Andrew Rogers Rhythms of Life

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A ndrew R ogers Rhythms of Life

The Rhythms of Life project by Australian artist Andrew Rogers is the largest contemporary land-art undertaking in the world, forming a chain of stone sculptures, or geoglyphs, around the globe. Monumental geoglyphs have been constructed in seven countries to date: Israel, Chile, Bolivia, Sri Lanka, Australia, Iceland and China. Future locations will include India, the United States, United Kingdom and Eastern Europe. By completion, the project will have involved over 5,000 people on six continents. The Rhythms of Life sculptures are optimistic metaphors for the eternal cycle of life and regeneration, expressive and suggestive of human striving and introspection. The geoglyphs embrace a wide cultural vision that links memory and various symbols derived from ancient rock carvings, paintings and legends in each region; they punctuate time and extend history into the distant future while delving into the depths of our heritage in pursuit of the spiritual. The exhibition at the Akureyri Art Museum in Iceland is the first general survey of the project

Cover: Ancient Language, Atacama Desert, Chile 2003

( 5+9,> 9 6.,9: RHYTHMS OF LIFE I-VII

May 5 – June 24, 2007

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Hannes Sigurdsson

Publisher : Akureyri Ar t Museum, 2007ยฉ Design: Akureyri Ar t Museum/Erika Isaksen Translation: Vicky Cribb Proofreading: Julian Thorsteinson, Uggi Jรณnsson Photography: Andrew Rogers, Hari Ho, Gavan Hansford, Golan Levi, Pรกll Stefรกnsson Printing: ร sprent, Akureyri, Iceland Typography: Trajan, Gill Sans Paper : Galerie Silk 170 gr ISBN: 978-9979-9632-7-1

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A NDREW R OGERS : C HRONOLOGY & B IBLIOGRAPHY

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THE AUTHORS

Page 2: Celebration of Life, Iceland, 2006 Facing page: Rhythms of Life, Art Centre of Victoria, Melbourne, Australia. Bronze h. 2.7metres, 1996

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(SIWJ\ 9TLJWX My ongoing theme will continue to be the Rhythms of Life — metaphors for the eternal cycle of life, growth, and all the attendant emotions that color human existence. These rhythms are the optimistic symbols of regeneration — expressive and suggestive of human striving and introspection. My sculpture is a reflection of our society, our dreams and aspirations. To express oneself is a timeless and universal need. I hope my forms are a melding of intelligence and imagination and succeed in putting concepts into forms. For me sculpture will always be an expression of the heart, not just the application of a skill. Sculpting teaches one to perceive, recognize differences, clarify, make decisions, and eventually to see what matters in the creation of a form. What better way can an individual express the spirit of humanity? [...] Only two things are certain in life, being born and dying. I am interested in our interaction with the environment and with people around us. I like to look at the states we pass through and the changes that occur around us, the challenges we encounter as we cross the biosphere. [...] The Rhythms of Life is about the influences on our lives — where we begin, and where we end. It reflects Kandinsky’s idea that a line is only a series of points that are connected. Perhaps this is the essence of life.

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Time is like the water, and the water is cold and deep like my own consciousness. And time is like a picture, which is painted of water, half of it by me. And time and the water žS[ XVEGOPIWW XS I\XMRGXMSR into my own consciousness.

Steinn Steinarr (1908–1958) Time and the Water, 1956 (Translation by Marshall Brement)

The Australian sculptor Andrew Rogers is carving out a niche for himself in art history with a series of huge geoglyphs, or rock sculptures, that will eventually form a chain around the world. Of the twelve planned environmental artworks, seven have been realized so far, including one near the town of Akureyri in northern Iceland. The adventure began in Israel’s Arava Desert in March 1999 and led to the creation of four land artworks over several years. After a lengthy interval, the project was extended to other countries, with one major work succeeding another. The second site chosen was one of the planet’s largest dry regions, the Atacama Desert in Chile (September 2004), followed in short succession by the Cerro Rico mountains in Bolivia (March 2005), a site near the city of Kurunegala, Sri Lanka (November 2005), the You Yangs National Park in Geelong, Australia (February 2006), the 9 /@;/4: 6- 3 0-, $

Akureyri region in Iceland (September 2006) and, most recently, the Gobi Desert in China, facing the Qilian Mountains at the western end of the Great Wall (October 2006). The collective name for this colossal land-sculpture project is Rhythms of Life, deriving from a sculpture Rogers made in 1996, and the theme permeates the entire project, which now encompasses four continents. Each work in the series typically consists of three geoglyphs. One of these bears the name of the project, “Rhythms of Life�, while the other two are inspired by some ancient symbol or artefact by anonymous creators, belonging to the local cultural heritage. The oldest of these ancient symbols that have inspired Rogers is a 6,000-year-old petroglyph, or rock carving, found in Chile. Generally, only a few kilometres separate the three symbolic geoglyphs, which often lie within sight of one another. Most of the works are constructed off the beaten track, in protected areas, using thousands of tonnes of rock. Largely built by hand, the glyphs to date have involved the participation of almost 3,300 people (550 in Chile, 750 in Bolivia, 850 in Sri Lanka and 1,000 in China) in widely contrasting landscapes, ranging from an altitude of 200 metres below sea level (Arava Work in progress: Kurunegala, Sri Lanka 2005

in Israel) to 4,360 metres above sea level (Altiplano in Bolivia). Temperatures on the sites have ranged from -1°C in Iceland to +45°C in Israel, and the builders have had to contend with thin air and lack of oxygen in the highest locations, as well as extreme weather conditions, including heat waves and sandstorms. Rogers often collaborates with two Israeli architects, Tidhar Becker and Golan Levi, who are responsible for planning the sculptures in meticulous detail with the help of GPS technology and satellite pictures. A myriad of stakes are then driven into the ground and linked with ropes to mark out the pattern, taking care to preserve the correct perspective when ZMI[IH JVSQ EFSZI E HMJ½GYPX JIEX KMZIR XLEX XLI WMXIW EVI SJXIR SR E WLEVT MRGPMRI )EGL sculpture is unique, built from rocks generally ranging in weight from 300 kg up to 5 tonnes, and in height from 50 cm to 6.5 metres, arranged in massive, dense formations or looser piles. Exceptionally large boulders, weighing some 12 tonnes, were used in the work Bunjil (the Wedge-tailed Eagle), created by Rogers in conjunction with Melbourne’s 2006 Commonwealth Games.

) (*2 ;6 ;/, : ;65, ( ., )@ : ;,,3 ) 09+ We know the starting point of Rhythms of Life, although where the project will end is anSXLIV QEXXIV -R 6SKIVW EX XLI XMQI ER EQFMXMSYW ERH WYGGIWWJYP ½RERGMIV HIGMHIH XS ( 5+9,> 9 6.,9:

change tack and channel his energies into three-dimensional sculpture. Like Paul Gauguin over 130 years earlier, who quit stockbroking to pursue his romantic desire for the untouched and primitive, Rogers found that his artistic calling took him to remote and exotic locations, without, however, being separated from his family, thanks to the steel birds of modern technology. Rogers had previously painted in his spare time but, inspired by Rodin’s sculptures, he began to concentrate on mastering the three-dimensional moulding of the human anatomy. In 1995, his art underwent another shift, with abstraction taking over JVSQ ½KYVEXMZI VIEPMWQ =IX 6SKIVW´ FVSR^I WGYPTXYVIW EVI WXMPP GSRGIVRIH [MXL XLI IWWIRGI of life: the spirit of humanity, creation, growth, the heartbeat of existence and the cycle of generation. Organic forms and rhythms are a striking characteristic of his work, in which abstract forms are imbued with emotions and are often suggestive of organic growth out of the soil or the rounded forms of the female body. Rogers begins by sketching his ideas on paper and then produces a 60 cm. maquette of the WGYPTXYVI 1ER] SJ XLIWI QSHIPW EVI PEXIV IRPEVKIH YT XS JSYV XS ½ZI QIXVIW MR EW QER] as twelve editions each. One of Rogers’ better known bronze sculptures is Flora Exemplar

[LMGL I\IQTPM½IW LMW EMQ SJ I\TVIWWMRK LMW GSVI ZMWMSR SJ I\MWXIRGI MR MQEKIV] XLEX is easily accessible to all. An organic form with allusions to a plant reaches towards the sun and at the same time spirals down into the earth. Life and death go hand in hand, on a converging course. Yet although death and suffering play their part in Rogers’ sculptures, it is the idea of life and its cycle that predominates. Flora Exemplar now exists in nine editions around the world, along with numerous other sculptures by Rogers dedicated to the theme of Rhythms of Life. Andrew Rogers was captivated by the Arava Desert on Israel’s Jordanian border when he visited it in 1996 as part of a commission to create a large cast of Flora Exemplar for Sapir, the national park administration centre, and he immediately started preparations for his Flora Exemplar, Vienna, Austria 1999

½VWX QENSV PERH WGYPTXYVI -R LI FYMPX XLI [SVO Chai (‘To Life’), which combines two Hebrew letters symbolizing longevity, taken from the Torah, or the Jewish book of laws. Rogers decided to use only rock from the immediate vicinity for his works, from the outset stressing the importance of causing the minimum disturbance to nature. The sculpture XSSO ½ZI [IIOW XS GSQTPIXI [MXL XLI LIPT SJ E XIEQ SJ PSGEPW MRGPYHMRK XLVII ½JXL ]IEV Israeli architecture students, two Israeli engineers and twenty Arab stone masons, working twelve hours a day.

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Once the work was completed, Rogers drew attention to the image’s symbolic links to daily life and human reproduction by photographing forty-two pregnant women posing WMQYPXERISYWP] SR XST SJ MX )ZIR FIJSVI LI LEH GSQTPIXIH XLMW ½VWX PERH WGYPTXYVI 6SKIVW knew he would go on to create another. In 2001, shortly after his massive bronze sculpture of Rhythms of Life was installed in Melbourne, he began to develop the outlines of this sculpture to be produced as a raised relief in the sandy desert. The result was his third and largest work in the Arava, Slice (80 x 38 metres), a stylized cross-section of a sea-shell, a reference to the fact that the desert is an ancient seabed teeming with fossils.

; /, : ;69@ * 65;05<,: 65 ;/, 6 ;/,9 : 0+, 6- ;/, > 693+ Andrew Rogers already had his eye on Iceland as a possible site for his project when he met the sculptor Steinunn ThĂłrarinsdĂłttir at the annual outdoor Sculpture by the Sea festival in Sydney in 2004 and asked her to put him in touch with interested parties. Steinunn dropped me an e-mail and I was immediately curious to know more, convinced that an IRZMVSRQIRXEP EVX[SVO SJ XLMW OMRH [SYPH FIRI½X XLI XS[R SJ %OYVI]VM 2SFSH] GSYPH have imagined the vast scale of the project until it came to the crunch, nor how much of it would involve trying to obtain the appropriate public permits. As at the other sites, the plan was to build three adjacent symbolic images in the sparsely populated countryside. Rogers wanted locals, preferably some kind of Council of Elders as is found among the Australian aboriginals, to choose the two symbols alluding to the land and its people that would stand alongside Rhythms of Life. One of the symbols, The Akureyri Eagle, struck me immediately as an obvious choice, since it is one of Iceland’s guardian spirits, derived from the book Heimskringla (Orb of the World), written c. 1225, a quasi-mythological history of the Norwegian kings and their descendants. The Akureyri Eagle

The second symbol required a longer gestation and nearly had to be delivered by caesarean! Rogers was looking for a motif with deep roots in Icelandic history, but divorced from cult or religious connotations. However, although the country has been settled for some 1,132 years, there is not much in the way of ancient imagery that is unambiguously Icelandic. The sparse population, barren landscape and hostile environment resulted in earlier generations leaving little behind them but yellowing manuscripts — though these do include the Sagas of the Icelanders, the most remarkable extant collection of medieval European prose — so one could claim that conceptual art left its precocious footprints here.

