KRISTJÁN GUÐMUNDSSON Túristaljóð & Ólympískar teikningar Tourist Poems & Olympic Drawings
KRISTJÁN GUÐMUNDSSON Túristaljóð & Ólympískar teikningar október 2014– janúar 2015 Tourist Poems & Olympic Drawings October 2014–January 2015
KRISTJÁN GUÐMUNDSSON Sýning í Gallery gamma
Kristján Guðmundsson er einn þekktasti myndlistar
eru verkin „tóm en hlaðin“ og í þeim tekst hann
maður Íslendinga og sýningarferill hans spannar meira
á við ýmsar spurningar um skilning okkar á heiminum
en fjóra áratugi. Hann var einn af stofnendum súm-
og möguleika myndlistarinnar.
hópsins sem á árunum kringum 1970 kynnti nýjar
hugmyndir um myndlist sem síðan hafa gjörbreytt
eftir Kristján Guðmundsson og nú opnar hann sýningu
myndlistarsköpun á Íslandi. Líkt og fleiri í hópnum
í Gallery gamma fimmtudaginn 9. október. Sýningin
hellti Kristján sér út í nýlistina og vann verk í anda
verður í tveimur köflum og fyrst verða sýnd ný Túristaljóð,
konseptlistarinnar, sýndi myndlist úr matvælum,
en það er framhald af verkum sem Kristján gerði 1996
gjörninga og ýmiss konar hugmyndaverk en hann skar
og byggjast á póstkortum sem prentuð hafa verið fyrir
sig úr með knappri úrvinnslu sinni og hnitmiðaðri fágun
ferðamenn á Íslandi. Seinni kafli sýningarinnar verður
verkanna. Nú telst hann til helstu frumkvöðla okkar í
svo opnaður 27. nóvember og þá sýnir Kristján Ólympískar
hugmyndalist en þó einkum í minimalískri myndlist þar
teikningar, verk sem ekki hafa áður verið sýnd á Íslandi.
sem verk hans frá áttunda áratugnum slógu hljóm sem
Gallery gamma er í Garðastræti 37 í Reykjavík og er opið
endurómar í myndlist margra yngri listamanna.
á virkum dögum milli kl. 13.00 og 16.00.
Þótt verk Kristjáns hafi minimalískt yfirbragð og
séu knöpp í framsetningu eru þau líka fulla af húmor og tilvísunum sem hann lætur áhorfendum sjálfum eftir að uppgötva. Eins og Kristján orðar það sjálfur
Það sætir alltaf tíðindum þegar sýnd eru ný verk
KRISTJÁN GUÐMUNDSSON Túristaljóð & Ólympískar teikningar
Kristján Guðmundsson byrjaði að sýna á sjöunda áratug síðustu aldar og fann fljótt sína eigin nálgun þar sem hann bræddi saman framúrstefnuhugmyndir þess tíma við hina nýju hugmyndalist og við sínar eigin hugmyndir um knappa, nauma framsetningu.
Strax upp úr 1970 bjó Kristján til verk sem virtust við
fyrstu sýn vera fullkomlega mínimalísk, jafnvel abstrakt,
„Einföld framsetning verksins og mínimalískt yfirbragð gufar allt í einu upp og í staðinn fyllist hugurinn af vanga veltum um eðli trúarbragða og helgi athafna, andlegt horf hins efnislega veruleika og eðli listarinnar.“
en reyndust við nánari athugun hlaðin merkingu, til
veruleika og eðli listarinnar. Þessi ferningur af mold
vísunum og tengingum sem hann lét áhorfandanum
reynist vera heimspekilegt jarðsprengjubelti. Bókverk
eftir að uppgötva og kanna nánar. Eitt þessara verka var
hans frá sama tíma eru til vitnis um þessa hugsun, til
Þríhyrningur í ferningi (1971–1972), ferningur af mold
dæmis verkið Punktar (1972) sem sýnir punkta úr ljóða
á gólfi sýningarsalarins, 4 × 4 metrar að stærð. Þetta
safni Halldórs Laxness, stækkaða margfalt svo aðeins einn
virtist nokkuð blátt áfram – og jafnvel dæmigert fyrir
punktur er prentaður á síðu. Á síðunni sýnast þetta bara
mínimalisma þess tíma – en Kristján flækti málin með
vera nokkurn veginn hringlaga blekklessur en ef við lítum
því að segja okkur að innan í ferningnum af venjulegri
á þær sem útdrátt úr ljóðum Nóbelskáldsins hafa þær
mold væri þríhyrningur af vígðri mold sem þá hlyti að
mikið víðari tilvísun, fela í sér meiri merkingu og krefjast
hafa verið tekinn úr kirkjugarði. Einföld framsetning
þess að við skoðum þær með ákveðinni lotningu.
verksins og mínimalískt yfirbragð gufar allt í einu upp
og í staðinn fyllist hugurinn af vangaveltum um eðli
hann kannaði ótal möguleika við útfærsluna. Hann bjó til
trúarbragða og helgiathafna, andlegt horf hins efnislega
verk þar sem hann dró línur með blekpenna á þerripappír
Teikningin varð fljótlega helsta verkfæri Kristjáns og
og skráði þannig bæði tímann sem það tók að draga línuna
um þetta að verkin verði „hlaðin“ – eins og byssa.
