in Works

CHAPTER ONE:

Where does that voice come from – is it from your cheek, or from my palm?

What is Google etnography? How to preserve and adapt the old techniques of our ancestors? Why objects from the Soviet period are also worth protecting? How potato and the concept of potential are related? Questions can not only open up the new prospects, but also to influence the change.

Artists Lísbet Harðar Ólafardóttir, Gunnar Jónsson, Aurelija Maknytė, Jurgita Žvinklytė, Jurgita Jakubauskaitė, Žilvinas Danys, who participated in the first stage, have interpreted ethnographic and ethnological themes, by using tools of contemporary art and design. The results of their researches and performance are being presented in the exhibition “Where does that voice come from – is it from your cheek, or from my palm?”

The title of the exhibition is borrowed from Lithuanian folk tale Slaughterer – the Priest1. It refers to the slap, more precisely, to the voice of the slap / its sound, the source of which is both the palm and the cheek. The face is slapped out of anger, as well as in order to revive, to wake someone up. In the context of this exhibition, the slap or its sound represents a contact of fields, times, strategies and worldviews, that reached the artists’ horizon. Therefore, following this proposed logic, an art work is a slap, angry or evocative slap.

Jurgita Žvinklytė,

Google ethnography. Pseudo is/lta nation. 2015.

Jurgita Žvinklytė is  the representative of visual arts field. Performativity is typical to her works  as well as influences of contemporary dance, choreography, ancient cultures, myths, psychogeography and Internet culture.

In a work created during curated residency program QUESTIONING ARTS  the artist refers to the concepts mentioned in James Clifford’s book „The Predicament of Culture“ : changes of a place, ethnographic surrealism / surrealistic ethnography. They have influenced the artist to search for her own ethnographic/creative way, which Jurgita calls Google Ethnography. Pseudo is/lta nation .

„Two cultures combine squeezing each other in a stunning, ambiguous embrace, it seems only then, when each of them can significantly overpower one another.” During the visits the artist has explored how Lithuania and Iceland are represented in the Google search system. Based on the results of the research, stratifying and combining the information about Lithuania and Iceland, a pseudo culture with its own map, statistics and ethnography was designed. Thus deliberately  roughly and artificially laminating Lithuanian and Icelandic national attributes (flag, anthem, portrait of a man and a woman, pop music, etc.) and opening a very important critical and anthropological discourse of nations friendship and identity in the Internet (and not only) space.

Google search engine is a tool, that has become our everyday life and in a way – a tool of communication. The artist assumes that some Google language principles are already beginning to appear, there are existing terms that can be understood only by knowing what Google is.

Aurelija Maknytė,

Archive cinema. „Tiesa“. 2015.

Timeline. Archives of Soviet texts and images. 2015

Aurelija Maknytė is actively involved in contemporary art exhibitions and projects in Lithuania and other countries. The most common objects of artist's works and research are archive, memory and coincidence. She does not have one genre or creative tool, she just works with the idea. And ideas, which have led to creative act, as the artist says, are different. Therefore, they take on different body/ shape, require different creative tools and materials, even a different pace of work and, of course, a different viewer.

In an exhibition Aurelija presented two projects: Archive cinema. „Tiesa“and Timeline. Archives of Soviet texts and images. The works are complex and time elongated, where different elements communicate with each other: participants of Soviet documentary film chronicles from Utena, texts from periodicals and various dispersion techniques of collected material.

In a work  Archive cinema. „Tiesa“ videos, that are related to the Soviet past of Utena and kept Central State archive are displayed on the map, that Aurelija discovered in Leliūnai Basic School during the workshops.  The map (released in 1964) , which is used as a screen, shows communication network of the Soviet Union. This item was glued and strengthened, using Russian newspapers and  Lithuanian „Tiesa“ (from the year 1966). Lines of these newspapers interweave into the clips from the news of the same decade.

Timeline. Archives of Soviet texts and images (Website: www.timeline.lt)  is created while observing what is happening with the Soviet legacy, which became a history, one can make a conclusion that this period is usually just ignored, disliked or condemned. It’s not hard to understand such behavior. I grew up and matured during the Soviet period, I understand the pain of that time, but more often  I’m concerned when I look at  the material testimony-periodicals, books, photographs, movies and other material, related to that period – and watch it being disposed. For many, disposal of such items equals purification, which is prioritized to the level of spiritual purification. This is why this website, where various texts and images, found in  periodicals, are published, was founded.

