https://elinhansdottir.com www.elinhansdottir.com Sat, 30 Aug 2025 15:22:31 +0000 https://elinhansdottir.com en https://elinhansdottir.com/SKIRNIR Thu, 22 May 2025 17:47:40 +0000 www.elinhansdottir.com https://elinhansdottir.com/SKIRNIR SKÍRNIR - The Icelandic Literacy Society, 2022 Text by: Markus Þór Andrésson &amp; Dorothée Kirch&nbsp; I keep on lookingOn the art of Elín Hansdóttir It’s hard work enjoying art. I always forget that. I’ve seen enough now. I shouldstop, take a break. The artworks collide with one another. I mix up the details,blending installations, paintings, and sound works together. In 2004, Elín Hansdóttir held an exhibition at the Árnesinga Art Museum in Hveragerði.Although it was her first solo show in a public museum, she struck a note that hasresonated in her practice ever since. The show was entitled You. Hansdóttir addressedeach viewer directly, as if to divert attention away from herself and her own concernsand instead towards you, what stirs inside you. &nbsp; &nbsp; &nbsp; &nbsp; The exhibition made it apparent that this young artist could easily takecommand of a large space and activate it through multifaceted interventions.Hansdóttir’s show included a number of different works inviting participation orinteractivity as visitors approached them.&nbsp; &nbsp; &nbsp; &nbsp; For example, walking onto a yellow plastic sheet towards a lamp suspended overthe middle would turn on the light. Viewers could sit on a black amoeba-shaped bench,spin in circles and watch the gallery—carpeted from wall to wall in pale pink—rush by.Stepping into a demarcated area in the middle of the gallery, guests would be surprisedby a sort of sound shower, an aural experience undetectable elsewhere. An accordion-like wall was either green or white, depending on the direction from which visitorsapproached.&nbsp; &nbsp; &nbsp; &nbsp; The exhibition included other smaller-scale works which, alongside the largerones, expressed the artist’s special sensitivity to material, colour, and space. With an airof playfulness, Hansdóttir introduced a number of different ideas, each of which couldhave stood alone in its own exhibition. A survey of her career since You shows herdecision to explore specific ideas with each new work of art. Her art assumes differentguises, from installation and sculpture to photography and video. It has developed insuch a way that her pieces are ever more complex—their execution more extensive andtheir content more ambiguous—while their presentation has simultaneously becomeclearer, more purposeful and thus, to some extent, simpler. The fundamental note shestruck at Árnesinga has remained lucid and pure: Hansdóttir addresses me, inviting meto enjoy her works on my own terms. When I walk down an empty corridor between two galleries, certain works forcethemselves into my memory; others, in their gentleness, remain as quiet as a mouse.I can’t say whether I like them or not. Opinions take time. Artworks set somethingin motion here and now, or not at all. Some ignite a glow that seems to burn outimmediately, but then smoulders beneath the surface until it suddenly becomes afire. Some flare up in an instant with sky-high flames but are quickly consumed,leaving nothing behind. Others blaze steadily, like in a fireplace. Practically builtfrom good materials that last a long time. And yet others send sparks out into thevoid. These sparks cool before they land. After a few days, weeks, months, or more,some works of art will become travelling companions, whilst others will have saidfarewell. The twentieth century witnessed an about-face regarding perspective in art. Thisreversal has a long and complex history, but in sum, the emphasis has shifted from theartist and the object to the viewer and their experience. Art historians such as MichaelFried analysed these changing currents about half a century ago in connection with thedevelopment of minimalism, describing the theatricalisation of art (Fried, 1967, p. 13).The exalting experience of true and meaningful works of art was turning into a kind ofevent where audiences were aware of themselves in the context of meaningless objects.Warning bells rang from conservative corners, but the die had been cast, and the role ofthe viewer would continue to grow towards the end of the twentieth century (by meansof minimalism, conceptualism, feminism, relational art, and other contemporaneousmovements) and would take flight in the twenty-first.&nbsp; &nbsp; &nbsp; &nbsp; Behind this progress lay a postmodernist ideology concerned with pluralism,deconstruction, and re-centring. The work of art was no longer a finite object with fixeddimensions and an immutable core, but part of a subjective experiential process.Meaning and consequence seemed to multiply towards infinity along with the numberof viewers. Although art historians had previously referred to active aspects ofreception, they made a clear distinction between the creative role of the viewer and thatof the artist. In his 1934 book Art as Experience, for instance, philosopher John Deweyargues that both artist and audience must be active—to view an artwork as a constantphenomenon would be to deny one of art’s intrinsic values. For Dewey, however, theroles are clear cut: the artist creates and the viewer interprets, just as a chef cooks and agourmet tastes (Dewey, 1939, pp. 35–57). What was added to the equation later, asFried points out, was the role of external context. Not only did art and audience meet,but they did so at a certain time and in a defined space. Art’s anchored hierarchy wasunmoored, with unforeseen consequences. The development was such that at the 2003Venice Biennale, the curators of the main exhibition called it Dreams and Conflicts: TheDictatorship of the Viewer. The idea presented in the subtitle says much of the artworldzeitgeist at the beginning of the current century, regardless of what was shown at theexhibition in question (Bonami, 2003). &nbsp; &nbsp; &nbsp; &nbsp;&nbsp; The same spring as this bold statement was made in Venice, a graduateexhibition was held at the Reykjavík Art Museum – Hafnarhús by the BA students in fineart at the Iceland Academy of the Arts. 1 Already, for her degree show, Elín Hansdóttircreated an installation that would have seemed strong as a new work today after a two-decade career. Anonymous Column emerged fully formed, its author’s character clear,the artist’s stance resolute. Hansdóttir took on this exhibition space—a formerwarehouse—that had opened only three years before: the immense Hafnarhús, with itsthick walls and numerous columns supporting its massive floors. In the next gallery are two octagonal columns. Strong supports. Twins. They standside by side. Too close to one another. I walk around them, look at them from allangles. Déjà vu, a reflection, a misconstruction. An uninvited guest? Knocking on acolumn, it sounds hollow. Then I see tiny handles on one edge. I look around me. Noclues. Before I touch them, I look over my shoulder again. Can I, may I, or not? Twosides of the column open and I slip inside before anyone can stop me. I stand on anoctagonal floor barely larger than me, and I see myself vanish a hundred times, athousand times, into infinity. A tiny hall of mirrors. The work of art, the doppelganger, has swallowed me. I have disappeared into its bowels, or maybanother dimension. The door closes behind me and I fall down the rabbit hole. Hansdóttir’s solo exhibition, You, ensued a year later at the Árnesinga Art Museum,followed by numerous works offering