Reykjavík Grapevine - 14.08.2009, Qupperneq 44

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The Reykjavík Grapevine
Issue 12 — 2009
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Album Review
Art | Review
The country hi-jinks here are pretty
enjoyable when things are at their
most energetic, and there really isn’t a
single particularly bad thing about this
album... but maybe that’s just because
there really isn’t anything particular
about this album at all. In fact, maybe
I’ll just stop right there. I’m really not
sure what else to say. It’s kind of nice
outside. Maybe I’ll take a walk. And
get some ice cream. Yeah, ice cream
would be great. Should I get sprinkles?
—SINDRI ELDON
Maybe the hardest part of being a
writer is when you get handed a record
with an honestly enthusiastic and
anticipating smile—‘hey, this is good
stuff, you must check it out'—and you
do check it out and are totally not
into it. I guess it is even harder when
the record is the new album of an
Icelandic legend like Bo Halldórsson.
If you write something bad, maybe you
didn't understand it? Or do you suck
at having taste? Will people be mad at
you for writing this?
So you lie back and think of
Iceland. Maybe start with something
nice: Sígrænir söngvar is a deep
record; its production values are of
the highest possible calibre. Bo is a
professional; you get that from every
note and every thought-out vocal line.
Also, he scored help from artists like
Sigríður Thorlacius of Hjaltalín, even
his son Krummi of Mínus and Esja. So
what’s there to beef about?
Maybe that this is not Rock 'n'
Roll at all, but very old-fashioned
and conservative folk-pop. I think of
German Schlager, respectable bands
that compete in the Eurovision song
contest (actually Bo did take part).
This is the crucial point for the record:
many people will like Sígrænir söngvar,
like they like Eurovision. It's just they
are way past their fifties. I like my rock
to rock, and am not among them.
—FLORIAN ZÜHLKE
Dr. Zühlke
and Mr. Eldon
Two men.
One album.
Lots of dissent.
Björgvin & Hjartagosarnir
Sígrænir Söngvar (2009)
bohalldorssonband
» Yeah, man, sprinkles. Go for it.
Old-fashioned Eurovision pop «
-+-
The Lost Horse Gallery has moved from
the old converted stable at Skólastræti
1 and found a new home on Vitastígur
9a. Reykjadam/Amstervík is the first
exhibition on the new premises. The
show brings five Icelandic artists back
from their studies in The Netherlands
at the renowned Gerrit Rietveld
Academie. Gerrit Rietveld was an
infamous Dutch designer with a
passion for concept art. Hence, it is no
surprise that the exhibition conjures a
similar experimental ethos.
How the artists came together
The group of Icelanders met in
Amsterdam and began to form close
friendships. It slowly became apparent
that they all shared an interest in
putting on a show back home in
Reykjavík, so as to contrast what
they had experienced in Amsterdam.
The idea to convey their connection
between the two artistic realms
seemed appropriate. On arriving
back, the group simultaneously had
to contend in the vibrant, chaotic
Icelandic art scene whilst trying to
maintain their adopted ideas from
Amsterdam, which brings with it
a more headstrong chronology of
conceptual art.
Dutch Consul
The artists had the hard-grafting
predicament of being the first
exhibitors since the move. Walls
needed painting, electrical appliances
checking... Still it seemed the group’s
ambitious plans were not to be
stifled, and as they sought to promote
the show the Dutch Embassy gave
them a generous grant. According
to participating artist Hrafnhildur
Gissurardóttir, the Dutch Consul is
keen on providing funding to make
Reykjadam/Amstervík an annual
event: “He proposed if we give him
half a year’s notice, he would try and
guarantee money toward the show
next year.”
Technical Fetishism
The new space is divided into two
floors; three of the artists occupy
downstairs and two are on the upper
deck. Sæmundur Þór Helgason, one
of the artists on the second floor,
describes his work as “Technical
Fetishism”. His peculiar light sensitive
sound installation has an even
more unconventional power source:
potatoes! The piece seems to further
extend man’s use and fascination
with this common vegetable. As I
was perplexed by why he choose
the beloved potato to power the
installation, I asked Sæmundur to
elaborate more on how it ran: “By
using the acid within the potato, the
potatoes start to act as batteries
between the positively charged copper
(+) and the negatively charged zinc (-),
thus powering the artwork.” He also
remarked that it was like “crisis power
plant, since potatoes are symbolic of
famine and poverty.” This is apparently
meant to reflect the current situation
in Iceland.
Another interesting piece was that
of Hrafnhildur Gissurardóttir, who
etched paparazzi photography of
Amy Winehouse. The artist’s intention
behind the work was to deconstruct
the icon, not to derogate her. And no,
she is not a fan. She simply intends to
illustrate the self-destructive tendency
Winehouse portrays and pose the
question whether it is self-made.
A Lost Horse Found In Reykjadam
Or was that Amstervík?
RICHARD P. FOLEY
Reykjadam/Amstervik
The Lost Horse Gallery
Vitastígur 9
Reykjavík
Open 2pm–6pm
gogoyoko presents:
Hemmi og Valdi / Friday August 21 / 21:00 / Free concert
Snorri Helgason
Gnúsi Yones & The Crackers
Calf Method
GRAPEVINE
GRASSROOTS #6