Within the framework of the project QUESTIONING ARTS,  in both works Aurelija tries to present the Soviet legacy as a heritage worthy of attention, which can become a really valuable material disclosing certain layers of history. This is an opportunity to look at the same historical facts or phenomena in the eyes of various witnesses, to comprehend propaganda and information dissemination mechanisms of the era.

Jurgita Jakubauskaitė,

Brass Garden. 2015.

In 2007 m. Jurgita Jakubauskaitė graduated  Architecture studies and  in the same year she founded a design studio Absurd ideas. It later transformed into the first Lithuania design workshop, where design objects are created from recycled materials. For three years Jurgita is interested in cultural heritage  and tries to “remind” elders wisdom and skills to the modern man. In her opinion, life in technological world mercilessly rubs what was created in the past, so it is important for the designer to understand the old techniques, adapt it to the modern human environment and to preserve them.

During these visits Jurgita is learning the refinements of weaving the straw gardens. Straw gardens – works made of straw that have volumetric, strictly geometrical form. In the context of Lithuanian folk art, it is a sacred place, cultural nature, and a model of the Universe. These gardens were mostly hung in the cleanest room, above the table. It is a decorative object with no actual function. In order to actualize the straw gardens, Jurgita designs chandeliers made of a strong material, turning them into functional monuments.

Materiality and a kind of game with the materials, change of their primary use, thus giving a whole new and unexpected meaning, takes an important place in Jurgita's work. Brass pipes, used in the industry, are chosen instead of brittle straw and  becomes not only a functional interior element, but also a kind of monument to the straw garden tradition.

Lísbet Harðar Ólafardóttir,

Potatonation. 2015.

Lísbet Harðar Ólafardóttir is a writer and painter, who uses professional skills that she's acquired during her studies in order to create installations, paintings and texts.  As the artist herself says her works are there, where people do not expect to see it. In her works Lisbet tries to comprehend how it can function in different conditions.

During these visits the artist wanted to raise a challenge for a stereotype of a non-creative mother. Therefore, she came to this visiting program together with her four children. The main themes that are being tangled in Lisbet work are connected with a presents of Lithuanian nation. The artist has tried to comprehend it through a critical attitude, which has formed while living in Lithuania for one month, trying to comprehend our daily routines, a culture of communication.

In the series of banners and texts, with a soft irony Lisbet portrays a cucumber that pretends to be a potato. It is a symbol of a nation, living in an eternal potential, but not always understanding these values that it is trying to follow. A cucumber, which the artist has ripen for a few weeks until it looked like a potato, in her mind became a certain symbol of a nation, living in an eternal potential, but not always understanding these values that it is trying to follow. Values, introduced by the European Union, are often at odds or fails to consolidate, so the culture of pretending (artificial formal courtesy and understanding) is an integral part of our society.

Žilvinas Danys,

Mildos – Medeinos feast. 2015.

One of the most important aspects of Žilvinas creative activities is cooperation with artists of different fields. During the visit the artist aimed to know the environment of this place (Leliūnai, Utena and its surroundings), as well as to leave a mark of his activities there. Žilvinas thinks that an interpretation of ethno-culture is a delicate work. The ethnical culture specialists and scientists, who are involved in the creative process, are very helpful to the artist.

One of the „Artistic calendar celebrations cycle” projects of Žilvinas Danys was implemented in Leliūnai district, 5th – 13th May, 2015: according to the calendar period, the “Milda-Medeina” celebration was created. To this ongoing cultural action in Leliūnai both rural and urban people are invited with a purpose of cooperation and creation of the feast together. An environment of artistic objects, with Lithuanian and Latvian festive traditions, Baltic ritual actions, songs and contractuals was established on 13th May, on the Narkūnai mounds.

