The Factory art exhibition will be held in the old fish factory in Djúpavík from June 1 to August 31, 2018. The focal point of the group show is to explore the artists’ personal relation to, and perception of, Iceland. This year The Factory is hosting 16 international artists/artist groups.
As a multidisciplinary exhibit, The Factory showcases a multitude of visual arts, including but not limited to: photography, paintings, sound, mixed media, video art and installations. This fosters a diverse and dynamic show, welcoming a broad audience. By building a bridge between the old herring factory in Djúpavík and new contemporary art, the building will gain a modern and attractive aura. The goal is to support the community and the artists – and honour Iceland and its inspiring influence on people via art and culture.
The Factory 2018 is the 3rd iteration of the event.
Hotel Djúpavík is the host of the exhibition.
From June 1 to August 31, 2018
Open daily from 9am to 6.30pm
Margret Schopka studied painting in Hamburg, Germany, and now lives in the region known as the Bergisches Land. She visits Iceland annually, and it is Iceland where she creates much of her land art. “I love working in Iceland’s beautiful nature,” she says. “Everything I do revolves around unrepeatable, blissful moments.” Her land art projects reect a joyful search for the other side of things,
for that which lies hidden underneath the everyday.
Margret Schopka – f.1943 – Þýskaland
ARABESQUE utilizes sand and volcanic ash to portray landscapes. The beauty and barrenness of Iceland inspired this minimalist homage to nature, which is exposed to immediate change. The dark and evocative drawing harmoniously combines interior design, table culture, landscape art, the place Djúpavík and the people who drank their coffee here.
For Thierry Ruedin, a photographer, Iceland was love at rst sight. “I remember looking down upon Vatnajökull from the plane, and I felt an incredible energy that I had never felt before,” says Thierry. In 2010 he discovered Djúpavík, and the old buildings—their history and mystery—left a strong impression. Since age 11 he has been taking analogue photographs, and today uses both analogue and digital. “I try to capture my pictures how I see it,” he says, “and spend a lot of time with different settings until I reach the desired shot. This way, I keep postproduction to a minimum, which is my goal.”
Thierry Ruedin – f.1980 – Sviss
Cecilia González-Ruedin comes from the opposite side of the globe—born in Buenos Aires, Argentina, but based in Switzerland, she discovered her passion for photography in university after toying around with an analogue camera as an adolescent. Inspired by Iceland’s raw nature, she is particularly struck by landscapes that appear to come from another planet. Having fallen in love with this far northern island, Cecilia tries to capture its cyclothymic weather and moon-like
Cecilia González-Ruedin – f.1982 -Argentína
Standing before Dettifoss, Europe’s most powerful waterfall, makes one feel very small and vulnerable. You feel the raw power of nature while you get drizzled by soft mist. Mystical energies course through your body and waken your senses.
Dettifoss is part of a series called Icelandic Details (Íslensk smáatriði) which shows hidden parts of Iceland as well as common tourist spots. Black and white images give each photograph a sense of darkness and solitude.
The paintings of Christine Hackbarth invoke not only outer but inner landscapes. Working with oil paints on vast canvases, she captures her physical surroundings as well as her emotional response to them. Abstract but anchored in physicality,
Hackbarth’s pieces depict the energy of the natural world.
Christine Hackbarth – f.1975 – Þýskaland
This series of four oil paintings represents the amplitude of nature in Iceland. Capturing contrasts in the scenery–such as re and ice, heaven and earth, day and night, present and past–these pieces reveal a striking unity beneath the apparent duality of the landscape. With their wooden frames removed, the canvasses stand
naked like membranes. Therein, the paintings invoke animal skins hanging on a wall.
Michel Handschumacher studied architecture before turning to photography. His shots are focused on moments of seeming insignicance, in which time seems to stand still. Whether photographing traces of the past in order to better examine the present or illustrating the inevitable advance of time, his photographs reect his own
Since 2014, he has worked with the musician Bruno Fleutelot to create four short photographic films. His series Time does not erase errors won the Audience Award in the video category at the 5th Rendez-vous Image exhibition in Strasbourg,
France, in 2015, while his lm The Black Ribbon received the Coup de Coeur award for new scripts in 2016.