audience participation and relating directly totheir surroundings. Jumping ahead, one of her most recent installations, Fractal, wasmade in spring 2021. Hansdóttir was again invited to exhibit at the Reykjavík ArtMuseum – Hafnarhús, and it was as if she came full circle since her graduation in 2003.Instead of inviting viewers to enter a closed column, she locates them outside it, allaround it. Fractal revolves around a central column, once again a replica of theoctagonal pillars that feature in several of the museum’s galleries. However, it is aforeign object in Gallery E, whose two rows of eight columns are quadrangular. It is notenough for Hansdóttir merely to add one octagonal column; a few quadrangular oneserected here and there amidst the existing pillars disrupt the gallery’s symmetry. On thewalls around the installation, a series of six photographs shows different perspectives ofthe central octagonal column. The eye immediately discerns differences from one phototo the next, as no two were taken in the same space. Each was shot in its own model ofthe gallery, which Hansdóttir built multiple times at different scales. The photos areidentical in size, but the textures and proportions of the floors, ceilings, columns, andwalls differ between them. The distortion of scale becomes even more ambiguous aseach photo offers a new perspective. At the same time, the effect makes the actual spacein which the viewer stands seem foreign, even unreal.&nbsp; &nbsp; &nbsp; &nbsp; Hansdóttir’s artworks are not characterised solely by their shape, colour, andchoice of material. Nor do they hold a neutral mirror to their audiences and thusbecome directly about them, about you, about me. Even less are they meant to conveyspecific content conceived by their author. The idea that Hansdóttir introduced right atthe beginning of her career has remained her purpose to this day: she incites a reactionfrom her audience, prompts viewers to participate, and alters their perception of theirenvironments. Hansdóttir’s works always hinge on synergistic factors to activate them,and the presence of the viewer is certainly key. In addition, they concern themselveswith process and progress, time, space, and laws of nature that push them over the edgeto the inscrutable and unpredictable.&nbsp; &nbsp; &nbsp; &nbsp; As previously stated, Hansdóttir’s columns from 2003 and 2021 offer us asviewers experiences on our own terms. Her art allows us to see ourselves perceiving.She makes the familiar foreign, without losing a connection with the here and now. Onthe contrary, she makes time and place an integral component of her work, as importanta tool for her artistic practice as oils and canvas are for the painter (to borrow a cliché).Few have managed to grasp the significance of these elements in art of recent decadesas curator Miwon Kwon in her discussions of the history of site-specific art. She tracesthe development of such art through different stages since the autonomous artworkbecame the site for the creation of meaning and value—whereby, within the frameworkof the near-vacuum that was the modern, white-walled gallery, meanings would notbudge. In the sixties and seventies, art became contingent on its physical environmentand its experience in a certain location, at a certain time. Then the idea of theculturally and socially immaterial place arises. Art explodes out of the gallery, and thenotion of place is transferred to contexts of discourse and daily life. Artists movefrom one set of circumstances to another to create site-specific works based on a varietyof factors, material and immaterial, that become integral to the experience of theirwork. Kwon goes so far as to talk about a self-referential turn, as works of art and artists’ CVs become sites in their own right. Her analysis is a reminder of the perpetualbalancing of power between artist, viewer, and place/context (Kwon, 2002, pp. 3–9). The corridor in front of me consists of light and shadow. I walk around a corner;the corridor leads me upwards and downwards. It narrows and widens again. Iwalk through walls of darkness and bump into a plaster wall. Then I feel my wayforwards, fingertips first. I assume the light leads the way and try to follow thesource, but it is scattered; I can make out a beam here, a glow there. The light licksthe edges, gathers in a corner, makes streaks. Then the corridor continues in a newdirection. And the light plays tricks on my perception. I become weightless. I don’tknow whether I’m going up or down, turning left or right. I fall and fly all at oncearound the last corner. Then I’ve reached the end of the corridor. A door. Hansdóttir has always trodden purposefully but carefully when it comes to the weightof place and space. Purposefully, so that as a viewer, we trust her with where she leadsus in the experiential process. We enter into an unwritten agreement with her and herart because she presents it with gentle assurance. Carefully, because she ensures thateach intervention is appropriate to the environment, the site, and the context. In thissense, Hansdóttir’s art could be divided into two categories. On the one hand, there arepieces she develops in close conversation with the circumstances at hand, where sheconscientiously selects the means by which she is able to present critical and enrichingcontributions—where she feels she has something to add, so to speak. On the otherhand, there are works in which she chooses to exclude external contingencies andcreate an insular world subject to the laws of its own internal context. There arecertainly also examples of her work where the boundaries of this division are less thanobvious.&nbsp; &nbsp; Much time has passed since artist and critic Brian O’Doherty first published hisessays on the interplay between art and the gallery space, but his ideas are still thought-provoking. Among other things, he raises questions about the extent to which artistsconstrue their work to conform to public spaces and the ideology that art institutionsespouse. Galleries and institutions have a covert yet clear influence on art history andpractice, and vice versa. Charting the history of curatorial practice, O’Doherty remindsus that the idea of a neutral exhibition space is a modernist invention that does nothold water and has little in common with contemporary art (O’Doherty, 1976, pp.24–30). Around the same time as the development of the discourse laying thefoundation for O’Doherty’s contributions, artists began to challenge the ideology of theart world through institutional critique. Artists engaged directly with the architectureand activity of museums and dealt symbolically with the art institution and prevailingideology at large. The work that ensues does not follow the accepted belief that art iscreated outside institutional walls, then sampled for display inside “neutral” spaces. It isa vital contribution to maintaining critical dialogue between art and the institutions towhich audiences should have ready access. Art and environment are closely linked; theyinfluence one another. Many of Hansdóttir’s installations call attention to the role of theinstitutions in which viewers experience her work. They are part of, and they continue,the institutional critique inherited from previous generations of artists. Hansdóttir’saforementioned column installations are a perfect example, as the architecture andenvironment of the galleries become an opportunity for her to address art practice andreception in a larger context. &nbsp; &nbsp; &nbsp; &nbsp; How can an institution like a museum reflect the diversity, the melting pot, of artif its activities are limited to the architectural possibilities it offers at any given time?How can the institution be opened for unrestricted creation and experience?