While there will certainly be no shortage of spectacles at the Venice Biennale 2022, the Icelandic Pavilion has set the stage for an immersive experience like few others. Located at the Arsenale di Venezia for the first time, the pavilion will house a multi-sensory sculpture created by the Reykjavik-based artist...
created by the Reykjavik-based artist Sigurður Guðjónsson that will transport visitors to another dimension. EntitledKnown for his time-based media works that pit manmade machinery against technical relics, Guðjónsson invites viewers to reconsider the abstract with a perception-bending video piece, which zooms in on the formations metal dust makes when attracted to a magnetic rod.
‘The transformation and playing with scale is important and something I have been working a lot with; going into these tiny objects and seeing what’s happening with them when you go up in scale,’ Guðjónsson says. ‘Another important element is how your focus and sensing of different elements at [different] times [changes]. The duration of this piece is [significant]. It’s 45 minutes long, very slow. You need time for it.
Contemplating the notions of time and space has been a recurring theme in Icelandic art, not least because Icelanders have a deep-rooted relationship with nature and awareness of their surrounding landscape. Subject to the widely oscillating cadence of the seasons – from neverending day in the summer to endless night in the winter, many Icelanders demonstrate a unique level of introspection that has been inadvertently fostered by the country’s climate.
‘The soundscape is mostly based on electronic sounds that we take into different programs, specifically one called Granular Synthesis. It’s somehow zooming into the sound and splitting it up. It creates some kind of particles and speaks to the texture in the video, but in a poetic way,’ Guðjónsson says. ‘It’s inspired by the video, but not totally synchronised with it.’
Despite the duration of the piece, Guðjónsson says he’s happy if visitors stop in for just five minutes. He concludes, ‘You’re always going to experience the piece in a different way, both in terms of constant change in the original material and also in some scale. I’m sure someone is going to take [a moment to meditate], but I’m not trying to control it. There are no benches in the space, so the physical experience of the piece is important as well.
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