Gunnhildur Hauksdóttir, Rebecca Erin Moran, Borghildur Indriðadóttir | Berlin, Germany
Gunnhildur Hauksdóttir, Rebecca Erin Moran, Borghildur Indriðadóttir
Postwerk Tegel, Grußdorfstraße 3, 13507 Berlin
November 2nd – December 15th, 2018
The exhibition series “Terminal” deals with our contemporary condition – an ongoing state of transit. The series is an exchange of artists practicing in Berlin and Reykjavik. Airport terminals and their aesthetics become a program in effect.
The theme of the first exhibitions is communication as it takes place in the former Berlin – Tegel post office hosted by the renovation project Postwerk Tegel on Grußdorfstraße 3.
Borderline Human – Milk River Valley
Opening: Fri. 02.11 / 18 – 22 Uhr
Gunnhildur Hauksdóttir launches “Terminal (TXL)” with “Borderline Human – Milk River Valley” based on her artistic research in South Africa. “Borderline Human” questions the set of the shifting values and definitions behind the term “human”. For the opening Gunnhildur will lead a performance reacting to the vervet monkey calls. Apart from the audio and studies of the monkeys the installation includes a jungle gym with swings, monkey bars and hanging ropes. The internationally renowned contemporary dancer Saga Sigurðardóttir will physically engage with the installation with acts of borderline human movements.
Rebecca Erin Moran
noWhere, noThing, noBody
Opening: Fri. 16.11 / 18 – 22 Uhr
The second exhibition “noWhere, noThing, noBody” is presented by Rebecca Erin Moran. She invites the viewer to enter, to transcend and to depart. The large-scale projection mirrors the noBody monitored by hypnotherapeutic techniques. Rebecca questions the rituals and the experiences of contemporary western life using the liminal spaces in which we drift between forms.
On 24 November, a liminal event will take place allowing for new rituals of sexual colossal hybridization.
Hei Maei #my_كل_شي
Opening: Fri. 30.11. / 18 – 22 Uhr
Borghildur Indriðadóttir ends “Terminal (TXL)” with “Hei Maei #my_كل_شي”. The filmic installation, “Hei Maei” is a word play. “Heimaey” in Icelandic means “home island”. By splitting the word and changing the y to an i, “Hei Maei” means greeting (“hei”) and “home not home”. #my_كل_شي is a hashtag appropriated from the Lebanese pop musician Hiiafa Magic. The one-minute film is about the unknown intelligence of the ocean and questions identity and multiplicity. The soundscape is composed by Bane Jovančević and Borghildur Indriðadóttir. For the opening women stylized both in niqāb-khimars and in latex and fishnet stockings will perform within an airport setting.
About the artists
Art confronts Gunnhildur Hauksdóttir with questions that she didn’t know she needed answers to. Once a question is asked her practice evolves and is spurred on. Art is a means to respond and process. Curiosity and interest are her guides when choosing a subject and medium. Gunnhildur’s work can range from abstract studies about distance, absence and presence – influence and texture to using language, communication, public involvement, audio and images. Her subject matter ranges from gender questions, cultural and societal issues to values behind the concept of humanity. She believes in art as a tool to mediate connections, thoughts and ideas that might be difficult or impossible to express with language. Gunnhildur’s art is a continuing experimentation of such an expression.
Rebecca Erin Moran
Rebecca Erin Moran‘s work is research and process based and emits research and processes. Her work reveals the complicated relations that define unstable processes. The most reoccurring theme is the questioning of the linearity of time. Her investigation focuses on the relationship between time and objects and materiality as well as between space and light. She has approached these relationships mainly through projection, installation, performance, sculpture and through the medium of 16mm film. Her work is marked by the process of adaptation, change and flux, often using materials that degrade over time, adapt, or evolve within the situation of the exhibition space. She is interested in how time manifests itself within its play of materiality, pause in its flow or even how still images become motion within our conscious mind.
Borghildur Indriðadóttir was born in Reykjavík and grew up in Berlin. Borghildur studied in Brussels and graduated with a B.A. from the Icelandic Art Academy. Thereafter she studied at the AHK Amsterdam and obtained her M.A. in architecture from the Universitat der Künste Berlin. She has collaborated with various artists and directors in creating performances and installations. Formerly working at Studio Olafur Eliasson in 2015 and 2016. She now works on her solo projects combining research on social structures, ecosystem and architecture through theatric and cinematic elements where performance, sound and atmosphere become a vital part of the installation often set within the public sphere. Her recent project Demoncrazy – Drosophila, that was censored by Facebook was part of the Icelandic Arts Festival in 2018.