&nbsp; &nbsp; &nbsp; &nbsp; Hansdóttir memorably attempted to answer these questions with her exhibitionat the KW Institute for Contemporary Art in Berlin in 2015. Suspension of Disbeliefconsisted of an extensive installation in one gallery and a film in another. The artist hadalready familiarised herself with a number of special effects developed throughout thehistory of photography and film, especially before the age of digital post-production. Forthis show, she worked with reflections, distorted scales, forced perspective, and othertechniques that are often in themselves simple optical illusions. A glass matte paintingin the middle of a room depicts a scene from a certain point of view; standing in theright place (and looking through a camera), the painted scene becomes integrated intoits surroundings and changes the reality of the space. As a viewer, you soon lose yourway. Perception becomes relative, as there are no rules in the space to guide you; thereis a room built inside the gallery whose floors, walls, and ceilings seem asymmetrical,and you stumble between real and illusory columns. This installation is the set of a filmshown in a nearby gallery. There, through a series of scenes, the camera captures themultiple perspectives offered by the set. The accompanying sound design by ÚlfurHansson lends the film an overall air of perpetual uncertainty and expectation.Inevitably, the viewer is tempted to move between the two realities of the installationand the film, illusion and reality—a reality that is gradually transformed. Hansdóttir’sgame is not least about pretending not to get away with deceiving the audience, butrather getting them to join in on the work and take the spectacle for what it is. Even ifyou quickly see what lies behind the curtain (in fact, there are no curtains), you enjoythe work as much as you did before because you are willing to accept its preconditions.This special interplay that Hansdóttir has been so successful with—getting viewers tomeet her halfway, surprising them, and leaving them to discover the process—has beenand will remain her signature. An overexposed room greets me. White, powdery, light grey. My eyes adjust to thebrightness and I slowly recognise shapes that appear. Fragments lie on the floor.White, matte, split pieces. Fist-sized—child-sized. A few steps closer and my eyesmanage to make out more things. Parts that fit together like a jigsaw puzzle thathas broken apart. I walk amongst stones, fragments, bits. They shrink and aregradually stacked on top of one other. Then I see the first shape nearly in completeform. A rectangular block with broken corners on which a smaller block leans, andbehind it another, still smaller, and on and on to the beginning. Oversized dominos.The smallest is no bigger than a pack of cigarettes; the largest stone, who knows?It’s in pieces. In the silence I can imagine how the stones crashed into each other.Until finally, the giant falls, heavy and unassuming, and shatters on the ground. Orwere they ever whole? The stones, the giant? Each fragment is cut with geometricprecision, the surfaces unscathed. Not a speck of dust to be seen. The ruins lie therelike the idea of a process that may or may not have taken place. The proportionsare too big to be real, broken too perfectly to have been broken, and yet they liethere. A digital hypothesis in the real world. Geometric, tangible, made of plaster. As soon as Hansdóttir’s earliest works established her interest in material space andenvironment, she turned audience expectations on their head when she introducedBook Space in 2006. This work is an ongoing process that the artist quickly set in motion and has cultivated ever since. It consists of bound books of the same size, each of whosecover, spine, and pages are blank. They are arranged, hundreds and thousands at a time,on selected library shelves, where they are available for anyone to use as a place forexpression through drawing or text. Over the years they have been filled page by page,book by book, and have travelled internationally between public libraries as well aslibraries in schools, museums, prisons, and more. With this work, Hansdóttir opened upa broader understanding of the concept of space: although her art is for the most partclosely related to the environment and the material world, an important aspect is alsothe function of subjective space. Along with architecture and design, Hansdóttir’sconcept of space includes language, consciousness, narratives, memories, andrelationships. Collaboration also plays an important role, as many of the artist’s workshave been made in the space that her conversations and collaborations create. Behind the ruins, coloured surfaces shine in my direction. Neon green, pastel pink,red, black, ochre, grey, olive green. Surfaces are divided with points and linesaccording to a precise rule. The colours define the surfaces as a line defines twoparts of a domino. Same form, same principle. On the one hand, three-dimensionaland huge; on the other, two-dimensional and coloured. Both overexposed in a roomwith no roof. Although Hansdóttir is not interested in storytelling per se, progress—and thus a kindof narrative—nevertheless plays a major role in her work. She seems fascinated byprinciples in which one thing follows another in the algorithms found everywhere innature. Her work has included references to the Voronoi diagram, a system forpartitioning a surface based on equidistant measurements between two points. She hasalso made use of the Fibonacci sequence, in which each number in the series is the sumof the two preceding numbers. These are doctrines guiding overtone series, hypothesesexplaining how chaos arises in natural processes within a closed system. The goldenratio, spirals, arches, gravity, spiral staircases, mathematical sets and sequences,shadows, decay—innumerable phenomena involving progress or occurrence throughprocesses or laws of nature. Hansdóttir emphasises these aspects, distils them, andexplores their relation to human existence, both physically and conceptually.&nbsp; &nbsp; &nbsp; &nbsp; Simulacra from 2016 is a series of photographs installed in the same space theyportray. The exhibition space in i8 Gallery is a symmetrical, easily read rectangularroom, with windows and an entrance on one side and a support column roughly in themiddle. However, Hansdóttir managed to make visitors doubt their own perceptionwhen comparing the photos with their surroundings. In place of the column, shepresented a pedestal—a nod to the modernist tradition, in which the plinth played a keyrole in distinguishing art from its environment. A large bouquet of flowers hovers overthe pedestal as if in an invisible vase. The perspective in the series of nine photographscircles around this illusion as the flowers droop, their petals falling between one imageand the next and finally withering before the viewer’s eyes in this memento mori.