Una Björg Magnúsdóttir, Tillykke, 2022. Photograph.
The exhibition has been evolving between all those participating, through meetings both online and in person, and the title, Closed Enough, is a play on the feeling of distance and closeness. It speaks of a sensitivity towards the comforts and shelters that arise through the imposing influence of Iceland’s weather conditions, but also to a poetics of things within and out of reach, and the reorienting of things near at hand, a process similar to that described by Sarah Ahmed in her book, Queer Phenomenology. It also evokes how galleries and museums appear to place things out of reach, but how these things, through the sensibilities of their making, may still reach back to lives lived.
Alongside the exhibition the artists have made a series of lithograph prints produced by Hole Editions, a fine art collaborative printmaking workshop in Newcastle upon Tyne which specialises in stone lithography. It is also accompanied by a catalogue of artists’ statements, images, and diverse writings written and edited in Iceland, then printed and bound in the UK by Newspaper Club, a printing company based in Glasgow. The catalogue, designed by Chris Petter Spilde, is a document associated with the exhibition, and although it will be informative, an emphasis will be placed on the book as an extension of the exhibition, where imagery and text can live beyond the duration of the exhibition.
With work by Halla Einarsdóttir, Logi Leó Gunnarsson, Eygló Harðardóttir, Brák Jónsdóttir, Joe Keys, Martha Lyons Haywood, Una Björg Magnúsdóttir, Amanda Riffo and Ingibjörg Sigurjónsdóttir.
Joe Keys, to be kept closed at sea, 2023. Screenprint on paper, four parts, each 15x50cm.
Halla Einarsdóttir, Hoodwink, 2021. Sculpture, thermoplastic, 130x140cm, with performance, 25mins.
Eygló Harðardóttir, Glass Sculpture, 2018. Glass.
Brák Jónsdóttir, Deeper – Garden sculpture, 2022. Various plants, wild and store-bought, soil, styrofoam, black ship lacquer.