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Steinunn Helga Sigurðardóttir & Morten Tillitz
Steinunn Helga / Morten Tillitz - The head is round so that thoughts can change direction
07. 10. 2005 - 30. 10. 2005
 
Steinunn Helga / Morten Tillitz - The head is round so that thoughts can
change direction


07. 10. 2005 - 30. 10. 2005




Sýningin verður opnuð föstudaginn 7. október kl.17.



Fyrir sýninguna hefur Steinunn Helga gert þrenns konar

verk; staðbundin verk, innsetningar í rými og röð teikninga.

Steinunn hefur síðastliðin 18 ár hefur safnað sandi alls staðar að úr
heiminum. Hluta af sandinum hefur hún safnað sjálf og einnig hefur sandi
verið safnað fyrir hana. Í verkinu Samhengi notar hún hluta af safnaða
sandinum í fyrsta sinn.

Litirnir á sandinum eru mismunandi, allt frá algjörlega svörtum sandi yfir í

margs konar liti, rauðan, gulan, bláan og gráan alla leið yfir í hvítan.

Á öðrum stað í galleríinu verður verkið Hús, sem mun lýsa upp staðinn. Í
fyrstu

virðast húsin öll eins, en glóa í sínum sjálfstæðu litum þar sem hver sá er

lítur inn mun kynnast fimm mismunandi yfirborði, er skapa gólf, veggi,
húsenda

og loft allt í sínum eigin stíl.

Steinunn sýnir einnig verkin Snertu gleðina sem er sería af teikningum í
nálgun

við þrívíða hluti, teikningar gerðar með fínum barnalitum, perlum, nálum og

þráðum o.s.frv.



Morten Tillitz verk eru í andstæðu við vel skilgreindu verk Steinunnar, þar
sem

verk hans með sínu ólíka yfirborði hrærast við hvort annað og mynda samhengi

sín á milli þrátt fyrir leit sína í ólíkar áttir. Verk hans taka öll mið af

einni setningu sem er einnig titill sýningar hans; Höfuðið er hringlaga svo

hugsanir geti skipt um áttir.

Hausverk, veggverk og innsetning kallast á við teikningar sem Morten hefur
unnið

út frá teikningum, blaðaúrklippum, ljósmyndum og umslögum sem faðir hans
heitinn

gerði. M.a. hefur Morten teiknað ofan á aðra teikningu föðurs síns, eða
teiknað við

hliðina á upphaflegu teikningunni.

Á sama hátt og þessar teikningar hafa leitt af sér aðrar, nýjar teikningar,
hafa

hin verkin á sýningunni fætt af sér eitthvað annað, eða verið hluti af
ákveðinni

þróun þar sem stemmning og hugsanir eru stöðugt að skipta um áttir.



Sýningarnar í Kling & Bang gallerí standa til 30.október og er opið
fimmtudaga

til sunnudaga frá klukkan 14 -17.



Steinunn Helga Sigurðardóttir

For the exhibition at The Gallery Kling & Bang, Steinunn Helga Sigurðardóttir has worked with three pure, clearly defined works: A site-specific work, a space installation and a series of drawings.

For 18 years Steinunn has been collecting sand from all over the world. Some she has collected herself and some she has had collected for her. In her current work Samhengi (Affinity) she is using part of her collected sand for the first time.

The colours of the sand range from completely black – her own childhood beach – to numerous shades of red, yellow, blue and grey all the way to white. On the floor lies a pile of sand.

Elsewhere in the gallery the work Huse (Houses).
The room is illuminated by various lights from seven models of houses that stand on the floor. Seemingly all the houses are the same, but from each of them shines individual colours and if you look inside the houses, you will see that the five surfaces, that make up the floors, walls, house ends and ceilings, have been painted and decorated, so that they all differ amongst themselves. On the floor in each house lies a coloured electric light bulb that would fit an ordinary house. The electric cords that make the bulbs/houses light up lie across the gallery floor on their way to the outlets.

Snertu gleðina (Touching Happiness) is a series of object-like drawings on square white paper done with delicate crayon, pearls, needle and thread etc. On (and occasionally outside) the paper a girl is playing merrily and carefree with flowers, skipping rope, hula-hoop or playing hopscotch. The space is gently bound together by a soft blue line on the wall touching every single one.


Morten Tillitz – The Head is Round so Thoughts can Change Direction

Morten Tillitz is letting his works mix and merge into each other. You could regard it as a large entity or as being a set of building blocks or components composing the exhibition. There is more than the below mentioned, but everything originates from the same sentence which has set the starting point for the creation of this exhibition: “The head is round so thoughts can change direction”.

Most conspicuous are perhaps the wig-wearing papier maché heads, which via built-in Electro-motors, are turning on their axes. Each with its own peculiar expression; and slightly disturbed, not least from their manic spinning, you catch yourself starting to make up their different life stories.
On the floor you find yet another head. Body-less and with an odd sound, it is spinning round itself indefinitely. Next to the head stand or lie five carpet-wrapped bottles.

On a wall hangs one of several works made of form-cut engraved MDF-board. In the centre a face is turning round and round, surrounding it are the most beautiful exotic palms. You ask yourself whether he (we, I) will ever take the step.

In the space between Morten’s spatial and flat works are some wall-drawings done with coarse black spray paint through different patterned refined fabric. Under each drawing he has let the used fabric fall down in a pile. A number of women’s heads (flamingo board with Fiberglas and colour) exists both as actual objects and as reprints. The use of the heads as printing blocks emphasises the multiplicity in their continuing game with themselves, each other and the other elements of the exhibition. Everything is playing together, playing up to or up against each other. Colour, shape, context are constantly evoking the next. Conditions appear and disappear.

100 little drawings are scattered. Morten’s father was an illustrator and among the things that his father left behind, he found a wealth of loose paper, torn off bits, newspaper cuttings, photos, window envelopes etc. - a lot of it filled with sketches. Out of all this he has appropriated 100 pieces, which he has used for further adaptation. For example he has copied his father’s style of drawing by drawing on top of or next to the original, he has creased and cut the paper and for the most part added his own characteristic drawings with colour samples and psychological-symbolic dividing squares. With reference to the concept, object trouvé, here you can talk about both “papier trouvé” and even “technique trouvé”!

Just like one of these drawings has led to the next, one work has led to or sometimes even been part of the following - in a progress where atmospheres and thoughts are continuously changing direction.
 
 
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