&nbsp; &nbsp; &nbsp; &nbsp; Narrative, whether linear or discontinuous—or both at the same time, as inSimulacra—can be said to be foundational to human thought. Hansdóttir invites viewersto enter into her work, participating in and/or shaping its narrative. An encounter withher art is always a process contingent upon time and space, a narrative that unfoldswhen the viewer reflects upon their own experience and perception of what the artistbrings to the table. At the same time it becomes a memory, a kind of story one tellsoneself, emphasising certain parts of the narrative based on one’s understanding of reality. Speculations about the nature of memory emerge widely throughoutHansdóttir’s work, especially considering the importance of spaces and places in thefunctioning of memory. She repeatedly exposes instabilities in various givens aboutreality—that is, in what most of us tend to consider infallible certainty.Colours are hidden in the light. Coloured shadows. A corridor where the shado that follows or leads me is not black, but where there are three shadows followin and leading me. Magenta, cyan, and yellow. Light and darkness are both colourful Bright and dim. Visible and invisible. Opposites concealing and revealing everything at once. The invisible light that shows everything. The palpabledarkness that covers everything. Images of visible light. Shadows in the snow thatfall in three colours on sparkling crystals. A new territory of light. The photograph. Hansdóttir’s artistic twists and turns in time, space, perception, narrative, and memoryexist to bring us closer to the world. She understands how art can prompt us toreconnect with our environment, and she works in the spirit of phenomenology andother theories directing our attention to the body. Her art highlights the value ofengaging mentally and physically with our surroundings—being one in and with theenvironment. The artist thus follows a similar path as contemporary thinkers such asSigríður Þorgeirsdóttir, who points out how human corporeality shapes our connectionto reality. Þorgeirsdóttir maintains that we connect to the world around us not onlythrough language, science, religion, and philosophy, but above all through our bodiesand lived experience. By listening, watching, and touching, we feel our own vulnerabilityand foster empathy. As obvious as they may seem, these are nonetheless compelling andchallenging ideas. They are, moreover, gratifying, now that human reality is increasinglydigitised and new approaches are needed in discourses on pressing common concerns,such as environmental issues (Þorgeirsdóttir, 2015, pp. 65–80). Pictures, five hundred of them. Roughly A4. Hung one above another, side by side ina cylindrical space. Black and white. An urban landscape. Close-ups. In thebackground, you can make out the substrates of asphalt, gravel, debris, concreteblocks, manhole covers, grass, and soil. There are rubber bands on top. They havebeen lost, dropped, discarded. A ring that is almost never round. A deformed circle,twisted and knotted. I walk slowly along these pictures stretching into the sky. Thecurvature of the space leads me onwards, image after image, circle after circle.After a while I just see the shape. One picture tells only half the story, but fivehundred become something else, and more. They become a system for organisation,or try to offer an overview—of what, I don’t precisely know. Patterns, symbols,perhaps an assertion about writing. Maybe the meaning is also hidden in thesearch itself. Here we gathered and searched. Maybe for the system, maybe fordiversity. Or is this an overview? An attempt at connection? Hansdóttir’s work can be seen in a larger context as part of a sea change. Her focus is artitself, its creative process, its language, its means of communication—this is the artist’splatform and specialisation. There, Hansdóttir can experiment with weaving togetherbodily and conceptual experiences, without having to distinguish between the two. Inart, as elsewhere, there is now a greater emphasis on human existence not as based onvalues rooted in dualism, but rather as a more nuanced synthesis of intellect and emotions, mind and body, reality and fiction. Hansdóttir adds an unequivocal messageinto that mix with her art that speaks to us, to me, and to you. At the centre of the space, surrounded by the pictographs, there is a barelynoticeable, miniscule, gold-plated clover. It has five leaves. Hansdóttir herself says,“Art practice is like that: it’s the urge to look for that four-leaf clover. And once youfind it, then what? Then you keep on looking” (Naqvi 2022: 12). I turn back to mytravel companions—the photographs, the coloured shadows, the geometricfragments, the dark corridor, the little hall of mirrors, and so on, muchfurther—and I do the same. I keep on looking. References Bonami, Francesco. 2003. Dreams and Conflicts: The Dictatorship of the Viewer – The50th International Art Exhibition – La Biennale di Venezia. Venice: Marsilio. Dewey, John. 1934. Art as Experience. New York: Minton, Balch &amp; Company. Fried, Michael. 1967. “Art and Objecthood,” Artforum (Summer): 12–21. Reprinted inFried, 1998. Art and Objecthood: Essays and Reviews. Chicago: University ofChicago Press. Kwon, Miwon. 2002. One Place After Another: Site-Specific Art and Locational Identity.Cambridge, MA: MIT Press. Naqvi, Erum. 2022. “Merkingarþrungin bil og bilin á milli merkingarinnar: Hughvarflistamannanna Elínar Hansdóttur og Úlfs Hanssonar” [Meaningful spaces and thespaces between meanings: Elín Hansdóttir and Úlfur Hansson]. In Ad Infinitum,exh. cat., Gerðarsafn – Kópavogur Art Museum. O’Doherty, Brian. 1976. “Inside the White Cube,” essay series in Artforum. Republishedas O’Doherty, 1986. Inside the White Cube: The Ideology of the Gallery Space.Berkeley and Los Angeles: University of California Press. Þorgeirsdóttir, Sigríður. 2015. “Heimspeki líkamans og heimspeki í líkamanum og hversvegna hugsun er ekki kynlaus” [Philosophy of the body, philosophy in the bodyand why thinking is not neuter], Hugur, 27: 65–80. Þorgeirsdóttir, Sigríður. 2019. “Að verða byrjendur aftur í heimspeki: Líkamleg,gagnrýnin hugsun” [To be a beginner again in philosophy: Embodied criticalthinking], conference presentation at Hugarflug, Iceland University of the Arts,15 February. Lecture based on Donata Schoeller and Sigridur Thorgeirsdottir,2019. “Embodied Critical Thinking: The Experiential Turn and Its TransformativeAspects,” philoSOPHIA: Journal of Continental Feminism 9(1): 92–109. https://elinhansdottir.com/INFO Wed, 04 Aug 2021 09:23:14 +0000 www.elinhansdottir.com https://elinhansdottir.com/INFO &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;<img width="1000" height="1500" width_o="1000" height_o="1500" data-src="https://freight.cargo.site/t/original/i/076c5ba37f9f3f64a2b5ef0b7aa35f42e20adb731a90c3bf1bd1401d00435cbe/12001945_10206655816528076_34944744_o.jpg" data-mid="115362937" border="0" data-scale="97" src="https://freight.cargo.site/w/1000/i/076c5ba37f9f3f64a2b5ef0b7aa35f42e20adb731a90c3bf1bd1401d00435cbe/12001945_10206655816528076_34944744_o.jpg" /> Elín Hansdóttir (b.1980) is an Icelandic visual artist that for over two decades has explored the intersection of space, perception and presence through a multidisciplinary practice encompassing installation, photography, sculpture and film. A consistent thread throughout the artist´s work is the creation of experiential spaces - settings that subtly shift perception and invite viewers to engage with their surroundings as well as themselves, in unfamiliar ways.&nbsp; Driven by an interest in transitional and ambiguous enviroments, the artist constructs spaces that often mirror our inner states, gently confronting us with our position and agency within them. The creative process is understood not as a linear path to completion, but as a living continuum - where each idea germinates, branches and evolves in its own time.