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Advice was sought from ThĂłra KristjĂĄnsdĂłttir of the National Museum of Iceland and Iceland’s leading runologist, Dr. ThĂłrgunnur SnĂŚdal of the National Heritage Board in Stockholm. After some discussion it was agreed that we should narrow our search to the ancient runic letters deriving from the common Germanic heritage. But what the rune should signify remained unresolved until I had a brainwave: Now. What could be more appropriate than to sculpt the concept of the passing moment, ‘now’; to use rocks delved from a ten-million-year-old mountain to express one eternal moment, in the ancient language of runes? Rogers agreed to this suggestion at once. While we were still at the conceptual stage, ArndĂ­s BergsdĂłttir, who had been appointed project manager two months before [SVO FIKER [EW ½RHMRK XLEX WLI LEH QSVI XLER IRSYKL SR LIV TPEXI )ZIR WS 6SKIVW would not hear of postponing the project until 2007; he wanted it to happen as soon as possible, within a few months, now!

, (:0,9 : (0+ ;/(5 + 65, The project required construction machinery, surveyors with precise equipment, labourers and stone masons. Rogers had chosen two sites: below the scout hut on FĂĄlkafell and on Mt. HlĂ­darfjall below Mannshryggur, but it was necessary to obtain the permission of the local authority before the artworks could be built there. No request of this type had ever been submitted before; hence there were no existing regulations or guidelines for dealing with it. Permission to build in the third location, on Mt. Vadlaheidi which belongs to Svalbardsstrond district, was obtained from the landowners at Hallland, and a similar process was adopted by the district committee and Akureyri town council. The Nordurorka power company wanted an expert opinion because the site on Mt. HlĂ­darfjall is in a protected area containing the town’s main water supply. The resulting report from the Icelandic Institute of Natural History and was negative, since the institute considered that the work would Hannes Sigurdsson, IngĂłlfur Ă rmannsson, former Director of XLI %OYVI]VM 'YPXYVEP 3J½GI ERH %RHVI[ 6SKIVW -GIPERH

cause excessive damage to the soil. The local authority then informed the National Planning Agency and Environmental Agency of the request and a further wait for a decision ensued. The matter was also placed before the Akureyri Nature Conservation Agency, which took a TSWMXMZI ZMI[ SJ XLI TVSNIGX EW HMH XLI XS[R´W )RZMVSRQIRXEP ,IEPXL ERH 4VSXIGXMSR 3J½GI Eventually, when neither the Environmental Agency nor the Planning Agency opposed the project, the Akureyri authorities gave the green light to proceed, on certain conditions. Certain documentation had to be provided before work could commence, including an environmental impact study by the consulting company Alta. The project had to be publicized

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in the district, to allow local residents time to object before a decision would be made on planning permission. Meanwhile, the hunt was on for construction machinery and workers, which turned out to be booked up for months ahead. Eventually, two machine operators agreed to take on the project, but they had to order special stone-shifting equipment from Germany for their excavators. At last, on August 15th, permission was obtained for geoglyphic artworks on Mt. HlĂ­darfjall and FĂĄlkafell, although approval was not unanimous. When Andrew Rogers arrived in Iceland to start work, it became apparent that the surveyors provided by Akureyri town council had allocated too small an area. Moreover, the Israeli architects working for Rogers received something of a shock when they saw how Rhythms of Life in progress, Falkafell, Iceland 2006

few rocks were available on the sites. The cold, wet, stormy conditions that greeted them on their arrival from Tel Aviv did nothing to raise their morale. A decision was taken to reduce the number of workers still further, increase the number of machines, and lay stones at regular intervals instead of building walls, in a manner not dissimilar to Rogers’ realization of his sculptures in Australia. The outcome bears some resemblance to the paintings of Chuck Close, in that from a distance the symbols can easily be perceived as a complete picture, while near at hand they merge to a greater or lesser extent with the surrounding landscape. Passers-by who know nothing of the genesis of the works might well attribute the oddly geometrical position of some of the rocks to a coincidence of nature. Permission for the project on Mt. Vadlaheidi was granted at the beginning of September after minor adjustments were made to the site of the sculpture to mitigate local councillors’ GSRGIVRW EFSYX XLI FSYRHEVMIW SJ XLI [EXIV WYTTP] EVIE 8LI ½REP PSGEXMSR SJ XLI [SVOW MW as follows: Eagle is on Mt. HlĂ­darfjall, a stone’s throw from the ski hut, the rune Now is on top of Mt. Vadlaheidi and Rhythms of Life SR *jPOEJIPP 8[S %YWXVEPMER ½PQQEOIVW JSPPS[IH Rogers’ every move over the next three weeks, as documentaries have been made on each of his projects, giving insights into the life and history of the places involved. When the land sculptures were completed, Rogers arranged a helicopter, as is his custom, and had the geoglyphs recorded with the help of photographer PĂĄll StefĂĄnsson. In answer to an EHZIVXMWIQIRX ½JXIIR TVIKRERX -GIPERHMG [SQIR EKVIIH XS FI TLSXSKVETLIH JVSQ IZIV] angle on Rhythms of Life, without letting the 5°C temperature dissuade them from allowing their offspring to share in the creation of an immortal work of art. (At least, it is likely to PEWX PSRKIV XLER .IJJ /SSRW´ GIVEQMG ½KYVIW WMRGI XLIWI QYXI -GIPERHMG EVXIJEGXW MR WXSRI [MPP almost certainly stand unchanged for centuries to come.)

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: ;65,/,5., 05 ;/, ( ., 6- ) <9,(<*9(*@ The obstacles Rogers had to surmount to have his project approved and all the attendant fuss and bother in Iceland were minor compared to obstacles he has had to deal with elsewhere, the Icelandic segment of his project being by far the smallest in scope. In terms of scale and red tape, the enterprise is reminiscent of the environmental artworks created around the world since the early 1970s by the duo Christo and Jeanne-Claude, though XLI GSQTEVMWSR IRHW XLIVI ;LIVIEW XLI] [SVO [MXL E ZEVMIX] SJ EVXM½GMEP QEXIVMEPW ERH remove all trace of their work after a set interval, Rogers employs a natural material, uncut stone, and builds it to endure. Rogers cooperates closely with the indigenous people of each area, taking heed of their culture and heritage in a kind of organic process, whereas Christo and Jeanne-Claude seem to rely more on their own ideas in the development of XLIMV [SVOW QEOMRK RS EXXIQTX XS GSRGIEP XLIMV SVMKMRW ERH GSRXIQTSVEV] EJ½PMEXMSRW -R contrast, for all we know, if the world were destroyed in a natural calamity and little else remained, a historian of the twenty-third century might deduce that Rogers’ works were many thousands of years old.

Nevertheless, these artists all share a profound respect for nature and the environment in which they are working. Rogers takes care to leave the area as pristine as possible, with no trace of his presence apart from the work itself. Otherwise, it is unlikely that he would have received permission to proceed with his daring plans in China’s Gobi Desert, in the area where Marco Polo (b. 1254) arrived too late to meet Genghis Khan (d. 1227), given that the location adjoins a UNESCO World Heritage Site. Should later generations disagree with the decision to construct the works, it would no doubt be possible to dismantle them and return the area to its former natural state.

Andrew Rogers’ vast land-sculpture project is one of the largest, if not the largest, ever undertaken, not excepting Britain’s Stonehenge or the Nazca Lines in Peru. The project has a deliberately archaic feel, alluding so far back into misty antiquity and forward into the distant future that all measures of time lose their meaning. Few if any artists have reached The Caveman, Gobi Desert, China 2006

further back in their post-modern recycling of history. The idea of ‘appropriation’ becomes irrelevant in this context, as does any talk of kitsch, a term to describe the cutesy tat of GSRWYQIV WSGMIX] GLEVEGXIVM^IH F] PEGO SJ VI½RIQIRX ERH XLI EPMIREXMRK EFWYVHMX] SJ GSQMcally bad taste.

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( 7 6:0;0=, 7 ,9:7,*;0=, 05 ( + 09,*;0653,:: ( 9; > 693+ Rogers’ land sculptures are monumental, pregnant with meaning, rock solid, positive, brave, sublime and timeless – yet it is unlikely that they could have been created in any other period. They also bear clear witness to having been conceived by a man who, far from being afraid to celebrate rounded forms and curved lines, dares to make the clichĂŠ of Mother )EVXL I\TPMGMX ERH ž] MR XLI JEGI SJ TSPMXMGEP GSVVIGXRIWW F] PMRMRK YT LIEZMP] TVIKRERX [SQIR on his works. The project is in fact monumentally out of sync with the times; artists who faithfully comply with the art world’s most popular recipe books and mishmash philosophy do not do this sort of thing. But Andrew Rogers is different. And it is precisely this difference that makes his works so captivating; they offer a sharp counterpoint to the qualities of chaos, capriciousness, transience and aimlessness that form the popular, unspoken contract on what serious art should deal with today. But where Rogers really oversteps the boundaries is in terms of the religious or spiritual undercurrents in his work, in an age when the leading proponents of Reason, men like Richard Dawkins and Daniel C. Dennett, have declared all such matters forbidden fruit. This is not to imply that Rogers is particularly pious, but in a world of rampant materialism he does represent a fundamental moral baseline. His works are grounded in the lowest common denominator of all faiths, life itself, and in the cycle and rhythms of life that permeate nature. Rogers underlines the importance of emotions, intuitive spatial awareness and spiritual dimensions as the driving force of creation and the foundation of understanding. His celebration of life and nature, with its reference to emotion and intuition, is reminiscent of the ideas of Rousseau before the dark powers associated with Romantic nature worCelebration of Life, Arava Desert, Israel 2003

ship (and the ancient veneration of Mother Earth) came to dominate ideological concerns. These subsequently developed into what came to be known as Vitalism or Life Philosophy (Lebensphilosophie), which is sceptical about rationalism, proposing instead life itself as the present that is subject to the laws of the eternal cycle. The ‘anti-rationalism’ of Vitalism is preoccupied with identifying the forces that underlie past and present culture, viewing art as the revelation of particular forces within mankind. Yet although the discourse of Vitalism QE] WIIQ XS LEZI WSQI EJ½RMX] [MXL 6SKIVW´ HIWGVMTXMSRW SJ LMW S[R ZMWMSR SJ PMJI LMW [SVOW are nevertheless also eloquent examples of rationalism, technology and stability. They are YRIUYMZSGEPP] FYMPX XS IRHYVI XLI VEZEKIW SJ XMQI MR HI½ERGI SJ XLI ORS[PIHKI XLEX IZIrything in the world is doomed to crumble, decay and ultimately disappear. The transitory

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nature of life, which forms the theme of the works, is in striking contrast to their durable materials. The principle of art is to try to grasp hold of time and anything human that can be attached to it. One could say that the paradox in Rogers’ works is so immense that it loops back on itself and consequently almost vanishes in a puff of bewilderment like a Zen koan pending enlightenment.