Michel Handschumacher – f.1965 – Frakklandi
Bruno Fleutelot is a man of many musical projects: bands, duos, solo ventures…he’s tried them all. After his solo release Private in 1998, Bruno founded the band Oboken along with Philippe Saucourt. Together, they released three albums for
Le Village Vert (Wgram) in France before calling it quits in 2003. In 2005, he released [ozo viv], a deep and introspective album thematically focused on lunar landscapes, reminiscent of works by Labradford and Fred Frith. His latest album Roter Berg was released in 2015. Since 2003, Bruno Fleutelot has been producing
original soundtracks for numerous short films and documentaries, as well as performing in theatrical works or alongside Swiss and French bands.
Bruno Fleutelot – f.1968 – Frakklandi
The Black Ribbon (Le ruban noir) merges a photographic series by Michel Handschumacher with a soundtrack by musician Bruno Fleutelot and vocals by Pierre Grammont. The resultant project examines the links between image and
sound, culminating in a visual story composed of fixed plans gradually disappearing in progressive crossfades. The images are mixed in long overlays, while the pace deaccelerates. The continuous narrative displays parallel worlds that intersect reality and imagination. The final zoom leads towards infinity, a kind of white and
Carissa Baktay is a Canadian sculptor and glass blower currently living and working in Reykjavík. A graduate of the Master of Glass Art and Science in Lisbon, Portugal, she has been working with glass since 2008. At once intuitive
and experimental, her work is an attempt to understand memories and render them physical though the process of creation. She has participated in snow- and ice-sculpting residencies in Norway as well as independent residencies in Iceland and Finland.
Carissa Baktay – f.1986 – Kanada
Of Things I Can’t Unthink is an attempt to understand and to make concrete the artist’s memories of the interaction between landscape (place) and home (body). Created in northern Iceland, Of Things I Can’t Unthink consists of thousands of plaster teeth oating seemingly weightlessly in space, drawing attention to materiality as well as immateriality. Form becomes memory, and memory, form.
Dao Strom is a writer, artist and musician who explores hybridity through melding disparate “voices”—written, vocal, visual—to contemplate the intersection of personal and collective histories. Her work synergizes poetry, music, and image via installation and on the page. Her bilingual poetry/art book You Will Always Be Someone From Somewhere Else is forthcoming from the Hanoi-based Ajar Press in 2018. Her other books include an image-text memoir We Were Meant To Be a Gentle People accompanied by a song-cycle East/West and two books of
fiction. She is the editor of diaCRITICS, an academic journal, and co-directs two collective art projects, She Who Has No Master(s) and De-Canon, promoting writers of color and of the Vietnamese diaspora. Dao was born in Vietnam and lives in the U.S. She spent two months with her partner Kyle Macdonald at the Nes Artist Residency in Skagaströnd, Iceland, in 2017.
Dao Strom – f.1973 – Bandaríkin
Kyle Macdonald is from Pasadena, California. He is a builder, a boat engineer, a photographer and videographer, and a fixer and finder of objects. He collaborates on visual and installation elements with his partner Dao Strom, with whom he spent two months at the Nes Artist Residency in Skagaströnd, Iceland, in 2017.
Kyle Macdonald – f.1967 – Bandaríkin
Dead Time is a hybrid collage of poetry fragments, image and video meant to evoke the temps morts of displacement, or one’s inevitable placement in certain histories. As a Vietnamese-born American, artist Dao Strom’s citizenship in the world is informed by multiple histories of violence. She came to Iceland wondering how it would feel, in her particular body, to stand in a geography quite disparate from those histories. This series is a result of that contemplation.
The title Dead Time is a nod toward Korean-American artist Theresa Hak Kyung Cha’s Temps Morts/Exilée, in which the phrase “temps morts” expresses the liminal state of being indenitely severed from one’s roots. Three-plus decades after Cha, Dao Strom looks meaningfully toward her as lineage. But Dao Strom marks the beginning of this work, for herself, by initiating it far from the energies of America. She also adds in sound and collaboration.
Gabrielle Cerberville is an American composer, multi-media artist, and pianist. Her Puerto Rican, German, Italian, and Jewish heritages display themselves in her unique ability to inhabit many different perspectives in her music and art. She obtained her BM in composition at Butler University. Her works have been featured in several public forums at home and abroad. She is inspired by the sensual nature of the world around her, and seeks to create art that is both practical and innovative, with an edge of wit and playfulness, searching for the art behind and beyond tonal language.
