| dc.date.accessioned | 2012-01-25T10:32:07Z | |
| dc.date.available | 2012-01-25T10:32:07Z | |
| dc.date.issued | 2011-08-26 | |
| dc.identifier.uri | http://hdl.handle.net/2077/28398 | |
| dc.description | A catalogue published by Hafnarborg, The Hafnarfjordur Centre of Culture and Fine Art, was published with this exhibition. ISBN not available.
This work was also shown as part of Bye, Bye Iceland in Akureyri Art Museum, (2008) | sv |
| dc.language.iso | eng | sv |
| dc.subject | Fine art | sv |
| dc.subject | contemporary art | sv |
| dc.subject | site specific sculpture | sv |
| dc.subject | visual art | sv |
| dc.subject | animal studies | sv |
| dc.subject | taxidermy | sv |
| dc.title | Íslenskir Fuglar | sv |
| dc.type.svep | artistic work | |
| dc.contributor.creator | Snæbjörnsdóttir, Bryndís | |
| dc.contributor.creator | Wilson, Mark | |
| art.typeOfWork | Installation | sv |
| art.relation.publishedIn | Í bili (in between), Hafnarborg, The Hafnarfjordur Centre of Culture and Fine Art, Iceland. (26th of August to 23rd of October 2011) | sv |
| art.description.workIncluded | 1) installation (jpg) | sv |
| art.description.workIncluded | 2) http://www.snaebjornsdottirwilson.com/birdsexhibitions.php | sv |
| art.description.project | Icelandic Birds invite reflection on the oscillating boundaries of classification systems, about inclusion and uninvited guests, on human-animal relationships. The piece poses critical questions about man’s reluctance to change, why the new always seems to pose a threat while, at the same time, he desires the exotic. The piece has strong references to nationalism and addresses difficult questions on the development of society, about the myth of pure nations. Snæbjörnsdóttir and Wilson juxtapose stuffed birds from Icelandic nature against a posteter of exotic ptropical birds, which in recent years have been imported into Icelandic homes as pets. The work flirts with oscillating definitions of past, present and future, the local against the global, nature against culture, the accepted against the taboo. | sv |
| art.description.summary | The exhibition draws inspiration from the historical phenomenon of Cabinets of Curiosities or the ‘Wunder Kammer’. Cabinets of Curiosities can be attributed to the Renaissance period, when the European aristocrats traveled beyond their local communities and brought back unusual artifacts that would be in contrast to the familiar. The objects could come from the animal kingdom or man made objects but during this period humans were keen to explore and understand the world, classify and give a place the systems of knowledge. Referencing this period is interesting in the context of the exhibition as it marks the development of material things; texture, form, touch, smell and function shedding a light on our knowledge of the world at the time, in contrast to prevailing religious theory and philosophical rhetoric’s.
The aim of the exhibition is to provide a forum for critical discussion of knowledge and the role of art museums in this context. The exhibition is the result of experimental cooperative process in which the artists group has met regularly with academic guest speakers. Curator and artists have come to a consensus on the content and interesting use of museum space, in addition to the selection of artists most recent works for the exhibition.
Exhibitors are: Eva Snæbjörnsdóttir & Mark Wilson, Daniel Björnsson, Gretna Reynisson, Harold Grant, Hildigunnur Birgisdóttir, Hugsteypan (Ms Violet Ingþórsdóttir & Amy Jóhannesdóttir), Ingi Rafn Steinarsson, Jeannette Castioni, Magnus Arnason, Olga Bergmann, Olof Nordal and clear Lee Bob (Erna Ómarsdóttir, Gudni Gunnarsson & Lieven Dousselaere). | sv |
| art.relation.uri | http://www.hafnarborg.is/Forsida/SYNINGAR/LIDNAR/Lesa//397 | sv |
