STARA - 16.04.2015, Blaðsíða 43

STARA - 16.04.2015, Blaðsíða 43
S T A R A n o .3 1.T B L 2 0 15 43 Is this the first time you have done a residency? No. I have been to the SÍM residency several times since 2009, including the lovely one in Berlin. But the first residency that I participated in was in Florida, USA, at the Atlantic Center of the Arts with master artist Gillian Wearing when I was a graduate student at Concordia University in Montreal in 2003. It is always a thrill to receive an acceptance letter and it’s a special feeling to know you are appreciated as an artist and at the same time know that you are going to experience this future unknown journey with an open heart. Why Iceland? Iceland has always been a place that fascinated me. I remember seeing the movie 101 Reykjavik when I was younger and living in New York City at the time, and wanted to know more about this tiny island. It kind of felt like an exotic place to be immersed in. A tiny, quaint, but strong Nordic independent artistic community living on this tiny volcanic island in the middle of the ocean, yet embodied with a unique cultural richness of magical proportions, all manifesting itself in Reykjavik. It felt truly contemporary, yet a hybrid of the past and future fused into this mystical creativity. The experimental music scene left a big impression on my inner self. It was a kind of a magnetic pull in wanting to experience the landscape through the haunting music of Björk, Múm, Sigur Rós and Hildur Guðnadóttir to name a few. Where did you first hear about the SÍM Residency? I had just been invited to exhibit my work in Gothenburg, Sweden and therefore received the opportunity to go to Valand University to give an artist talk. I met several Icelandic artists who were completing their Masters of Fine Arts and was asked to come to their studios to talk about their artistic practices. In turn, they told me about the SÍM. First word you learned in Icelandic? Heima. What are you working on at the SÍM residency? I have created quite a few projects in Iceland that have been activated through performance interventions or experimental noise events where I have collaborated on several occasions with Icelandic artists. I enjoy collaboration and my practice is moving towards more socially en- gaged work. Each experience in Iceland has been unique and rewarding in terms of new knowledge and new creative processes. Last August of 2014, I came to Reykjavik with my Montreal performance and experimental noise collective called Sonic Electric. We came to the SÍM to compose a new piece of improvisational electronic music and to perform in front of an Icelandic audience. We presented this new mate- rial at Mengi as part of our final exhibition and to celebrate the end of our residency.
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