Kolbeinn Hugi Höskuldsson | Forumbox, Finland.
June 30th 2016.
The Future Must Be Destroyed Yesterday is an audiovisual spectacle that explores water as a vessel to all possible futures. Every day infinite future universes are destroyed by our mundane choices. What do these universes contain? Are there some universes that are beyond our power to destroy? Where there is water, there is life. A world void of life is void of us and beyond our reach. Water, is thus for us, the giver of life and destructor of futures. Let us celebrate some destruction.
A 3 hour hypnosis performance.
By Water – Icelandic artists on the shores of Finland, is a major exhibition mounted by the Pro Artibus Foundation, which will extend across four exhibition spaces, and outdoors in the town of Tammisaari, in summer 2016. The project continues the series of exhibitions of Nordic contemporary art produced by Pro Artibus, and is the most extensive showing of Icelandic contemporary art ever held in Finland.
The theme of the exhibition is the relationship between water and people. The starting point is the significance of water in Icelandic culture and society. In Iceland as well as Finland the sea has been something that both divides and unites. Throughout the history of humankind the question of water and its use, ownership of water and its conservation and protection, have been interwoven with culture, trade, industry and art. This everyday theme, humankind’s dependence on water, is a good starting point for an exhibition that presents the diversity and richness of Icelandic contemporary art.
The exhibition will spread out across various municipalities and exhibition spaces like an archipelago. In Helsinki it will be shown at the Amos Anderson Art Museum and Forum Box gallery. In Tammisaari it will be at Gallery Elverket, Villa Schildt and in outdoor spaces in the town. The individual contributions have all been planned with the character of the exhibition space in mind. The artists represent the polymorphous indiscipline of Icelandic contemporary art, and the choices have been guided more by an interest in the differences between Icelandic artists than by a desire to find national common ground.
The contributing artists represent different generations and approaches, but they have all worked with the theme of water prior to this exhibition. At the Amos Anderson Art Museum: Steinunn Gunlaugsdóttir, Ásdís Sif Gunnarsdóttir, Hekla Dögg Jónsdóttir, Sirra Sigrún Sigurðardóttir and Rúrí. Gallery Elverket: Olga Bergmann & Anna Hallin, Birgir Snæbjörn Birgisson, Ósk Vilhjálmsdóttir and Gunnar Jónsson. Tammisaari outdoor areas: Unndór Egill Jónsson and Finnbogi Pétursson. Villa Schildt: Bjarki Bragason. Galleria Forum Box: Kolbeinn Hugi.
The title of the exhibition contains a minor play on words. The Finnish Veden varassa implies dependence on water, but also finding oneself in water and being there, and implicitly staying on the surface. Trampa vatten, the Swedish title of the exhibition, refers primarily to staying on the surface of the water. The English By Water is linked to being beside water, along with the way things are transported with the aid of water, via water or waterways. The trilingual title is also aimed at those who deal with these three languages every day. Multilingualism suits small nations that often have to communicate in a language other than their native tongue.
By Water will be accompanied by an English-language publication containing supplementary texts, articles profiling the contemporary-art scenes in Iceland and Finland, and a art of the written and spoken word by Ásdís Sif Gunnarsdóttir.
Kolbeinn Hugi (1979)
Born in Reykjavík, Kolbeinn Hugi is an Iceland-resident artist of the generation that emerged in the wake of the great cataclysmic rift between art and artists in the bleak, neo-capitalist Reykjavík of modern times.
Kolbeinn Hugi has developed a complex audio-visual language that uses found materials, foamed water, fabrics, and layered, synthesized soundscapes. Visual pyramid and diamond motifs form a ritualistic system within his work. He often uses his body as a tool or vehicle for ideas within his practice, with recurring themes including absurd realities, dream spaces, utopian projections and humankind’s modern-day disconnection and systematic alienation from the environment.
Kolbeinn Hugi was contacted by Edgar Cayce in the informal setting of the dream-state trances established by the great sleeping medium after his death in 1945. There, Kolbeinn Hugi absorbed the acute sensitivity to time and space associated with Cayce’s phantom sculptures as they are installed in his Astral Pavilion.
Kolbeinn’s work is simple and needs no explanation, aiming for the heart, not the head.
His work has been widely exhibited in the western world, and is housed in the collection of the National Gallery of Iceland.