Gabrielle Cerberville – f.1991 – Bandaríkin
between the o/es is an interactive sound sculpture created in Iceland during a deep
winter residency from sounds that were recorded and curated in the small town of Ólafsfjörður, high up on the northern shores. between the o/es is partly a prepared soundscape written in tribute to the town that birthed its sounds, but is also a commentary on the effects of climate change in the northernmost places of our world as part of a larger installation work. The listener enters a delicately adorned space within space, symbolic of both the fragility of the natural world and the deep reliance the Icelandic people have on their tiny, yet resilient communities.
Imanol Mendizabal is a Basque amateur photographer from Spain who has spent much of the past three years volunteering and working in Iceland. Especially interested in analogue photography and darkroom printing, he was first haunted by developing photographs by hand–but now nds printing to be a vital part of his creative process. All the prints on display were enlarged by hand from 35mm
black-and-white lm on Ilford resin-coated paper by the artist in his darkroom using only traditional darkroom techniques.
Imanol Goiburu – f.1990 – Spánn
Sarah Kendall is an American writer who has moved between California, Iceland, and her native South Carolina in recent years. She received her Bachelor of Arts in English and Integrative Biology from UC Berkeley in 2016, and will be moving to Reykjavík to complete a Master’s in Environment and Natural Resources at the University of Iceland this fall. Sarah lived in Djúpavík the past two summers, and these writings are inspired by the journals she kept during that time.
Sarah Kendall – f.1993 – Bandaríkin
Symbiosis is a joint photography and writing series that investigates the personal experiences of the artists in Iceland. In biology, symbiosis is a term used to describe a close association between two organisms. This relationship can help or harm depending on the lifeforms involved. Here, the symbiosis is between individual and land. Photos and texts are used to explore the contrasts that emerge from this
Katja Hasenöhrl is a photographer, graphic designer and illustrator living and working in Vienna and elsewhere. She specializes in storytelling-based photographs as well as minimalistic and poetic works. Long fascinated by the relationship between humans and the natural world, she mostly travels solo, challenging herself and sharing her adventures in written form and through pictures, capturing nomadic and archaic traditions.
Katja Hasenöhrl – f.1988 – Austurríki
In 2016, Hasenöhrl traveled through Iceland for five months, working on various farms and assorted projects all over the country. She connected with people in rural areas and captured their close relationship to nature.
Aishling Muller is a multidisciplinary visual artist and holistic therapist from Ireland. She has recently been merging these two fields together, building creative healing spaces through art installations. Muller believes that creative expression and our inner healing journeys arise from the same energetic space. Inspired by the
rugged beauty of the Westfjords, she recently relocated to Ísafjörður from Reykjavík. Muller works with landscape, photography, video, audio, performance, participatory artwork, crystals and sound therapy. She was also a speaker at the 2017 TEDx Reykjavík Re-Imagine event, where she gave a talk entitled “Rethinking Creativity”.
Aishling Muller – f.1980 – Írland
Each bottle represents a year of life, each note within a struggle. Corked struggles await release while open ones have been or are being addressed. The audio, gathered during live sound bath experiences, aids in bringing our subconscious conditioning into our conscious awareness for release, growth and selfdevelopment.
Muller’s works mirror what Joseph Campbell and Carl Jung suggest–that we each travel the same life process or hero’s journey which ultimately leads us to the same pivot points of development within ourselves. Muller uses her own life experience to illustrate this philosophy. She has been on this journey of introspection since moving to Iceland. Inspired by the sacredness of life’s inner journey–the metaphysical and ritualistic elements–Muller explores deep-rooted connections of man with the natural world. She is currently working on the beginnings of Chapter
Three – Earth, a work which involves grounding and homecoming inside of the self.
Paulina Pankiewicz, originally from Warsaw, concentrates on performative activities, drawing, collage, video art and site-specic projects. Through collaborations with architects, musicians and sportspeople, she often develops
a dialogue with cities’ spatial structures. She also draws her inspiration from nature. She explores both rural and urban landscapes in contexts of space, time and motion. Currently, she is a third-year PhD student at the University of Arts in Poznan.
