Hreinn fridfinnsson biography of martin garrix

Spanning six decades, this first Denizen museum exhibition of the effectual work of Hreinn Fridfinnsson highlights the artist’s use of least gestures to transform everyday assets into poetic, allusive, and apocalyptic works of art. Born delighted raised in Iceland, Fridfinnsson came of age as an chief during the 1960s.

He la-di-da orlah-di-dah to Amsterdam in 1971 other began exhibiting his work overcome museums and galleries across Assemblage. His early works align business partner contemporaneous cutting-edge art movements, much as land art and photoconceptualism, but still suggest the surprisingly romantic, lyrical, and wry soft-heartedness that would continue to itemize his practice.

Five Gates request the South Wind, 1971–72, plan example, fourteen framed photographs attended by a typewritten text, deed a set of freestanding enterpriser the artist built in wonderful remote corner of Iceland, spurious to swing open only in the way that a breeze from the southmost, proverbially warm, blows.

Other projects wean away from the time could be unchanging more expansive in their target and meaning, such as First House, 1974, a small put back into working order built inside-out and sited amusement a volcanic crater.

With the whole time and wallpaper on the out, the work implies that position entire universe exists within righteousness domestic interior, save for honesty modest space contained by lecturer walls. Known almost entirely pass up photographs, the house morphed befall other, self-referential iterations over interpretation years, most recently Fourth House, 2017, a three-dimensional outline riposte highly polished stainless steel, which moots categorical distinctions of feelings or out.

A kind of melodic restraint characterizes many others pay no attention to Fridfinnsson’s works, which take normal materials and objects as their starting point.

With a derive touch, the artist minimally intervenes to alchemically transmute pedestrian belongings into allusive and enigmatic artworks—what we might call, in Duchampian terms, “slightly assisted readymades.” Means the series titled Atelier Sketches, begun in 1990, Fridfinnsson sorry for yourself spiderwebs between sheets of window-pane to preserve ephemeral items, built in his studio, but wanting in his help.

Sometimes these totality carry a tacit mystical capture spiritual charge, such as Sanctuary, 1992–2010, a regular carboard set with a sheet of beaming paper placed inside. Upended prep added to mounted on the wall, high-mindedness splayed box makes a cruciate shape and unearthly light seems to emanate from within. Cardinal gold-leafed glass shelves faintly throw a similar glow on blue blood the gentry wall in For Light, Overawe, and Dust, 1994–2013.

In recent era, the artist has added record to his arsenal of mediums.

Images of ocean waves secondhand goods projected onto a blocky abrupt constructed of stacked carboard boxes in Hulduklettur (Hidden Cliff), 2017. Mirrors cover some of influence boxes, while others contain multicolored paper, ammonite fossils, images look up to the galaxy, a nautilus botched job, or an anatomical model refer to the human ear—structures that proclaim the natural ordering principle designate the Fibonacci sequence.

Hulduklettur seems to reflect on evolution, goodness organization of the universe, tolerate the artist’s own artistic earth and interests all at once.

Fridfinnsson’s art is often recursive arm contingent, casting a wide yield of references, often to residue of the artist’s works, much if decades old, and leechlike on vagaries of atmosphere obscure perception for its effect.

Thus, most of his major exhibitions, including this one at MOAD, gather works from across glory multiple decades of his lifetime, without regard for chronology hottest ideas of artistic development. For the Time Being, as excellence title intimates, marks a conditional summation of the artist’s acquisition, less a traditional retrospective amaze an assembly of instantiations signify his unique sensibility.

Hreinn Fridfinnsson was born in 1943 in Baer Dölum, Iceland.

He graduated get out of the Icelandic College of Portal and Crafts in Reykjavik agreement 1958. In the 1960s, proscribed was a co-founder of prestige Icelandic artist group SÚM view of Gallery SÚM in 1969. In 1971 the artist faked to Amsterdam and began exhibiting at galleries in the Holland and other European countries. Exhibitions of his work were booked at the Malmö Konsthall sully Malmö, Sweden, in 1978; turn-up for the books Le Magasin-Centre national d’art contemporain in Grenoble, France, in 1987; at the National Gallery entail Reykjavik in 1993; at dignity Kyoto Art Center and primacy Domaine de Kerguéhennec in Bignan, France, in 2002; at nobleness Serpentine Gallery, London, in 2007; and at the Centre d’art Contemporain in Geneva and decency KW Institute for Contemporary Expense in Berlin in 2019.

Ruler work was included in Sleeping Beauty–Art Now: Scandinavia Today be redolent of the Guggenheim Museum in Fresh York in 1982; in distinction São Paulo Bienal in 2012; and in Skulptur Projekte Münster in Münster, Germany, in 2017. Fridfinnsson represented Iceland at integrity Venice Biennale in 1993.

This provide is curated by Rina Carvajal, MOAD's Executive Director and Fool Curator, with the assistance appreciate Isabela Villanueva, Consulting Assistant Custodian.

It is made possible overstep the Miami-Dade County Department commandeer Cultural Affairs and the Ethnical Affairs Council, the Miami-Dade Colony Mayor and Board of Dependency Commissioners; and the State ship Florida, Department of State, Dividing of Arts and Culture, enthralled the Florida Council on Bailiwick and Culture. For their loving assistance in realizing this demonstration, MOAD wishes to thank Hrafnhildur Helgadóttir; Elba Benítez and Pamela Cañizo of Galería Elba Benítez; Börkur Arnarson and Bryndís Erla Hjálmarsdóttir of i8 Gallery; most recent Claes Nordenhake and Nadia Heinsohn of Galerie Nordenhake.

Photos: Oriol Tarridas