&nbsp; In addition to her exhibitions, Hansdóttir has created scenographic designs for theatre and performance, where her interest in narrative and spatial tension continues to evolve.&nbsp; She has exhibited internationally, notably at KW Institute for Contemporary Art (Berlin), Hamburger Bahnhof Museum für Gegenwart (Berlin), n.b.k Berlin, Künstlerhaus Bethanien (Berlin),&nbsp;ZKM Karlsruhe, Frieze Projects (London), The Marrakech Biennale, Martha Herford, i8 Gallery (Reykjavík), The Reykjavík Art Museum and the National Gallery of Iceland.&nbsp; Hansdóttir was a grantee of Institut für Raumexperimente in 2010/2011, which was founded by artist Ólafur Elíasson. In 2016 she was awarded the Optimism Award for Culture, patroned by the President of Iceland and later the same year she was awarded the Guðmunda S. Kristinsdóttir Art Prize, founded by artist Erró.&nbsp;︎︎︎ CV For inquiries please contact:&nbsp; Studio Elín Hansdóttir Reykjavík︎ mail@elinhansdottir.com︎ @elinhansdottir https://elinhansdottir.com/TEXT Sun, 08 Aug 2021 17:15:40 +0000 www.elinhansdottir.com https://elinhansdottir.com/TEXT <img width="3000" height="3867" width_o="3000" height_o="3867" data-src="https://freight.cargo.site/t/original/i/fc4865f1002fa1edcde5f01307835ce67ea544bf53249e7d6ddf8fb8bf7f4a3c/IMG_20220926_151346-1.jpg" data-mid="233558388" border="0" src="https://freight.cargo.site/w/1000/i/fc4865f1002fa1edcde5f01307835ce67ea544bf53249e7d6ddf8fb8bf7f4a3c/IMG_20220926_151346-1.jpg" /> SKÍRNIR&nbsp; Elín Hansdóttir´s work was recently featured in Skírnir - The Journal of the Icelandic Literary Society. Skírnir is published twice a year and is the oldest cultural journal published in the Nordic countries, this being the 196th edition.&nbsp; Read text by curators Markús Þór Andrésson and Dorothée Kirch ︎︎︎&nbsp;here <img width="1047" height="1280" width_o="1047" height_o="1280" data-src="https://freight.cargo.site/t/original/i/0f0f16f486118fc99283ee9818ec952a8bc9e95d2ac0bbdc904804c845aedf84/9783954763887_ElinHansdottir_cover_1280x1280.jpeg" data-mid="115668028" border="0" data-scale="93" src="https://freight.cargo.site/w/1000/i/0f0f16f486118fc99283ee9818ec952a8bc9e95d2ac0bbdc904804c845aedf84/9783954763887_ElinHansdottir_cover_1280x1280.jpeg" /> LONG PLACE Edited by Anne Kockelkorn &amp; Elín Hansdóttir Designed by Dorothée Billard Published by&nbsp;DISTANZ Berlin 2021The publication looks back to the project LONG PLACE, produced for the 2005 Reykjavík Arts Festival in collaboration with Anne Kockelkorn, Darri Lorenzen and the design duo Neulant van Exel. With her team, Hansdóttir built a 500-foot tunnel-like construction inside Edinborg House, an edifice from the 1890s in Ísafjörður. A passageway of disillusionment zigzagging through a completely white interior awash in monochrome lighting guided the visitors in changing directions: to the right, left, right, up, down, left, right, and, finally, back out. This visual spatial experience was expanded by a sonic pattern that was based on sound-recordings from within the tunnel and emmited via surround sound systems. Sensory deprivation and the disorientation induced by the meandering trajectory made the installation a screen onto which the visitors projected their own thoughts.Long Place presents the first comprehensive documentation of the installation, with contributed essays by architectural historian Anne Kockelkorn and literature scholar and philosopher Björn Quiring. &nbsp; &nbsp; &nbsp; &nbsp;<img width="391" height="556" width_o="391" height_o="556" data-src="https://freight.cargo.site/t/original/i/947d94694b74bbcf754008467bbc4c90a88d5ec120f547b04a64b8b0a2e46c9b/path_thumb-690x690.jpg" data-mid="115668501" border="0" data-scale="87" src="https://freight.cargo.site/w/391/i/947d94694b74bbcf754008467bbc4c90a88d5ec120f547b04a64b8b0a2e46c9b/path_thumb-690x690.jpg" /> PATH - JOURNEY TO THE CENTER Edited by Leah Whitman-Salkin Designed by Gunnar Vilhjálmsson Published by Crymogea Iceland 2012This publication examines Elín Hansdóttir’s work PATH and contains JOURNEY TO THE CENTER, a text by acclaimed writer, historian and activist Rebecca Solnit.&nbsp; https://elinhansdottir.com/NEWS Mon, 20 Nov 2023 16:05:05 +0000 www.elinhansdottir.com https://elinhansdottir.com/NEWS NEWS ︎︎︎ <img width="1998" height="1776" width_o="1998" height_o="1776" data-src="https://freight.cargo.site/t/original/i/e471fbabf261482539b5045eba166e29a027267b20e214a512a8e641a6172bc6/Screenshot-2024-08-17-at-21.14.19.png" data-mid="216522597" border="0" src="https://freight.cargo.site/w/1000/i/e471fbabf261482539b5045eba166e29a027267b20e214a512a8e641a6172bc6/Screenshot-2024-08-17-at-21.14.19.png" /> NATIONAL THEATRE OF ICELANDSAKNAÐARILMUR - THE SCENT OF LOSSPremiere 15.02. 2024Starring: Unnur Ösp StefánsdóttirDirected by: Björn ThorsCostumes: Filippía ElísdóttirScenography: Elín HansdóttirLighting: Björn Bergsteinn GuðmundssonMusic: Ólöf Arnalds &amp; Skúli SverrissonSound design: Aron Þór ArnarssonChoreography: Margrét BjarnadóttirDirector´s assistant: Júlía Gunnarsdóttir <img width="1790" height="1784" width_o="1790" height_o="1784" data-src="https://freight.cargo.site/t/original/i/e20190f9d72c385342aa9e0da43943a6cea6f5f8540138a4324f2d2f29448591/Screenshot-2023-11-20-at-17.52.12.png" data-mid="197410489" border="0" src="https://freight.cargo.site/w/1000/i/e20190f9d72c385342aa9e0da43943a6cea6f5f8540138a4324f2d2f29448591/Screenshot-2023-11-20-at-17.52.12.png" /> ÁSMUNDARSALUR ECHOES OF THE AGES - 40 Years of Violinmaking01.10.2023 - 15.10.2023 Curation &amp; exhibition design: Elín HansdóttirGraphic design: Studio Studio <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/90ae2e3fecc29ec25dbb0a9b9bbe4c20cc34d6038da6bc0b679e4f103aae3c7c/IMG_1965.JPG" data-mid="197409613" border="0" src="https://freight.cargo.site/w/1000/i/90ae2e3fecc29ec25dbb0a9b9bbe4c20cc34d6038da6bc0b679e4f103aae3c7c/IMG_1965.JPG" /> SCHERING STIFTUNG BERLIN WHAT HAPPENS WHEN NOTHING HAPPENSELÍN HANSDÓTTIR20.04.2023 - 02.07.2023 Curated by: Christina Landbrecht <img width="995" height="1252" width_o="995" height_o="1252" data-src="https://freight.cargo.site/t/original/i/2f6b3371b65a11ce0d71560e330ad0ec64abd348cabdaca637130bdfd70559d0/IMG_20220819_121130.jpg" data-mid="197408490" border="0" src="https://freight.cargo.site/w/995/i/2f6b3371b65a11ce0d71560e330ad0ec64abd348cabdaca637130bdfd70559d0/IMG_20220819_121130.jpg" /> CITY THEATRE OF ICELANDSÍÐUSTU DAGAR SÆUNNARPremiere 28.10. 