, ;,95(3 ) 09;/ 7 (5.: ),@65+ : 7(*, (5+ ; 04, Rogers evidently proposes artistic creativity and human reproduction as parallel notions, a very familiar motif in art history. The geniuses of the past had aspirations, and mastered rational thinking and their materials in order to produce great art. The material itself did not contribute anything to the creation. According to Aristotle, woman contributed nothing to a child beyond herself as material, whereas man contributed the seed that contained the power of creation. During the Romantic period this Aristotelian concept of creation underwent a transformation, with the irrational aspects of the creative process XLEX EVI EWWSGMEXIH [MXL REXYVI ERH [SQIR WYGL EW IQSXMSRW ERH MRXYMXMSR ½REPP] FIMRK acknowledged and idealised. Thus the artist tends to be metaphorically associated with the JIQMRMRI MR XLI QSQIRX SJ EVXMWXMG GSRGITXMSR KIWXEXMSR ERH XLI HMJ½GYPX FMVXL SJ E [SVO SJ art which can only see the light of day by dint of blood, sweat and tears. Nietzsche stated that there are two types of artists: those who wish to beget and those who wish to be fertilized and give birth. In The Birth of Tragedy (1872) he introduces two central principles of art and life: the Apollonian, representing rationalism, stasis and unique MRHMZMHYEPMX] ERH XLI (MSR]WMER VITVIWIRXMRK MVVEXMSREPMX] žY\ ERH QYPXMTPMGMX] ,I GPEMQIH that the dialectic created between these two opposing forces was the driving force of creativity. In Rogers’ works all these concepts coexist in a peculiar harmony; he conceives the ideas, designs and constructs the works, both alone and in cooperation with countless other people. He celebrates both the spirit and the material, yet the spirit does not fertilize the material any more than the material begets the spirit. In his art the non-rational is presented rationally, the author is indisputable yet invisible, and passions are made manifest Celebration of Life, Arava Desert, Israel 2003

through the calculations and measurements of satellites. The Romantics’ interest in the feminine and birth as symbols of the creative artist had nothing to do with any interest in real women or real births; indeed, the ideology of the period is considered one of the most misogynist in human history. Rogers, in contrast,

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photographs pregnant women on the Rhythms of Life, emphasizing that he is concerned with the phenomena of reproduction and creation as one and the same concept of life, not as symbols of one another. Of course, just as environmentalists can become uneasy about a work that is an ode to nature, so feminists can be suspicious of the use of the female body, no matter how well intentioned. Historically, the celebration of certain innate female characteristics (as well as those of race or class) has often been used as an instrument of oppression. Rogers risks such criticism, in exchange for the liberating celebration of a compelling analogy: in the rhythm of life that enables humanity to overcome the inevitability of time and death, childbirth is an apt metaphor for the artist’s act of creation.

4 (;/,4(;0*: (5+ ;/, * 65*,7; 6- ) ,(<;@ Inevitably, Andrew Rogers’ concept of life is rooted in cultural history and his “rational irrationalityâ€? bears similarities to Spinoza’s “systematic rationalismâ€?. Spinoza’s philosophy rests on three key elements: God, mankind and mankind’s quest for happiness, which is predicated on knowledge, to which the highest virtues are linked. Knowledge is accessible through four paths: information obtained from others, direct perception from personal experience, the possibility of deducing true notions from other common notions that are LIPH XS FI XVYI ERH ½REPP] MRXYMXMZI ORS[PIHKI -R 7TMRS^E´W STMRMSR SRP] XLMW JSYVXL TEXL MW reliable, because intuitive knowledge consists of direct insight or anschauung, which reveals the ‘true essence of things’ and therefore it cannot be mistaken. The structure of Spinoza’s metaphysics and ethics is based on a mathematical system that led him to the conclusion XLEX +SH ERH 2EXYVI EVI ER MRHMZMWMFPI ERH MR½RMXI WYFWXERGI XLEX LEW RS PMQMX MR XMQI SV space or in any other respect. Understanding what it is to be human is tantamount to realizing that humanity is part of the universe. According to Spinoza, the world and God are the same substance; there is no difference of degree between matter and the spirit. Seen from this standpoint, the inherent perspective in Rogers’ works is intriguing. The pattern of his structures can only be fully seen and appreciated from a bird’s-eye view, or from a satellite or the perspective of an all-seeing God. The human perspective within the works creates a rich experience at the same time as mirroring the possibility of multifarious and even antithetical points of view. This leads to the Golden Ratio and Fibonacci’s mathematical series based on irrational Petroglyph from Betanzos in Bolivia which Circles is derived from

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number theory. Andrew Rogers, like countless other sculptors, artists and mathemati-

cians, is fascinated by this mystery that many regard as the secret of all life forms, conWXMXYXMRK žE[PIWW FIEYX] %GGSVHMRKP] MR LI GSRWXVYGXIH E JSYVXL [SVO Ratio, in the Arava Desert, situating it between his existing land sculptures. The mathematical law of the Golden Ratio is symbolized by the Greek letter LJ after the Greek sculptor Phidias, who is thought to have employed it in his art. The law has also been represented by the letter T, MR VIJIVIRGI XS XLI ½VWX PIXXIV SJ XLI +VIIO [SVH Ç…Ç Â—Ćą meaning ‘cut’. Taking as a starting point the circular or cyclical time, on which Rogers bases his works and understanding of life, we perceive that the beginning and end are located at the same point and that point is precisely ‘now’.

Ratio, Arava Desert, Israel, 2006

In light of this, the runic letter Now on Mt. Vadlaheidi is interesting not only for its meaning but also for its appearance. The curved line that forms the rune symbolizing time is intersected at one point by a diagonal line. If the rune is read as a pictogram it mediates between the ideas of time as either linear or circular. Time is curved and its beginning and end exist on the same plane but not at the same point; moreover, the letter stands on an imagined line which closes the circle.

> /,9, 9 ,46;, - <;<9,: 4 ,,; 9 ,46;, 7 (:;: Time, one of the most daunting concepts with which the human mind has ever grappled, LEW RIZIV FIIR HI½RMXMZIP] I\TPEMRIH 6SFIVX 7QMXLWSR´W JEQSYW IRZMVSRQIRXEP EVX[SVO Spiral Jetty, 1970, which few have seen except in a photograph, is, like his other artworks and writings, concerned partly with time and the present as subjective space. In his 1968 article ‘Sedimentation of the Mind’ he writes: 8LI IEVXL´W WYVJEGI ERH XLI ½KQIRXW SJ XLI QMRH LEZI E [E] SJ disintegrating into discrete regions of art. [...] An artist is enslaved by time, only if the time is controlled by someone or something other than himself. The deeper an artist sinks into the time stream the more it becomes oblivion; because of this, he must remain close to the temporal surfaces. Many would like to forget time altogether, because it conceals the “death principleâ€? (every authentic artist knows this). Floating in this temporal river are the remains of art history, yet the “presentâ€? cannot support the culture of Europe, or even the archaic or primitive civilizations; it

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must instead explore the pre- and post-historic mind; it must go to the places where remote futures meet remote pasts. (Art in Theory 1900–2000, p. 881.) Smithson does not wish us to deny our own age in his notion of the relativity of time, since there is no such thing as a timeless work of art; that would be a betrayal of the artist. Smithson cynically united in his works the ideas of elitism and imagination in critical opposition to the categorizations and etiquettes of modernist aesthetics. His works were a sort of invasion of the no-man’s land between this brassbound pictorial logic and the FVYXMWL MRHYWXVMEP [SVPH SJ XLI TVIWIRX SRI MR IJJIGX VIžIGXMRK XLI SXLIV Andrew Rogers’ works are also the product of their time — that is, our times — despite their inherent metaphysics and his attempt to enter the space where ‘remote futures meet remote pasts’. Unlike Smithson’s works, Rogers’ sculptures are completely free from cyniGMWQ ERH ½RKIV TSMRXMRK GSRXVSZIVW] 8LI] EVI [SVOW SJ MRSVHMREXI STXMQMWQ MR [LMGL XLI values of life and creation are offered up as hope and a challenge to war, suffering, apathy Now (runic letter)

and premature death. Although Rogers is an unconventional modernist, it would not be entirely correct to describe his works as completely at odds with the post-modernist agenda. After the deconstruction, disintegration and destruction of the obsolete models SJ XVEHMXMSREP W]QFSPMWQ SV W]WXIQW SJ WMKRM½IVW MR [IWXIVR MGSRSKVETL] LI ½XW XLI TMIGIW together again, taking motifs from different times and places, and melding them with his own emblematic vision. He blends ancient media and modern technology, preoccupied with the participation of those who actively engage with the works, trying to reconcile different cultures to achieve a mutual exchange. Rogers stresses a kind of multicultural nationalism in the spirit of Johann Gottfried Herder (1744–1803), in which the reinforcement of the cultural identity of different nations unites XLIQ MR XLI [SVPH´W GSVI ZEPYI ° XLEX SJ PMJI MXWIPJ -X MW XLI PMJI EJ½VQMRK STXMQMWQ XLI immense scale of the work, and not least the sheer joy in creation that is so refreshing, coupled with Rogers’ ability to overcome so many boundaries and obstacles, whether national, cultural, natural, religious, mechanical, political or social. It would be intriguing to know what the late Icelandic poet Steinn Steinarr, quoted at the beginning of this article, would have made of Andrew Rogers’ enterprise; whether he would

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have praised it, sent him one of his poisonous satirical verses or simply maintained a digRM½IH WMPIRGI EW LI HSIW XSHE] %X ER] VEXI KMZIR LMW TIR REQI steinn means ‘stone’), he would surely have been impressed with the artist’s material; the pulverized bones of Ă?mir, the primordial giant from whom the world was created, according to Norse myth. Perhaps we could summarize this article in one sentence by saying that ‘everything that has and will happen occurs right now’ and call it the ‘Bullet Theory’, not to imply any violence but to suggest the immeasurable computational power required to grasp the notion in E žEWL JVSQ IZIV] GSRGIMZEFPI ERKPI 2S LYQER FIMRK MW IRHS[IH [MXL XLI RIGIWWEV] mental capacity, though Andrew Rogers may well, from profound insight, have perceived its content and with Rhythms of Life scored a bull’s eye. But naturally, only time will tell.