og lengd línunnar á blaðinu: Strikið verður feitara ef hægt
er dregið, grennra ef penninn er dreginn hratt. Á níunda
unnið í ýmsa miðla og oft endurnýtt iðnaðarvöru til að nota
áratugnum urðu umskipti í list Kristjáns þegar hann fór
í verk sín. Hann hefur notað tvöfalt gler, rafmagnskapla,
að láta efnið koma í stað teikningarinnar sjálfrar – í staðinn
plaststafi sem notaðir voru til að merkja skrifstofur og
Líkt og margir listamenn af hans kynslóð hefur Kristján
fyrir að teikna notaði hann grafít (eins og notað er í blýanta),
jafnvel hallamál sem hann notaði í veggmyndir. Venjulega
pappír og blek sem efni í eins konar skúlptúra. Þannig er
mundum við skilja þetta þannig að hann væri að setja hluta
Teikning 6 (1987–1990) samsett úr fjórum, stórum rúllum af
fyrir heild, líkt og þegar grafítið stendur fyrir teikningu,
prentpappír sem stillt var upp á endann og stórum stykkjum
en samleikur efnisins verður oft ansi flókinn. Þannig var
af grafíti ofan á rúllunum. Í Teikningu 7 (1990) er löngum
það með verkin sem unnu honum hin virtu Carnegie-
og grönnum stykkjum af grafíti raðað lárétt á vegg, fimm
listaverðlaun árið 2010. Þar sýndi hann „hljóðdempandi
hverju upp af öðru, fjórum grúppum í röð á veggnum. Verk
málverk“, strekkta striga sem voru málaðir ýmist svartir
frá 1998 sem heitir einfaldlega Teikning samanstendur af átta
eða hvítir, með stálgrindum fyrir með götum sem hægt var
stykkjum af grafíti sem mynda horn utan um tómt, ferhyrnt
að greina málaðan strigann í gegnum. Þessi samsetning af
rými á vegg. Hér er það efnið sjálft sem geymir tilvísanir
malerískri nálgun og fjöldaframleiddum, enameleruðum
og tengingar meðan framsetning verksins er eins naum,
stálplötum vekur spurningar um tilgang málverksins og
abstrakt og mínimalísk og verið getur.
myndlistarinnar allrar. Þessar spurningar verða enn áleitnari
vegna þess að við fyrstu sýn er erfitt að greina verkin að
Öll þessi verk sýna sömu viðleitnina til að pakka eins
mörgum tengingum og eins mikilli merkingu og mögulegt
frá svipuðum fjöldaframleiddum plötum sem notaðar eru
er í eins naumt form og auðið er. Kristján hefur sjálfur sagt
við húsagerð og við umgöngumst flest á hverjum degi.
„…þessi verk sýna sömu viðleitnina til að pakka eins mörgum tengingum og eins mikilli merkingu og mögulegt er í eins naumt form og auðið er. Kristján hefur sjálfur sagt um þetta að verkin verði „hlaðin“ – eins og byssa.“
Túristaljóðin frá 1996 sýna bakhlið póstkorta sem
sagt, að hann vilji að myndlist sín sé „tóm en hlaðin“. Þessi verk eru vissulega tóm – óútfyllt eyðublöð, loforð um samskipti sem aldrei varð af. Samt eru þau hlaðin tengingum og hugrenningum: Við getum séð hvaðan mynd á framhliðinni muni hafa verið tekin og gert okkur í hugarlund hvernig hún gæti litið út (kannski höfum við sjálf komið þarna eða langar að skoða staðinn) og póstkort vekja alltaf minningar og tilfinningar – um ferðalög og frí,
prentuð voru fyrir ferðamenn á Íslandi. Framhlið slíkra
um kort sem maður hefur sjálfur fengið frá vinum,
korta sýnir yfirleitt fallega litmynd sem grípur augað
um fjarlæg lönd eða – nú síðustu ár – um gamla daga
en bakhliðarnar eru yfirleitt nokkuð svipaðar, eftir
áður en farsímarnir og tölvupósturinn komu til. Kristján
hefð sem rekja má meira en öld aftur í tímann. Það
hefur búið til nýja röð Túristaljóða fyrir þessa sýningu
eru línur þar sem skrifa skal nafn viðtakandans og
og eru þau máluð beint á veggi salarins. Með verkunum
heimilsfang, ferhyrningur til að gefa til kynna hvar skuli
fylgir skjal frá listamanninum sem heimilar kaupanda
líma niður frímerkið, og nokkur orð um ljósmyndina
að endurgera verkið annars staðar.
