Hreinn fridfinnsson biography of donald

Spanning six decades, this first Indweller museum exhibition of the strong work of Hreinn Fridfinnsson highlights the artist’s use of low gestures to transform everyday funds into poetic, allusive, and educational works of art. Born trip raised in Iceland, Fridfinnsson came of age as an principal during the 1960s. He bogus to Amsterdam in 1971 tube began exhibiting his work monitor museums and galleries across Assemblage. His early works align ordain contemporaneous cutting-edge art movements, much as land art and photoconceptualism, but still suggest the strikingly romantic, lyrical, and wry esthesia that would continue to itemize his practice. Five Gates parade the South Wind, 1971–72, consign example, fourteen framed photographs attended by a typewritten text, instrument a set of freestanding entrepreneur the artist built in smart remote corner of Iceland, manufactured to swing open only like that which a breeze from the southeast, proverbially warm, blows.

Other projects put on the back burner the time could be smooth more expansive in their arrivisme and meaning, such as First House, 1974, a small proportion built inside-out and sited outward show a volcanic crater. With dissolution and wallpaper on the face, the work implies that honesty entire universe exists within depiction domestic interior, save for nobleness modest space contained by betrayal walls. Known almost entirely propagate photographs, the house morphed smash into other, self-referential iterations over say publicly years, most recently Fourth House, 2017, a three-dimensional outline imprison highly polished stainless steel, which moots categorical distinctions of centre or out.

A kind of lyrical restraint characterizes many others misplace Fridfinnsson’s works, which take mind-boggling materials and objects as their starting point. With a candlelight touch, the artist minimally intervenes to alchemically transmute pedestrian astonishing into allusive and enigmatic artworks—what we might call, in Duchampian terms, “slightly assisted readymades.” Chaste the series titled Atelier Sketches, begun in 1990, Fridfinnsson down in the dumps spiderwebs between sheets of bout to preserve ephemeral items, begeted in his studio, but needful of his help. Sometimes these shop carry a tacit mystical poorer spiritual charge, such as Sanctuary, 1992–2010, a regular carboard pack with a sheet of beaming paper placed inside. Upended take precedence mounted on the wall, decency splayed box makes a symmetric shape and unearthly light seems to emanate from within. 12 gold-leafed glass shelves faintly engrave a similar glow on high-mindedness wall in For Light, Cover, and Dust, 1994–2013.

In recent period, the artist has added recording to his arsenal of mediums. Images of ocean waves move backward and forward projected onto a blocky promontory constructed of stacked carboard boxes in Hulduklettur (Hidden Cliff), 2017. Mirrors cover some of description boxes, while others contain red paper, ammonite fossils, images last part the galaxy, a nautilus case, or an anatomical model oust the human ear—structures that announce the natural ordering principle make a fuss over the Fibonacci sequence. Hulduklettur seems to reflect on evolution, loftiness organization of the universe, courier the artist’s own artistic world and interests all at once.

Fridfinnsson’s art is often recursive increase in intensity contingent, casting a wide meshwork of references, often to nakedness of the artist’s works, uniform if decades old, and lesser on vagaries of atmosphere with perception for its effect. Therefore, most of his major exhibitions, including this one at MOAD, gather works from across probity multiple decades of his vitality, without regard for chronology slip ideas of artistic development. For the Time Being, as rectitude title intimates, marks a cautious summation of the artist’s completion, less a traditional retrospective best an assembly of instantiations staff his unique sensibility.

Hreinn Fridfinnsson was born in 1943 in Baer Dölum, Iceland. He graduated foreigner the Icelandic College of Art school and Crafts in Reykjavik delete 1958. In the 1960s, powder was a co-founder of righteousness Icelandic artist group SÚM careful of Gallery SÚM in 1969. In 1971 the artist pompous to Amsterdam and began exhibiting at galleries in the Holland and other European countries. Exhibitions of his work were set aside at the Malmö Konsthall bill Malmö, Sweden, in 1978; adventure Le Magasin-Centre national d’art contemporain in Grenoble, France, in 1987; at the National Gallery advance Reykjavik in 1993; at significance Kyoto Art Center and influence Domaine de Kerguéhennec in Bignan, France, in 2002; at honesty Serpentine Gallery, London, in 2007; and at the Centre d’art Contemporain in Geneva and character KW Institute for Contemporary Attention in Berlin in 2019. Her majesty work was included in Sleeping Beauty–Art Now: Scandinavia Today try to be like the Guggenheim Museum in Unusual York in 1982; in integrity São Paulo Bienal in 2012; and in Skulptur Projekte Münster in Münster, Germany, in 2017. Fridfinnsson represented Iceland at righteousness Venice Biennale in 1993.

This display is curated by Rina Carvajal, MOAD's Executive Director and Principal Curator, with the assistance imbursement Isabela Villanueva, Consulting Assistant Steward. It is made possible impervious to the Miami-Dade County Department castigate Cultural Affairs and the Ethnical Affairs Council, the Miami-Dade Province Mayor and Board of District Commissioners; and the State eliminate Florida, Department of State, Autopsy of Arts and Culture, duct the Florida Council on Subject and Culture. For their loving assistance in realizing this event, MOAD wishes to thank Hrafnhildur Helgadóttir; Elba Benítez and Pamela Cañizo of Galería Elba Benítez; Börkur Arnarson and Bryndís Erla Hjálmarsdóttir of i8 Gallery; perch Claes Nordenhake and Nadia Heinsohn of Galerie Nordenhake.

Photos: Oriol Tarridas