Milda is a fictional Baltic Goddess of Love, which was first mentioned by the Lithuanian historian, folklore and culture researcher Teodoras Narbutas.The existence of Goddess of Love in the ancient Lithuanian faith is not confirmed, because no sources have remained. So all the stories about her are only speculations. On the other hand, such speculations/interpretations exist, that  Milda and Medeina (Goddess of Forest and Hunt) was one and the same deity. When organizing imaginary Milda-Medeinos feast Žilvinas speaks of speculation and reconstruction of imaginability, thus rethinking not only the nature of phenomena of the holiday, but also of the imagination.

Gunnar Jónsson,

Discussion under cold water. 2015.

Gunnar Jónsson is the creator of visual arts. His works  are installations, reflecting and based on nature’s visuality. Gunnar is interested in friction, that occurs between the man and the nature, for him it is interesting to see how nature responds to us, and we respond to the nature.

Gunnar’s video installation combines the movement of the sun from the east to the west and the existence, memory trauma of the people who live in this region. A consideration of a man’s and nature’s relationship takes a very important place in the artist’s works, however during this visiting a historical memory theme appeared in the field of Gunnar creations. The artist is considering how the recent Soviet past has affected the consciousness and the trajectory of the movement from the east to the west.

Video installation juxtaposes two things: a calm and silent walking from the east to the west and staged conversation about recent history and a specific place, which  perpetuates the hardships of those days (a building, in which during the Soviet times people were interrogated and sent to exile) . The artist invited four conversation participants, who he has met while visiting Leliūnai or Utena. In his mind, these people have embodied certain characters who have different features. They were discussing about the past and the present in the place, where a good half of a century ago a discussion was an incomprehensible thing. Symbolic is the sunlit movement from east to west  as well as discussion in a place, which symbolizes the still distressing Post-Soviet trauma, talks about the present of Lithuanian nation, stuck somewhere between optimism and injury.

CHAPTER TWO:

When you left me I couldn't stop crying from laughter

When you left me i couldn't stop crying from laughter is a one-day  exhibition-stroll, during which viewers were invited to explore the exhibition with the artists while walking around Utena.

This is the final exhibition of  the second stage of curated residencies QUESTIONING ARTS . Artists from different fields, involved in this stage of  the project, explored public spaces of Utena region, whilst raising important issues, giving a new atmosphere, life scenarios and values to these spaces.

The exhibition discusses the publicity and public spaces,  so no coincidence that the exhibition title is borrowed from an unknown street writer, who wrote these words on the street lamp located near Dauniškis lake. Notes-messages, written on the surfaces of the city, are witnesses of the invisible life. They are not only damaging, for example, a new bench, but also reflecting certain expectations of those „writers” and and the search for self-expression, a desire to be seen and heard. A bit rough, ironic, adolescent, stylistically and syntactically incorrect statement-joke, which appears in the title of exhibition, marks a playful, self-critical and somewhat ironic atmosphere of  the exhibition and desire to grow into the city, to identify with it .

CREATORS AND WORKS:

Solveig Edda Vilhjalmsdottir,

Impact/No impact. 2015.

Solveig Edda Vilhjalmsdottir  is a painter from Iceland. She studied painting in the United States and currently lives and works in Iceland.

An artist feels that her works respond to each other. To whom the monuments in public spaces are dedicated ? Why are they here? Are they historically accurate? Do they glorify the people or the city?  In her works Solveig is thinking about the impact of monuments to Utena city. How do they work the viewers? Does the audience influence the occurrence and location of the monuments? Do these places attract people? Do historical facts influence viewer's reactions, if there is any? The viewers are passive or active? Why there are so few people in public spaces? Is it because of the location or architecture? Or maybe the culture,  which in such a short period of time the artist could not comprehend?

Solveig exhibits her paintings under the bridge. This is mysterious and usually invisible place, where invisible underground life happens. Quite often this is a place where various illegal signs appear,  where one can hide from the rain and bustle of the city. Places under the bridge are one of those point-breaks of the city, where the pace of the city slows down.

Audrius Šimkūnas,

I traveled here listening/city in ambush (island). 2015.