á framhliðinni. Kristján setur þetta fram sem fundnar
teikningar og einfaldlega endurgerir þær á vegg, talsvert
(2012 og 2014). Þar markar Kristján af rými á veggnum
Hin myndaröðin ber heitið Ólympískar teikningar
stærri en frummyndirnar. Sum snúa lóðrétt, sum lárétt,
með láréttum grafítstykkjum líkt og hann gerði í Teikningu
allt eftir því hvernig ljósmyndin snýr. Þessi listaverk
7 frá 1990. Í því verki stendur grafítið eitt en hér bætir
stemma fullkomlega við það sem Kristján hefur sjálfur
Kristján við áhöldum sem geta fyllt rýmið. Teikningarnar
„Myndlist getur ekki, frekar en heimspeki, gert tæmandi grein fyrir líkingunum og tilvísununum sem við greiðum úr og leikum okkur með til að gæða reynslu okkar merkingu en með Ólympísku teikningunum hefur Kristján komist nær en flestir aðrir.“
o.s.frv. Á vissan hátt er okkur ætlað að skilja þessa hluti svo að þeir standi fyrir teikninguna í rýminu sem grafítið markar á veggnum. En við verðum líka að skilja þá sem tákn fyrir íþróttirnar og þannig vindur tilvísanakeðjan upp á sig. Þessi verk eru skyld hinu fræga konseptverki Joseph Kosuth, Einn og þrír stólar (1965), en skilaboðin eru mun fínlegri og rista dýpra. Verk Kristjáns sýna hvernig
vísa allar í ólympískar íþróttagreinar og áhöldin gefa til
við skiljum flóknar tengingar hluta og hve auðveldlega
kynna hver íþróttin er og hvort konur eða karlar keppa:
við tengjum mismunandi abstrakt hugsanir og margfaldar
Spjót fyrir spjótkast kvenna, viðbragðsstoð fyrir 100 metra
tilvísanir. Myndlist getur ekki, frekar en heimspeki,
hlaup karla, grind fyrir grindahlaup kvenna. Áhöldin eru
gert tæmandi grein fyrir líkingunum og tilvísununum
öll vottuð af IAAF (Alþjóðafrjálsíþróttasambandinu) svo
sem við greiðum úr og leikum okkur með til að gæða
öruggt er að þau mæta ströngustu ólympísku kröfum.
reynslu okkar merkingu en með Ólympísku teikningunum
hefur Kristján komist nær en flestir aðrir. Það sem er svo
Ólympísku teikningarnar marka nýtt skref í nálgun
Kristjáns. Þær kallast á við ýmis eldri verk hans en opna
stórkostlegast er hvernig honum tekst þetta í svo knappri
um leið nýja vídd. Hann hefur lengi notað fundna,
og einfaldri framsetningu. Þetta eru verk sem eru næstum
fjöldaframleidda hluti og áður notað grafít til að standa
tóm en vissulega hlaðin.
fyrir teikningu. Fram að þessu hafa slík verk þó verið abstrakt en nú lætur Kristján okkur fá skýra fyrirmynd og myndræna tilvísun í ytri veruleika: spjótið, grindina,
Jón Proppé
KRISTJÁN GUÐMUNDSSON Tourist Poems & Olympic Drawings
Kristján Guðmundsson began exhibiting his art in the late 1960s and quickly developed his own, very distinctive approach, adopting the ideas of avant-garde and concep tual art to his own preference for a pared-down, minimal presentation. Already in the early 1970s he was producing works that seemed at first sight to be perfectly minimalist, even abstract, but turn out to be loaded with associations
“We are left instead with our heads full of questions about the nature of ritual and religion, the spiritual aspect of material reality, and the meaning of art. The square of dirt turns out to be a philosophical mine field.”
and possible meanings which he leaves the viewer to
in point, such as Periods (1972) which showed periods
discover. One such was Triangle in a Square (1971–1972),
or full stops from the poems of the Icelandic Nobel laure
a 4 × 4 metre square of dirt on the floor. This seems straight-
ate Halldór Laxness, enlarged from a book and printed one
forward enough – and even typical of the minimalist works
to a page. On the page, they are abstract blots of ink but as
of that period – but Kristján complicates things by inform
extracts from the great author’s poems they carry meaning,
ing the viewer that inside the square of ordinary dirt is
have associations, and demand a certain reverence.
a triangle of consecrated dirt, taken from a graveyard.
The minimalist character of the work on the floor sudden
he explored various possibilities, including works of lines
Drawing became one of Kristján’s primary tools and
ly evaporates and we are left instead with our heads full of
made with ink on blotting paper, recording the time it took
questions about the nature of ritual and religion, the spiri
to draw them as well as the distance on the page: The line
tual aspect of material reality, and the meaning of art. The
is heavier if drawn slowly, thinner if drawn fast. In the
square of dirt turns out to be a philosophical mine field.
1980s he dispensed with the act of drawing and began
His artist’s books from the same period are another case
to use the materials of drawing (graphite, ink and paper)
as sculptural elements. Thus Drawing 6 (1987–1990) con-
combination of materials can sometimes become quite
sists of four large rolls of paper, set on end and topped by
complicated. This was the case in the artwork that won
a large slab of graphite. Drawing 7 (1990) has long, thin
him the prestigious Carnegie Art Award in 2009 where
blocks of graphite, arranged horizontally in four groups of
he had submitted “sound absorbing paintings”, canvases
five. A piece from 1998, entitled simply Drawing consists of
painted white or black and covered by white or grey steel
eight blocks of graphite, with the maker‘s mark, arranged on
frames, perforated by holes through which the canvas can
a wall to mark out the corners of a square area. Here it is the
be seen. The combination of the purely painterly elements
material itself that carries the association to drawing while
of canvas and paint with mass-produced steel grilles raises
the presentation remains strictly minimal and abstract.
questions about the function of art that become all the
more insistent because the resulting work is at first glance
All these works show the same insistence on packing
as much as possible (associations, meaning, questions) into
almost indistinguishable from the kind of industrially
as sparse an execution as possible. Kristján has referred to
produced components we see on the walls of office
this in terms of the work being “loaded” – like a weapon.
buildings everywhere.
