Reykjavík Grapevine - 05.06.2009, Side 36

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The Reykjavík Grapevine
Issue 7 — 2009
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Diligent readers of the Reykjavik
Grapevine, as well as Reykjavík art
enthusiasts, must have witnessed
the get-up-and-go attitude at the
Lost Horse Gallery over the last
two years. Its operator, Alexander
Zaklynsky, has been hard-hitting in
establishing lively collaborations as
well as hosting unorthodox exhibi-
tions, instalments, etc. But what is it
that’s so charming about these old
stables morphed into art haven?
Art | Profile
We Want You!
Foolsgold exhibition launched at Lost Horse Gallery
www.losthorse.is
Pay checks absent,
free alcohol present
Alexander sums up last two year’s expe-
rience in these words: “We’ve basically
been having a lots of fun; throwing shows
and giving away free alcohol. Most of the
stuff we’ve done has been really interest-
ing, but we’ve collaborated with a lot of
different artists and we’ve gotten to know
a bunch of fascinating people”.
When you walk into the gallery, you
notice right away that the feel isn’t what
you’d expect from most white wine
serving galleries. You’d rather expect
fellow artists clinking their moonshine
glasses together and cheering in a blunt
manner, rather than the first lady chit-
chatting about her diamonds while gen-
tly polishing off her Dom Perignon.
“Maybe we’re more engaging in cultural
traditions, given the fact it’s situated in
an ancient horse stable and we’re kind of
glorifying that aspect of the phenomenon,”
Alexander explains as he tries to put his
finger on what it is exactly what’s sets
his gallery apart from other similar
Reykjavík establishments, “we’re diving
into a historic culture and maybe making
more meaning of things. It’s more than
just a dull exhibition space, more rough
and meaningful. Something like that.”
Besides the uniqueness in terms of
atmosphere there’s one fact that can’t be
overlooked and is maybe a crucial factor
in the big picture: the truancy of mon-
ey. But then again, if people were living
up to the 50 Cent maxim “Get rich or
die trying” at The Lost Horse, would
it make any difference? “Money really
wouldn’t change the atmosphere at all in
my opinion,” he explains and then elabo-
rates, “we wouldn’t be doing any yuppie
stuff, but people might be more construc-
tive with a little financial backup.”
The Financial Crisis:
The Lost Horse’s Catcher in the Rye
As all things that have a beginning, The
Lost Horse also has an ending, but its
ending was probably more anticipated
than in most cases: the house was due
for demolition two years after opening,
or right about now. When I asked the
operator whether this was in fact still
the plan he seemed a bit amazed that
time had passed so quickly, but got
his head straight in a moment and ex-
plained the current situation: “It’s pos-
sibly gonna be ripped down two years from
now, but because of the whole financial
situation things aren’t exactly in motion.
So you might even say we’ve benefited a bit
from the crisis.”
Giving Alexander’s stature as a
patron of some sort, it seemed wise to
ask him about how the current finan-
cial crunch has inf luenced the local art
scene. “The scene in whole hasn’t lost its
edge, on the contrary. People have maybe
become more intrusive and the galaxy of
available spaces have given people a lot of
new opportunities.” The impact on soci-
ety, though, hasn’t only been positive,
because the cash f low has definitely de-
creased: “In terms of art buying – we’ve
definitely suffered,” he explains.
Foolsgold and A.S.E.A Recruitment
This June 17, Lost Horse will premier
its next exhibition, which is quite an in-
teresting one. Bearing the name “Fools-
gold,” you might suspect that it refers to
the blown up skeleton economy prevail-
ing in Iceland in the pre-crisis era, but
it’s actually a replica of a similar exhibit
shown in New York this March that ran
for some time with substantial success.
“The model for the exhibition is the pres-
ervation of nature, endangered species and
so forth,” Alex explains, but the exhibi-
tion is a collaboration between various
artists and the organization A.S.E.A
(Artists Supporting Environmental
Awareness).
In these artists’ mind, visual art
is a great medium to convey environ-
mental ideals and arouse awareness:
“People definitely look at art, and we’re
using a different method to address these
environmental issues. We let the visual
images speak for us. We’re also defying
the bureaucratic aspects of environmen-
tal campaigns in a way, where 90% of
the funding goes into operational costs.”
Here in Iceland the main issue that the
A.S.E.A. is tackling is the whaling mas-
sacre and other sea-related affairs, but
they make it clear that although that’s
the current focus point, in the midst of
the present political chaos, those issues
aren’t exclusive at all.
Before the actual opening, they will
be hosting a sort-of open office in the
next couple of weeks, where artists can
come and contribute if they like, but the
A.S.E.A. is always recruiting artists out
there who have similar ideals and want
to be a part of it. Power always lies in
numbers, especially in regards to fund-
ing. “We’re hoping to throw many events
as well as doing interesting collaboration
projects in the future – and we encourage
everybody to pop by. “
— SIGURðUR KJARTAN KRISTINSSON
1. Proprietor Alexander Zaklynsky
(left) with Lost Horse owner
Agnar Agnarsson.
2. Lost Horse
3. More Horse