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Gravity Circular Motion - Björk Viggósdóttir
Myndheimur Bjarkar Viggósdóttur er hlaðinn táknmyndum og verkin sett saman úr fjölbreyttum efniviði sem myndar marglaga innsetningar.
Efniviðurinn eru oftast hversdagslegir hlutir sem við þekkjum úr okkar daglega umhverfi, til að mynda umslög, tjöld, reipi, dýnur, vinnuljós, sólhlífar eða net, svo eitthvað sé nefnt.
Björk gefur þessum hlutum ný hlutverk í verkum sínum. Hún kollvarpar venjubundnum táknmyndum þeirra, þannig að við gleymum um stund hversdagslegum tilgangi þeirra.
Í þessum heimi táknmynda og hversdagslegra hluta eru líka lögmál sem við veitum ekki endilega athygli en fylgja okkur í hverju fótspori. Eins og titill sýningarinnar gefur til kynna vísar Björk hér til veigamikillar undirstöðu náttúrunnar sem er í sjálfu sér ósýnilegt afl, en hefur þó bein áhrif á tilvist okkar og gjörðir.
Aðdráttarafl jarðar er öryggisfesting sem heldur heiminum saman og okkur á jörðinni. Það þarf tvo krafta til að halda hlutum á hreyfingu og togstreitan á milli átaks og hvíldar verður að leiðarstefi hér. Rýmisverk Bjarkar er áskorun á skynfærin þar sem listamaðurinn leitar eftir þátttöku áhorfandans. Veigamikill hluti innsetningarinnar eru rólur, þær eru tæki til að skynja togkraft aðdráttaraflsins í eigin líkamsþyngd. Við setjumst upp í, hvílum þunga okkar og finnum hvernig við getum slakað á öllum vöðvum sem við notum annars til að halda okkur uppréttum.
Með þessum hætti er hægt að virkja aðdráttarafl jarðar og skynja fullkomið jafnvægi í toginu sjálfu, en á sama tíma erum við í stöðugu reiptogi við þetta magnaða afl. En þrátt fyrir mikilvægi þessa náttúrulögmáls sem heldur lífinu gangandi á hringlaga ferð í tímarúminu, erum við jafnframt tilneydd til að sigrast á því og stundum með baráttu. Við ferðumst upp hæðir með lyftum, fljúgum með flugvélum um himininn og skjótumst út í geim með geimflaugum. En þegar við fljúgum í draumum okkar tökum við gjarnan sundtökin, því eina þyngdarleysið sem við þekkjum er á sundi.
Annar hluti innsetningarinnar eru myndbandsverk. Þau geyma brotakenndar myndir sem listamaðurinn hefur safnað á ferðalögum sínum. Þetta eru leyndardómsfullar stemningar þar sem athyglinni er beint að mismunandi sjónarhornum sem sýna andartakið þegar augu okkar staðnæmast og við virðum fyrir okkur fána blakta við hún eða horfum dreymin á skilin milli hafs og himins. Það ríkir yfirveguð stemning yfir þessum myndskeiðum í bland við jarðbundið jafnvægi, við erum í hvíld en samt á ferð.
Innsetninguna má lesa sem nokkurs konar boð um að íhuga leiðangur okkar um veröldina, um leið og listamaðurinn biður okkur um að endurskoða hvað við vitum um okkur sjálf. Við erum kannski öll með fæturna á jörðinni, dæmd til að lifa í toginu, en í huganum eru engin takmörk. Við gleymum okkur í daglegu amstri og trúum ekki að við getum sett fram okkar eigin tilgátur, smíðað okkar eigin kenningar um fullkomið jafnvægi. Því við lifum á ævintýralegum stað í töfrandi tilveru þar sem hinn eini sanni galdur býr í hversdagsleikanum.
Björk Viggósdóttir (f. 1982) býr og starfar í Reykjavík. Hún hefur tekið þátt í samsýningum hér heima og erlendis. Björk hefur komið að fjölbreyttum verkefnum síðan hún útskrifaðist árið 2006 frá Listaháskóla Íslands. Meðal verkefna má nefna dansverkið Fresh Meat, sem hún setti upp ásamt Sigríði Soffíu Níelsdóttur dansara í London og á Íslandi 2009, og hljóðinnsetninguna Soundscape í MMX-galleríinu í Berlín 2010. Einnig sýndi hún vídeóverk í Chelsea Art Museum í New York og tók þátt í Listahátíð Reykjavíkur 2009. Björk kom að uppfærslu á gríska harmleiknum Bakkynjur í Þjóðleikhúsinu 2006 þar sem vídeóverk hennar var hluti af leikmyndinni.
The visual world of Björk Viggósdóttir is highly symbolic. Her works are assembled from diverse materials to form multilayered installations.
Her materials are apt to be mundane objects familiar to us from our daily surroundings, such as envelopes, curtains, ropes, mattresses, work lights, and parasols, to name a few. Björk Viggósdóttir gives such objects new roles in her work. She upends their customary symbolism, so that we briefly forget their mundane purposes. In this world of symbolism and mundane objects there are laws that we don’t necessarily notice but which dog our every step. As the exhibition title announces, Björk Viggósdóttir is alluding here to a key fundamental of nature, a force that, while invisible in and of itself, directly influences our existence and our acts.
Earth’s gravitational force is a safety restraint that keeps the world together and us earthbound. Two forces are required to sustain an object’s motion; the clash between effort and rest becomes a motif here. Björk Viggósdóttir’s three-dimensional work challenges our faculties, as the artist requests our participation. Swings are a major element of this exhibition, as tools for perceiving gravitational pull through our own body weight. We sit down, rest our weight, and feel how we are able to relax all the muscles that we otherwise use to keep ourselves upright.
In this way we can harness earth’s gravitational force and feel perfect equilibrium within its very pull; yet we are in a constant tug-of-war with this mighty power. Despite the centrality of this natural force, which keeps life going on its circular journey through time-space, we are also compelled to overcome it, even battle it. We rise through buildings in elevators, fly through the sky in airplanes, and rocket into space in spacecraft. Yet when we fly in dreams we tend to use swim strokes, swimming being the only weightlessness we know.
The second part of the installation is video works. They are composed of fragmentary images collected by the artist in her travels. The mood intrigues as our attention is drawn to different angles on those moments when our gaze is caught by a flag luffing against its pole or fixes dreamily on the dividing line between sea and sky. A reflective air permeates these sequences, blending with an earthbound equilibrium: we are both at rest and in motion.
The installation may be read as an invitation of sorts to reflect on our passage through the world, as the artist asks us to reassess what we know about ourselves. Perhaps we all have our feet on the ground, doomed to live with the pull, but in our minds there are no limits. We forget ourselves in daily toil and disbelieve that we can advance our own hypotheses—create our own theories of perfect equilibrium. After all, we live in a fairy-tale place, a bewitching existence, since the only true magic lies in the mundane.
Björk Viggósdóttir (b. 1982) lives and works in Reykjavik. She has taken part in group exhibitions both in Iceland and abroad. She has put her hand to diverse projects since graduating from Iceland Academy for the Arts in 2006. Notable among them are the choreographic work Fresh Meat, staged with dancer Sigríður Soffía Níelsdóttir in London and Iceland in 2009, andSoundscape, a sound installation at Berlin’s MMX gallery (2010). She exhibited video work at the Chelsea Art Museum in New York and took part in the 2009 Reykjavik Arts Festival. She had a hand in the National Theatre’s 2006 production of The Bacchae, in which her video piece was part of the set.
Text: Klara Þórhallsdóttir, Curator
January 2013 (1,840 views)
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