Audrius Šimkūnasis one of the first experimental avant-garde music representatives in Lithuania,  who founded a band SALA and played there for awhile. Currently, Audrius actively works as a sound artist. This is how Audrius himself describes his works: „I manipulate soundscapes and collect them. I explore spaces  and  sensing of its elements through the acoustic features.Visually, it would be akin to photography,  but when the eyes are closed, in a dark room, the work becomes a phonography.“

The initial idea of work– inaudible city or city, that was heard differently. Sounds, that are rather inaudible, but they affect us as much as everyday sounds. These are vibrations of different urban objects, recorded using contact microphones and converted into the audible range of vibrations. į Unexpected excursions into the underwater world that is right next to us, armed with hydrophones. Electric city, submerged in the ocean of electromagnetic radiation, dead and dreaming like a mythical monster Cthulhu. I traveled here while listening to the city in ambush (island)-alone and together with all of  you that weren’t there.

Urbanistinio Šokio Teatras Low Air,

Season, while on the mountain...?. 2015.

Airida Gudaitė and Laurynas Žakevičius are  representatives and choreographers  of urban dance, known as a duo Low Air. Airida and  Laurynas have founded an urban dance school in Vilnius.

Season, while on the mountain...? is a performative dance performance, wherein reflecting on present and historical past of public spaces. Performance takes place in a square next to the sculpture „Rainbow”, which , by the people of Utena, was dubbed „shashlik”  . The place where rainbow-shashlik stands has a past , which was marked by death.  There, after the Second World War were buried Russian soldiers, who were later evicted to a different location.

As artists themselves say, they perceive interpretation of public spaces (with the help of contemporary art tools) as a dialog between current/former object or certain circumstances, that are  occurring in public spaces and an artist.  Its result could be a formation of a new approach to interviewed  public space.

For a long time urban dance was forming in public spaces and one of the main functions of the dance was  self-meditation or a simple entertainment for passers-by. That’s why urban (street) dance and street (hip-hop) culture in general is an integral part of public space – a key element here is the relationship with the community.

Žilvinas Landzbergas,

Make A Wish. 2015.

Žilvinas Landzbergas studied at the Vilnius Academy of Arts, Department of Sculpture. In 2008 he was awarded the main prize of modern and contemporary art publishing house Thieme Art. Currently, he countinues his PhD studies at the Vilnius Academy of Arts. In Žilvinas works materiality and reflection of personal experience, which is often associated with a particular place and time, are very important.

It’s a sculptural object, specially designed for the city of Utena. This artwork talks about people's dreams with a light humor. Object's location was chosen in the industrial part of the city, where is full of advertising, offering to improve everyday life in one way or another. Although this object is constructed according to the principles of advertising, it doesn't directly advertise, but rather raises questions about the existence and its quality. At the same time it is a sculpture, which gives a new meaning to the city periphery and creates a new point of associative attraction.

Vitalij Červiakov,

Le liūnai. 2015.

Moving line. 2015.

Vitalij Červiakov is a representative of visual art, who graduated photography, media art and sculpture studies at the Vilnius Academy of Arts. Vitalij‘s  works has procesual and performative character. His works are multilayer processes and interventionsin the surrounding space or certain contemporary art processes,carried out in collaboration with other artists.Collaboration is particularly important feature of the artist's work. During the project Vitalijcreated and presented two works: Le liūnai ir Moving Line.

The work explores the phenomenon of urban legend. According to etymologists, there is „Le liūnas“  (a quagmire) in Leliūnai town. (In French language, article "le" is attached before masculine nouns.) Town legend says that a drowned woman is still haunting this place. It’s not clear, when this story emerged and spread, but in this work an artist continues the rumours. He also takes the role of a ghost catcher and after installing a video surveillance camera tries to capture the ghost of a lady that haunts Leliūnai district. Live streaming of the chase can be seen in the website http://vitaleus.com/

The work Moving Line is exhibited at the entrance of the Utena Regional Museum. This is a screen with a moving line. This type of screens is often used in advertising. The lines that are being displayed  are writings, which were found on walls, benches, various ads, graffiti and etc. during the walk around Utena. Appearance of such texts in Ethnographic Museum indicates desire to archive, an attempt to make them into exhibits and prominence. Etnographic Museum is a place where information about region's past and present is collected and archived, so future generations could comprehend how their ancestors lived. In a sense, street „poetry” also presents contemporary human issues and the atmosphere of the city .

Anna Sigridur Olafsdottir,

Public forms. 2015.

