Hús/House
Oxsmá plánetan, Grizzly Bear, Hreinn Friðfinnsson, Trommusóló, Biggi Veira, Múm, Vibeke Bryld, Gula húsið, Huldar Breiðfjörð, Björk, Clark, Músikvatur, Hjaltalín, Rapture, Arcade Fire
DVD with 189 minutes of visual material of varied sorts
Octavo with articles, photographs, short story (part 2), comic strips, drawings etc.
Multiple by this issue’s artist, Hreinn Friðfinnsson
Postcard by Davíð örn Halldórsson
Seeds (spinach)
3D glasses
Memory game with hit-list houses
Design: Linda Loeskow
Trailers
Artist of the issue
Hreinn Friðfinnsson
This piece by Hreinn is a beautiful example of his ideology. Conceptual art often builds around a conjunction between language and the visual where the audience is offered a comparison between text or a title on one hand and a picture or an object on the other. The piece itself is then born between those two elements in the mind of the audience. Therefore the objects portrayed might seem a bit simple standing just by themselves.
Here we have a text written in a perishable newspaper and then another secret text locked away in a letter in a P.O. box. Hreinn is clever when working with mundane objects like we have seen so many examples of, photographs of sheep, chicken wire, spider web, painted stick or toys. The definition between different mediums of art is not of a big importance to him since he privileges the idea over the craft and therefore the presentation has to sit with the idea as well as possible. What the pieces have in common is a certain attitude to life or the sentiment of sensing the lyrical and beautiful in the simplicity of things. Hreinn says himself that coincidence is his most important tool and because of this his work has gone through a lot of transition periods. They are always though intimate and personal. There is not a sense of irony but nevertheless a subtle humour can be detected. They communicate a strong feeling of time or a timelessness of the everyday life. There is also often a wistful or a bittersweet feeling in Hreinn’s works that never reaches the stage of being sentimental or corny. Automatically you look at the everyday with different eyes after experiencing Hreinn’s works and notices new things that have hitherto been overlooked. The quality of his works appear most vividly in how far beyond themselves they allude.
Excerpt from the article by Markús Þór Andrésson published in Issue 2/House.
Video clips
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