Reykjavík Grapevine - 05.07.2013, Side 42

42
Enter The 6th Volume
Katrín Inga Jónsdóttir Hjördísardóttir Hirt adds a
chapter to the history of Icelandic art
The exhibition draws its name from ‘Íslensk listasaga’
(“History Of Icelandic Art”), a five-volume book on the
history of Icelandic art from late 19th Century to the
beginning of the 21st, published in 2011 by publishing
house Forlagið in collaboration with The National Gal-
lery of Iceland. Described by the publishers as a “huge
cultural contribution,” its aim was not only to “tell the
history of Icelandic visual art but also to strengthen
and shape our ideas about the nation's art, our com-
mon heritage and identity.” The 1,400-page-long book
and its authors were, however, not free from criticism.
Among the flaws mentioned was an embarrassing lack
of women as well as a number of other key artists, and
the exclusion of a whole genre, that is photography;
some critics even called for the two latest volumes to
be rewritten.
Most critical of the 5th volume—certainly the most
sensitive one as it deals with contemporary art up until
last millennium—Katrín took the historical and curatori-
al matters into her own hands. So, instead of putting her
own works on display when invited to show at NÝLÓ,
she decided to attempt to put together what she calls
“an exhibition of all Icelandic, contemporary artists.”
The imperfectness of history
“I contacted about 120 artists and scholars,” Katrín tells
me, “and asked them to give me an artwork or a text
in exchange for a sculpture that I made.” The process
brought forth a number of questions: “What is contem-
porary art? Is it centred on a certain age or a certain
generation? Do any currently active artists fall under
the definition or does it matter what sort of art theirs
is?” The result is now standing in NÝLÓ: a versatile col-
lection of art ranging from the avant-garde SÚM gen-
eration—dating back to 1965—to artists recently gradu-
ated from Iceland Academy of the Arts.
“But this idea was doomed,” she explains, “as I can
never touch on everything.” As if to prove it, an art-
ist who was not asked to take part in ‘The 6th Volume’
walks into our conversation. “In fact, you should have
been there as well,” Katrín tells him and after a brief ex-
planation of the idea behind the show, the complexity of
history-writing becomes the topic. “One is never able to
touch on everything—history-writing is so imperfect,”
the artist who wished to remain anonymous says. “And
when it comes to publications and retrospectives, there
is always something missing,” Katrín adds.
The two agree that no “one” history exists. “Who
brings in the money? Who's the publisher,” Katrín asks
and the other artist continues: “Who are their friends
and collaborators?” Katrín also maintains that owner-
ship of artworks plays a big role here. “The owners, of
course, want their works to be included in publications
because thus the financial value of their property in-
creases.”
Alongside the market, funding is also an issue here.
“When applying for grants,” Katrín says, “artists often
have to conform their projects to the funds and their
rules. In a way, this could be described as some sort
of censorship of the development of art.” In order to
broaden the range of funding options, she now hopes to
sell her exhibition as a single artwork, using the money
to start her own fund, “an anti-rule fund” she calls it,
planning to keep it free from the formalities most often
included in typical grants applications.
Making and breaking the rules
Rather than seeing it as a result of anger and frustra-
tion toward the 2011 book, Katrín maintains that ‘The
6th Volume’ is more of a philosophical response: “This
particular version of history has been published and
one is simply forced to think about it. And while I was
happy about the publication, I also agree with much of
the criticism.”
She also points out how the lack of art publications
makes a book like ‘Íslensk listasaga’ seem so important.
“If there were more publications—alternative ones, with
a focus on specific media and methods—this one might
not have to weigh as heavily as it now does.” Respond-
ing to this lack, ‘The 6th Volume’ is also being produced
as an actual book, published in three parts parallel to
the progression of the exhibition.
Katrín admits that from the beginning she knew that
she might hurt some of those not asked to take part.
“But then again this is only my exhibition—my version
of history—and no-one should be hurt for not being
there. I make the rules and I break them as well.” The
anonymous artist agrees, adding that “as each version
of history contains some truth, everyone should write
history.” As he leaves, Katrín and I continue our conver-
sation and cannot resist asking ourselves if the planning
of a 7th Volume—hitherto unheard of—has started."
- Snorri Páll Jónsson Úlfhildarson
Art
“I make the rules
and I break them
as well.”
How is history written? And by who? Is just anyone capable of writing it? Or should the task be
left in the hands of specific individuals and entities: historians, institutions, the authorities and the
markets? These are some of the questions raised—directly and indirectly—by Katrín Inga Jónsdót-
tir Hjördísardóttir Hirt, whose solo exhibition ‘The 6th Volume’ is currently on display at NÝLÓ, The
Living Art Museum in Reykjavík.
‘The 6th Volume’ will be on exhibit until late August. Check
NÝLÓ's website (www.nylo.is/english) for further information,
including dates for events in relation to the exhibition.
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