Like many artists of his generation, Kristján has
The Tourist Poems of 1996 replicate the back sides
worked in various media, often repurposing industrial
of tourist postcards. While the front sides of such cards
products to create his pieces. He has used double glazing,
feature colourful and eye-catching photographs, the backs
electrical cabling, the mass-produced plastic letters used to
are mostly the same, following a tradition more than a cen
mark office doors, even water levels (the tools used by car
tury old: Lines to show where one should write the name
penters). Usually, these should be understood as showing
and address of the recipient, a square to show where the
pars pro toto, as when graphite stands for drawing, but the
stamp should be placed and a few words of text about the
“The combination of the purely paint
imagine what the image could look like (perhaps one has
erly elements of canvas and paint with
even been to the spot or would like to go) and postcards
mass-produced steel grilles raises
are always evocative – of travelling on a holiday or receiv
questions about the function of art that
ing one from friends, of distant lands and, nowadays,
become all the more insistent because the resulting work is at first glance almost indistinguishable from the kind of industrially produced components on the walls of office buildings everywhere.”
of a distant time before mobile phones and email. Kristján has produced a new series of Tourist Poems for the current exhibition, painted directly on the wall of the exhi bition space. The pieces are accompanied by a certificate from the artist that allows a buyer to recreate the work elsewhere.
The other series in the exhibition is Olympic Drawings,
produced in 2012 and 2014, made with graphite rods photograph on the front. Kristján presents them as found
arranged horizontally on the wall as Kristján had done
drawings and simply replicates them on the wall, greatly
in the Drawing 7 of 1990. Whereas the drawing of 1990
enlarged. Some are oriented horizontally, some vertically,
simply lined a blank space, here we are provided with
reflecting the orientation of the unseen photograph.
the objects to fill it. The different pieces refer to different
As artworks, they admirably fulfil his stated condition that
Olympic sports and the equipment provided identifies
they should be “empty but at the same time loaded”. They
the sport: A javelin for the Women’s Javelin Throw;
are certainly empty, a form yet to be filled out, an unful
a starting block for the Men’s 100 Metre Run; a hurdle
filled promise of communication. Yet they are loaded with
for the Women’s Hurdle Race. All the equipment is
associations: We can read about the motif on the front and
certified for Olympic use by IAAF (International
Association of Athletics Federations) so the absolute fidel-
marked out by the graphite rods. Yet we are also being asked
ity of the drawing to Olympic standards is guaranteed.
to see them as standing for the Olympic sports in which they
The Olympic Drawings represent a new twist in Kristján’s
are used so the chain of representation becomes a great
approach, combining aspects seen in various of his earlier
deal more complicated. Conceptually, these pieces achieve
work in a way that opens up a new perspective. He has long
something like Joseph Kosuth’s celebrated One and Three
used found, mass-produced objects and, specifically, used
Chairs (1965), only in a much subtler manner. Kristján’s pieces expose our complex understanding of how things
“They, like philosophy, can never fully capture the sophistication with which we navigate the representations and metaphors that lend sense to our everyday world but with the Olympic Drawings Kristján has come closer than most.”
relate to each other and how we can easily slide between different levels of abstraction and different nests of repre sentation. Art, like philosophy, can never fully capture the sophistication with which we navigate the representations and metaphors that lend sense to our everyday world but with the Olympic Drawings Kristján has come closer than most. What is most remarkable, of course, is how he achieves this
graphite to represent drawing. What is different here is
with only the most minimal effort and material, producing
that whereas earlier such works have remained resolutely
works that are almost empty but most certainly loaded.
