Iceland review - 2012, Page 16

14 ICELAND REVIEW
Located in 101 Reykjavík, Ragnar
Kjartansson’s cozy studio reflects his
exceedingly charming personality; an
eclectic mix of old furniture, paintings and
sketches, art books, instruments, paint and
brushes, which such a versatile artist might
need. A painter, sculptor and videographer,
classical musician and vocalist, first and foremost he defines
himself as a performance artist. And as if that weren’t enough,
he is a founding member of the iconic rock band Trabant.
Then there’s the cardboard cutout of Marilyn in a hot pink
dress that hovers over him as he reminisces about growing
up within the walls of the Reykjavík City Theatre, where
his parents were prominent actors, directors and playwrights.
“I grew up in the theater, this romantic, exciting world
brimming with creativity. That’s in fact how it all began for
me,” he says, lounging on a striped old couch and chewing
on a slim, brown cigar, which he says is his latest obsession.
“It’s like in Bergman’s film Fanny and Alexander where the
father refers to it as a little world within the world. I can
totally relate to that. It really sparked the fantasy within
me, intertwining it with reality in the most fascinating way.
Actors in 18th century costumes sitting backstage, chatting
over coffee and pastry; total reality but yet everyone pretend-
ing,” he smiles.
Even if only in his thirties, Ragnar has established himself
internationally by way of his fascinating performance pieces,
often rooted in the theater, incorporating various media such
as music and acting. “Of course, that, in its essence, is the-
ater. But just by labeling it visual art, all the premises change
and complete freedom ensues. Theater depends on tradition
whereas art doesn’t. In fact, ever since Duchamp presented his
urinal in 1917, art has been based on shattering tradition. So I
chose to pursue art rather than the theater thinking it would
be more exciting to take my background into a different
context,” explains Ragnar, who graduated from the Iceland
Academy of the Arts in 2001. “Oh and a certain lack of talent!”
he exclaims. “An actor must have this undying confidence—
and kickass talent.”
Ragnar is probably best known for his participation on
Iceland’s behalf at the 2009 Venice Biennale. Aged only
33, he became the youngest Icelander to have been chosen
for the prestigious task. “I wouldn’t call that honor,” he mod-
estly dismisses that observation. “At the end of the day, there’s
no such thing. It’s all about the art.” Entitled The End, his
contribution was a six-month performance piece featuring
himself and a fellow artist who served as his model wearing
only a Speedo. Every day for six months, Ragnar painted a
new portrait of his subject and the combined result is the
documentation of the performance. “The End was about
creating the existence of the archetypical bohemian,” he
With his captivating
performance pieces,
often rooted in his theatrical
upbringing, visual artist
Ragnar Kjartansson is
making his mark on the
international world of art.
By Ásta andrésdóttir
Portrait By PÁll stefÁnsson
other Photos courtesy of ragnar Kjartansson / i8 gallery
the
PerFormer