2022Starring: Guðrún Gísladóttir, Jóhann Sigurðarsson &amp; Snorri Engilbertsson. Directed by: Una ÞorleifsdóttirScenography &amp; costumes: Elín HansdóttirMusic: Gísli Galdur ÞorgeirssonLighting: Pálmi JónssonSound design: Þorbjörn Steingrímsson <img width="3000" height="3867" width_o="3000" height_o="3867" data-src="https://freight.cargo.site/t/original/i/fc4865f1002fa1edcde5f01307835ce67ea544bf53249e7d6ddf8fb8bf7f4a3c/IMG_20220926_151346-1.jpg" data-mid="197408335" border="0" src="https://freight.cargo.site/w/1000/i/fc4865f1002fa1edcde5f01307835ce67ea544bf53249e7d6ddf8fb8bf7f4a3c/IMG_20220926_151346-1.jpg" /> SKÍRNIR - The Journal of the Icelandic Literary Society (established in 1827) featured the work of Elín Hansdóttir in it’s 196th edition. <img width="2048" height="2048" width_o="2048" height_o="2048" data-src="https://freight.cargo.site/t/original/i/a0a1241bb486a20451f3fec2d47147e6ff491dc14bb24aec1a3c8d98c900d45c/Copy-of-IMG_0163.JPG" data-mid="197407527" border="0" src="https://freight.cargo.site/w/1000/i/a0a1241bb486a20451f3fec2d47147e6ff491dc14bb24aec1a3c8d98c900d45c/Copy-of-IMG_0163.JPG" /> SKÍRNARFJALL / DANTE´S PURGATORIO has been published in Icelandic with photographs by Elín Hansdóttir. Publisher: Gudrun PublishingTranslated: Einar ThoroddsenPhotographs: Elín HansdóttirDesign: Börkur ArnarssonLayout: Helgi Loftsson. <img width="1181" height="1555" width_o="1181" height_o="1555" data-src="https://freight.cargo.site/t/original/i/3ef3558f1bec21ca4fdfbff6741071b796389380b21800cfc98a4722e7ab8043/EH-Bethanien-copy.jpg" data-mid="197405642" border="0" src="https://freight.cargo.site/w/1000/i/3ef3558f1bec21ca4fdfbff6741071b796389380b21800cfc98a4722e7ab8043/EH-Bethanien-copy.jpg" /> KÜNSTLERHAUS BETHANIEN EIGENZEITELÍN HANSDÓTTIR19.05.2022 - 12.06.2022 The exhibition marks the end of a year long artist residency at Künstlerhaus Bethanien in Berlin. <img width="1080" height="1080" width_o="1080" height_o="1080" data-src="https://freight.cargo.site/t/original/i/687cbc0d7de6cf9877276f74632d9c1238c2d1850d5dd87e83928ea1ba2354a6/9.jpg" data-mid="197405617" border="0" src="https://freight.cargo.site/w/1000/i/687cbc0d7de6cf9877276f74632d9c1238c2d1850d5dd87e83928ea1ba2354a6/9.jpg" /> HARPA CONCERT HALL HIMINGLÆVAUnveiling 07.05.2022 Prime Minister Katrín Jakobsdóttir and Mayor of Reykjavík Dagur B.Eggertsson unveiled HIMINGLÆVA, a new public sculpture by Elín Hansdóttir in front of Harpa Music Hall in Reykjavík, Iceland. <img width="777" height="1186" width_o="777" height_o="1186" data-src="https://freight.cargo.site/t/original/i/6eb26bba3db2a90b7624dcf0a6fc2294c228ab1427dad459875d8695296e133b/sturm.jpg" data-mid="197405608" border="0" src="https://freight.cargo.site/w/777/i/6eb26bba3db2a90b7624dcf0a6fc2294c228ab1427dad459875d8695296e133b/sturm.jpg" /> BURGTHEATER DER STURMPremiere 12.03.2022 Director: Thorleifur Örn ArnarssonScenography: Elín HansdóttirCostumes: Karen BriemMusic: Gabriel CazesDramaturgy: Sebastian Huber Starring : Michael Maertens, Dietmar König, Maria Happel, Johannes Zirner, Nils Strunk, Roland Koch, Florian Teichtmeister, Lili Winderlich, Mavie Hörbiger <img width="2111" height="2833" width_o="2111" height_o="2833" data-src="https://freight.cargo.site/t/original/i/e31a33898edbe604a5e81c6a98c3df7cf3efcff721d4aa87470da9cc86bcd8e0/Adinfinitum.jpg" data-mid="197405591" border="0" data-scale="89" src="https://freight.cargo.site/w/1000/i/e31a33898edbe604a5e81c6a98c3df7cf3efcff721d4aa87470da9cc86bcd8e0/Adinfinitum.jpg" /> GERÐARSAFNKOPAVOGUR ART MUSEUM AD INFINITUMELÍN HANSDÓTTIR &amp; ÚLFUR HANSSON 14.01.2022 - 27.03.2022Curated by: Brynja Sveinsdóttir <img width="1037" height="2118" width_o="1037" height_o="2118" data-src="https://freight.cargo.site/t/original/i/de98581ad7a37679f05c3b6cf05bcccb6e6d9abc14761255ead3e669d717bcb1/OS_KB.jpg" data-mid="197405572" border="0" data-scale="62" src="https://freight.cargo.site/w/1000/i/de98581ad7a37679f05c3b6cf05bcccb6e6d9abc14761255ead3e669d717bcb1/OS_KB.jpg" /> KÜNSTLERHAUS BETHANIENOPEN STUDIOSInternational Studio ProgrammeSEPTEMBER 15th 202117:00 - 21:00 <img width="698" height="817" width_o="698" height_o="817" data-src="https://freight.cargo.site/t/original/i/4da997f40320cb07af6ec294cd8c4081db821c1be1c70deede77c45056b3e2c9/idavollur.png" data-mid="197405036" border="0" src="https://freight.cargo.site/w/698/i/4da997f40320cb07af6ec294cd8c4081db821c1be1c70deede77c45056b3e2c9/idavollur.png" /> REYKJAVÍK ART MUSEUM IÐAVÖLLUR: ICELANDIC ART IN THE 21ST CENTURY 10.06.2021 - 17.10.2021Group showCurated by: Aldís Snorradóttir, Markús Þór Andrésson &amp; Ólöf Kristín Sigurðardóttir Artists:Anna Júlía Friðbjörnsdóttir / Anna Rún Tryggvadóttir / Arna Óttarsdóttir /Arnar Ásgeirsson / Bjarki Bragason / Dodda Maggý / Elín Hansdóttir / Eva Ísleifs / Guðmundur Thoroddsen / Hildigunnur Birgisdóttir / Páll Haukur Björnsson / Rebecca Erin Moran / Styrmir Örn Guðmundsson / Örn Alexander Ámundason <img width="1398" height="1710" width_o="1398" height_o="1710" data-src="https://freight.cargo.site/t/original/i/ee03bfc74a10193b2712c5f0c3bc2b0d09226b37c9634e94649122c229742a68/Screenshot-2022-05-25-at-10.01.40.png" data-mid="197405008" border="0" src="https://freight.cargo.site/w/1000/i/ee03bfc74a10193b2712c5f0c3bc2b0d09226b37c9634e94649122c229742a68/Screenshot-2022-05-25-at-10.01.40.png" /> BOOK LAUNCH LONG PLACEELÍN HANSDÓTTIR28.05.2021 Edited by Anne KockelkornDesigned by Dorothée BillardPublished by DISTANZ <img width="1279" height="1575" width_o="1279" height_o="1575" data-src="https://freight.cargo.site/t/original/i/fcbf11b3ca2ba4c2188130e5e4c7679dd7c60d9cd3ad91329a9bf84cc40c63a1/vertuulfur.jpg" data-mid="197404836" border="0" data-scale="76" src="https://freight.cargo.site/w/1000/i/fcbf11b3ca2ba4c2188130e5e4c7679dd7c60d9cd3ad91329a9bf84cc40c63a1/vertuulfur.jpg" /> NATIONAL THEATRE OF ICELAND VERTU ÚLFURPremiere 22.01. 2021Starring: Björn ThorsDirected by: Unnur Ösp StefánsdóttirScenography: Elín HansdóttirCostumes: Filippía I. ElísdóttirMusic: Valgeir SigurðssonLighting: Björn Bergsteinn Guðmundsson/ Halldór Örn ÓskarssonSound design: Elvar Geir Sævarsson/ Valgeir Sigurðsson <img width="245" height="216" width_o="245" height_o="216" data-src="https://freight.cargo.site/t/original/i/2a4f05cb618539f7f16186fa86a6c73d9f46b6e63deeff0b7ffd5dbcc02e6e8f/Screen-Shot-2021-09-14-at-19.34.58.png" data-mid="197404430" border="0" data-scale="100" src="https://freight.cargo.site/w/245/i/2a4f05cb618539f7f16186fa86a6c73d9f46b6e63deeff0b7ffd5dbcc02e6e8f/Screen-Shot-2021-09-14-at-19.34.58.png" /> HARBINGER PROJECT SPACE LATENT SHADOW17.10.2020 - 17.11.2020 Curated by: &nbsp;Claudia Hausfeld &amp; Daria Sol Andrews Group exhibition with works by Berglind Hreiðarsdóttir, Anne Rombach, Elín Hansdóttir&nbsp; and Chelsey Honders. The four artists present a range of photographic&nbsp; works that explore the manipulation of surfaces and structure, the distortion of context, spaces of transition, the complication of comprehension and the literary meaning of images. <img width="1417" height="2205" width_o="1417" height_o="2205" data-src="https://freight.cargo.site/t/original/i/fa43a0d040fd55bc52309ce44e7b48e510a9051b64a041fa5b609d9603bb85ca/glasBeton.jpg" data-mid="197404254" border="0" src="https://freight.cargo.site/w/1000/i/fa43a0d040fd55bc52309ce44e7b48e510a9051b64a041fa5b609d9603bb85ca/glasBeton.jpg" /> MARTA HERFORD Glass and Concrete -Manifestations of the Impossible 29.02.2020 - 04.10.2020Group showCurated by: &nbsp;Friederike Fast &amp; Anne SchloenArtists: Francis Alÿs / Peter Bialobrzeski / Oliver Boberg / Matti Braun / Andreas Bunte / Daniel Buren / Louisa Clement / Louis De Cordier / Alia Farid / Nina Fischer &amp; Maroan el Sani / Thomas Florschuetz / Daniela Friebel / Vincent Ganivet / Jakub Geltner / Isa Genzken / Elín Hansdóttir /&nbsp; Mona Hatoum / Philipp Hennevogl / Stephan Huber / Thomas Huber / Aernoudt Jacobs /&nbsp; Jeffrey James / Isa Melsheimer / Jan Muche / Martin Mühlhoff &amp; Christian Vossiek / Olaf Pernice / Túlio Pinto / Robin Rhode / Kilian Rüthemann / Kai Schiemenz / Wolfgang Schlegel /Adrien Tirtiaux / Tatiana Trouvé /Lena von Goedeke / Martin Walde (in cooperation with Bernd Weinmayer) <img width="2362" height="1575" width_o="2362" height_o="1575" data-src="https://freight.cargo.site/t/original/i/afffb5b51dded206ceb5601d968ed8ab5a9a151844b180a3300cb4040c0e9244/Elin-Hansdottir-14.jpg" data-mid="197404200" border="0" src="https://freight.cargo.site/w/1000/i/afffb5b51dded206ceb5601d968ed8ab5a9a151844b180a3300cb4040c0e9244/Elin-Hansdottir-14.jpg" /> ÁSMUNDARSALUR ELSEWHEREELÍN HANSDÓTTIR07.09.2019 - 