Sigurður Guðjónsson in Fatamorgana
Opening: Saturday December 15th 2012, at 8 p.m.
Omphalos, via Pietro Toselli 21, Terlizzi, Bari. Italy
Fatamorgana is a traveling project of reconnaissance about international video art, designed and produced by the collective Like a Little Disaster. The project identifies, reactivates and occupies architectural spaces – without any preclusion and or category which closes and excludes – temporarily converting in devices of transmission of thought, in temporary accommodation of mirages. Moving from twofold aim that is the Art to “make” the place, not the contrary and the artistic experience can offer an alternative model’s dialogue with complexity of the reality.
Fatamorgana#1 is curated by Giuseppe Pinto. It’s provides the implication of nine artists from Northern Europe area (Norway, Iceland, Sweden, Finland and Denmark), divided into two chapters.
Chapter I | Artists included:
Knut Åsdam, Søren Thilo Funder, Sigurdur Gudjonson, Hannu Karjalainen, Nina Lassila, Trine Lise Nedreaas, Sini Pelkki
Chapter II (from February 16th, 2013) | Artists included:
Jenny Åkerlund, Anna Wignell
The selected works lead the visitor in a path that goes from the objective identification of the “events” to the gradual loss of this visual sureness, until achieving the erasing of the reality. Kunt Åsdam, Nina Lassila and Trine Lise Nedreaas works establish a dialogue which puts the human body just like visual totalizing element, providing a conceptual attitude that oscillates from extreme concentration of the action to the deliberate loss of control. With a poetic and ontological attention in the same time and through dynamics strongly performing they create a mirror reflection, a game of continuous gazes and crossed “visions” between the represented subject and the observer.
In Sigurdur Gudjonson, Hannu Karjalainen and Sini Pelkki’s works the system of recognition of themselves just like de-finite human body begins to lose its net contours, it fades until showing a vague and evanescent shape. The indefinite yield of the figure into the space forces the observer to vary continuously his focal point, to capture the visual in a direction that has never the center of the visual focus, or that disguises the previous reality. And once again we see but we are also seen, in Søren Thilo Funder’s work Blink in which the artist remains for 52 minutes without ever closing the eyes.
With the site specific actions of the Swedish artists Jenny Åkerlund and Anna Wignell, you proceed in a territory decidedly different; cold, abstract and minimal one. If the sensorial experience has so far been dominated here form the vision of human body and then losing the features, now it reaches the zero degree of the visual. The visitor is led into a space that don’t shows any representative need, and in the search of the hidden meaning of this kind hermetic situation, he will find own body as generative element of the visual experience.
The works in the exhibition don’t cross straight streets and already tested, but secondary roads that don’t maybe lead to the far places all the time but move our point of view, allowing us to consider that other possibilities. An open field to absolutely distinct poetics, within which can fulfill the desire to swap experiences, ideas, reflections, and also to cause them. We’d like labyrinthine artistic path was lived not just like a finished story but like an action defined in terms of relationship among subjects, forms, ideas, different spaces, looking like testing centre more than an accumulation of certainties.
As a whole the action of Fatamorgana attempts to focus on continuous artists effort to build personal aesthetic worlds, to need to establish their own formal, to produce a new reality. The artists determine the meaning and usefulness of own raison d’être and the survival of the artistic gesture in a dominated world by mass-social media in which the reality doesn’t seem to occur out of the representation. We are interested in the ideas that seem a pile of remains and sediments, scraps, blanks and attempts, the works that allow the viewer to recreate his human and aesthetics experience, capable artists of renewing the faculty of imagination about different ways of living in the world and engage “senses”.
These premises also require an approach that rejects the logic of a distracted and superficial vision. The visitor is instead given an important role. Fatamorgana begins from an urgent and direct form of inquiry and research composed of incompleteness of intentional conceptual that simultaneously hides and shows its own premises, in a moment in which all seems must to be simply clear, visible, spectacular, measurable and shareable, Fatamorgana leaves unresolved points, trying to plot the path of a dialectic that can allow different subjective experiences processed individually. In this aporetic context, the visitors have got absolute freedom of action, no matter how much experience can result confusing and alienating.
Sigurdur Gudjonsson is considered one of the rising stars of the North European video art, in recent years has been involved in the most important international project of contemporary art and has exhibited in the most authoritative art spaces such as; Bergen Kunsthall – Tromsø Kunstforening – Frankfurter Kunstverein – Alessandro Marena Project Torino – Adler Gallery New York-Frankfurt – Galleri Priestor Bratislava – Reykjavik Art Museum – Arario Gallery Beijing – Casa Masaccio, Contemporary Art Center, San Giovanni Valdarno, Italy – Hendrik Christian Andersen Museum Roma – Northwave curated by Lorella Scacco (book and video screening) Venice Biennale – The building, e-flux video rental, Platz Der Vereinten Nationen Berlin – Kunsthalle Wien – KW Institute for Contemporary Art, Berlin -Vienna Biennale. He recently took part in the Liverpool Biennial, which opened in September 2012.
The exhibition is open through January 15, 2013
Omphalos, via Pietro Toselli 21
Terlizzi, Bari. Italy