Welcome to the opening of Silent Space at The Nordic House, Tuesday, November\u00a07th at 5 PM with a guided tour and an introduction from Nina Backman. Also present at the opening are Rebekka Gu\u00f0leifsd\u00f3ttir, Sigur\u00f0ur Gu\u00f0mundsson and Sari Palosaari.<\/p>\n
Silent Space<\/em>\u00a0\u2013 showcases works of seven Nordic artists whose positions address the interference of environment and personal space. The exhibition will take place in the foyer, the greenhouse, and the library. \u00a0Free\/ open for all. Silent Space is a part of\u00a0\u00a0Silence Project\u00a0<\/a><\/p>\n Artists <\/p>\n Sari Palosaari (FI)<\/strong> With a related concept Palosaari recently (2016) won the competition Secret Life of Buildings – Objects, organized by Centre for American Architecture and Design and University of Texas at Austin School of Architecture, USA. At the moment the silent agent is also splitting rocks in her work Matter of Time in Varbergs Konsthall in Sweden. Palosaari is also finalizing (until June 2018) a large public art work for Uppsala Academic Hospital in Sweden. <\/p>\n Lise Bj\u00f8rne Linnerts (NO)<\/strong> <\/p>\n Rebekka Gu<\/strong>\u00f0<\/strong>leifsd<\/strong>\u00f3<\/strong>ttir &\u00a0 <\/strong>\u00d3<\/strong>lafur Kolbeinn Gu<\/strong>\u00f0<\/strong>mundsson (IS) <\/p>\n Marja Helander (FI)<\/strong> Nina Backman (FI) Lene Berg (NO)<\/strong> Welcome to the opening of Silent Space at The Nordic House, Tuesday, November\u00a07th at 5 PM with a guided tour and an introduction from Nina Backman. Also present at the opening are Rebekka Gu\u00f0leifsd\u00f3ttir, Sigur\u00f0ur Gu\u00f0mundsson and Sari Palosaari. Silent Space\u00a0\u2013 showcases works of seven Nordic artists whose positions address the interference of environment and […]<\/p>\n","protected":false},"featured_media":11484,"template":"","event-categories":[56],"class_list":["post-12615","event","type-event","status-publish","has-post-thumbnail","hentry","event-categories-exhibitions","has-banner-image"],"acf":[],"_links":{"self":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event\/12615","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event"}],"about":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/types\/event"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/media\/11484"}],"wp:attachment":[{"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/media?parent=12615"}],"wp:term":[{"taxonomy":"event-categories","embeddable":true,"href":"https:\/\/nordichouse.is\/en\/wp-json\/wp\/v2\/event-categories?post=12615"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\n<\/strong>IMAGE: Sigur\u00f0ur Gu\u00f0mundsson, Dancing Horizon, 1977. Courtesy of the artist and i8 Gallery, Reykjav\u00edk<\/p>\n
\n<\/strong><\/span>
\nSigur<\/strong>\u00f0<\/strong>ur Gu<\/strong>\u00f0<\/strong>mundsson (IS)
\n<\/strong>Dancing Horizon\u00a0<\/em>
\n1977
\n<\/strong>Sigurdur Gudmundsson\u2019s (b. 1942) work is difficult to separate from the energetic, humorous, intelligent artist himself. His prolific and highly individual body of work includes photographs, novels, and giant replicas of chocolates in stone, metal, and lacquer. Since the 1960s, his varied and at times seemingly cacophonic achievements have gradually grown into an oeuvre that is also vigorous, succulent and original. Gudmundsson is one of Iceland\u2019s most international artists, with homes and studios in Holland, Iceland and Sweden, and recently in Xiamen and Beijing. He has exhibited widely in Europe and has had commissions for major public works in the Nordic countries and in Central Europe.\u00a0 www.i8.is<\/a><\/p>\n
\n Split stone with the sound of it splitting<\/em><\/strong>
\n 2017<\/strong>
\nStone, speakers, sensor
\nThe work consists of two halves of a stone, with loudspeakers attached to them. To split the stone, Palosaari has made use of soundless cracking agent, an expansive mortar, that is developed for splitting rock and concrete in urban construction sites without any noise or vibration. When applying the silent technic to the stone, she noticed that the stone made sounds while cracking. For this work she repeated the process in a sound studio and recorded the sounds when the minerals inside the stone fall apart.<\/p>\n