abstract, Kristján now supplies what we can only understand as a representational motif for the drawings: The javelin, hurdle, starting blocks etc. In some sense we are being asked to see these objects as standing for the drawing in the space
Jón Proppé
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG01HE KG01HE Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG02HF KG02HF Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG03HB KG03HB Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG04HK KG04HK Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg breytileg stærð KG05HV Kristján Guðmundsson i8 gallerí, Reykjavík
Paint on Wall Size Variable KG05HV Courtesy of Kristján Guðmundsson and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG06KF KG06KF Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg breytileg stærð KG07MV Kristján Guðmundsson i8 gallerí, Reykjavík
Paint on Wall Size Variable KG07MV Courtesy of Kristján Guðmundsson and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG08OF KG08OF Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg breytileg stærð KG09SF Kristján Guðmundsson i8 gallerí, Reykjavík
Paint on Wall Size Variable KG09SF Courtesy of Kristján Guðmundsson and i8 Gallery, Reykjavík
Túristaljóð, 1996—2014
Tourist Poem, 1996—2014
málning á vegg Paint on Wall breytileg stærð Size Variable KG10ST KG10ST Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning 100 metra hlaup karla, 2014
Olympic Drawing Men’s 100 Metre Run, 2014
Grafít Graphite 24 × 130 sm + viðbragðsstoð 24 × 130 cm + starting block Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Kraftlyftingar kvenna, 2012
Olympic Drawing Women’s Weightlifting, 2012
Grafít Graphite 24 × 130 sm + lyftingalóð 24 × 130 cm + weights Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Langstökk karla, 2014
Olympic Drawing Men‘s Long Jump, 2014
Grafít Graphite 24 × 130 sm + stökkplanki 24 × 130 cm + take off board Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Grindahlaup kvenna, 2012
Olympic Drawing Women’s Hurdles, 2012
Grafít Graphite 24 × 130 sm + grind 24 × 130 cm + hurdle Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Kúluvarp karla, 2012
Olympic Drawing Men’s Shot Put, 2012
Grafít Graphite 24 × 130 sm + kastkúla 24 × 130 cm + shot Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Spjótkast kvenna, 2012
Olympic Drawing Women’s Javelin Throw, 2012
Grafít Graphite 24 × 130 sm + kastspjót 24 × 130 cm + javelin Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning 200 metra hlaup kvenna, 2014
Olympic Drawing Women’s 200 Metre Run, 2014
Grafít Graphite 24 × 130 sm + hlaupaskór 24 × 130 cm + running shoes Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
Ólympísk teikning Verðlaunapallur, 2014
Olympic Drawing Winners’ Platform, 2014
Grafít Graphite 24 × 130 sm + verðlaunapallur 24 × 130 cm + winners’ platform Kristján Guðmundsson Courtesy of Kristján Guðmundsson i8 gallerí, Reykjavík and i8 Gallery, Reykjavík
SOLO EXHIBITIONS
2014 Safn Berlin, Germany Skúrinn, Reykjavík, Iceland 2013
Dessins & Dessins Olympiques Galerie Martine Thibault de la Châtre, Paris, France
2011
i8 Gallery, Reykjavík, Iceland Galerie van Gelder, Amsterdam, The Netherlands
2010
Paintings in Grey and White Frames Galerie Anhava, Helsinki, Finland Paintings and Drawings Galleri Riis, Oslo, Norway Galleri Andersson Sandström, Umea, Sweden Paintings in Grey and White Quint Contemporary Art, La Jolla, California, USA Kristján Gudmundsson Quint Contemporary Art, La Jolla, California, USA
2009
National Gallery of Iceland, Reykjavík, Iceland
2007
Drawings I-XV & Other Works Safn, Reykjavík, Iceland Galerie Anhava, Helsinki, Finland
2006
Blue Transmission Galleri Riis, Oslo, Norway
2005
New Works Galleri Stefan Andersson, Umea, Sweden
2004
Architecture i8 Gallery, Reykjavík, Iceland New Works Listasafn Árnesinga, Hveragerði, Iceland Drawings Sleeper Gallery, Edinburgh, Scotland
2003
Slunkaríki, Ísafjörður, Iceland AP Galerie, Amsterdam, The Netherlands Kompan, Akureyri, Iceland
2002
Galerie Nordenhake, Berlin, Germany Kunstnernes Hus, Oslo, Norway
2001
Reykjavík Art Museum – Kjarvalsstaðir, Reykjavík, Iceland
2000
Galerie Anhava, Helsinki, Finland
1999
i8 Gallery, Reykjavík, Iceland
1999
Galleri Riis, Oslo, Norway Slunkaríki, Isafjörður, Iceland
1998
Galerie Anhava, Helsinki
1997
i8 Gallery, Reykjavík, Iceland Galleri Gulp, Reykjavík, Iceland
1996
Galleri Saevar Karl, Reykjavík, Iceland Galleri Stefan Andersson, Umea, Sweden Galerie Anhava, Helsinki, Finland Galleri Hulda Ágústdóttir, Reykjavík, Iceland
1995
Slunkaríki, Ísafjörður, Iceland
1994
