Stolnar fjarir

rds Alda Sigurardttir

STOLNAR FJARIR 10. gst ? 15. september

 


rds Alda og sgurnar hinu sma

eftirJn Propp

Heill skgur af trjm r ryguu jrni og rygaar flkjur af jrni glfinu eins og rtur. Laufhaddur trjnna ? ef svo m a ori komast ? er gerur r dagblum, lopapeysum og sokkum. Allt er etta kunnuglegt en samhengi framandi og upp r skginum stendur svo logandi viti eins og til a vsa okkur veginn. Efni af essu tagi ? ft, gmul straujrn, sokka, ryga jrnadt ? hefur rds Alda lengi nota sklptra sna og innsetningar. etta eru oftar en ekki hlutir af v tagi sem vi umgngumst og notum daglega n ess a gefa eim mikinn gaum nema t fr notagildi eirra. Vi gngum til dmis sokkum, voum og gngum fr eim skffu, aftur og aftur hverri viku alla vi, n mikillar umhugsunar; sokkar eru svo merkilegir a egar kemur gat hikum vi varla vi a henda eim. ?g vinn t fr essu sma sem umlykur okkur,? sagi rds Alda vitali ri 2004. Efniviur hennar er essir hversdaglegu hlutir sem f einmitt merkingu af v vi erum alltaf a stssa me n ess a hugsa miki um a og eir vera eins og samgrnir okkur n ess a vi tkum eftir v. ryskginum, lkt og mrgum eldri verkum snum, safnar rds Alda slkum hversdagshlutum saman svo allt einu verur til heil undraverld og af mtsgninni blmstra allt einu fram flknar myndlkingar og vnt, n sjnarhorn.

rds Alda Sigurardttir lri myndlist Myndlista- og handasklanum Reykjavk og vi myndlistarakademuna Mnchen nunda ratugnum og hlt sna fyrstu einkasningu ri 1987. eim tma var mikil grska sklptr slandi, ekki sst vegna tilrauna sem slenskar listakonur hfu veri a gera ar sem r notuu m.a. textl bland vi mislegt anna efni, bi nttrulegt efni og fundna hluti r hversdaglegu umhverfi okkar, gjarnan me tengingu vi umhverfi og strf kvenna. essi afer virist hafa henta rdsi ldu og verkum snum kannar hn mguleika efniviarins, merkinguna sem verur til hversdagslegri umgengni og myndlkingarnar sem geta sprotti fram egar hlutirnir eru settir ntt samhengi ea f n hlutverk. Merking verkanna verur senn persnuleg og undarlega almenn v r efnivi snum getur rds Alda bi til tal sgur og tekist vi lklegustu vifangsefni, hvort sem er persnuleg ea plitsk. a eru oft hversdaglegustu hlutirnir sem segja endanum mest um lf okkar og sgu.

sningu sinni Ketilhsinu veltir hn upp msum spurningum og lkt og oft ur tengir hn r persnulegu umhverfi snu og lfi. Hr birtist listakonan meira a segja sjlf myndum sem teflt er saman vi myndir af drum trmingarhttu. essi samsetning er trlega geng og grandi: Httan er ekki lengur fjarlgt ea abstrakt heldur persnuleg og nlg. grun af essu tagi m lka finna v a hr eru snd saman verk eins og myndband af barni og svo innsetningin af ?leitogafundinum?. Hi plitska og hin sammannlega saga er alltaf raun persnuleg og vi skiljum ekkert raun nema vi getum skili a sem hluta af okkar eigin sgu.

etta samtal vi sguna er sterkur rur myndlist rdsar ldu og birtist einmitt helst ?essu sma sem umlykur okkur?. Hn lst upp sveit og hversdagsstrfin eru henni hugleikin, strfin innan hss og utan og lfi sem spinnst vi essi strf. Hn dregur fram stssi vi votta, hversdagsleg ambo og forgengilega hluti, dti sem safnast upp kringum okkur, jrnarusli bak vi skemmuna ea smdti ofan skffu sem enginn man lengur hvaan kom.