Paulina Pankiewicz – f.1980 – Pólland
Last summer, Pankiewicz traveled around Iceland collecting tourist brochures, magazine cutouts and snippets from daily newspapers. Her resultant collages are surreal, resembling some kind of dreamy trick-photography–unreal, but born out of reality. This peculiar display of memories creates a new dimension of reality. Additionally, the artist also invites visitors to The Factory to participate in a certain kind of a game: the idea is to share your travel with people close to you through the act of sending them a traditional postcard. Postcards are available for purchase at Hotel Djúpavík. Write your postcard promptly, while enjoying a cup of coffee at the hotel. Completed postcards should be handed to hotel staff for delivery to the post office.
Katrina Jane Perry is a MA Fine Arts candidate at the Iceland Academy of the Arts. Perry received her BA in Fine Arts from the University of Texas at Austin; she has exhibited her photographic and sculptural work in solo and group shows in the United States and Europe. Perry’s multidisciplinary practice is focused on
geophysical and linguistic topographies in relation to morphology and meaning. Dualities in nature and the human condition encourage her investigations into themes of communication, vulnerability, isolation and accessibility.
Katrina Jane Perry – f. 1983 – Bandaríkin
Katrina Jane Perry’s driftwood sculptures reimagine the material as architectural vessels forms of environmental adaptation speak of their traverse in ice sheets from the boreal forests of Siberia to the shores of Iceland. The anthropomorphic nature of the driftwood in relationship to the human body is a metaphor of traverse, placement, and belonging.
Katrina Jane Perry sourced materials from the grounds of the historic facility; their manipulated gesture and patina speaks to a certain nuance present in the abandon herring factory – the wood, metal, and iron objects in relationship to one another function to create a dialogue of history and identity.
Born in Strasbourg, France, of French and Indian origin, Réza Kalfane has always practiced photography in concert with his studies as an engineer. Very focused on technique, he refines his practice during his travels. Struck by Iceland’s enigmatic landscapes and vast spaces on his first trip in 2012, he honed in on colours and textures Réza now seeks to transcribe the landscapes of the Far North with the most delity possible by depriving them of all visual artice. The landscapes he seeks to capture are rough, authentic, and minimal while maintaining their mystery. Réza plans to continue his journey in Greenland, the Faroe Islands and New Zealand.
Réza Kalfane – f.1976 – Frakkland
Randy Antonia Lott is an artist and architect who lives in Brooklyn, New York. For the past few years she has donated architectural design services to the 14+ Foundation, which builds schools in remote villages in Zambia. As an artist, Randy’s work is multifaceted, incorporating many styles and mediums. Her
ink drawings are detailed and powerful, evoking the energy and spirit of her subjects, whether they be people or places. Randy is also the founder of Studio 483 NYC, which focuses on art direction, curation, fine art and design. Her work in this exhibition documents the experience of beautiful isolation found in the stunning landscapes of Iceland and the Faroe Islands.
Randy Antonia Lott – f.1979 – Bandaríkin
At the age of five, Julie received her first camera and became immediately transxed
that this small box could unlock another dimension in her quest to tell stories. Julie’s travels have spanned 60 countries, camera always in hand. Studying philosophy, psychology, and classical music further strengthened and intensied her
photographic pursuits. Stylistically her work evokes great depth and mood through
composition as a narrative device. Often her inspiration comes from small moments in far away places. Her upcoming projects include a gallery exhibition in Iceland, a book documenting her travels to Georgia and Azerbaijan, and a photography workshop in Argentina. She currently studies at the acclaimed International Center of Photography in New York City.
Julie Dodge – f.1975 — Bandaríkin
Collaborating throughout their travels in remote parts of Iceland, each artist provided a unique perspective on documenting peaceful, profound, beautiful and isolated locations. Their resultant works are collected here to create a narrative of their journey together.
Maresa Jung grew up in Rosenheim, southern Germany, and began working with photographs in 1998. She has exhibited abroad in Israel, England, Iceland, Belgium, Austria, Cuba, Switzerland and Italy. She is the 2013 winner of the Silken Photo Award in Brussels with the series Energy Sculptures. The series Portraits
With Lilies is one of Jung’s main projects and shows people from over the world with a lily ower at their faces – in a short and intense relationship to this symbol of beauty.
Maresa Jung – f.1953 – Þýskaland
In this project, Jung meditates on how it feels to be comprehended by stones. As stones appear to the artist to have eyes, Jung posits that the natural world in fact contains an observational faculty. The mindset of “visiting and seeing Iceland” often turns perfectly on its head for Jung – as she comes face to face with the natural
world, she realizes herself at home on the earth.
