{"id":13164,"date":"2017-10-04T08:51:47","date_gmt":"2017-10-04T08:51:47","guid":{"rendered":"http:\/\/skaftfell.avistaserver.com\/blikka\/?lang=en"},"modified":"2022-03-29T14:14:58","modified_gmt":"2022-03-29T14:14:58","slug":"blink","status":"publish","type":"post","link":"https:\/\/archive.skaftfell.is\/en\/blink\/","title":{"rendered":"Blink"},"content":{"rendered":"

Blink presents works by four artists, who are in various ways exploring mechanisms of observation and documentation in relation to time and space. The exhibiting artists, Jessica MacMillan (US), Maiken Stene (NO), Malin Franz\u00e9n (SE) and Yen Noh (KR), are artists-in-residence at Skaftfell during October and November 2017. The exhibition is part of the Off-Venue program of the Sequences Real Time Art Festival<\/a> in Reykjavik, and has been organized by Skaftfell.<\/p>\n

Opening reception for Blink is Friday October 13 at 17.00, in the Old Liquor store, Hafnargata 11<\/a>. The exhibition will also be open Saturday Oct 14 and Sunday Oct 15 from 12.00-18.00.<\/p>\n

About Sequences<\/h3>\n

\u201cWhile the Sequences festival uses the term \u201creal time\u201d to refer to\u00a0time-based media, \u201cElastic Hours\u201d considers how the term might be applied to the experience of art making, exploring how artists manipulate time as a raw material. The term \u201creal time\u201d also inherently conjures a juxtaposition with \u201cunreal time,\u201d posing the question as to why an abstract metric such as a clock may be considered more real than time as it is subjectively experienced. The clock allows for synchronicity, yet our concept of time is limited when considering microscopic or geologic time scales. Stretching, echoing, and inverting hours, the works included in Sequences VIII often go beyond standardized metrics to investigate alternative systems. These works remind us that our daily rhythms are not solely determined by tradition and locality but can be individualized\u2014customized even\u2014or rooted in natural forces beyond our control.<\/em>\u201d More<\/a><\/p>\n

Artists bios<\/h3>\n

\"MacMillan_Portfolio-500\"<\/a>Jessica MacMillan<\/a><\/strong>\u00a0(b. 1987) lives and works in Oslo. She holds a Master of Fine Art from the Academy of Fine Art in Oslo, and a Bachelor of Fine Art in sculpture and art history from the Massachusetts College of Art and Design in Boston.\u00a0Through the medium of sculpture and installation, Jessica\u2019s artistic production investigates concepts in astronomy and their relationship to the actuality of daily life on our planet: not only the tangible, physical directions and orientations\u2014but also the distances and structures we can never fully experience with our limited senses. Here Jessica presents four kinetic sculptures from her installation\u00a0Antiplanet\u00a0(2017), which have been constructed using found objects and the same equipment and techniques that are used for guiding telescopes. The four sculptures in this installation are aligned with the axis of the planet, and rotate at the same speed\u2013but in the opposite direction. Counteracting the rotation of the planet, these sculptures become physically aligned with fixed points in the sky.
\n\u201cThere is a gap in the relationship between our everyday experience and our larger context: on a planet, in a solar system, within a galaxy. It can be argued that in astronomy, reality and appearance are more disconnected than in any other area of human experience.This creates a necessity for metaphor, and also the opportunity to explore the structure, materialities, and significance of our human experience from different angles. Scientific instruments often require calibration to keep them precise. To \u201ccalibrate\u201d in this sense, is to take external factors into account while making adjustments for accuracy. This is what I hope to accomplish with my art\u2014to offer a different kind of calibration: an opportunity for assessment of the scale of human life, the limits of experience, and our collective concept of (and hope for survival in) the future.\u201d<\/em> (Jessica MacMillan)<\/p>\n