Anna Sigridur Olafsdottir is a dancer and performance artist, who lives and works in Iceland. In her works  the artist focuses on the reflection of social issues as well as  audience participation and involvement. During the project Anna presented an interactive performance  Public forms.

Public forms is a performance that requires audience participation. In a meadow next to one of the busiest streets in Utena Anna set up a temporary stage,  where she performed her performance. Artist‘s goal  is to think and/or encourage others to think about how we behave at home and how we do it in public spaces. 

Annainvited passers-by to participate in the dance performance and  try to create a character.The artist herself became a faceless basis, on which , with the help of make-up and costumes, people created various images. In this way, Anna became like some kind of mirror, imitating passers-by. With these actions the artist wanted to show, that while being in public spaces we often behave like on a theater stage. We always play some kind of role, use make-up, create characters, so if we want  public spaces to become cozier, we should stop behaving like on a theater stage.


CHAPTER THREE
<…> because a word said silently also has an echo

Artists of different fields, who have participated in this exhibition, have explored Scripture’s (Tanach) Jewish literature, or, in other words, the Wisdom books: Book of Job, Psalms, Book of Proverbs, Ecclesiastes, Song of Songs.

The title of the exhibition is borrowed from the Book of Wisdom. These words are used there to describe slanders, defamations and their consequences. However, in the context of the exhibition they become a description of ancient Jewish literature and Scripture, or as a significative statement of a ambiguity of its stories, and the opportunity to read them in several ways. After all, there is another way of reading the Scripture than usual – reading between the lines, by comprehending particular things differently from what they were meant to be conveyed.

Finally, we come to the second aspect of this title – the idea of the exhibition to think of how we are reading, and how distinctively we understand what we have read, for example, a quote that appeared in the title. Such kind of „reading” in a way is the purest form of creation. Artists often rely on it. Therefore this exhibition titled <…>because a word said silently also has an echo is also about the reading phenomenon, and the artists, who are participating in it, read, awaken and interpret the texts of the Scripture in their own way, giving them new meanings and scenarios of existence.

CREATORS AND CREATIONS:

Björg Sveinbjörnsdóttir,

Scenes of King Solomon. 2015.

Björg Sveinbjörnsdóttir comes from Suðureyri, but is currently living and creating in Ísafjörður town. She has studied sociology, gender studies, as well as culture and communication. Her works are based on the art of performance, music, and texts. Björg has published a book named „Sounds from the Kitchen“, where the records of her grandmother‘s conversations in the kitchen were being collected during thirty years of time.

„I find it more bitter that death a woman who is a snare, whose heart is a trap, and whose hands are chains. The one who pleases God will escape, but the sinner will be ensnared.“ It is written in the Master‘s or Ecclesiastes book, the chapter about wisdom. According to the King Solomon, a woman is a net, her heart is a trap, and her hands are chains. She has nothing in common with wisdom, but she is able to lead a man out of the right and wise way. The artist initiates a research of these statements, by transferring them to a modern context. The result of this action – three stories that have absurd literature features.

Sandra Borg Bjanadottir, 

Book of Matrika. 2015.

Sandra Borg Bjanadottir has finished the studies of costume design, but is currently working as a creator of interdisciplinary art. The reflections of the artist‘s personal experiences and materiality is inherent to her works. The materials, which are used for her works, and which are different every time – according to a situation and a personal relation with an environment, are highly important to Sandra.

In this work the artist is discussing the similarity of Wisdom books and Hindu writings. Both sets of texts, even if written in different parts of the world, in different periods of time, have similar aims, messages and values. The artist, living in another period of time and in a different location, decided to write her own Book of Wisdom. Sandra’s book is inspired by the Eastern philosophy, her own life experience and her dreams, and it is called the Book of Matrika. The book consists of eight pages, each of which discusses different themes that are put into a certain logical sequence: balance, transformation, fear and stagnation, learning, realization, respect, forgiveness, and once again – balance.

Jovita Strobeikaitė,

Why the braids are always woven?. 2015.

Jovita Strobeikaitė is a professional costume designer, graduated from Vilnius Academy of Arts. Jovita particularly focuses on natural materials and simplicity of her design objects.