Hannes Sigurdsson, Director Akureyri Art Museum

Bunjil, Australia 2006

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It might be said that Andrew Rogers is both fearless and commendably ambitious or it might be said that he is simply Australian. In either case, a line from Anne Carson’s prose poem, Autobiography of Red, came to mind which posed this question: “Why not rotate the inhuman Andes at a personal angle‌â€? This was, perhaps, the very kind of question that Rogers asked LMQWIPJ [LIR LI ½VWX GSRGIMZIH LMW HEYRXMRK KISKP]TL TVSNIGXW ° EPXLSYKL LI HMH RSX VIstrict himself to the Andes. While these part sculpture, part architecture, part drawing, part performance hybrids are certainly indebted to the earth works of American artists Michael Heizer and Robert Smithson and related to that of British environmental artist Richard Long, Rogers was equally inspired by constructs such as the mysterious Nazca Lines, Stonehenge and other monuments patinated by time and mythos. He is drawn to these ancient wonders because they are both sacred and functional even if that function is often a matter of conjecture or largely symbolic and applauds the communal, anonymous, artisanal effort they VITVIWIRX ,MW [SVO [EW EPWS MRžYIRGIH F] XLI LETTIRMRKW SJ XLI W ERH XLI EPXIVREXMZI art initiatives and collaboratives of the 70s, collaborations that have made a comeback with today’s young artists. In preparation for these projects, Rogers delves deep into the history of each particular region and confers with local governance committees and historians, with tribal councils and village elders, with stonemasons and other workers. He wants to know what the people who live there think about his plans, what they want created and how they want to use it. He is extremely sensitive to environmental issues and always requests an environmental impact study of the site in order not to disturb or disrupt the chosen location. He merely wants to humanize and personalize it — and even that only temporarily. It is the juxtaposition and interaction of the man-made with nature that interests him, a human intervention SV GSRXVMFYXMSR XLEX MW RSX HI½ERX SV REVGMWWMWXMG FYX W]QFMSXMG W]QTEXLIXMG [MXL XLI KSEP of preserving and re-vitalizing, of making contemporary what is already there. The Roman poet Horace, who longed for that which “cannot be destroyed by gnawing rain or wild north [MRH F] XLI TVSGIWWMSR SJ YRRYQFIVIH ]IEVW SV F] XLI žMKLX SJ XMQI² [SYPH RSX ½RH 6SKers in agreement with him. Once the geoglyphs are installed, Rogers is pleased with the

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certainty that they will evolve further, their structural integrity broken down, re-shaped and re-arranged by the forces of the earth, by time and weather, human and non-human contact since they, too, are collaborators and part of an ongoing process.

Rogers’ geoglyphs are comprehended in totality only from the air or — as the next best vantage point — from a nearby outcropping of rock or mountain slope. At times, a high staircase is built, either as a discrete sculpture, reminiscent of some of his more conventional monuments, or incorporated into the composition of the geoglyph. The unwavering point of view, however, is that of a spectator in a helicopter or airplane (the works are usually documented by helicopter) — or standing in the clouds with the gods. Rogers, on a mission, is nonetheless philosophical about his enterprise, acutely aware that while the geoglyphs might appear enormous from the ground, from above they are only a speck in the universe. For many years, Rogers was a successful businessman who painted when he could. Although always fascinated by art, art history and the practice of art, he was also a pragmatist. But Andrew Rogers, Bolivia 2005

in the late 1980s, he asked himself, if not now, when? He answered his question by becoming a full-time artist, and, in a clean sweep, abandoned painting to become a sculptor. In the FIKMRRMRK LMW XLVII HMQIRWMSREP [SVO [EW ½KYVEXMZI KVIEXP] MRžYIRGIH F] 6SHMR ERH SXLIV late 19th century and early 20th century masters, but in 1995, he adopted abstraction as his preferred mode of expression. Soon after, he conceived a sculpture that would become the visual catalyst and conceptual linchpin for almost all of his subsequent production. Called Rhythms of Life, it was a burnished, moderately-scaled, free standing bronze sculpture rooted in a modernist aesthetic. Secured to a rectangular pedestal, it counterpoised three elements: E HMEKSREP TLEPPMG PMOI WXIQ E LIPMGEP žSYVMWL ERH E VSYRH KPSFI XLEX GSYPH FI GSRWMHIVIH ER egg or seed. Rhythms of Life VIWMWXIH XLI [IMKLXMRIWW SJ FVSR^I ERH MR MXW žYMHMX] WYKKIWXIH XLI drawing in space it later became. With its continuous, spiraling movement and allusive biomorphic shapes, it was emblematic of endless cycles of generation and regeneration. Rogers made variations of this sculpture — Rhythms of the Metropolis (2000) installed at Hebrew University in Jerusalem and Rhythms of the Andes (2000), installed at the base of Machu Picchu in Peru — but soon returned to the original Rhythms of Life image as a more universal metaphor, building one in bronze for the Victorian Art Centre in Melbourne and one for Jerusalem in IEVP] -R %TVMP LI GSRWXVYGXIH JSV XLI ½VWX XMQI E Rhythms of Life as a geoglyph in the Arava Desert in Israel, near Jordan and the Nabatean ruins. Measuring 4.5 meters in height and 29 x 24 meters in breadth, it was made from limestone blocks quarried nearby

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that weighed up to 1.5 tons. It was his sculptural image re-interpreted as a raised outline, converted into a relief drawing in greatly expanded form and became the prototype for all the geoglyph Rhythms that followed as well as the “logoâ€? for the projects. ,S[IZIV MX [EW RSX LMW ½VWX KISKP]TL 8[S ]IEVW IEVPMIV MR [LIR 6SKIVW [EW XLI artist-in-residence at Technion, Israel Institute of Technology in Haifa, the possibility of the %VEZE EW E WMXI [EW ½VWX SJJIVIH XS LMQ -XW ZEWX WYR WXVYGO WYR FPIEGLIH I\TERWI QYWX LEZI challenged an Australian’s sense of measure and he searched for a resolution that would be equal in presence, commensurate with the desert’s grandeur. Suddenly, the idea of a modern geoglyph came to him and after much consideration, he decided that the word “chaiâ€? (life) written in Hebrew letters would be the most appropriate and most resonant emblem. As Rogers would do in all his subsequent geoglyph projects, he employed a local crew. This one consisted of Israelis, Bedouins and Arabs who worked with him on the construction — harmoniously, he points out — gathering countless, differently shaped stones taken from a wadi in the vicinity to make the 38 x 38 meter square. The response to both works was so positive that Rogers was commissioned to place a third geoglyph in the vicinity. This was Slice (2003), which depicted a giant cross-section of a seashell and referred to the geological time when the Arava was underwater. Thematically, all three works were dedicated to the continuity and ripeness of life, to the concept of unbroken generations — evoking the litany of Old Testament begats — and to the history of the land. This theme was reiterated in Celebration of Life, a dedicatory event that took place in October, 2003, in which a long line of young women dressed in dazzling white, pregnant bellies exposed, edged the surface of To Life, living evidence that, as promised, the desert had bloomed. Rogers continues to make the exhilarating bronze sculptures that are essential to his aesthetic, including editions and variations of his signature Rhythms of Life and Flora Exemplar, ERSXLIV LEPPQEVO FMSQSVTLMG EFWXVEGXMSR ½VWX GSRGIMZIH MR &YX MX MW XLI IEVXL[SVOW that are the most encompassing, combining as they do other cultures and people, multiple disciplines, collaboration, huge scale and the ability to introduce art into a larger context, into remote, often untouched locations of swooning, spellbinding splendor away from jangled cities and the enclosures of galleries and museums. Rogers, an adventurer by temperament, MW RSX GSRXIRX [MXL XLI YWYEP EVX ZIRYIW ERH SJXIR WIIOW LMW QYWI QYGL JYVXLIV E½IPH Unveiling Ceremony, Sri Lanka 2005

His next geoglyphs took him to another desert, the Atacama in Chile, considered one of the driest places on earth, said to have been without rain for 200 years. Located in the beauti-

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fully named Plain of Patience at the end of the Valley of the Moon close to the town of San Pedro, the site is not that far from the famous Nazca Lines in Peru. Over the course of two years, ending in September, 2004, with a crew of 550 Atacamians, Rogers constructed three enormous geoglyphs, Ancient Language, The Ancient, and Rhythms of Life XLI ½VWX X[S FEWIH SR petroglyphs dating from c. 900-800 BCE that are found in abundance in the area, an incorpSVEXMSR XLEX X]TM½IW 6SKIVW´ [E] SJ YXMPM^MRK JSYRH MQEKIW ERH PIKEGMIW Ancient Language replicates — in greatly enlarged format — a petroglyph of a delightfully naĂŻf two-headed llama on stick legs scratched into the reddish rock face, one head turned up, one stretched downward, its sausage-shaped body tunneled by a serrated pattern that suggests a sign for water and appeared to striking effect against the burnt earth of the desert. The Ancient is modeled EJXIV E ½IVGI LIVEPHMGEPP] W]QQIXVMGEP 4VI 'SPYQFMER HIMX] [MXL E QIXIV WXSRI WXEMVGEWI rising from its lower right edge, to give the viewer elevation but it also resembles an altar, a TYPTMX JSV E LMKL TVMIWX ERH MRZSOIW ERGMIRX VMXYEPW SJ WEGVM½GI ERH TVSTMXMEXMSR Rhythms of Life is sited on a high mountainous ledge and blends well with the wild and rugged terrain that surrounds it. Rogers, who for ideological and practical reasons prefers local materials, used the readily available guano and clay to bind the geoglyphs’ trapezoidally shaped volcanic rock walls, in the Incan manner. Rogers returned to Israel and the Arava in October to build Ratio, a minimalist monument of glistening white, limestone blocks. Gilded at the edges, its measurements and system of stacking were based on the golden mean which in turn was derived from the Fibonacci sequence. The squared stones in Ratio were cut like those in the Western Wall in Jerusalem and rises to a height of 8 meters. Rogers next project took him to the Altiplano in Bolivia near the town of Potosi in the spring of 2005. Another breathtaking site, this one soars to 4500 meters, his highest to date and the highest contemporary art site of its size in the world, the artist claims. He installed another three geoglyphs, each 100 x 100 meters: Circles; Shaman and Rhythms of Life, built on the sharp MRGPMRI SJ E QSYRXEMRWMHI 'MVGPIW GSRWMWXMRK SJ ½ZI RIWXIH VMRKW MW E KVIEXP] IRPEVKIH MRXIVpretation of similar rings inscribed on a petroglyph discovered in the area. Shaman, of yellow WERHWXSRI [EW ETTVSTVMEXIH JVSQ ERSXLIV TIXVSKP]TL SJ E WQEPP FEW VIPMIJ ½KYVI GEVZIH SYX of the rock and meant to represent the noumena of the site. Rogers employed 750 workers for this project — including 500 women, all of whom wore vividly colored traditional aprons, An ancient petroglyph of a shaman in San Antonia, Bolivia which Presence is based on