Galleri F 15, Moss, Norway Retrospective Rooseum, Malmö, Sweden Albrecht Dürer Gesellschaft & Institut für Moderne Kunst, Nürnberg, Germany Gallerí Sævar Karl, Reykjavík, Iceland
1987
Slunkaríki, Ísafjörður, Iceland Galerie van Gelder, Amsterdam, The Netherlands Drawings and Sculpture Ásmundarsalur, Reykjavík, Iceland Kristján Guðmundsson/Andrea Tippel Boekie Woekie, Amsterdam, The Netherlands
1986
Galerie "A", Amsterdam, The Netherlands American Scandinavian Foundation, New York, USA Galerie van Gelder, Amsterdam, The Netherlands
1985
Gallery Guðmundur Árnason, Reykjavík, Iceland
1983
ASÍ Art Museum, Reykjavík, Iceland
1982
The Red House, Akureyri, Iceland
1981
Safnahúsið, Húsavík, Iceland Ráðhúsið, Dalvík, Iceland
1978
Gallery SÚM, Reykjavík, Iceland Library of Ísafjörður, Ísafjörður, Iceland
1975
Seriaal, Amsterdam, The Netherlands Gallery SÚM, Reykjavík, Iceland Paleis voor Schone kunst, Brussel, Belgium Kunstmuseum, Luzern, Switzerland
Galleri Riis, Oslo, Norway Boekie Woekie, Amsterdam, The Netherlands Städtisches Museum Abteiberg, Mönchengladbach, Germany Germany Kunsthalle Rostock, Rostock, Germany Galerie van Gelder, Amsterdam, The Netherlands
1992
Galerie Anhava, Helsinki, Finland Galerie Miller-Nordenhake, Cologne, Germany Galleri II, Reykjavík, Iceland Galleri Gangur, Reykjavík, Iceland
1974
IN-OUT-CENTER, Amsterdam, The Netherlands
1973
Stedelijk Museum, Amsterdam, The Netherlands IN-OUT-CENTER, Amsterdam, The Netherlands
1991
Galerie Martina Detterer, Frankfurt am Main, Germany Skunkaríki, Ísafjörður, Iceland Galerie Nordenhake, Stockholm, Sweden Galerie Dörrie-Priess, Hamburg, Germany Gallerí Krókur, Reykjavík, Iceland
1972
Galerie 845, Amsterdam, The Netherlands Gallery SÚM, Reykjavík, Iceland Galerie Balderich, Mönchengladbach, Germany Galerie Fignal, Amsterdam, The Netherlands
1970
Galleri SÚM, Reykjavík, Iceland
1989
1969
Galleri SÚM, Reykjavík, Iceland
Teikningar/drawings 1972–88 Reykjavík Art Museum – Kjarvalsstaðir, Reykjavík, Iceland Galleri Riis, Oslo, Norway Galerie van Gelder, Amsterdam, The Netherlands
1968
Mokka, Reykjavík, Iceland
1988
Galerie Nordenhake, Stockholm, Sweden
1993
SELECTED GROUP EXHIBITIONS
2014
Rolling Snowball Djúpivogur, Iceland Your Compound View — Selection from the collection from 1970-2010 Reykjavík Art Museum, Reykjavík, Iceland
2013
Works on Paper i8 Gallery, Reykjavík, Iceland Embracing Impermanence The Living Art Museum, Reykjavík, Iceland B.A.B.E. — The Best Artist Books and Editions Immanence – Espace d’art Contemporain, Paris, France Elemental Boden Arts Center, Boden, Sweden
2012 2011
Ends of the Earth: Land Art to 1974 MOCA Los Angeles, USA; Haus der Kunst, Munich, Germany Explorateurs Musée de l’Abbaye Sainte-Croix des Sables d’Olonne, France Minning um Myndlist ASÍ Art Museum, Reykjavík, Iceland To Make a Show It Takes A Thought and More than One Word Galerie van Gelder, Amsterdam, The Netherlands; Galleri Riis, Oslo, Norway Arbeiten Aus dem Bleistiftgebiet Van Horn, Düsseldorf, Germany (curated by Gregor Hildebrandt) Perspectives — On the Borders of Art and Philosophy Reykjavík Art Museum – Hafnarhús, Reykjavík, Iceland A for Artist/E for Exhibitions Galerie van Gelder, Amsterdam, The Netherlands TEXT Kuckei + Kuckei, Berlin, Germany
Faster and Slower Lines — From the Collection of Pétur Arason and Ragna Róbertsdóttir Reykjavík Art Museum, Reykjavík, Iceland Kind Of Nice Galerie Anhava, Helsinki, Finland The Erling Neby Collection Henie Onstad Art Centre, Høvikodden, Norway Rolling snowball Chinese European Art Center, Xiamen, China
2010
Winter Show i8 Gallery, Reykjavík, Iceland straumur/burðarás Akureyri Art Museum, Akureyri, Iceland Carnegie Art Award National Gallery of Iceland, Reykjavík,
Iceland; The Royal Academy of Fine Arts, Stockholm, Sweden; Kunstnernes Hus, Oslo, Norway; 798 Art Space, Beijing, China; Royal College of Art, London, UK; Kunsthalle Helsinki, Helsinki, Finland; Centre International d´Art Contemporain, Carros/Nice, France Abstract, Almost Abstract II Galerie van Gelder, Amsterdam, The Netherlands Starter Works from the Vehbi Koç Foundation Contemporary Art Collection Arter – Space for Art, Istanbul, Turkey
Regarding facts Galerie van Gelder, Amsterdam, The Netherlands Næsti bar, with Sigurdur Gudmundsson Reykjavík, Iceland (curated by Ólafur Ó. Lárusson)
Carnegie Art Award 2010 Kunsthal Charlottenborg, Copenhagen, Denmark Central Periphery RMIT Gallery, Melbourne, Australia (curated by Alan Johnston) Latte in Watte Galleri Riis, Oslo, Norway In Deep Water Hafnarborg, Hafnarfjörður, Iceland