During the residency Jovita was searching for femininity symbols, portrait of a female, and for manifestations of her image that was created. According to the artist, many requirements are being raised for a woman in Jewish literature: she is a successor of a Jewish family and its line.

In her work, Jovita is asking what is a woman and femininity? Where is the beauty hiding? What is the beauty: moral values, or modesty, humility and wisdom? What is the role of a woman in a social life? If the nature of wisdom is feminine, what impact does it have for a concept of a woman? The respected, appreciated and loved woman, according to the Scripture, is humble, religious, selfless, smart, and devoted to the nation and family. Are such moral values relevant to today? While searching for the answers to all of these questions, the artist has created the costumes that reflect her experiences and thoughts about the concept of a woman and femininity.

Hair has become the ideological starting point for the created costumes of the artist. Jovita is wondering why the hair that are considered to be the symbol of a woman’s beauty are hidden? Why the braids are always woven? According to the artist, hair in the Scripture is a symbol of a woman, and their weave is a tangle of a concept of femininity. Tassels, knots, ropes, threads, their weaves and tangles, segregations, imitating the hair, become the essential elements of Jovita’s designed costumes.

Daina Pupkevičiūtė,

Doină*, 2015.

Daina Pupkevičiūtė is a creator of performances, as well as an organizer and tutor for international performance art CREATurE.

In her performance, Diana is talking about the relation with a tradition. These are very personal experiences of the artist herself, which were embodied in her work – Doină. Doină – is a labor song.  Hungarian composer Béla Bartók discovered the doina in Northern Transylvania in 1912. After he found similar genres in Ukraine, Albania, Algeria and India, he came to the belief that these are part of a family of related genres of Arabo-Persian origin. Later Doinas were taken into klezmer music (קלעזמער), which origins are found in the Diaspora of Eastern Europe jews (Ashkenazi).

Diana presented her own interpretation of Doina in a performance which took place in Leliūnai town on September 28. The artist strung apples like notes on tight threads, and were reading and playing them just like the notes in a stave. Out of those apples later on jam was cooked. It was a ritual interpretation of no longer sang labor songs.

Rytis Saladžius,

My love. 2015.

Rytis Saladžius is a professional actor, currently working with the theater of Oskaras Koršunovas. Rytis also works as an amateur theater director and a creator of performance.

During the residencies, Rytis was thinking not only about a Jewish literary heritage, but also about the fact that quite a big Jewish community lived and worked in Utena. According to the artist, his work should exceed time, because the Jewish literature itself is not about the time, but about a context. Leliūnai, where some of the many Lithuanian partisans were tortured in 1953, and Utena city, which was suffering from the Swedish war and many fires as well, fit really well in the context of reading the Book of Wisdom.

In his performance My Love, Rytis talks about a homeland, more specifically, the concept of a homeland, which unrolls in the Scripture in various forms. For example, the Song of Songs is often read as a piece about a woman and love for her, but what would happen if we tried reading it while thinking about the homeland?

Mykolas Natalevičius,

Everything is Fog. 2015.

Mykolas Natalevičius is a composer, performer, and sound artist, who combines acoustic and electric sounds, the sound of traditional instruments and modern sound processing technologies, who likes to erase the boundaries of usual genres.

The work of Mykolas Everything is Fog is an installation or a piece performed with live electronics, which is based on the interpretation of the main phrase of Ecclesiastes „Everything is Fog”. This concept is being interpreted in two layers: a fog as a sound metaphor and a philosophical concept. The theme of temporality of existence was inspired by the Jewish genocide themes, which horrors were also experienced in Utena region. The sound material of this work consists of transformed field records of places in Utena, where Jews lived. These records contain usual sounds: the noise of cars, wind, singing birds, steps of people, however, all this soundscape contains a painful emotional experience of Jews who lived there.

CHAPTER FOUR:

The weather changes every five minutes…

The weather changes every five minutes…- this is the final exhibition of the fourth residency stage, which took place in Iceland, the Northwest region. Artists who participated in the exhibition were considering the influence of difficult weather conditions for the local people.

The weather in the Northwest fjords, Iceland, is particularly severe, especially in January and February, just like when the fourth stage of residencies took place. The phrase “due to the weather conditions” is very frequent at that time, because of the unexpected storms of rain and wind, or snow. During those storms, planes cannot take off, the roads are closed, the meetings and events are canceled, and therefore local people face isolation and boredom very often.