06.10.2019 <img width="1920" height="1078" width_o="1920" height_o="1078" data-src="https://freight.cargo.site/t/original/i/759d916415e6eac018e5209de583bff9e5fbdc3dec4472169afb381fd122e67f/27173405_1591260057627564_7183275571713702427_o.jpeg" data-mid="197404117" border="0" src="https://freight.cargo.site/w/1000/i/759d916415e6eac018e5209de583bff9e5fbdc3dec4472169afb381fd122e67f/27173405_1591260057627564_7183275571713702427_o.jpeg" /> OPEN PROJECT SPACE JEWELRY WAGON29.03.2019 - 20.04.2019Group showArtists: Brynhildur Pálsdóttir, Carl Boutard, Elín Hansdóttir, Kristján Guðmundsson, Rebecca Erin Moran, Valgerður Sigurðardóttir, Þór Sigurþórsson. <img width="1210" height="954" width_o="1210" height_o="954" data-src="https://freight.cargo.site/t/original/i/a09490088585abd9f3a1e2e3334244ede05ec0afd6b626505c5c8477570ebecd/Screenshot-2022-06-05-at-22.02.57.png" data-mid="197404073" border="0" src="https://freight.cargo.site/w/1000/i/a09490088585abd9f3a1e2e3334244ede05ec0afd6b626505c5c8477570ebecd/Screenshot-2022-06-05-at-22.02.57.png" /> HARPA A FLAG FOR A NEW NATIONopening 01.12.2018Group showCurated by Hörður LárussonArtists:Kristín Þorkelsdóttir, Elín Hansdóttir, Jakob Sturla Einarsson, Arnar Ómarsson. <img width="914" height="918" width_o="914" height_o="918" data-src="https://freight.cargo.site/t/original/i/1c3af12f8db6d9eab7c2254f143df92eb0d3c95974bc02d1f45a4d92db665024/Screenshot-2022-06-05-at-21.44.45.png" data-mid="197404025" border="0" src="https://freight.cargo.site/w/914/i/1c3af12f8db6d9eab7c2254f143df92eb0d3c95974bc02d1f45a4d92db665024/Screenshot-2022-06-05-at-21.44.45.png" /> GRÓTTA ICELAND EARTH HOMING - REINVENTING TURF HOUSES08.08.2018 - 01.09.2018Group showCurated by: Annabelle von GirsewaldArtists: Anna Júlía Friðbjörnsdóttir, Ásdís Sif Gunnarsdóttir, Birgir Andrésson, Borghildur Indriðadóttir, Claudia Hausfeld, Daniel Leeb, Elín Hansdóttir, Gunnhildur Hauksdóttir, Hekla Dögg Jónsdóttir, Hrönn Gunnarsdóttir, Kolbeinn Hugi Höskuldsson, Ólafur Sveinn Gíslason, Ólöf Nordal, Ragna Róbertsdóttir, Sean Patrick O´Brian, Sólveig Aðalsteinsdóttir, Steingrímur Eyfjörð, Unnar Örn <img width="874" height="630" width_o="874" height_o="630" data-src="https://freight.cargo.site/t/original/i/068c850c64b9c13cf0e51f5e4d82121763b6589b01a212f20ae87fb87541b075/Screenshot-2022-06-06-at-10.48.05.png" data-mid="197403752" border="0" src="https://freight.cargo.site/w/874/i/068c850c64b9c13cf0e51f5e4d82121763b6589b01a212f20ae87fb87541b075/Screenshot-2022-06-06-at-10.48.05.png" /> REYKJAVIK ART MUSEUM DIVIDED BY TWO28.10.2017Artistic director: Berglind María Tómasdóttir Collaboration between RÚV (The National Broadcasting Corporation Iceland) and the Reykjavík Art Museum. Composers and artists were invited to collaborate to create an audio-visual performance. Concert #4: Hildur Guðnadóttir, Elín Hansdóttir &amp; Margrét Bjarnadóttir. Stream here <img width="1512" height="1654" width_o="1512" height_o="1654" data-src="https://freight.cargo.site/t/original/i/64d8c9f90ab4f7619cd6d854bb6176f6d38e5a16e7e53b9cc2ee0de5090b65c3/Screenshot-2022-06-05-at-22.15.11.png" data-mid="197403414" border="0" src="https://freight.cargo.site/w/1000/i/64d8c9f90ab4f7619cd6d854bb6176f6d38e5a16e7e53b9cc2ee0de5090b65c3/Screenshot-2022-06-05-at-22.15.11.png" /> SEQUENCES REAL TIME ART FESTIVAL ELASTIC HOURS06.10.2017 - 15.10.2017Curated by Margot Norton Artists: Agnieszka Polska, Anna K.E, Cally Spooner, Elín Hansdóttir, Margrét Bjarnadóttir, Helena Aðalsteinsdóttir, Rebecca Erin Moran, Una Sigtryggsdóttir, Aki Sasamoto, Ásgerður Birna Björnsdóttir, David Horvitz, Florence Lam, Hildigunnur Birgisdóttir, Roman Ondak, Alicja Kwade, Birgir Andrésson, Edouardo Navarro, Habbý Ósk, Nancy Lupo, Sara Magenheimer <img width="820" height="547" width_o="820" height_o="547" data-src="https://freight.cargo.site/t/original/i/2a1120c41b7ec5f7de94ddedd82bd12db517df2512df75d096950cea8decc514/bjartsyni_elin.jpeg" data-mid="197403349" border="0" src="https://freight.cargo.site/w/820/i/2a1120c41b7ec5f7de94ddedd82bd12db517df2512df75d096950cea8decc514/bjartsyni_elin.jpeg" /> AWARD OPTIMISM AWARD FOR CULTUREIceland, 2017.Elín Hansdóttir receives the Icelandic Optimism Award, which has been awarded annually since 1981 to recognize and encourage Icelandic artists. It is patroned by President of Iceland Guðni Th. Jóhannesson and former President Vigdís Finnbogadóttir. <img width="1114" height="882" width_o="1114" height_o="882" data-src="https://freight.cargo.site/t/original/i/8a888e248439f07a20a586d32ea3dce8fc388778a315bfb3a408101fc648185f/Screenshot-2022-06-06-at-11.18.13.png" data-mid="197403272" border="0" src="https://freight.cargo.site/w/1000/i/8a888e248439f07a20a586d32ea3dce8fc388778a315bfb3a408101fc648185f/Screenshot-2022-06-06-at-11.18.13.png" /> i8 GALLERY SIMULACRAELÍN HANSDÓTTIR15.12.2016 - 04.02.2017 <img width="355" height="355" width_o="355" height_o="355" data-src="https://freight.cargo.site/t/original/i/04b392d71e33054859e6be1dc5fb0aa5961cd0b731ea2b55bb374ebe0bee55d5/MsWz9WSz_400x400.jpeg" data-mid="197403134" border="0" src="https://freight.cargo.site/w/355/i/04b392d71e33054859e6be1dc5fb0aa5961cd0b731ea2b55bb374ebe0bee55d5/MsWz9WSz_400x400.jpeg" /> THE LIVING ART MUSEUM THE PRIMAL SHELTER IS THE SITE FOR PRIMAL FEARS25.11.2016 - 21.12.2016Group show Curated by Patrik Aarnivaara &amp; Maija Rudovska Artists:Darren Banks, O.B. De Alessi, Shirin Sabahi, Alexandra Zuckerman, Johan Österholm, Christian Andersson, Elin Hansdottir, Yuki Higashino, Barbara Sirieix <img width="472" height="307" width_o="472" height_o="307" data-src="https://freight.cargo.site/t/original/i/7b9518fe7abb3bc05c5ab6d7370b1b06a020cb552493c8cceb54c1bf89b36e17/lichtparcours.width-1280.jpg" data-mid="197402990" border="0" src="https://freight.cargo.site/w/472/i/7b9518fe7abb3bc05c5ab6d7370b1b06a020cb552493c8cceb54c1bf89b36e17/lichtparcours.width-1280.jpg" /> LICHTPARCOURS BRAUNSCHWEIG11.06.2016 - 22.09.2016Artists:Andreas Fischer, Thilo Frank, Tomás Saraceno, Kevin Schmidt, Alfredo Jaar, Kai Schiemenz, Michael Sailstorfer, Tobias Rehberger, Danica Dakic, Björn Dahlem, Elín Hansdóttir, Studio Drift <img width="740" height="550" width_o="740" height_o="550" data-src="https://freight.cargo.site/t/original/i/f25948c3054b4726299faa06380e60ce31f60a4d6d352819d0fc07649e82daf4/Screenshot-2022-06-06-at-11.24.25.png" data-mid="197402954" border="0" src="https://freight.cargo.site/w/740/i/f25948c3054b4726299faa06380e60ce31f60a4d6d352819d0fc07649e82daf4/Screenshot-2022-06-06-at-11.24.25.png" /> REYKJAVÍK ART MUSEUMÁSMUNDARSAFN DISRUPTIONELÍN HANSDÓTTIR16.04.2016 - 16.10.2016Curated by: Dorothée KirchThe Ásmundur Sveinsson Museum is dedicated to the works of Ásmundur Sveinsson (1893 - 1982) who was one of the pioneers of Icelandic sculpture. With the exhibition the works of Hansdóttir and Sveinsson are juxtaposed. https://elinhansdottir.com/CONTACT-1 Wed, 22 Apr 2020 11:34:46 +0000 www.elinhansdottir.com https://elinhansdottir.com/CONTACT-1 &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;&nbsp; &nbsp; Studio Elín HansdóttirReykjavík / Icelandmail@elinhansdottir.comwww.elinhansdottir.com︎ https://elinhansdottir.com/CV Wed, 22 Apr 2020 11:34:04 +0000 www.elinhansdottir.com https://elinhansdottir.com/CV selected solo shows / projects 2023 WHAT HAPPENS WHEN NOTHING HAPPENS, Schering Stiftung Berlin.&nbsp; 2022 EIGENZEIT, Künstlerhaus Bethanien, Berlin, Germany.&nbsp; AD INFINITUM, Gerdarsafn Kopavogur Art Museum, Iceland.2019ELSEWHERE, Ásmundarsalur, Iceland. 