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their heads shielded by straw hats, adding a festive note to the proceedings. He visited the workers at home and became acquainted with the people in the villages. For him, this was

one of the great pleasures of these projects. Rogers learned to communicate with his hands, describing the shapes he wanted with gestures although, he admitted with a laugh, gestures can be misunderstood. Each day for four weeks, everyone made the arduous one hour trek up the mountain carrying stones and other supplies by hand. In accordance with Atacamian custom, there was an opening ceremony as well as a closing one. For the initial rite, a shaman blessed the site by slaughtering a llama, sprinkling its blood on the ground and burying its orKERW 8LI PPEQE [EW XLIR GSSOIH F] XLI [SQIR SZIV ER STIR ½VI ERH KMZIR XS XLI KYIWXW XS IEX EGGSQTERMIH F] GSGE PIEZIW ERH ½IV] EPGSLSP 8LI GPSWMRK GIVIQSR] MRGPYHIH E TEVX] JSV 2000 people, with traditional dancing, the music echoing in the mountains late into the night. That autumn Rogers was in tropical, humid Kurunegala in Sri Lanka where another three geoglyphs were installed. Ascend, a steep grey granite stairway based once again on the Unveiling ceremony, China 2006

Fibonacci series was situated on Elephant Rock, an escarpment rising high above a blue lake and verdant valley. The workers, forming a human chain steadied by rope ladders, relayed each stone by hand and then laid them in place. Pride [EW ER SYXPMRI MR TVS½PI ZMI[ SJ E stylized lion, taken from an equally ornate, high-stepping lion in a local folk painting. And, to brand the installation and synthesize its message, there was a Rhythms of Life. For Kurunegala, Rogers had invited a doctor to join him. The doctor was meant to succor injured workers but instead, ended up tending the ailments of the villagers since there were limited medical facilities in the area. For Rogers, this also validated his idea of art as something performative, rooted in the community and part of daily life (reminiscent of the Russian avant-garde’s rallying cry of “Art into Lifeâ€?). His conception of art includes the entire process, not merely ER IRH TVSHYGX JSV GSRWYQTXMSR SV E TVIGMSYW SFNIGX MWSPEXIH FILMRH E KPEWW ZMXVMRI ½RMXI and untouchable. This project also had an opening ceremony: a procession of folk dancers ERH EGVSFEXW [MXL KSRKW ERH G]QFEPW KSZIVRQIRX SJ½GMEPW HVIWWIH MR XVEHMXMSREP GPSXLMRK TVMIWXW [LS SJJIVIH TVE]IVW [LMPI QMPO [EW FSMPIH SZIV E ½VI JSV KSSH JSVXYRI 8LI GPSWMRK GIVIQSR] [EW IUYEPP] IPEFSVEXI ERH JIEXYVIH E TEVEHI SJ [LMXI KEVFIH SJ½GMEPW ERH FVMPPMERXP] bedecked elephants as a prologue to the feasting and dancing. In February of 2006, Rogers completed two important geoglyphs in Australia. For You Yangs Regional Park, Victoria, he created a majestic wedge tail eagle with a 100-meter wingspan, an aboriginal image from the Dream Time and named it Bunjil, after the Great Ancestor Spirit, the supreme god and creator of the Kulin and Wurunjerri peoples who taught them the arts and they in turn taught mankind. In addition, Rogers completed a 100-meter white limestone Rhythms of Life geoglyph in Geelong, Victoria. He did this with the help of the 9 /@;/4: 6- 3 0-, "

Wathaurong people, who have lived in this area for thousands of years. The project opened with a ceremony for Bunjil in which eucalyptus leaves were burned, their smoke wafting over the site as a benison while indigenous dancers and musicians performed. Rogers was invited to Iceland in June where he created another 100-meter winged eagle. The location was again spectacular, near Akureyri, the northernmost town in Iceland and straddled Eyjafjordur, a fjord about 60 kilometers from the Arctic Circle. A guardian symbol, the eagle’s wingspan could touch both sides of the fjord according to Icelandic legend and Rogers links it to Bunjil, the aboriginal ancestor spirit. As was customary by now, he constructed another three-part invention, this time from the profusion of brown volcanic boulders on site, the eagle joined by a representation of a Viking rune that is the character for “nowâ€? (reminiscent of the Hebraic “chaiâ€? he made for the Arava) and a Rhythms of Life. In this installation, he particularly wanted to call attention to changes in the glaciers caused by KPSFEP [EVQMRK [LMGL MR XYVR MW XLVIEXIRMRK XLI IGSPSKMGEP FEPERGI XLI REXMZI žSVE ERH JEYRE including the now endangered eagles whose numbers are dwindling alarmingly. The tomb of an emperor of the Wei-Jin Dynasty in China where the drawing for The Messenger comes from

Environmental issues also informed his latest venture in another remote, formerly pristine region of the world, the fabled Gobi Desert. At the foot of the Qilian Mountains near the western terminus of the Great Wall of China, Rogers produced three new, even more pumped-up geoglyphs, all built by manual labor which minimized pollution as opposed to the pollution caused by frenetic, indiscriminate industrialization. The man power was provided by 1000 soldiers from the Chinese army, assigned to help him construct the massive installation. The walls of The Messenger (based on a wall drawing found in a tomb from the Weijing period) and The Caveman (derived from a 476-221 BCE petroglyph found on Heishan, a mountain near Jiayuguan) totaled 4 kilometers in length if laid out in a straight line and overall measured 150 meters by 150 meters. Rhythms of Life had also grown to 200 meters, twice as big as the biggest previous manifestations. Again, an enthusiastic celebration marked the unveiling with, as Rogers described it, a 400 piece drum corps and brass FERH EPWS GSYVXIW] SJ XLI 'LMRIWI EVQ] ½VI GVEGOIVW XVEHMXMSREP HERGMRK WMRKMRK WGLSSP GLMPHVIR GLIIVJYPP] [EZMRK žEKW ° ERH ZIV] PSRK WTIIGLIW Rogers said that he plans to create 12 such sites around the world and has now completed -RHME MW RI\X SR LMW MRXIVREXMSREP XSYV EPXLSYKL LI LEW ]IX XS WIPIGX XLI WTIGM½G PSGEXMSR It will be in the vicinity of Jaipur in Rajasthan and is scheduled for unveiling by the end of February, 2007. Other projects are being negotiated in the United States, the United King-

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dom, Eastern and Western Europe and Tibet. Rogers explained that he regards each of his KISKP]TLW EW ER MRXIKVEXIH MRWXEPPEXMSR WMXIH WTIGM½GEPP] ERH EW E GSQTSRIRX SJ XLI SXLIVW in a global connection that is a metaphor for harmonious community, a kind of world-wide web. Rogers believes that accelerating environmental changes with their potentially catastrophic consequences are much less avoidable these days and therefore much more heeded. Hopefully, he is right. Since the inception of his geoglyphs, it has been one of the artist’s purposes to point to the irreplaceable beauties of the earth, both existent and man-made. By creating contemporary megaliths as markers, Rogers insists on the need to preserve this natural and artistic heritage for ourselves and for the future. Rogers confessed that one part of him always wanted to wrestle with nature, to channel the spiritual and ride the invisible forces of the cosmos. But ultimately, after an installation is ½RMWLIH LI JIIPW JEV KVIEXIV WEXMWJEGXMSR MR WMXXMRK EPSRI SR E TIEO MR 7VM 0EROE WE] XS [EXGL XLI WYR WIX MR E WO] ½VIH XS MRGERHIWGIRGI 8LIVI GEYKLX YT JSV XLI QSQIRX LI WYVVIRHIVW to nature’s irresistible embrace, all questions stilled as everything else falls away except a bearable, unbearable lightness of being.

Lilly Wei Work in progress: Ancients, Chile 2004

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7QFYJX Rhythms of Life, April 2001 Geoglyph, 29 x 24 metres (95 x 79 ft.) To Life (Chai), March 1999 Geoglyph, 38 x 33 metres (125 x 108 ft.) Slice, March 2003 Geoglyph, 80 x 38.15 metres (262 x 125 ft.) Ratio, October 2004 Stone structure, 8 x 32 metres (26 x 105 ft.) Celebration of Life (Rhythms of Life) October 2003 Celebration of Life (To Life) October 2003 Celebration of Life (Slice) October 2003

In Israel, the Rhythms of Life site stretches over one square kilometre (0.386 square mile) near ancient Nabatean ruins and a spice route from antiquity. It comprises three geoglyphs: To Life, Rhythms of Life and Slice. An additional stone structure, Ratio, was completed in 2004, based on the proportions of the ‘Golden Ratio’. It is located on a mountain top not far from Sapir.

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7QFYJX Rhythms of Life Geoglyph, 40 x 30 metres long (131 x 98 ft.) The Ancients Geoglyph, 90 metres long (295 ft.) Ancient Language Geoglyph, 80 metres long (263 ft.)

In Chile, the Rhythms of Life site measures one and a half square kilometres (0.7 square mile) and rises to an elevation of 2,603 metres (8,540 ft). It starts in an exotic location, Llano de la Paciencia (the Plain of Patience) in the Atacama Desert, the driest desert on Earth and spreads in an easterly direction, climbing the Cordillera de la Sal (Salt Mountain Range) at the head of the Valle de la Luna (Valley of the Moon). Within this site are three geoglyphs entitled Ancient Language, The Ancients and Rhythms of Life. The Ancients is based on a 6,000-year-old petroglyph known as El SeĂąor de los BĂĄculos, found in the Rio Loa area near Calama. Located on the Plain of Patience at an altitude of 2,469 metres (8,100 ft.) above sea level, 13 kilometres from the town of San Pedro, its stone walls are 1,200 metres (3,937 ft.) long. They are made of volcanic rock and clay . Rhythms of Life is located at an altitude of 2,603 metres (8,540 ft.) on the Salt Mountain Range, which rises from the Plain of Patience and forms the head of the Valley of the Moon, a lunar-like geological formation approximately 14 kilometres from the town of San Pedro. Ancient Language is inspired by a 4,800-year-old petroglyph carved into stone in the surrounding area,Yerbas Buenos, 20 kilometres from the Rio Grande. This geoglyph is 80 metres (263 ft.) long and 2.8 metres (9 ft.) high.

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Ancient Languages (satellite image: altitude of 450 kilometres)

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7QFYJX Rhythms of life Geoglyph, 100 x 100 metres (328 x 328 ft.) Presence Geoglyph, 100 x 100 metres (328 x 328 ft.) Circles Geoglyph, 100 metres in diameter (328 ft.)

In Bolivia there are three stone geoglyphs reaching an altitude of 4,360 metres (14,300 ft.). They are located six kilometres (3.7 miles) apart and are visible from one another due to the clear atmosphere at this altitude. These geoglyphs were constructed with the help of 800 workers, many of whom were women carrying babies on their backs. Presence is derived from local petroglyphs of a shaman in Cerro Isipina, San Antonio, while Circles is inspired F] VSGO EVX MR XLI EVIE SJ &IXER^SW 3R GSQTPIXMSR ER ERMQEP WEGVM½GI [EW GSRHYGXIH EW TEVX SJ E 4EGLEQEQE ceremony to consecrate the ground and the creation of the geoglyphs.