Sklptrinnsetningin hentar einkar vel fyrir nlgun hennar og skilning. innsetningunni verur til umhverfi sem vi getum gengi inn ea a minnsta kosti mta okkur vi, umhverfi sem er eins og efni sem hn notar, senn hversdagslegt og framandi. Hr f kunnuglegir hlutir ntt samhengi og r verur samtal sem vi erum strax orin hluti af einmitt vegna ess a hversdagsleikinn er okkur a svo strum hluta sameiginlegur: ll eigum vi sokka skffu ea snru. a sem kemur vart er a r essum hlutum megi sma heila furuverld, jafnvel einhvers konar vintraskg og opinbera annig miklu strri sgu um verld okkar og rlg.


 

rds Alda and the Story of Small Things

by Jn Propp

A whole forest of trees made of rusted iron with rusty, root-like twists of iron on the floor. The leafy coiffure of the trees ? if one may call it that ? is made up out of newspapers, Icelandic woolen sweaters, and socks. All of the elements are familiar, but the context is astonishing; and up out of the forest stands a flaming tower, as if to show us the way. rds Alda has long made use of materials of this kind ? clothing, old flatirons, socks, rusty bits of iron ? in her sculptures and installations. These are most often things that we use and encounter daily, without paying much attention to anything but their use. We wear socks, for example, wash them, put them away in our drawers, again and again, each week of our lives, with hardly any thought; socks are so insignificant that when a hole is worn in them we hardly hesitate when we throw them away.

?I work out of the little things that surround us?, rds Alda explained in a 2004 interview. Her materials are the everyday things whose significance derives from the fact that we work with them constantly without thinking much about them, and they become integral to our daily lives without our even noticing. In the rusty forest, as in many of her earlier works, rds Alda collects together commonplace elements in such a way that all at once a wonderland is formed, and out of this contradiction flourishes, all of a sudden, a welter of complex metaphors and unexpected new perspectives.

rds Alda Sigurardttir studied art at the Icelandic College of Arts and Crafts (Myndlista- og handaskli slands) and at the Academy of Fine Arts in Munich (Akademie der Bildenden Knste Mnchen) in the 1980?s and held her first individual exhibition in 1987. That was a period of rapid development in Icelandic sculpture, not least on account of the experiments being done by Icelandic women artists in which they used, among other things, textiles in combination with various other elements ? both natural materials and man-made objects from our everyday surroundings ? preferably connected with the work and environment of women. This approach seems to have suited rds Alda very well, and in her works she explores the possibilities of her materials, the significance that derives from everyday familiarity, and the metaphors that appear when these objects are placed in a new context or given new roles.

The meanings of her works are both personal and astonishingly universal, for out of her materials, rds Alda is able to create infinitely many stories and to deal with the most unexpected subjects, whether personal or political. It is often the most mundane objects that have, finally, the most to say about our lives and our history. Here the artist herself may appear in pictures that are arrayed together with images of endangered animals. This combination is extremely forceful and provocative: the dangers are no longer distant or abstract but personal and present.

Provocation of a similar kind is also seen in the juxtaposition of two installations, one featuring a video of a child and another representing a summit meeting of political leaders. The political, and our common human story, are always actually personal, and we do not really understand anything that we cannot interpret as a part of our own story. This conversation with history is a basic thread that runs through the art works of rds Alda and appears most clearly in ?the small things that surround us?. She grew up in the countryside, preoccupied with the tasks of daily life: indoor and outdoor work and the life that is woven out of work of this kind. She highlights the work of washing, the tools and instruments of our daily routine, and transient, disposable objects ? the things that collect up around us, such as the heap of metallic junk behind the shed or the hodge-podge of little things in the drawer whose origins we have long ago forgotten.

Sculpture installation is very well suited to her vision and approach. In an installation, an environment is created into which we can enter or at least measure ourselves against, an environment that resembles the materials that she uses: at once commonplace and startling. Here mundane things are placed in a new context, and out of this emerges a dialogue that we immediately become a part of, precisely because the everyday environment is our own and, in large part, shared among us: All of us have socks in our drawers or hanging on the washline. What is unexpected is that, out of such things, it is possible to construct an entire, fabulous world ? even a fantasy forest ? thus to reveal a much greater story about our own world and our destiny.

Translated by: Barbara Belle Nelson


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