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Ragnar Kjartansson
Ragnar Kjartansson compose une œuvre singulière à la croisée de la performance et du cinéma, de la sculpture et de l’art lyrique, de la peinture de plein air et de la musique. Il produit régulièrement de vastes projets interdisciplinaires dont la réalisation implique souvent plusieurs participants – acteurs, musiciens, amis et membres de sa famille. Éprouvant les mécanismes du spectacle et les ressorts de la tragédie, Ragnar Kjartansson parvient conjointement à faire advenir une émotion à travers des gestes mélodramatiques et à révéler la réalité qui se joue dans les fondements de toute interprétation. Par la répétition, véritable motif de son œuvre, Ragnar Kjartansson éclaire l’effort à l’œuvre et la théâtralité de la vie quotidienne. Livre publié à l’occasion de l’exposition personnelle de Ragnar Kjartansson au Palais de Tokyo, « Seul celui qui connaît le désir », 21.10 2015 – 10.01 2016
The End
Edited by Christian Schoen. Text by Cecilia Alemani, Markus Th. Andresson.
Ragnar Kjartansson
Published alongside the exhibition at the Barbican, London (14 July - 4 September 2016), 'bringing together live performance, music, film, painting, sculpture and drawing' - and the first UK survey of this internationally acclaimed Icelandic artist.The fully illustrated book features a pictorial autobiography compiled by Ragnar Kjartansson himself, and is designed by John Morgan studio. Clichés and motifs of Western culture, romantic melancholy and even his own conception, provide the personal and often playful subject matter of the artist
World Light
A magnificently humane novel from the acclaimed Icelandic Nobel Prize winner: as an unloved foster child on a farm in rural Iceland, Olaf Karason has only one consolation, the belief that one day he will be a great poet. The indifference and contempt of most of the people around him only reinforces his sense of destiny, for in Iceland poets are as likely to be scorned as they are to be revered. Over the ensuing years, Olaf comes to lead the paradigmatic poet’s life of poverty, loneliness, ruinous love affairs and sexual scandal. But he will never attain anything like greatness. As imagined by Nobel Prize winner Halldor Laxness in this extraordinary novel, what might be cruel farce achieves pathos and genuine exaltation. For as Olaf’s ambition drives him onward—and into the orbits of an unstable spiritualist, a shady entrepreneur, and several susceptible women—World Light demonstrates how the creative spirit can survive in even the most crushing environment and even the most unpromising human vessel.
Bas Jan Ader
On July 9, 1975, Dutch-born artist Bas Jan Ader set sail from Chatham, Massachusetts, on a thirteen-foot sailboat. He was bound for Falmouth, England, on the second leg of a three-part piece titled In Search of the Miraculous. The damaged boat was found south of the western tip of Ireland nearly a year later. Ader was never seen again. Since his untimely death, Ader has achieved mythic status in the art world as a figure literally willing to die for his art. Considering the artist’s legacy and concise oeuvre beyond the romantic and tragic associations that accompany his peculiar end, Alexander Dumbadze resituates Ader’s art and life within the conceptual art world of Los Angeles in the e...
The Annotated Reader
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Vatnasafn/Library of Water
Sited in a converted library building on a promontory overlooking the ocean in the town of Stykkish�lmur on the west coast of Iceland, VATNASAFN / LIBRARY OF WATER incorporates many of Roni Horn's abiding artistic concerns with water and weather, reflection and illumination, and the fluid nature of identity. Twenty-four glass columns containing water from glaciers around Iceland refract and reflect the day into a rubber floor embedded with words used to describe weather, inside or out. VATNASAFN / LIBRARY OF WATER also offers a space for community gatherings, a studio for writers, and it houses an oral archive of weather reports gathered from people who live in and around Stykkish�lmur. This book surveys the interconnecting elements of Roni Horn's long-term project on the island through a series of image sequences and texts. It also includes a selection of writings by the artist inspired by her experience of being in Iceland.
Blank Sign Book
Literary Nonfiction. Poetry. Fiction. California Interest. African & African American Studies. Latinx Studies. Middle Eastern Studies. Women's Studies. LGBTQIA Studies. Art. Film. Music. Art Criticism. BLANK SIGN BOOK is a collection of innovative art writing from poet and essayist Anne Lesley Selcer. Writing in the confluence of politics and aesthetics through the work of Ana Mendieta, The Otolith Group, Juliana Huxtable, Dolores Dorantes, Janet Cardiff, Ragnar Kjartansson, and more, Selcer's debut collection culminates the interdisciplinary thinking and formal risk of fifteen years of public critical writing. Selcer's work has been nationally and internationally commissioned and solicited ...
Icelandic Art Today
Icelandic culture is so strongly oriented towards language that the visual arts didn't truly begin to develop until the early twentieth century - which is remarkable for a Western country. This unique situation may explain the nature of the contemporary art scene in Iceland. Even though Conceptual art remains a considerable international influence, and globalization is most certainly affecting this isolated island in the North Atlantic, Icelandic art continues to develop at its own speed, marked by a playful creative energy and the pleasure of experimentation. Icelandic Art Today introduces 50 of the country's most important artists - including Finnbogi Petursson, Gabriela Fridriksdottir, Helgi Thorgils Fridjonsson, Icelandic Love Corporation, Katrin Sigurdardottir, Margret H. Blondal, Olafur Olafsson + Libia Castro, Ragnar Kjartansson and Ruri and Steingrimur Eyfjord - who have contributed to the contemporary landscape of Icelandic art from the 1970s through the present. Essays by historian and curator Christian Schoen, critic Halldor Bjorn Runolfsson and Director of the Reykjavik Art Museum Hafthor Yngvason trace the development of Iceland's avant-garde over the past 40 years.
