Berglind Jóna Hlynsdóttir & Gunnhildur Hauksdóttir | Nida Art Colony, Lithuania.
Nida Art Colony, Lithuania.
Inaugural weekend at the Vaa Nida Art Colony: An exhibition, opening of the new building and a birthday party.
May 21st 2016, 6 PM.
Inauguratio in Latin means a celebratory opening and a festive launch, a reception, consecration, and an act of continuity. For the entire five years of its activity, VAA Nida Art Colony has been constantly holding inaugurations in a sense, as each artist and each new project was a new festive beginning. It is with several such festive openings that we want to invite you to celebrate the 5th birthday of VAA Nida Art Colony together with us. The inaugural weekend will feature the official opening of the Colony’s third building and the exhibition of the Climbing Invisible Structures project, a birthday concert, and open studios of the current residents. Icelandic artists Berglind Jóna Hlynsdóttir and Gunnhildur Hauksdóttir will be participating in the group exhibition Climbing Invisible Structures and a birthday edition of Hlynsdóttir’s work titled The Changing Room will be performed in collaboration with Latvian band Dora.
Programme of the inaugural weekend:
THE OPENING OF THE EXHIBITION “CLIMBING INVISIBLE STRUCTURES. PART 2: NIDA”
“Climbing Invisible Structures: Ritualised Disciplinary Practices in Social Life. Part 2: Nida” is the second part of an exhibition project comprising four venues, and the first one to include works by all ten artists. Opening of the exhibition on the 21 May 2016, 6PM, at Nida Art Colony of VAA, 43 Taikos St. Open everyday except Monday from 12 PM to 8PM.
Curators: Eglė Mikalajūnė and Samir M’kadmi
Berglind Jóna Hlynsdóttir (b. 1979) started her carrier as a photographer. She finished her BA degree from the Icelandic Academy of the Arts in 2006 and an MA degree from Valand School of Fine Arts in Sweden in 2010. Berglind Jóna has worked as a visual artist in Iceland, Sweden and Brazil. She has worked on extensive projects in the public space and participated in many international group exhibitions and collaborations. This is her first solo exhibition in a public museum.
Berglind deals with various themes, which often involve questions regarding public spaces. In an urban society, where the surroundings are man-made and each thing is designed for a specific purpose, Berglind explores the environment, based on the history and expectations that society holds towards those things. In Class Divider, Berglind deals with a certain phenomenon, designed to separate passengers during air travel. Class Divider raises questions about how we create systems and tools to divide people by social standing in different places.
Among recent shows that Berglind Jóna has participated in is the exhibition series Double Bind which was curated by the Rupert Center for Art and Education in Lithuania (2015) shown in three cities in Lithuania and then both in Norway and Iceland (2016), The public space work Inner Workings (The Walk Work): Memoirs of the clock at Lækjartorg Plaza, shown in the Reykjavík City Center, Iceland (2014). Among international exhibitions Berglind has participated in are The 4th International Sinope Biennale – Wisdom of Shadow: Art in the Era of Corrupt Information Turkey (2012). LET ME THINK! curated by Laura Mott, 3rd Moscow Biennale at Red October, Moscow (2009). Berglind was chosen to compete for the Hasselblad award: Victor Stipendium and took part in two shows organized by Hasselblad: New Nordic Photography at the Hasselblad Center in Gothenburg and the Center For Photography in Stockholm (2010).
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.