Listræn dagskrá fer fram allan ráðstefnutímann. Sjá kort hér til hægri.
The artistic program runs throughout the conference duration. See map to the right.
Andrea Gohl: Endell Street.
Two channel video installation (HD, 35 minutes with sound, looped) & artist’s publication
Endell Street is an art project about a street in central London where the Swiss Church (built in the 1850s by emigrated Calvinists from Geneva) is located. The street was named Endell Street around the same time the church was built. This inspired the idea of parallel histories. Taking the Swiss Church as a geographic departure point for the project, the dual themes and histories of church, street, and neighbouring buildings serve as material and inspiration for this artistic research.
The personal and collective memory and perception of place is examined in moments and fragments of observations, encounters, and research, all coming together in a montage exploring everyday places: a
hostel for the homeless; a community garden; a swimming pool; a 19th-century pub; and, of course, the Swiss Church.
Using video footage that ranges from fixed frames to hand-held camera, the artist is exploring different ways of documentation. Encounters are never filmed as a conclusive event. Narratives aren’t linear. They unfold through time and place—and the suggestiveness of what is said or shown.
While the church is a space in transition, re-defining its place and purpose, the people encountered are all in their own states of in-between. Stories unfold through time and place and the suggestion of what is said or shown.
Einar Torfi Einarsson: Instrumental Memories
Innviðir píanós, hljóð
Memory as a nebulous mass; discontinuously presented in slices; memory of matter, of the piano, of keyboards, of music. Memory is always part of perception; past and present always coexist:
“But how can the past, which, by hypothesis, has ceased to be, preserve itself?”…”Your perception, however instantaneous, consists then in an incalculable multitude of remembered elements; and in truth every perception is already memory. Practically we perceive only the past, the pure present being the invisible progress of the past gnawing into the future”…”it is a chimerical enterprise to seek to localize past or even present perceptions in the brain: they are not in it; it is the brain that is in them”. (Henri Bergson, Matter & Memory)
Harpa Dís Hákonardóttir: Auðmýkt
,,Steigstu í mykjuhaug eða á tilfinningar einhvers?” Það er í raun ekkert rétt svar fyrir utan fótsporið í steypuna sem mun geymast að eilífu, mótað í fast efni. Í verkinu er spurningunni um samhengið milli orðsins auðmýkt og að auðmýkja velt upp. Hinn hluti verksins er handafar, rýmið milli handanna sem halda fast um hvor aðra, sér til halds og trausts.
Verkið Auðmýkt vann Harpa Dís á 30 daga tímabili þar sem hún gerði afsteypur sem í senn eru alveg eins en samt ekki. Með hverri afsteypu verður til nýr skúlptúr sem er eins og fyrirrennarar sínir en þó er hver eftirmynd einstök. Einstök líkt og snerting, líkt og minning. Snerting er gjörð sem síðan verður að minningu, minningu sem lifir.
Jeannette Castioni: Quote Syndromes
The piece will try to embark the recognition of the continual interplay between structures and subject interpretations. “Quote syndromes” will compare and contrast through the chronical of memories and their translation, pathways for to depart the "data organization ” allowing instead imaginative action and reaction practices to emerge.
The piece unfolding goes toward an interpretative line of instruction and excerpts, a syndrome of emancipations where the ultimate longing is to fulfill matters of personal observation. Questioning how practices of remembering are translated and accessible in the every day, likewise how the intertwined flow of data and instructional references from social networks and reports, are unlocking the potential of the social ground enabling creativity and new pathways to emerge.
The cross description of the natural realm and human narratives is actualized by overlapping diversified informational routes and agendas; cynically simplify the interlace between what stands behind subjects narratives and storytelling and how the relationship with their human as social identities might friction with unrelated challenges, as with animal documentaries, revealing the connection with narrative forces as well as discrepancies between layer of experiences, nevertheless able to prompt and unlock the potential of subjects imaginative projections and their indeterminacy.