Material Time, Life Time, Work Time Reykjavík Arts Festival, Gerðasafn, Kópavogur, Iceland Skyndikynni Reykjavíkurakademían, Reykjavík, Iceland HYPERLINK “http://www.artfacts.net/en/exhibition/winterk ou-winterly-cold-34161/overview.html” Winterly cold, Galerie van Gelder, Amsterdam, The Netherlands Touché Galerie Michael Sturm, Stuttgart, Germany
2003
Sea and Music Xiamen, China Meistarar Formsins Akureyri Art Museum, Akureyri, Iceland
Islands & Ghettos, Über territoriale Segregation in Städten des 21. Jahrhundert Kunstraum Kreuzberg/Bethanien, Berlin, Ger many; NGBK/Neue Gesellschaft für Bildende Kunst, Berlin, Germany
2002 BLUE Place Arte Contemporanea, Cavagnolo, Italy D.R.A. Álafoss, Mosfellsbær, Iceland Carnegie Award Victoria Miro Gallery, London, UK
Several Friends National Gallery of Iceland, Reykjavík, Iceland
2008
Ad Absurdum — Energies of the Asurd From Modernity to Contemporary Art Marta Herford, Germany Dreams of the Sublime and Nowhere, Reykjavík Art Museum – Kjarvalsstaðir, Reykjavík, Iceland Icelandic Art with Thor Vigfusson Quint Contemporary Art, La Jolla, California, USA Islands & Ghettos Heidelberger Kunstverein, Heidelberg, Germany No TV on Thursdays Galerie van Gelder, Amsterdam, The Netherlands Lika för lika Gävle Konstcentrum, Gävle, Sweden
2001
D.R.A. City Gallery, Pece, Hungary Drawing Iceland Galleri 54, Götebor, Sweden Tegnerforbundet Oslo, Norway Nothing Rooseum Center for Contemporary Art, Malmö, Sweden; Contemporary Art Center, Vilnius, Lithuania
2000
In the Mirror of Space & Time Ásmundarsalur, Reykjavík, Iceland Galleri áhaldahús, Vestmannaeyjar, Iceland 64 N-20 V Galerie Nordenhake, Stockholm, Sweden Dieter Roth Akademie Ackermannshof, Basel, Switzerland Painting Galerie Micheal Sturm, Stuttgart, Germany
1999
Drei Kuenstler aus Island Galerie Michael Sturm, Stuttgart, Germany HH 1 Xiamen, China Ainsi de Suite 3 Centre régional d´Art Contemporain, Séte, France
1999
Galerie Artek, Helsinki, Finland Hommage á Dieter Roth Galerie Heinz Holtmann, Cologne; NORD LB Galerie, Braunschweig, Germany 00 Galerie van Gelder, Amsterdam, The Netherlands
2009
2007
Drawing A Tiger Galerie Nordenhake, Berlin, Germany Colour First Galerie van Gelder, Amsterdam, The Netherlands Im Fluss Neues Museum Weserburg, Bremen, Germany Gjensyn og fremtiden (Future Revisited) Vigeland museet, Oslo, Norway
2006
In Between — from the collection Nordiska Akvarellmuseet, Skarhamn, Norway
2005
1998
Ground Galerie Stadtpark, Krems, Austria; Akureyri Art Museum, Akureyri, Iceland Galerie Peter Lidner, Vienna, Austria Losse werken, rake klappen Galerie van Gelder, Amsterdam, The Netherlands 10 years 1988—1998 Magasin 3, Stockholm Konsthall, Stockholm, Sweden
1997
Absence/Presence Kópavogur Art Museum, Kópavogur, Iceland Ground, Ground Pier Arts Centre, Stromness, Orkney, Scotland Jahresmuseum 1997 Kunsthaus, Mürzzuschlag, Austria Gúlp á hvolfi Gallerí Gúlp, Reykjavík, Iceland
1996
Antarctica Brahma Galerie Nächst St. Stephan, Vienna, Austria AQUELO The Nordic Arts Centre, Helsinki, Finland
1995
La Hora del Norte Centro Cultural del Conde Duque, Madrid, Spain; Pia Almoina, Barcelona, Spain Art Festival, Seyðisfjördur, Iceland AQUELO Museum Moderner Kunst, Vienna, Austria Galerie d’Arte Moderna, Bologna, Italy Botngróður Iceland
1994 1992 1992 1992
Ludwig Gosewitz und seine isländische Freunde Haus am Lützowplatz, Berlin, Germany Juxtaposition Charlottenborg, Copenhagen, Denmark Det nordiska önskemuseet Göteborgs Konstmuseum, Gothenburg, Sweden Das steinerne Licht Ostee-Biennale 1992, Kunsthalle Rostock, Rostock, Germany Art Festival, Hafnarborg, Hafnarfjördur, Iceland Kunst, Europa-Island Kölnischer Kunstverein, Cologne, Germany Borealis V Porin taidemuseo, Pori, Finland Trans/Mission Rooseum, Malmö, Sweden We won’t party alone St. Gallen Kunstverein, St. Gallen, Switzerland Von Angesicht zu Angesicht Gegenwartskunst aus dem Ostseeraum, Kunsthalle zu Kiel, Germany; Kunsthalle Latvija, Riga; Künstlerhaus Bethanien, Berlin, Germany
1990 1989 1988