\"IMG_1798\"Maiken Stene<\/a><\/strong>\u00a0(b. 1983) graduated from Malm\u00f8 Art Academy and lives and works in Oslo and Sokndal, Norway.\u00a0Maiken uses painting,\u00a0installation, text, video, and sound\u00a0to\u00a0research the connection between geology and landscape painting. Her work studies how both disciplines have gradually formed nature and our understanding of it.\u00a0In the video\u00a0This Land is My Land\u00a0(2014, HD video, 7 min.), Maiken uses, and irreversibly transforms one of her previous works, a scenographic painting based on a print from 1840 which depicts a Cornish tin-mine.
\n\u201cI\u00a0packed up the painting\/set and drove it to a gravel pit in northern Skne where, with good help from photographers and pyro-technicians, I blew up the landscape with dynamite.\u00a0The sound is from a real blast recorded in the iron mine\u00a0Titania in southwest Norway.<\/em>\u201d\u00a0(Maiken Stene)
\nPresented as a video installation, the work includes the original print of the tin-mine, hung upside-down. It can be viewed through an old theodolite, a land survey tool used by mining companies, which flips the image by 180 degrees.<\/p>\n


\nMalin Franz\u00e9n<\/a>\"langeborvi19\"<\/a><\/strong>\u00a0(b.1982) studied at Malm\u00f6 Art Academy. Working with video, objects, and installations,\u00a0she often uses documentary material to explore her interest in myth, expansion, and the desire to achieve utopian change and convert others to one\u2019s own vision. In a series of installations, she explores the role of legends in the emergence, expansion, and maintenance of religious and political movements. The most recent work in this series,\u00a0L\u00e4nge bor vi p\u00e5 ruinerna av det f\u00f6rg\u00e5ngna [For long we live on the ruins of the past]\u00a0(2017), focuses on Swedish writer, feminist, and public intellectual Elin W\u00e4gner. In 1937, W\u00e4gner went on an archaeological field trip to Crete in search of historical examples of peaceful coexistence suggesting alternatives to the violent and war-torn times in which she lived. Following W\u00e4gner\u2019s footsteps,\u00a0L\u00e4nge\u2026\u00a0asks what happens when one attempts to merge historical fragments into a new narrative about the past in order to point to an alternative way forward.<\/p>\n

 <\/p>\n

\"\"<\/a><\/p>\n

Yen Noh<\/a><\/strong>\u00a0(b.1983) has received a BFA from Hongik University in Seoul and a MA in Transdisziplin\u00e4re Kunst from the University of Applied Arts Vienna. Looking into the gap between the \u201coriginal\u201d and \u201ctranslation\u201d in cultural relativity, Noh takes language and translation as her themes to produce \u201cspeech performance\u201d, in which a spoken language becomes a critical agent to rethink the relationship between spoken language, speaking body and its mind. She is concerned with an\u00a0archival mind\u00a0in action and togetherness, in order to create a temporary, yet intimate community of thinking, dialogue and discourse.<\/p>\n

When A Form Withdraws Itself\u00a0is a \u201cspeech performance\u201d series that deals with the gesture of withdrawal as affirmative. The series developed from a long-term artistic research into the performance and text works of the artist Theresa Hak Kyung Cha who explored spoken language, voice, and body as a critical intervention of identity. In this exhibition here, the objects of the performance\u2019s documentation are shown, questioning what it means to document performance and what makes it so attractive to think of the relationship between documentation and performance. While a speaking body dominated the space during the performance, Yen is here interested in the ontological question of the visible and invisible transformation of objects in the post-performance. How does the spoken word resist being materialized, yet its technical information and transformation appear by and after performance?\u00a0Yen experiments with these questions as a preparation for her artist book,\u00a0\u201cWhen A Form Withdraws Itself\u201d.<\/p>\n

\"ACK\"<\/p>\n

Top image:\u00a0 Malin Franz\u00e9n, L\u00e4nge bor vi p\u00e5 ruinerna av det f\u00f6rg\u00e5ngna
\n[For long we live on the ruins of the past], video installation, 2017.<\/h6>\n","protected":false},"excerpt":{"rendered":"

Blink presents works by four artists, who are in various ways exploring mechanisms of observation and documentation in relation to time and space. The exhibiting artists, Jessica MacMillan (US), Maiken Stene (NO), Malin Franz\u00e9n (SE) and Yen Noh (KR), are artists-in-residence at Skaftfell during October and November 2017. The exhibition is part of the Off-Venue program of the Sequences Real Time Art Festival in Reykjavik, and has been organized by Skaftfell. Opening reception for Blink is Friday October 13 at 17.00, in the Old Liquor store, Hafnargata 11. The exhibition will also be open Saturday Oct 14 and Sunday Oct [\u2026] <\/p>\n

<\/div>\n

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