Berglind Jóna Hlynsdóttir & Gunnhildur Hauksdóttir | Lithuania
“Climbing Invisible Structures: Ritualised Disciplinary Practices in Social Life. Part 3: Žeimiai”
Opening July 30th 2016
Žeimiai manor estate, Lithuania.
“Climbing Invisible Structures: Ritualised Disciplinary Practices in Social Life. Part 3: Žeimiai” is the third part of an exhibition project comprising four venues, and the last one in Lithuania. It presents works of eight artists and an artists’ duo. Repeated as an echo of the previous exhibitions and climbing through different exhibition spaces, this show becomes a ritual itself and extends the climbing maps from art centers to the periphery of cultural history. This time the exhibition is on show at the Žeimiai manor estate.
Two Icelandic artists will take part in the exhibition. Berglind Jóna takes part with two new works. The sound installation “Stitching and Mending” in collaboration with Dora – Gatis Zakis and Jānis Šipkēvics and the work “Balustrade. Part 2: Bake It”
Gunnhildur Hauksdóttir takes part with an audio installation and a performance, both under the title of “Five Drawings” where five jazz performance students from Academy of Arts in Klaipėda each perform a vocal narrative based on a drawing. During a workshop in November 2015 they trained to see Gunnhildur’s drawings as a score and “read” it, singing for a sculpture that functioned as a binaural microphone. In the recording sessions, the space around the sculpture was defined according to the drawing, and the singers moved around it, vocalising the lines in relation to the sculpture. The work will now be installed and perfromend for the first time.
Gunnhildur Hauksdóttir (b. 1972) lives and works in Berlin. Having graduated from the Iceland Academy of the Arts in 2001 and from the Sandberg Institute, Amsterdam in 2005, Gunnhildur has been a member of the Dieter Roth Academy under the guidance of Björn Roth since 1998. Gunnhildur’s work retains many of the characteristics associated with Reykjavík’s former Yellow House group, perhaps most obviously in the use of inexpensive materials and rough execution. Her videos, installations and performances have an air of impermanence—a temporary quality reflecting the urgency associated with an art space that was always operating just days ahead of the wrecking crew.
For further information, please see http://nidacolony.lt/en/747-climbing-invisible-structures-3