The title of the exhibition is borrowed from the composer Mykolas Natalevičius, who has participated in the fourth stage.

CREATORS AND CREATIONS:

Nína Ivanova,

What to do with this weather?. 2016.

Nina Ivanova is a Russian and Icelandic creator of visual arts. She studied in Moscow Textile Academy, as well as the art of sculpture in Germany, Hanover. Nina creates installations, objects, street art (murals), design objects, and book illustrations, arranged ten personal exhibitions, participated in many group exhibitions.

As the artist says, there are some things that she cannot control: it is weather, mood, and watercolor as well. So one can only choose how to react: to wait, to praise, to complain, or to fight. This is the main idea of the work What to do with this weather?. According to the artist, these choices are the ideas that can help to deal with uncontrollable situations.

One part of Nina’s work is watercolor, where the artist allows the paint to flow freely and in various unpredictable directions. The other part is the text, which she printed on a piece of cotton material, and hung them up the window and turned into curtains. Nina’s work suggests the audience to try to understand that there are more than one ways to react, but for example, at least four.

Haukur Sigurdsson,

Four Winters. 2016.

Haukur Sigurdsson was born and grew up in the region of West Fjords, Iceland. He studied social anthropology in the University of Iceland, and visual anthropology in Troms University, Norway. His final work – a movie Skolliales – was shown in various festivals all over the world. Haukur has founded his own film production company, named The Purple Hat.

Four Winters is a short film about the dreams of a woman named Vagna Sólveig Vagnsdóttir, who lives in Thingeyri village. Every September she has a dream, where she sees a hint about the climate of the following winter. She describes the dream in detail, and gives her own interpretations of the symbols she dreamt. Interestingly, those images and symbols have no direct connection with the climate forecast, but in her subconsciousness they become prophesies. Haukur contrasts those prophesies with the landscapes of Iceland filmed from a bird‘s eye view during winter time.

The weather takes a very important place in Icelanders‘ minds. Meteorologists use difficult techniques for forecasting the weather, meanwhile it is enough for a farmer to look up to the sky and clouds. However there is the third group – those, who create their forecasts from their dreams.

Björg Sveinbjörnsdóttir,

Snowbound. 2016.

Björg Sveinbjörnsdóttir comes from Suðureyri, but is currently living and creating in Ísafjörður town. She has studied sociology, gender studies, as well as culture and communication. Her works are based on the art of performance, music, and texts. Björg has published a book named Sounds from the Kitchen, where the records of her grandmother‘s conversations in the kitchen were being collected during thirty years of time.

During the residencies Björg created a sound installation, in which the atmosphere before the storm and lightnings is being considered. Communities come together and focus with fear and anxiety while awaiting the start of a storm. While working with this experience and thinking about it, the artist explores the discussions on social networks, and initiates live conversations.

The audible text in this sound installation is some kind of instructions and advices created by the artist that suggest how to behave when you are snowbound and separated from the rest of the world. These are not practical advices, like how to dig out a way, but an instruction for an emotional and psychological status (being). The wind is blowing heavier, it becomes very strong. It fortifies over the ocean, wanting to spill the sea and shake the houses more than anything. The concentrated drive will burst in explosion. Walk around the house, knock on the barometer, and listen the news. This is the last day of oxygen. Go out and breathe as much as you can. Talk while breathing in. Go to the empty milk product section in the local store and ask when it is expected to get the product addition. Sigh and nod. Buy pasteurized milk, matches and bread – put it in a freezer – it will be a food reserve. Crawl home with your head down. The tone of speech witnesses a strange feeling, which is imbued with anxiety of waiting and peculiar self irony, which people of this region often have. In this case, the fear that Nobody knows how it is going to end becomes a routine.

(Readers: Páll Gunnar Loftsson. Themesong: Þórarinn B. B. Gunnarsson)

Aurelija Maknytė,

Installation: Objects and movie. 2016.

Aurelija Maknytė is an active participant in contemporary art exhibitions and projects in Lithuania and other countries. Most common works of the artist are research objects and archive, memory and coincidence. The artist does not have one particular genre and tool of creation; she simply „works” with an idea. According to the artist, the ideas that push her to a creative activity are different. Therefore they get a different body/form every time.