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Rhythms of Life (satellite image: altitude of 450 kilometres)

Circles and Presence (satellite image: altitude of 450 kilometres)

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7QFYJX Rhythms of Life Geoglyph, 60 x 60 metres (196 x 196 ft.) Pride (Lion) Geoglyph, 60 x 60 metres (196 x 196 ft.) Ascend Sculpture, 6.5 x 6.5 metres (21 x 21 ft.)

In Sri Lanka two geoglyphs and one stone structure, Ascend, are located 3.5 kilometres (c. 2 miles) apart, around a lake. They stand on sacred monoliths that rise 350 metres (1,148 ft.) above ground level.

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7QFYJX Rhythms of Life Geoglyph, 100 x 90 metres (328 x 295 ft.) Bunjil Geoglyph, 100 x 100 metres (328 x 328 ft.)

In Geelong, Australia, Rhythms of Life and Bunjil (the Wedge-tailed Eagle) were erected for the You Yangs National Park on the occasion of the 2006 Commonwealth Games. Rhythms of Life is constructed of hard limestone found in the area. On the Bunjil geoglyph, the largest rock weighs approximately 12 tonnes and features a carving of Bunjil, the great ancestral spirit who created the Kulin land. He made the animals and the plants and taught the people how to behave on earth. He also taught them how to conduct the ceremonies that would ensure the continuation of life. The rock points towards the You Yangs Mountains where the Rhythms of Life sculpture is located.

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The Eagle Petroglyph featured on the largest rock in the Geoglyph Bunjil points towards the You Yangs Mountains where Rhythms of Life is located

Bunjil (satellite image: altitude of 450 kilometres)

Rhythms of Life (satellite image: altitude of 450 kilometres)

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7QFYJX Rhythms of Life Geoglyph, 100 x 100 metres (328 x 328 ft.) The Eagle Geoglyph, 100 x 100 metres (328 x 328 ft.) Now (runic letter) Geoglyph, 100 x 100 metres (328 x 328 ft.) Celebration of Life (Rhythms of Life) September 2006

With a population mainly of Norse and Celtic origin, Iceland was settled by Vikings in 874 AD. The town of Akureyri sits on “top of the world,â€? only 100 kilometres (62 miles) from the Arctic Circle. The most glaciated country in Europe, Iceland lies on the divide between the Eurasian and North American tectonic plates. This volatile region of the earth’s crust undergoes constant geological activity, giving rise to frequent earthquakes, volcanic eruptions and E LSWX SJ KI]WIVW 8LI QSWW GSZIVIH PEZE ½IPHW ERH YRYWYEP VSGO JSVQEXMSRW XLEX EFSYRH EVI XLI LEPPQEVO SJ XLI -GIPERHMG PERHWGETI ERH VIWYPX JVSQ XLI GSRWXERX FEXXPI FIX[IIR MGI ERH ½VI The Rhythms of Life site straddles Eyjafjordur (Fjord of Isles), which opens into the far north of the Atlantic Ocean. The construction was carried out in temperatures ranging from -1 to 10°C, sometimes in snowy conditions. The Eagle derives from Icelandic mythology and is the emblem of Akureyri and one of the four guardian spirits on the Icelandic coat of arms, the others being the Bull (west), Dragon (east) and Giant (south). The runic letter Now is positioned on the slopes of Mt. Vadlaheidi, across the fjord from Akureyri where the two other geoglyphs are located.

#! ( 5+9,> 9 6.,9:

* /05( .6)0 +,:,9; 6*;6),9 !

7QFYJX Rhythms of Life Geoglyph, 200 x 200 metres (658 x 658 ft.) The Messenger Geoglyph, 150 x 150 metres (493 x 493 ft.) The Caveman Geoglyph, 150 x 150 metres (493 x 493 ft.)

One thousand soldiers from the Chinese Army were enlisted to create three large geoglyphs consisting of approximately 4 kilometres (2.5 miles) of rock walls, weighing thousands of tonnes. The remote site is located in the Gobi Desert facing the snow-capped Qilian Mountains at an elevation of 2,000 metres (6000 ft.). The location adjoins a UNESCO World Heritage area and is adjacent to the Western Beacon and terminus of the Great Wall of China, the largest man-made structure on earth at 6,400 kilometres (3,976 miles) long. The Caveman derives from a petroglyph dating from 476-221 BC, located in the Heishan Mountains north-west of Jiayuguan city. The Messenger comes from a drawing found near the geoglyphs in the tomb of an emperor of the WeiJin Dynasty dating from 220-265 AD. The geoglyphs were unveiled to the sound of the 450 drummers of the Chinese Army band, which includes drums over 2 metres in diameter.

$! ( 5+9,> 9 6.,9:

Caveman (satellite image: altitude of 450 kilometres)

3|LRiQ yW|P[tXNSSFW  y¨ZW YNQ QtKXNSX Tíminn er eins og vatnið,

SamheitiĂ° ĂĄ Ăžessu heljarinnar jarĂ°listarverkefni er LĂ­fstakturinn (Rythms of

og vatniĂ° er kalt og djĂşpt

Life) og samanstendur hvert myndverk vanalega af Ăžremur steingĂśrĂ°um eĂ°a

eins og vitund mĂ­n sjĂĄlfs.

tĂĄknum. HeitiĂ° er dregiĂ° af hĂśggmynd sem Rogers gerĂ°i fyrst ĂĄriĂ° 1996 og gengur eins og rauĂ°ur ĂžrĂĄĂ°ur gegnum allt verkefniĂ° sem nĂŚr nĂş til fjĂśgurra

Og tĂ­minn er eins og mynd,

heimsĂĄlfa. Hin tvĂś tĂĄknin tengjast viĂ°komandi svĂŚĂ°i, eru Ăśll ĂŚvaforn og

sem er mĂĄluĂ° af vatninu

eftir óÞekkta hÜfunda, Það elsta byggt å 6000 åra gamalli hellaristu í Chile.

og mĂŠr til hĂĄlfs.

=½VPIMXX IVY EÍIMRW RSOOVMV OuPzQIXVEV QMPPM XjORERRE WIQ IVY SJX u WNzRQjPM hvert frå Üðru. Flest verkin eru reist utan alfaraleiðar å friðhelgum stÜðum

Og tĂ­minn og vatniĂ°

og við gerð Þeirra hafa verið notuð Þúsund tonna af grjóti. Garðarnir eru

renna veglaust til ĂžurrĂ°ar

EÍ QIWXY LPEÍRMV QIÍ LERHEžM IR XMP ïIWWE LEJE YQ QERRW YRRMÍ ZMÍ

inn Ă­ vitund mĂ­n sjĂĄlfs.

gerĂ° tĂĄknmyndanna (550 Ă­ Chile, 750 Ă­ BĂłlivĂ­u, 850 ĂĄ Sri Lanka og 1000 Ă­ KĂ­na) Ă­ afar mismunandi landslagi sem nĂŚr allt frĂĄ hafsbotni ĂĄ 200 metra

Steinn Steinarr TĂ­minn og vatniĂ°, 1956

HĂ­TM %VEZE u ĂˆWVEIP SK YTT u QIXVE LÂ&#x;ĂŤ ]½V WNjZEVQjPM %PXMTPERS u BĂłlivĂ­u). HitastigiĂ° hefur rokkaĂ° frĂĄ –1°C (Ă?sland) upp Ă­ 45 grĂĄĂ°ur (Ă?srael) og ĂĄ hĂŚstu stÜðum hefur stundum Ăžurft aĂ° takast ĂĄ viĂ° Ăžunnt loft og W VIJRMWPI]WM IĂŤE }JKEOIRRX ZIĂŤYVJEV LMXEWZIMžYV SK WERHF]PNM

à stralski skúlptúristinn Andrew Rogers er å góðri leið með að stimpla sig inn

Rogers vinnur gjarnan meĂ° tveimur Ă­sraelskum arkitektum, Tidhar Becker

Ă­ listasĂśguna meĂ° risastĂłrum grjĂłtgĂśrĂ°um (e. geoglyphs) sem koma til meĂ°

og Golan Levi, sem sjĂĄ um aĂ° teikna verkin upp Ă­ hĂĄrnĂĄkvĂŚmum hlutfĂśllum

EÍ Q]RHE OIÍNY YQLZIV½W LIMQWOVMRKPYRE %J ïIMQ XzPJ YQLZIV½WZIVOYQ

meĂ° hjĂĄlp GPS-tĂŚkni og gervihnattamynda. AragrĂşi hĂŚla er rekinn Ă­ jĂśrĂ°ina

sem hann afrĂŠĂ° aĂ° skapa eru sjĂś orĂ°in aĂ° veruleika, Ăžar af eitt ĂĄ Akureyri.

og Ăžeir tengdir saman meĂ° bĂśndum til aĂ° marka fyrir verkunum Ăžannig aĂ°

Ævintýrið hófst í Arava-eyðimÜrkinni í �srael í mars 1999 Þar sem hann

fjarvĂ­ddin helst kĂłrrĂŠtt sĂŠĂ° ofan frĂĄ ĂžrĂĄtt fyrir aĂ° verkin sĂŠu oft staĂ°sett Ă­

reisti fjĂśgur Ăştilistaverk nĂŚstu ĂĄrin. DrjĂşgur tĂ­mi leiĂ° Ăžar til verkefniĂ° teygĂ°i

miklum halla. Hvert verkefni hefur sitt svipmĂłt; grjĂłtgarĂ°arnir geta veriĂ° Ăşr

anga sína til annarra landa en Þå rak hvert stórvirkið annað. NÌst í rÜðinni

300–600 kg steinum upp í 4–5 tonna bjÜrg, hlaðnir frå 50 cm upp í fjÜgurra

var eitt mesta ĂžurrkasvĂŚĂ°i jarĂ°ar, Atacama-eyĂ°imĂśrkin Ă­ Chile (september

metra hÌð, ÞÊtt og massíft eða nokkuð gisið. StÌrstu hnullungarnir vega

2004). FljĂłtlega ĂĄ eftir fylgdu Cerro Rico-fjallahĂŠruĂ°in Ă­ BĂłlivĂ­u (mars

tólf tonn í verkinu Bunjil (hVRMRR QIÍ žI]KEÍE WXqPMÍ) sem Rogers gerði í til-

2005), Sri Lanka (nĂłvember 2005), skammt frĂĄ borginni Kurunegala Ăžar

efni Samveldisleikanna Ă­ Melbourne 2006.

sem búa hått í Þrjåtíu milljónir manna, You Yangs-Þjóðgarðurinn í à stralíu (febrúar 2006), Akureyri og någrenni (september 2006) og nú síðast Góbí-

( -;<9 ;03 :;,05(3+(9 ´ :;¹3-<.3<4

eyĂ°imĂśrkin Ă­ KĂ­na gegnt Qilian-fjallabeltinu viĂ° vesturenda KĂ­namĂşrsins

Allt ĂĄ sinn upphafspunkt og LĂ­fstakturinn er Ăžar engin undantekning; hvar

(oktĂłber 2006).

