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Interview: Elín Hansdóttir

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April 26, 2013

Sequences VI Embracing humdrum and drama

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Sequences real time art festival was held this april 5. – 14 in Reykjavík. 22 artists exhibited and performed in 18 locations, most of which were off the beaten art track. Alongside the official curated program, a great number of off venues were presented. The exhibition of the honorary artist Gretar Reynisson was hosted in the Living Art Museum and the opening of it inaugurated Sequences VI on a festive Friday night with a great number of local and international guests attending.

Gretar Reynisson, Decade. 2001 – 2010.

 

Markus Thor Andresson, the curator of Sequences VI welcomes guests.

A series of other exhibitions opened the same night, including Martha Wilson and Sigrún Inga Hrólfsdóttir´s exhibitions in Listamenn, next door to the Living Art Museum. Magnús Logi Kristinsson started his journey on the same night, a most enjoyable one, a subtle, sculptural yet slightly comic narrative that wove Sequences neatly together. DJ Attachè set the mood in KEX, where Kristinsson´s performance took place, with an irresistible mix of tones that sneaked through the skin and bones of guests, fueling them with social energy for the days to come.

 

Magnus Logi Kristinsson, Thinking Outside the Box… and Inside, no 1. 2013

 

Saturday on Sequences started with Emily Wardill´s opening in Kunstschlager. The show went on with Erla Silfá Þorgrímsdóttir´s Passion Hymns: Bootleg in Bio Paradís, the local independent cinema. Þorgrímsdóttir´s work took place several times during Sequences, where guests were invited to the cozy sofa chairs of the cinema, doors shut and lights off. The soundwork consisted of layered soundclips from everyday life in Reykjavík, that normally belong to the background but here play the role of the nucleus, the subtle and indifferent things in life, that in the end are what life is composed of.

On went the openings and a collective of people joined to Kling & Bang Galleri where Kristleifur Björnsson and Guido van der Werve shared the space. Some might argue that Van der Werve stole the scene this Sequences with a mindblowing videowork, documenting a triathlon he went on from Warsaw, the birthplace of Chopin and where his heart rests, to Paris where his body is buried – without the heart. Van der Werve wrote a score that accompanies the beautifully composed videoshots, a sensitive combination that sets a rarely touched string in ones heart into motion.

 

Guido van der Werve, Nummer Veertien, 2012.

 

Tova Mozard opened in SIM House, The Big Scene, an exhibition that almost pulled the viewer into personal therapy. The Reykjavík Sculpture Association invited guests to their scruffy, urban cozy workshop, where Magnus Logi´s No 2 performance took place, as well as Ragnheiður Gestsdóttir opened her exhibition, Loco Motion and Eygló Harðardóttir and Ríkharður H. Friðrikson´s Hustle and Bustle was screened outside on a fabric screen blowing in the evening breeze, with pieces of the busy and colorful scenes reflecting in the nearby houses and the water puddle that had just formed in the afternoon rains.

 

Photo: Maxime Smári Þorleifsson for Grotta Zine and Sequences

 

Eygló Harðardóttir & Ríkharður H. Friðriksson; Hustle and Bustle, performance. 2013.
Photo: Maxime Smári Þorleifsson for Grotta Zine and Sequences

 

Sunday, rise and shine. The organisers did a truly fantastic job in organising Sequences, tailor making the program to human pace! A rare something in modern day “hustle and bustle”. The recently opened Hverfisgallerí opened its doors to Sequences guests and invited to Tumi Magnússon´s show  4 Times to the Shop, a exploration of mundane tasks – this one a trip to the local supermarket, multiplied by four. Magnús Logi Kristinsson No3 took place in Harpa, a duration performance like the others, this time exploring the public space of Harpa, concert hall.

 

Magnús Logi Kristinsson, Thinking Outside the Box… and Inside, no 3, performance. 2013
Photo: Maxime Smári Þorleifsson for Grotta Zine and Sequences

 

Fiete Stolte´s exhibition, Temporary Scenery, opened in the Ásgrímur Jónsson Museum, the former home and studio of Ásgrímur, one of the pioneers of Icelandic visual art. The former living space remains untouched and this time played host to a TV, serving as a monitor for the Scenery in the upstairs studio. Visitors traveled around the house, adding the temporal element to the output as they passed by the webcam located between the two floors. This all happened in a slow sequence with relay enough to see yourself entering the landscape and exiting the Temporary Scenery.

 

Fiete Stolte, Temporary Scenery.

 

In the nearby Hótel Holt, five artists exhibited. Hótel Holt served as the festival bar for Sequences VI, as well as most of the visiting artists and many of the guests visiting from abroad enjoyed the privilege of staying at the classic Reykjavík hotel, that at the same time serves as the only venue in Iceland that has a permanent exhibition of local art history. It must be admitted that many of the locals were very envious of Sequences guests staying at the legendary Hótel Holt.

To wipe the tears they could nevertheless enjoy the works of Hans Rosenström, a very intimate experience that sure made ones heart beat faster, and Rebekka Erin Moran at separate hotel rooms, and a series of portraits by Ragnar Kjartansson in the foyer, namely created during 24 hours at one of the hotel suites. Two other works were to be enjoyed in the hotel, thoughts about privacy and a documentation of the artist Meriç Algün-Ringborg, caught in unknown people´s snapshots, and Time will not record everything, probably the most hidden but yet richly present work of Sequences VI. Magnús Sigurðarson´s work I Am Thinking about It welcomed guests as they entered the hotel, a videoportrait of the artist himself describing his thoughts at each given moment. An analysis of the human nature with all its glory, embarrassments, obligations and dreams.

 

Magnús Sigurðarson, I´m Thinking about It.

 

Rebekka Erin Moran, Don’t stop now, ’cause we’re havin’ a time.

 

Sequences continued during the week with artist talks, ongoing program off venue, swift changes in the weather, guests enjoying wandering between exhibitions and other business as usual in Reykjavík. A couple of more openings remained, Aleesa Cohene´s, Yes, Angel in the Reykjavík Museum of Photography was a true delight, a multi-sensory experience – as was Curver Thoroddsen´s The Fine and Delicate Art of Archival Processing, but in quite another manner. The sound work documented the artist taking a dump for a month with all its glory and pain – nailing it with the title of the work, documenting yet another mundane activity with all its background noices and atmosphere, providing a glimpse into the family life of the artist. A grand last opening on Sequences VI.

Eva Ísleifsdóttir literally pushed time in her sculptural performance Pushing Time, a slow journey around the area of Skólavörðuholt in central Reykjavík. The performance marked the beginning of the end – the last day of this years Sequences real time art festival.

 

Eva Ísleifsdóttir, Pushing Time. Performance, 2013.

 

Eva Ísleifsdóttir, Pushing Time. Performance, 2013.

 

Hótel Holt became a central location for the last event of the second weekend of Sequences VI, a grand Night of Performances. Hótel Holt had probably not seen so many guests gathered in the quiet hotel since its early days, but the guests seemed content and enjoying the seamless shift between the varied series of performances that took place around the hotel and ranged from communist singalong by the fire to treasure hunting around the hotel, to the slow motion and ultra cool entrance and exit of young artist Sigurður Ámundason and his Snake Cool.

 

View more videos from the Night of Performances here.

 

Art Review, Kunsten.nu and more have written about Sequences – and there is more coverage to come. All reviews will be published here.

 

Sequences VII will be held in 2015. Stay tuned on sequences.is and on the Sequences Facebook.

 

 

 

 

 

 

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