musician wore on the album cover. For press material she also wore an earlier piece by ILC called Second Skin (2004). These pieces will be on display in the exhibition as well as new pieces commissioned by the museum for this occasion.
Hreinn Friðfinnsson and Roman Signer | SAFN, Berlin
Hreinn Friðfinnsson & Roman Signer
Notions of Time
March 20 – July 25, 2015
Opening: March 19, 6-9 pm
“Time, or notions of time, are always compelling. I read what comes my way about physics and mathematics, but I read as one who’s uninitiated. It’s very difficult to get your mind around these concepts, but it is possible to read about them with fascination. My interest in the essence of time is serious, but my dealing with time is not knowledge-based; it’s more exploratory and feeling-based.” (H.F. 2007)
Friðfinnsson’s art is rooted in his memories and experiences of his homeland, oftentimes echoing aspects of its nature and its lyricism, its legends, rumors, secrets, and dreams. The use of narrative and storytelling is combined with a stark, minimalistic and unobtrusive visual language. Friðfinnsson works within a wide range of media such as photography and text, drawing, painting, installation, and in the last a few years video and film. All works seem to be linked by a common sensibility which leads one to contemplate the possibility of discovering something extraordinary within each work. It is precisely this durational approach to looking, thinking and experiencing with which Friðfinnsson is engaged – time seems to be standing still for just one moment…
Dieter Roth and Music | Hamburger Bahnhof, Berlin
Dieter Roth and Music
14.03.2015 – 16.08.2015
Hamburger Bahnhof – Museum für Gegenwart – Berlin
In interaction with works from George Brecht, Rodney Graham, Annika Kahrs, Ragnar Kjartansson & Alterazioni Video, Bruce Nauman, Nam June Paik, Markus Sixay, Die Tödliche Doris and records from the Archiv Broken Music.
German-born Swiss artist Dieter Roth (1930-1998) worked in such widely varied media as drawing, painting, assemblage, installation, printmaking, artist’s books, literature, action and film. Since 2008 one his most important works, the monumental Garden Sculpture (1968ff.), has been on display at the Nationalgalerie as a gift of the Friedrich Christian Flick Collection. Little known to date are Roth’s numerous music-related projects, which are now being presented comprehensively for the first time.
Music played a major role for Dieter Roth all his life and finds its way into his oeuvre in a variety of ways. He integrated musical instruments into his assemblages as mute reliefs alongside cassette players and other audio devices, for example, and uses them as motifs in his paintings and works on paper. Roth also performed on stage as a musician, playing alone or as a member of the artist’s collective in the series “Selten gehörte Musik” (Rarely Heard Music). As a keen listener to musical styles of all kinds, he owned an extensive vinyl collection and had his own recording studio. His favourite music was classical and he loved Schubert, Brahms und Schönberg in particular.
Ólafur Elíasson | Solo exhibition in Ethiopia
27 February – 15 April 2015 (opening 26 February)
Modern Art Museum: Gebre Kristos Desta Center
Addis Ababa University, Ethiopia
The artist’s first solo exhibition in the region features works revolving around concepts like light, orientation, mirroring, and ephemerality – topics that have informed Eliasson’s practice for years. The show brings together outstanding new works, such as Life of a planet; Crystal nebula; Addis compass; and The complete sphere lamp, a series specifically developed and produced in Ethiopia; with a selection of seminal older works, including Colour space embracer, 2005, and Yellow corridor, 1997.
Time-sensitive activity offers an insightful glimpse into the physicality of Eliasson’s artworks and their incredible ability to transcend conventional percep- tions. Through a simple query of what it means to be a subject in a specific context, Eliasson challenges visitors to the exhibition to be perceptive of things they usually take for granted. Eliasson presents visitors with artistic concepts and practices that emphasise the centrality of creativity, poise agency in the creation of images, and are reflective and constitutive of the visitors’ environment.
Eva Ísleifsdóttir exhibits in Athens
EVA ISLEIFSDOTTIR & NOEMI NIEDERHAUSER
OPENING THURSDAY 26FEBRUARY 20:00-22:00
SECOND FLOOR, AGHIAS ZONIS 1, KYPSELI 11361, ATHENS
YOU ARE INVITED TO THE OPENING OF THE EXHIBITION HURTS SO GOOD WHICH BRINGS TOGETHER WORKS MADE BY EVA ISLEIFSDOTTIR & NOEMI NIEDERHAUSER DURING THEIR TWO-MONTH RESIDENCIES AT SNEHTA DURING JANUARY & FEBRUARY 2015
Don’t care what they say, it hurts so good / I don’t wanna stop, I know I should / But let’s do it again… The Moullinex remix of Röyksopp & Robyn’s Do It Again is playing in the background. Spray paint is hissing out of its can and coating freshly-cut foam pieces, transforming them into sacred, gold, oversized leaves. A sewing machine whirrs as white fabric of various textures is morphed together into costumes for a later film, costumes in which feet will shuffle into place over concrete. One wall has sketched ideas for performances above a plaster dove without a beak; another has dozens of photocopies of actors in fantastical and abstract costumes, fabric samples and oranges dipped in resin. The studio is the place where the struggles of making are tricky but golden: to persevere with making is to tread the line between failed attempts and the potential breakthroughs that provide a tantalising compulsion to continue. It hurts so good…