draga skal línuna er hins vegar Ünnur saga. à rið 1980 åkvað Rogers, Þå 9 /@;/4: 6- 3 0-,

metnaðarfullur og farsÌll fjårmålasÊrfrÌðingur, að sÜðla um og beina

jLIVWPY j EĂŤ JVEQOZÂ&#x;QHMVREV ZEPHM WIQ QMRRWXY NEVĂŤVEWOM ĂŽEĂŤ XzO ½QQ

krĂśftum sĂ­num aĂ° ĂžrĂ­vĂ­Ă°ri listskĂśpun, ekki ĂłlĂ­kt og verĂ°brĂŠfasalinn Paul

ZMOYV EÍ JYPPKIVE ZIVOMÍ QIÍ EÍWXSÍ LIMQEQERRE ïVMKKNE uWVEIPWOVE ½QQXE

Gauguin gerĂ°i rĂşmum 130 ĂĄrum ĂĄ undan honum Ă­ rĂłmantĂ­skri ĂžrĂĄ sinni

ĂĄrs arkitektanema, tveggja Ă­sraelskra verkfrĂŚĂ°inga og tuttugu arabĂ­skra

eftir hinu Ăłsnortna og upprunalega. Og lĂ­kt og Gauguin hefur ĂžaĂ° leitt hann

fagmanna Ă­ steinhleĂ°slu sem unnu tĂłlf tĂ­ma ĂĄ dag.

j JNEVPÂ&#x;KEV SK JVEQERHM WPzĂŤMV jR ĂŻIWW ĂŻz EĂŤ LERR LE½ SVĂŤMĂŤ ZMĂŤWOMPE ZMĂŤ fjĂślskyldu sĂ­na, ÞÜkk sĂŠ tĂŚknivĂŚddum stĂĄlfuglum nĂştĂ­mans. Ă Ă°ur hafĂ°i Rogers

Ăžegar verkinu var lokiĂ° tengdi Rogers tĂĄknmyndina viĂ° daglegt lĂ­f og tĂ­mgun

ZIVMÍ jLYKEQjPEVM WEQLPMÍE WXEV½ WuRY IR IJXMV EÍ LERR O]RRXMWX SK LIMPPEÍMWX

mannsins meĂ° ĂžvĂ­ aĂ° ljĂłsmynda 42 barnshafandi konur sem stilltu sĂŠr

af verkum Rodins einbeitti hann sĂŠr aĂ° ĂžvĂ­ aĂ° nĂĄ valdi ĂĄ ĂžrĂ­vĂ­Ă°ri formmĂłtun

upp Ă­ sameiningu ĂĄ verkinu. Strax viĂ° gerĂ° Ăžessa fyrsta jarĂ°listaverks vissi

mannslĂ­kamans. Ă riĂ° 1995 skipti hann um gĂ­r Ă­ listskĂśpun sinni og fĂ­gĂşratĂ­f

6SKIVW EĂŤ LERR Q]RHM KIVE ERREĂŤ Ă…VMĂŤ žNzXPIKE IJXMV EĂŤ VMWEWXzV

afstraksjón tók við af fígúratífu raunsÌi. Bronsskúlptúrar Rogers hverfast Þó

bronsskĂşlptĂşr hans af LĂ­fstaktinum var settur upp Ă­ Melbourne, tĂłk hann

enn sem fyrr um lĂ­fskjarnann, anda mannsins, skĂśpunina, vĂśxtinn, hjartslĂĄtt

aĂ° ĂştfĂŚra ĂştlĂ­nur Ăžessa skĂşlptĂşrs sem upphleypta teikningu Ă­ sandauĂ°ninni.

tilverunnar og hringrås lífsins. LífrÌn form og hrynjandi eru åberandi Þåttur

ĂžriĂ°ja verkiĂ° Ă­ Arava og ĂžaĂ° stĂŚrsta fylgdi Ă­ kjĂślfariĂ°, Slice (80 x 38 m), og

u ZIVOYQ 6SKIVW ïEV WIQ EJWXVEOX JSVQQzXYR PíXYV XMP½RRMRKYQ SK WTIKPEV

sýnir Það stílfÌrða sneiðmynd af kuðungi. Þetta verk vísar til Þess að Arava-

iðulega gróður jarðar eða åvÜl líkamsform konunnar.

eyĂ°imĂśrkin er forn sjĂĄvarbotn Ăžar sem Ăşir og grĂşir af steingervingum.

Rogers byrjar ĂĄ ĂžvĂ­ aĂ° teikna hugmyndir sĂ­nar niĂ°ur ĂĄ blaĂ° og gerir sĂ­Ă°an

= ´2<9 5 :g.<550 /05<4 4,.05 ¹ /5g;;055

60 cm frummynd af verkinu. Margar frummyndanna eru sĂ­Ă°an stĂŚkkaĂ°ar

Andrew Rogers hafĂ°i haft augastaĂ° ĂĄ Ă?slandi fyrir verkefni sitt Ăžegar hann

upp í allt að 4–5 metra verk og gerð í allt að tólf eintÜkum hvert. Eitt af

hitti myndhÜggvarann Steinunni Þórarinsdóttur å hinni årlegu útilistahåtíð

Ăžekktari bronsverkum Rogers nefnist Flora Exemplar (1996) og mĂĄ segja aĂ°

Sculpture by the Sea Ă­ Sydney 2004 og baĂ° hana um aĂ° koma sĂŠr Ă­ samband

í Því nåi hann að tjå grunnkjarna sýnar sinnar å tilveruna í myndmåli sem

viĂ° ĂĄhugasama aĂ°ila. Steinunn skaut tĂślvupĂłsti ĂĄ undirritaĂ°an sem lĂŠk strax

allir skilja og Þarfnast engra útskýringa. LífrÌnt form sem hefur tilvísun í

JSVZMXRM j EĂŤ ZMXE QIMVE SK XEPHM EĂŤ YQLZIV½WZIVO EJ ĂŻIWWYQ XSKE KÂ&#x;XM

jurt vex upp mĂłti himni og sĂłl um leiĂ° og ĂžaĂ° hneigir sig Ă­ vindingi til jarĂ°ar.

verið jåkvÌtt fyrir AkureyrarbÌ. Ekki óraði Þó nokkurn mann fyrir hversu

0u½Í SK HEYÍMRR LEPHEWX u LIRHYV SK WXIJRE WEQXuQMW LZSVX u jXX XMP ERREVW

viĂ°amikiĂ° verkefni vĂŚri hĂŠr ĂĄ ferĂ°inni fyrr en til kastanna kom, eĂ°a hversu

Þótt dauĂ°inn og ĂžjĂĄningin leiki sitt hlutverk Ă­ skĂşlptĂşrum Rogers Þå er ĂžaĂ°

WXzV LPYXM EJ ïZu WRIVM EÍ ïZu EÍ EžE XMPWOMPMRRE STMRFIVVE PI]JE )MRW SK j

LYKQ]RHMR YQ Pu½Í SK LVMRKVjWMRE WIQ VÂ&#x;ĂŤYV JIVĂŤMRRM Flora Exemplar er

hinum stÜðunum var gengið út frå Því að reistar yrðu Þrjår tåknmyndir í

nĂş til Ă­ nĂ­u eintĂśkum vĂ­Ă°s vegar um heiminn ĂĄsamt fjĂślda annarra skĂşlptĂşra

nĂĄnd viĂ° hver aĂ°ra Ă­ nĂĄttĂşru utan byggĂ°a. Rogers vildi aĂ° heimamenn, helst

eftir Rogers sem allir eru tileinkaĂ°ir Ăžemanu LĂ­fstaktinum.

IMRLZIVW OSREV }PHYRKEVjĂŤ IMRW SK ½RRE Qj LNj JVYQF]KKNYQ Ă…WXVEPuY ZIPHY Ăžau tvĂś tĂĄkn sem ĂŚttu aĂ° standa meĂ° LĂ­fstaktinum og vĂ­sa til lands og Ăžjóðar.

Andrew Rogers hreifst af Arava-eyĂ°imĂśrkinni Ă­ Ă?srael ĂĄ landamĂŚrum

Ă–nnur tĂĄknmyndin, AkureyrarĂśrninn žEYK QqV WXVE\ u LYK ° WNjPJKI½RR IRHE

JĂłrdanĂ­u, sem hann kynntist Ăžegar hann samdi um aĂ° gera stĂłra afsteypu

Ă­ skjaldarmerki bĂŚjarins, ĂŚttaĂ°ur Ăşr Heimskringlu og meĂ°al verndarvĂŚtta

af Flora Exemplar fyrir Sapir, umsjónarmiðstÜð Þjóðgarðsins, årið 1996 og

landsins.

hóf hann Þå Þegar undirbúning að fyrsta stóra jarðlistaverkinu. à rið 1999 reisti hann verkið Chai sem er myndað með samsetningu tveggja hebreskra

Seinna tĂĄkniĂ° var aĂ°eins lengur aĂ° fĂŚĂ°ast og Ăžurfti nĂŚstum aĂ° taka meĂ°

WXEJE V P}KQjPWVMXM K]ÍMRKE 8zVYRRM IR ïIMV QIVONE PERKPu½ 6SKIVW jOZEÍ

keisaraskurði. Rogers sóttist eftir tåkni sem risti djúpt í sÜgu Þjóðarinnar

EÍ RSXE IMRYRKMW KVNzX V RjREWXE YQLZIV½ SK LIJYV JVj YTTLE½ PEKX QMOPE

og hefĂ°i ĂłrĂŚĂ°a goĂ°frĂŚĂ°ilega skĂ­rskotun. ĂžrĂĄtt fyrir 1132 ĂĄra byggĂ° Ă­ landinu

! ( 5+9,> 9 6.,9:

er fรกtt um fรญna drรฆtti รพegar kemur aรฐ gรถmlu myndefni sem hรฆgt er aรฐ kalla

IJXMV VWOYVรซM YQ PI]ยฝ )VMRHMรซ ZEV IMRRMK PEKX J]VMV 2jXX VYZIVRHEVRIJRH

sรฉrรญslenskt. Fรณlksfรฆรฐ, grรณรฐurleysi og harรฐindi gerรฐu รพaรฐ aรฐ verkum aรฐ fyrri

%OYVI]VEVFย NEV WIQ ZEV NjOZย รซ KEKRZEVX ZIVOIJRMRY IMRW SK 9QLZIVยฝWVjรซ

kynslรณรฐir skildu lรญtiรฐ annaรฐ eftir sig en gulnuรฐ handrit โ reyndar merkustu

Fย NEVMRW ,ZSVOM 9QLZIVยฝWWXSJRYR Rq 7OMTYPEKWWXSJRYR WIXXY WMK KIKR

fornbรณkmenntir Evrรณpu, ร slendingasรถgurnar โ og รพvรญ mรก meรฐ sanni segja

verkefninu og Akureyrarbรฆr gaf รพvรญ grรฆnt ljรณs รก framkvรฆmdina aรฐ uppfylltum

Eรซ LYKQ]RHEPMWXMR LEยฝ LEWPEรซ WqV Z}PP LqV j PERHM P}RKY jรซYV IR L R KIVรซM

รกkveรฐnum skilyrรฐum.

รพaรฐ meรฐal annarra รพjรณรฐa. รฌQMW K}KR รฏYVJXY Eรซ PMKKNE J]VMV jรซYV IR JVEQOZย QHMV KjXY LEยฝWX รฏEV j QIรซEP Leitaรฐ var rรกรฐa hjรก ร รณru Kristjรกnsdรณttur รก ร jรณรฐminjasafni ร slands og dr.