The 8th Sidney Biennale, Sidney, Australia Northlands The Museum of Modern Art, Oxford, UK The Douglas Hyde Gallery, Dublin, Ireland Noli me tangere Musée Cantonal des Beaux-Arts, Sion, Switzerland The Art of Drawing Kunsterns Hus, Oslo, Norway End of the Century Museum for Decorative Arts, Moscow, Russia Bridges Persons & Lindell Gallery, Helsinki, Finland Threshold Museet for Samtidskunst, Oslo, Norway Worlds 90 Joensuun Art Museums, Finland 11 cities, 11 nations Friesland Hal, Leeurwarden, The Netherlands Resource Kunst Akademie der Künste West-Berlin, Germany; Stadtgalerie Saarbrücken, Germany SÚM 1965—72 The Municipal Museum, Reykjavík, Iceland The Living Art Museum 10th anniversary National Gallery of Iceland, Reykjavík, Iceland Reykjavík Arts Festival, The Living Art Museum, Reykjavík, Iceland (with Donald Judd & Richard Long) Både/och The Nordic Arts Center, Sveaborg, Helsinki, Finland
1987
Kunsthallen Brandts Klædefabrik, Odense, Denmark Galerie van Gelder, Amsterdam, The Netherlands (with John M. Armleder & Arno Van der Mark)
1986
Bone in a cold oven The Nordic Arts Center, Sveaborg, Helsinki, Finland
1985 1984
1984
Nordic House, Reykjavík, Iceland Konst i Norden, The Nordic Arts Center, Sveaborg, Helsinki, Finland A nordic quintessence ASF Gallery, New York, USA Time — The 4th Dimension Societé des Espositions du palais des Beaux Arts, Brussels, Belgium; Genf, Switzerland; Mannheim, Germany; London, UK ICELAND: The art revealed, Franklin Furnace, New York, USA 10 visitors, Reykjavík Arts Festival, Reykjavík Art Museum – Kjarvalsstaðir, Reykjavík, Iceland
1983
The Living Art Museum, Reykjavík, Iceland
1982 1981
La Biennale di Venezia, Venice, Italy (with Jón Gunnar Árnason) The Red House, Akureyri, Iceland (with Sigrídur Gudjónsdóttir) Malmoe Malmö Konsthall, Malmö, Sweden
1978
Elva moderna islänska konstnärer Malmö Konsthall, Malmö, Sweden
1977
Ca va? Ca va? Centre Georges Pompidou, Paris, France
1975
Galerie Waalkens, Finsterwolde, The Netherlands Kunstmuseum Luzerne, Luzerne, Switzerland
1974
H2O St. Nikolaj Kirkje, Copenhagen, Denmark Frans Hals Museum, Haarlem, The Netherlands
1973
8e biennale de Paris Musée d´Art Moderne, Paris, France Omaha Flow System Joslin Art Museum, Omaha, Nebraska, USA
1972
SÚM Reykjavík Art Festival, Galleri SÚM, Reykjavík, Iceland Communications Gallery Inhibodress, Sidney, Australia IN-OUT-CENTER, Amsterdam, The Netherlands
1971
SÚM IV Museum Fodor, Amsterdam, The Netherlands SÚM II & SÚM III Galleri SÚM, Reykjavík, Iceland
1968
Nordisk Ungdomsbiennale Amos Anderson Art Museum, Helsinki, Finland
COLLECTIONS
Kiasma Museum of Contemporary Art, Helsinki, Finland Stedelijk Museum Voor Actuele Kunst, Gent, Belgium City of Espoo, Finland B.K.R., Amsterdam, The Netherlands National Gallery of Iceland, Reykjavík, Iceland Moderna Museet, Stockholm, Sweden Stadisches Museum Abteiberg, Mönchengladbach, Germany Safn, Reykjavík, Iceland Saastamoinen Foundation, Helsinki, Finland Magasin 3 Stockholm Konsthall, Stockholm, Sweden Reykjavík Art Museum, Reykjavík, Iceland The Nordic Watercolour Museum, Skärhamn, Sweden Fonds National d’Art Contemporain, Puteaux, France Museum of Contemporary Art, Oslo, Norway Living Art Museum, Reykjavík, Iceland Stedelijk Museum, Amsterdam, The Netherlands Skjerstad Kommune, Norway Frankel Foundation, Michigan, USA
SELECTED BIBLIOGRAPHY
Nicole Pollentier: “Degrees North: Six Artists and the Icelandic Landscape”, www.bard.edu.ccs, 2008 Annie Bardon: “Repetition and Difference”, Kristján Guðmundsson, Verlag für Moderne Kunst, Nürnberg, 1993 Hannelore Kersting: “Zeichnungen von Kristján Guðmundsson und die Brisanz der Leere”, Kristján Guðmundsson, Städtisches Museum Abteiberg, Mönchengladbach, 1993 Tom Sandqvist: “The Landscape of Becoming – Kristján Guðmundssons Critical Moment”, Recent Works by Kristján Guðmundsson, Galerie Nordenhake, Stockholm, 1992 Halldór Björn Runólfsson: “Simple Reflections on Kristján Guðmundssons Art”, Borealis V, Pori Art Museum, Pori, 1991
Kristján Guðmundsson á sýningu sinni í Gallery gamma, Reykjavík, október 2014.
Kristján Guðmundsson at his exhibition in Gallery gamma, Reykjavík, October 2014.
Gefið út í 500 eintökum 9. október 2014
500 copies printed 9 October 2014
Útgefandi Gallery gamma Ábyrgðarmaður Gísli Hauksson Sýningarstjóri Ari Alexander Ergis Magnússon Texti Jón Proppé Ljósmyndun Bjarni Felix Bjarnason Ljósmynd af Kristjáni Lilja Birgisdóttir Hönnun/umbrot Jónsson & Le’macks Prentun Litróf Pappír Munken Polar, 150 g Kápa Felt Pure, 220 g
Publisher Exhibition Curator Text Photography Photograph of Kristján Design/layout Printing Paper Cover
Gallery GAMMA Gísli Hauksson Ari Alexander Ergis Magnússon Jón Proppé Bjarni Felix Bjarnason Lilja Birgisdóttir Jónsson & Le’macks Litróf Munken Polar, 150 g Felt Pure, 220 g
Garðastræti 37 101 Reykjavík Sími 519 3300
Opið 13–16 virka daga gallerygamma.is
Garðastræti 37 Open 13–16 101 Reykjavík weekdays gallerygamma.is Tel. 519 3300