\nwww.saripalosaari.com<\/a><\/p>\n
\nSting<\/strong>
\n<\/em>Sting<\/em> starts from a personal story. In 2009 I had to go through a thorough surgery that caused pain and a long recovery time. I used the situation to research pain. A daily objective study knotting knots in thin silk thread. The project lasted 92 weeks. I attached the knots to week plans and framed them. Pain can be invisible and silent, yet constant and load. The viewer is invited to see the work through magnifying glasses. Across a variety of media, Linnert\u00b4s process-based work explores concepts of intimacy, presence and an interaction between an individual and the masses. Her work has been exhibited domestically and internationally, at places such as: Stenersen Museum, Oslo, Norway, Pallat House Gallery, Chichester, UK, The Station Museum of Contemporary Art, Houston, USA, Charlottenborg Kunsthal, Copenhagen, Denmark. www.lisebjorne.com<\/a><\/p>\n
\n<\/strong>Rebekka Gu\u00f0leifsd\u00f3ttir\u2019s photography contains a unique sensibility \u2014 it is dramatic and spare without being stark. Both a landscape and a portrait photographer, her magnetic qualities come together in her self-portraits and luminous snow-scape and coastline images.
\nHer breathtaking imagery of her native Iceland and her mastery of editing has made Gu\u00f0leifsd\u00f3ttir an icon of digital photography. The Weather Experience is a collaboration between Rebekka Gu\u00f0leifsd\u00f3ttir and \u00d3lafur Kolbeinn Gu\u00f0mundsson.\u00a0\u00a0www.rebekkagudleifs.com<\/a><\/p>\n
\n Trambo<\/em>, 2014<\/strong>
\nAn indigenous S\u00e1mi woman wandering on a snowy mountain, dragging a big trampoline, a burden she hopes will bring a bit of joy to the monotonous journey of life. The trampoline is a reference to the modern age, but it can also be seen as a prison. The round shape of the trampoline, the jumping and the sound that it makes also refer to shamanism as my people’s long-lost heritage. Another way of seeing the video is as a dreamlike state, a glimpse into another world.
\n<\/strong>Dolastallat
\n<\/em>Helander’s recent video work Dolastallat won the Kent Monkman award for best experimental at imagineNATIVE Film + Media Arts Festival in Toronto, 2016.\u00a0\u00a0www.marjahelander.com<\/a> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 <\/strong><\/p>\n
\n<\/strong>Aino Metronatural <\/em>\u2013<\/em> Silence Protest
\n<\/em>Aino Metronatural is a series of work by the Finnish born and Berlin-based artist Nina Backman. The performance piece originates from the Finnish epic Kalevala. It explores the themes of transformation, change and nature. The performance series started in 2006 and has so far consisted of installations, photography and video.
\nNina Backman works in the margin between installation, performance and visual art. Her work confronts the viewer with the complicity of the human condition and asks about life concepts, identities and values. She works and exhibits internationally. www.ninabackman.com <\/a><\/p>\n
\nShaving of the Baroness<\/em>
\nVideo \/ Screened 7th of November
\nShaving the Baroness can be seen as a homage to the Baroness Elsa von Freytag- Loringhoven, who died in poverty and has been forgotten by history. But the decisive factor for me making the film was the central idea about the essence of moving images. It shows a unique moment where the past and the future are not important. It involves a certain risk and a certain ambiguity. The main character is transformed, yet no story in the conventional sense of the word is taking place. The situation is intimate and the experience would normally not be possible to share with others unless it was documented. Even if what can be seen already belongs to the past, it will always take place in the present whenever the film is screened, be it a hundred years from now or a hundred years ago.<\/p>\n","protected":false},"excerpt":{"rendered":"