2016SIMULACRA, i8 Gallery, Iceland. DISRUPTION, Asmundarsafn, Reykjavik Art Museum, Iceland. CAST, Lichtparcours / City of Braunschweig, Germany. 2015SUSPENSION OF DISBELIEF, KW Institut for Contemporary Art, Berlin. 2012MUD BRICK SPIRAL, Marrakech Biennale, Morocco. 2010TRACE, i8 Gallery, Reykjavík, Iceland. RECIPROCAL, Biennale für Internationale Lichtkunst, Hamm, Germany. 2009UNIVERSOLO, Unosolo project space, Rome, Italy. PARALLAX, Reykjavík Art Museum, Iceland. 2008TWO POINT FIVE, Program / Space for Art &amp; Architecture, Berlin, Germany. PATH, Maribel Lopez Gallery, Berlin, Germany. 2007PERIPHERAL, Frieze Projects, London, UK. 2006BOOK SPACE, public libraries in Europe (ongoing project). HERE ELSEWHERE, Rec Gallery (project space Esther Schipper), Berlin, Germany. 2005UNTITLED, Material Time / Work Time / Life Time, Reykjavík Arts Festival, Iceland. 2004YOU, The Arnesinga Art Museum, Iceland. public collections 2016 INTERFERENCE 1-10 (10 acrylic paintings), Reykjavík Art Museum, Iceland. 2009 PARALLAX (installation), Reykjavík Art Museum, Iceland. 2008 PATH (installation), National Gallery of Iceland, Reykjavík. public commissions 2022 HIMINGLAEVA, public sculpture for Harpa Music Hall, Reykjavík. 2019 Mural in suburb of Breiðholt, commissioned by the City of Reykjavik. 2017 Mural on Réttarholtsskóli school, commissioned by the City of Reykjavík. 2016 INTERFERENCE, terrazzo floor for new building of the South Iceland College, Selfoss, Iceland.&nbsp; scenography 2025 ORESTEIA, set design, National Theatre of Iceland. 2024 HVERFA, set design &amp; costumes, Reykjavik Dance Festival. SAKNADARILMUR, set design, National Theater of Iceland.&nbsp; 2022 SIDUSTU DAGAR SAEUNNAR, set design, City Theater Reykjavík, Iceland.&nbsp; DER STURM, set design, Burgtheater, Vienna, Austria.&nbsp; 2021&nbsp; VERTU ÚLFUR, set design, National Theater of Iceland.&nbsp; 2011 PRIEST’S BLACK DOG, set design, National Theater of Iceland.2010 ON MISUNDERSTANDINGS, set design &amp; costumes for choreographer Margrét Bjarnadóttir, Tanzplan Hamburg. other projects 2019 DIVE-RITUALS IN WATER, full length documentary.FOUR LEAF CLOVER, design of the President of Iceland’s Export Award. 2018 GLOBE OF GOODWILL, design of annual baulbe for the Benefit Society for Children with disabilities. selected group shows 2021 IDAVÖLLUR - Icelandic Art in the 21st Century, Reykjavik Art Museum. 2020GLASS AND CONCRETE. Marta Herford, Germany.LATENT SHADOW, Harbinger, Reykjavik, Iceland.&nbsp; 2019SKARTVAGNINN, Open, Iceland. 2018EMBODY, Kópavogur Art Museum, Iceland. 2016PRIMAL SHELTER, The Living Art Museum, Reykjavík, Iceland. 2015HOMECOMINGS: PROJECTIVE SPACE, Berlin, Germany. 2014FESTIVAL OF FUTURE NOWS, Neue Nationalgalerie, Berlin, Germany. BEYOND REACH, Den Frie Center of Contemporary Art, Copenhagen, Denmark. GIVE US THE FUTURE, Neuer Berliner Kunstverein, Berlin, Germany. 2013INDICATIONS, Hafnarborg Art Center, Hafnarfjordur, Iceland. 2011LONG ARE THE DAYS, SHORT ARE THE NIGHTS, Wood Street Galleries, Pittsburgh, USA. 2010THEY GO ROUND AND ROUND, 0047, Oslo, Norway. WE PICTURED YOU READING THIS, Redux Contemporary Art Center, USA. VOICE BETWEEN LINES, Centre D´Art La Panera, Lleida, Spain. 2009RETHINK THE IMPLICIT, Den Frie Center for Contemporary Art, Denmark. SPACE REVISED, Künstlerhaus Bremen, Germany. LEFT ON YOUR OWN DEVICES, Bolit Centre D´Art Contemporani, Girona, Spain. 2008PLEINAIRISM, i8 Gallery, Reykjavík, Iceland. ART AGAINST ARCHITECTURE, National Gallery of Iceland, Reykjavík. 2007BERLIN NOIR, Perry Rubenstein Gallery, New York, USA. CONSEQUENCES AND PROPOSALS, Biennale of Young Artists, Tallin, Estonia. BETWEEN TWO DEATHS, ZKM, Karlsruhe, Germany. SEVERAL DOZENS SECONDS OF BADLY DEVELOPED FILM, Raster Gallery, Warsaw, Poland. EXHIBITION´S RUINS / EMOTIONAL LANDSCAPES, Safn, Reykjavík, Iceland. 2005NEW ICELANDIC ART II, National Gallery of Iceland, Reykjavík. PRAYING FOR SILENCE, Ludwigsburger Kunstverein, Germany. 2004BERLIN NORTH, Hamburger Bahnhof National Museum, Berlin, Germany. prizes &amp; residencies 2021-2022 Artist residency at Künstlerhaus Bethanien, Berlin. 2021 GRÍMAN - National Performing Arts Award for best set design, Iceland.&nbsp;2017 Prize from Gudmunda S.Kristinsdottir art fund, founded by artist Erro. Optimism Culture Prize (est.1981), awarded by the President of Iceland. 2009 Artist residency at the Headlands Center for the Arts, San Francisco. 2008 Artist residency at the Nordic Artist Center, Dale, Norway.2007 Penninn Art Grant, Iceland. Magret Bjorgulfsdottir Memorial Grant, Iceland.2005 Henrik Steffens Prize, Alfred Toepfer Stiftung, Germany. DAAD Study Scholarship, Germany.2004 Gudmunda Andresdottir Study Scholarship, National Gallery of Iceland. https://elinhansdottir.com/HOME Wed, 05 Feb 2020 16:08:48 +0000 www.elinhansdottir.com https://elinhansdottir.com/HOME https://elinhansdottir.com/SAKNADARILMUR Sat, 30 Aug 2025 15:20:54 +0000 www.elinhansdottir.com https://elinhansdottir.com/SAKNADARILMUR <img width="2500" height="1666" width_o="2500" height_o="1666" data-src="https://freight.cargo.site/t/original/i/6aa0ae7f06b02aac84a92b20ab1ffcadb2a7f9fd7697f233c51cf9e5eb982188/DSCF1431-Edit.jpg" data-mid="237638116" border="0" src="https://freight.cargo.site/w/1000/i/6aa0ae7f06b02aac84a92b20ab1ffcadb2a7f9fd7697f233c51cf9e5eb982188/DSCF1431-Edit.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/13345b2b694c0f0ae6394a886fd9c43a72c6344ffdc93c23dabe8ac482d499ed/DSCF1062-Edit.jpg" data-mid="237638124" border="0" 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Elísdóttir Lighting: Björn Bergsteinn GuðmundssonMusic: Ólöf Arnalds &amp; Skúli SverrissonSound design: Aron Þór ArnarssonChoreography: Margrét Bjarnadóttir Director´s assistant:&nbsp;Júlía Gunnarsdóttir https://elinhansdottir.com/SIDUSTU-DAGAR-SAEUNNAR Sat, 30 Aug 2025 15:22:31 +0000 www.elinhansdottir.com https://elinhansdottir.com/SIDUSTU-DAGAR-SAEUNNAR <img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/d0387fb96b536e8683652c32a49056f4866d04f8e2d6d6ae7d4ed0cb90e6eedc/20221021-_DSC0205-Edit-copy.jpg" data-mid="237651694" border="0" src="https://freight.cargo.site/w/1000/i/d0387fb96b536e8683652c32a49056f4866d04f8e2d6d6ae7d4ed0cb90e6eedc/20221021-_DSC0205-Edit-copy.jpg" /><img width="2500" height="1667" width_o="2500" height_o="1667" data-src="https://freight.cargo.site/t/original/i/8498a84b89a91305009d3ac1bdfa1a5a4997ede1a5d7f8c477d2880212b7dbcf/20221021-_DSC0358-Edit-copy.jpg" data-mid="237651931" border="0" 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data-src="https://freight.cargo.site/t/original/i/6b509220a8a18b317d29357d5b3cf1a31404dd61bf751bf932d36f129bdf1750/IMG_5816-copy.jpg" data-mid="237662899" border="0" src="https://freight.cargo.site/w/1000/i/6b509220a8a18b317d29357d5b3cf1a31404dd61bf751bf932d36f129bdf1750/IMG_5816-copy.jpg" /><img width="2502" height="1667" width_o="2502" height_o="1667" data-src="https://freight.cargo.site/t/original/i/e1e37499df8504141d9675cd649a90a83517d44d741494cef8d29106c80cabfe/940813D4-D750-4184-9225-0DDB58AEF670_1_102_o-copy.jpg" data-mid="237662910" border="0" src="https://freight.cargo.site/w/1000/i/e1e37499df8504141d9675cd649a90a83517d44d741494cef8d29106c80cabfe/940813D4-D750-4184-9225-0DDB58AEF670_1_102_o-copy.jpg" /> BURGTHEATERDER STURM2022Cast: Mavie Hörbiger, Michael Maertens, Dietmar König, Maria Happel, Johannes Zirner, Nils Strunk, Roland Koch, Florian Teichtmeister, Lili Winderlich.Directed by: Thorleifur Örn ArnarssonScenography: Elín Hansdóttir Costumes: Karen BriemLighting:&nbsp;Friedrich Rohm Music: Gabriel Cazes&nbsp; Dramaturgy: Sebastian Huber