The installation consists of three parts: Lithuanian New Year postcards (published in 1945-1987), a collection of butterfly-shaped sea shells, and a movie. In the movie, where a Christmas tree, which arrived from the 1984 Lithuanian postcard, looks to a dynamic distance, Lithuanian New Year postcard collection transfers the romanticism spirit to the Icelandic landscape. The main character in the shells-butterflies collection – a joint – a soft material holding already broken shells inseparably. The remains of these shells were collected on Thingeyri shores.

Žilvinas Landzbergas,

Meteorological station „Ora“. 2016.

Žilvinas Landzbergas studied in Vilnius Academy of Arts (VDA), the Department of Sculpture. In 2008 he was awarded with the main prize of contemporary art publisher „Thieme Art“. He is currently continuing his studies in VDA PhD of Arts. Materiality and a reflection of personal experience, which is often realted to a specific place and time, is very important in Žilvinas works.

For this work, Žilvinas has chosen an old gas station, which is now abandoned and is planned to be demolished. In a small town of Thingeyri, it used to be probably the most relevant point, where you could buy the most neccessary products and gas. The main goal for the artist was to revive this ghost building, by giving it new meanings, or even by changing its identity, as well as to encourange local people to think of the public spaces.

Žilvinas created an assumed station of meteorology there – a temporary research platform, and a peculiar art studio. A fish eating up the sun became the main symbol of this station. Inside the building the research materials, collected during the residency, were exposed. Meteorological station „Ora” is a work about an imagination and its power: how our imagination and goals become our self being. Therefore it is very important not to forget to dream, and to „draw” wanted (dreamt) forms in our environment.

(The Meteorological station was established in collaboration with the artist Aurelija Maknytė)

Mykolas Natalevičius,

The weather changes every five minutes. 2016.

Mykolas Natalevičius is a composer, performer, and sound artist, who combines acoustic and electric sounds, the sound of traditional instruments and modern sound processing technologies, who likes to erase the boundaries of usual genres.

The weather changes every five minutes – this sound piece was created for organs and live electronics. The work was inspired by the often changing Iceland conditions, for which to describe this phrase is applied. In music, this is reflected by the sound texture, which changes every five minutes, and also mirrors the mood and intensity of particular weather conditions. The sound material consists of recorded organs, processed by computer sound effects, and five unrecognizably transformed Icelandic songs (pop, rock, folk) in a theme of weather.


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1 One slaughterer knew how to make a good chanter and nicely play with . Once a devil heard him playing and he liked it a lot.. He comes and asks for one chanter to play with.
— Make me a priest and our priest  — a slaughterer, then I’ll give it to you.
— I’ll make it.
Immediately, clogs slipped off slaughterer’s feet, all of the clothes changed and he became the priest, whereas the priest became a slaughterer.
Slaughterer couldn’t be happier: he holds the Mass and preaches.
While the devil played and played the chanter when somehow he wrecked it.  At the time, the priest said the sermon.  The devil came running to him:
— Fix me this chanter!
—Wait until I finish the sermon, then I’ll fix — said the priest.
But I command, you must listen to me! —  screamed the devil.
— Go away!
— So this is how you behave? You were a slaughterer and  you will remain a slaughterer!
Said the devil and went out. And the priest immediately cannot say the sermon , because he doesn’t know anything.
The priest didn't know what to do, therefore he pretended to be sick. One may not know something, but the magician knows everything. That magician called the slaughterer and asks him:— Do you want to be a priest?
—  Yes I do,
— When the devil comes to visit you as a sick person, slap him in the face and ask: “Where does that voice comes from— is it from your cheek or from my palm?” He will not kow what to say  and will have to make you a priest again.
While he’s sick, the devil comes. Once he entered the room,  slaughterer jumped out of bed and slaped the devil in the face, he even jumped up from the ground .

                        — Where does that voice come from — is it from your cheek or from my palm?
The devil doesn’t know what to say: the voice cannot be neither from the palm nor nor from the ckeek.

                        —   Well, since you are so clever, then be a priest
And so slaughterer remained  the  priest, maybe he still preaches to this day.