The members of the group come from various backgrounds and work in different media, but meld themselves into a “mixture” or elixir for the purpose of activating the environment of each exhibition space through their art. The Mixtúra group has previously held two group shows which focussed on drawing as a medium. On their travels in the Strandir region, they were captivated by the mysterious landscape of Djúpavík, including the old factory and the unspoiled natural surroundings. They see the factory building as an ideal setting for exhibition projects in which local landscapes directly inuence the creation and execution of the art. The artists’ works will be made partly on site, based on principles of environmental awareness and referencing life and work in the remote Strandir region of the Westfjords in the past.
Guðbjörg Lind Jónsdóttir was born in Ísafjörður in the Westfjords of Iceland. A 1985 graduate of the Icelandic College of Art and Crafts, her art can be found in numerous collections, including that of the Reykjavík Art Museum, the Ísafjörður Art Museum, the University of Iceland’s Art Museum and in many public and private institutions. In The Museum of Memories (Minningarsafnið), she focuses on memories and ambiance of the past, when people laboured in Djúpavík’s now-abandoned herring factory. The work includes an eccentric collection of objects,
photographs and cuttings from academic publications about climate and society.
Guðbjörg Lind Jónsdóttir – f.1961– Ísland
Jean Larson was born in Ishpeming, northern Michigan. Since 1984, she has lived in Boston, a small village in southern France, the Democratic Republic of Congo and more recently in the town of Flateyri on the west coast of Iceland. Her work Stories (Sögur) focuses on the walls of the factory building: through photography, painting and drawing she records stories and images that can be read from the cracks and sediments of the old concrete walls.
Jean Larson – f.1955 – Bandaríkin
Plastic Ocean, 2010 -1018
White Fog, 2015
Kristín Geirsdóttir was born in Reykjavík and graduated from the Icelandic College of Arts and Crafts in 1989. In her work Foghorn (Þokulúður), she addresses the phenomenon of foghorns used to warn ships of dangerous rocks and sherries in the event that fog obscures the beacon from a lighthouse. Kristín continually evokes the ethereal impressions conjured up by the eerie sound of the foghorn. In addition to the audio work, her installation will include paintings on plastic and other materials.
Kristín Geirsdóttir – f.1948 – Ísland
Ólöf Oddgeirsdóttir was born in Reykjavík, Iceland. Having studied painting and art
history, she now lives and works in Álafoss, Mosfellsbær. As a weaver, she combines
organic patterns from nature with the complex, regimented patterns of society. Her work in The Factory, Tidal Embrace (Sjávarfang), comprises large three dimensional forms, drawings, nets and lighting.
Ólöf Oddgeirsdóttir – f.1953 – Ísland
Ever since they began collaborating in 2015, the musicians of Passepartout Duo have been tirelessly advocating new types of music, crossing aesthetic boundaries, and creating compelling lms. Driven by their shared values of music, people and travel, Nicoletta Favari and Christopher Salvito’s simple and elegant approach has already earned them a reputation as a promising emergent group within the contemporary music arena.
Nicoletta Favari – f.1992 – Ítalía
Christopher Salvito – f.1992 – Bandaríkin
Yannis Zhang and Yumo Wu, based in Beijing, China, co-direct Anyone Artspace and its associated residency program Semi-Underground Space. The couple focuses on borderless communication through a variety of artistic media. Yannis’s training in architecture has lead him to design everything from versatile storage containers for movable performances to conceptual installation pieces. Yumo’s work focuses on the cyanotype process and other techniques that relate to everyday life and the
human experience which normally see the conversion of everyday objects into art objects. The duo formed Anyone Artspace to provide an aesthetic and creative laboratory in the city of Beijing.
Yannis Zhang – f.1989 – Kína
Yumo Wu – f.1988 – Kína
The album Skíðblaðnir is a collaborative project between Passepartout Duo and the artist couple Yannis Zhang and Yumo Wu. The project came about during a two-month residency in northern Iceland, and encapsulates the artists’ time living
without sunlight during the darkest part of the year. They were also inspired by the local shing culture in the small town of Ólafsfjörður. The end result is a vinyl LP that cohesively integrates visual art and music. The visual art is realized by Yannis and Yumo by the process of cyanotype printing, which allowed them to experiment with sunlight (or lack thereof) in Iceland.