QEX j YQLZIVยฝWjLVMJYQ WIQ VjรซKNEJEJ]VMVXย OMรซ %PXE LEJรซM QIรซ L}RHYQ

ร รณrgunni Snรฆdal viรฐ Stofnun รพjรณรฐminjavarรฐar รญ Stokkhรณlmi, okkar helsta

Auglรฝsa รพurfti verkefniรฐ meรฐ grenndarkynningu og gefa รญbรบum svรฆรฐisins

sรฉrfrรฆรฐings รญ rรบnaletri. Eftir talsverรฐar bollaleggingar var รกlitiรฐ รพjรณรฐlegast aรฐ

tilhlรฝรฐilegan frest til aรฐ koma meรฐ athugasemdir รกรฐur en hรฆgt var aรฐ รกkveรฐa

halda sig viรฐ gamla rรบn, tรกknletur sรณtt รญ รฆvafornan samgermanskan arf. En hvaรฐ

LZSVX PI]ยฝ ]VรซM ZIMXX 1MOMP PIMX LzJWX Eรซ ZMRRYZqPYQ SK ZIVOEQ}RRYQ WIQ

rรบnin รฆtti aรฐ segja var enn รณleyst rรกรฐgรกta รพar til hugmyndinni laust skyndilega

reyndust fullbรณkaรฐir langt fram รญ tรญmann. Tveir eigendur vinnuvรฉla fรฉllust รก aรฐ

niรฐur hausinn รก mรฉr eins og eldingu: Nรบ. Hvaรฐ gรฆti veriรฐ meira viรฐeigandi

bรฆta verkefninu viรฐ sig og urรฐu รพeir aรฐ verรฐa sรฉr รบti um sรฉrstakar grjรณtklรฆr

en aรฐ greypa hugtakiรฐ um lรญรฐandi stund, nรบiรฐ, meรฐ grjรณthnullungum รญ tรญu

รก beltagrรถfurnar, en slรญkar klรฆr fyrirfundust ekki รก landinu og รพurfti aรฐ sรฆkja til

milljรณna รกra gamalt fjall til aรฐ tjรก eitt eilรญfรฐar andartak รก eldgรถmlu rรบnamรกli.

รฎรญWOEPERHW รฎERR jK WX JIRKYWX PSOWMRW XMPWOMPMR PI]ยฝ J]VMV WXIMRPMWXEZIVOYQ u

Rogers samรพykkti uppรกstunguna รก stundinni. Meรฐan hugmyndavinnan stรณรฐ

Hlรญรฐarfjalli og Fรกlkafelli, en samรพykktin var รพรณ ekki einrรณma.

]ยฝV LEJรซM %VRHuW &IVKWHzXXMV WIQ ZEV VjรซMR YQWNzREVQEรซYV ZIVOIJRMWMRW tveimur mรกnuรฐum รกรฐur en framkvรฆmdir hรณfust, รญ nรณgu aรฐ snรบast. Rogers

ร egar Andrew Rogers kom til landsins og รฆtlaรฐi aรฐ taka til hendinni varรฐ

tรณk ekki รญ mรกl aรฐ fresta verkefninu fram til รกrsins 2007; hann vildi aรฐ รพaรฐ

ljรณst aรฐ landmรฆlingamenn รก vegum Akureyrarbรฆjar hรถfรฐu skammtaรฐ of

gerรฐist sem fyrst, eftir aรฐeins nokkra mรกnuรฐi, nรบna!

naumt svรฆรฐi, รญsraelsku arkitektarnir รก vegum Rogers fengu vรฆgt รกfall รพegar รพeir sรกu hvaรฐ lรญtiรฐ var af steinum รก staรฐnum og ekki bรฆtti kuldabolinn og

/ ย .(9( :(.; ,5 .,9;

slagviรฐriรฐ sem heilsaรฐi รพeim viรฐ komuna frรก Tel Aviv รบr skรกk. ร kveรฐiรฐ var

Til verksins รพurfti vinnuvรฉlar, landmรฆlingamenn meรฐ nรกkvรฆm tรฆki,

aรฐ fรฆkka verkamรถnnum enn frekar, bรฆta viรฐ vรฉlum og setja niรฐur steina

verkamenn og steinhleรฐslumenn. Rogers hafรฐi valiรฐ tvรฆr staรฐsetningar:

meรฐ reglulegu millibili รญ staรฐ รพess aรฐ hlaรฐa veggi, ekki รณsvipaรฐ รบtfรฆrslu

รญ Fรกlkafelli, neรฐan viรฐ skรกtaheimiliรฐ og รญ Hlรญรฐarfjalli, undir Mannshrygg og

Rogers รก verkunum รญ ร stralรญu. ร tkoman minnir dรกlรญtiรฐ รก mรกlverk Chucks

nauรฐsynlegt var aรฐ fรก samรพykki bรฆjarstjรณrnar fyrir รพvรญ aรฐ setja verkin รพar

Close รพannig aรฐ รบr gรณรฐri fjarlรฆgรฐ mรก auรฐveldlega greina tรกknin sem

niรฐur. Slรญk beiรฐni hafรฐi aldrei borist fyrr og ekki til neinar vinnureglur eรฐa

heildstรฆรฐa mynd en รพegar komiรฐ er upp aรฐ รพeim renna รพau mismikiรฐ

starfsferlar til aรฐ fara eftir. Vegna รพriรฐju staรฐsetningarinnar, รญ Vaรฐlaheiรฐi,

saman viรฐ landslagiรฐ. ร horfendur sem koma af fjรถllum og vita ekkert um

WIQ LI]VMV YRHMV 7ZEPFEVรซWWXVERHEVLVITT ZEV PI]ยฝ JIRKMรซ LNj PERHIMKIRHYQ

tilurรฐ verkanna gรฆtu haldiรฐ aรฐ einkennilega geometrรญsk staรฐsetning vissra

รญ Halllandi og viรฐ tรณk svipaรฐ ferli รญ hreppsnefndinni og hjรก Akureyrarbรฆ.

steina vรฆri jafnvel nรกttรบruleg tilviljun.

Fundaรฐ var meรฐ Nรกttรบrufrรฆรฐistofnun aรฐ beiรฐni Norรฐurorku sem vildi fรก umsรถgn meรฐ tilliti til รพess aรฐ staรฐsetningin รญ Hlรญรฐarfjalli er รก verndarsvรฆรฐi

0I]ยฝ J]VMV ZIVOIJRMRY u :EรซPELIMรซM ZEV KIยฝรซ u F]VNYR WITXIQFIV IJXMV Eรซ

sem hefur aรฐ geyma helsta vatnsbรณl bรฆjarins. Umsรถgnin var neikvรฆรฐ รพar

staรฐsetningu verksins hafรฐi aรฐeins veriรฐ hnikaรฐ vegna รกhyggna sveitar-

WIQ WXSJRYRMR XEPHM Eรซ ZIVOMR Q]RHY ZEPHE SJ QMOPY NEVรซVEWOM &ย NEV]ยฝVZ}PH

stjรณrnarmanna af mรถrkum vatnsverndarsvรฆรฐisins. Endanleg staรฐsetning

O]RRXY รฏj QjPMรซ J]VMV 7OMTYPEKWWXSJRYR SK 9QLZIVยฝWWXSJRYR SK IRR ZEV FIรซMรซ

verkanna varรฐ sรบ aรฐ ร rninn er รญ Hlรญรฐarfjalli, steinsnar frรก skรญรฐaskรกlanum,

9 /@;/4: 6- 3 0-, "

rĂşnin NĂş efst ĂĄ VaĂ°laheiĂ°i og LĂ­fstakturinn Ă­ FĂĄlkafelli. Tveir ĂĄstralskir

Polo (f. 1254) rĂŠtt missti svo aĂ° segja af Genghis Khan (d. 1227), enda svĂŚĂ°iĂ°

kvikmyndatĂśkumenn fylgdu Rogers eftir hvert fĂłtmĂĄl nĂŚstu ĂžrjĂĄr vikurnar,

å heimsminjaskrå UNESCO. Komist síðari kynslóðir að annarri niðurstÜðu

en gerĂ°ar hafa veriĂ° heimildarmyndir um hvert og eitt Ăžessara verkefna

um verkin er Ăśrugglega hĂŚgt aĂ° afbyggja Ăžau og koma svĂŚĂ°unum Ă­ sitt

LERW ïEV WIQ žqXXEÍ IV MRR u QERRPu½ SK W}KY ZMÍOSQERHM WXEÍE ÎIKEV

fyrra, nĂĄttĂşrulega horf.

jarĂ°listaverkunum var lokiĂ° leigĂ°i Rogers Ăžyrlu eins og venja hans er og lĂŠt skrĂĄsetja garĂ°ana meĂ° aĂ°stoĂ° PĂĄls StefĂĄnssonar ljĂłsmyndara.

HiĂ° mikla jarĂ°listarverkefni Andrews Rogers er eitt hiĂ° stĂŚrsta, ef ekki

Fimmtån barnshafandi íslenskar konur sem auglýst var eftir leyfðu Þeim að

Það alstÌrsta, sem råðist hefur verið í og eru Þå Stonehenge å Bretlandi

ljósmynda sig í bak og fyrir ofan å Lífstaktinum og lÊtu ÞÌr ekki hitastigið,

eĂ°a Nazca-lĂ­nurnar Ă­ PerĂş ekki undanskilin. VerkefniĂ° hefur meĂ°vitaĂ° ĂĄ

½QQ KVjĂŤYV EJXVE WqV JVj ĂŻZu EĂŤ ZIMXE EJOZÂ&#x;QMRY LPYXHIMPH u zHEYĂŤPIKY

sĂŠr fornan blĂŚ og vĂ­sar svo langt aftur Ă­ eldgrĂĄa fortĂ­Ă° og fjarlĂŚga framtĂ­Ă°

listaverki. (ĂžaĂ° er alltĂŠnt endingarbetra en postulĂ­nsstyttur Jeffs Koons og

aĂ° Ăśll tĂ­mamĂśrk missa Ă­ rauninni merkingu sĂ­na. FĂĄir ef nokkrir listamenn

sennilegt aĂ° Ăžessir Ă­slensku fulltrĂşar Ăşr steinarĂ­kinu eigi eftir aĂ° standa

hafa seilst lengra aftur í póstmódernískri endurnýtingu å sÜgunni Þannig

ĂłhaggaĂ°ir Ă­ marga mannsaldra.)

aĂ° hugtakiĂ° „listnĂĄm“ (e. appropriation) ĂĄ vart lengur viĂ° og ekki er heldur meĂ° góðu mĂłti hĂŚgt aĂ° tala um „listlĂ­ki“ (Ăž. Kitsch) sem gjarnan er notaĂ°

: ;65,/,5., Âą ;´4<4 :290-9ÂŒ§0:

til að lýsa plebbalegu dúlludóti neyslusamfÊlagsins, inntaksleysi Þess og

Allt umstangiĂ° Ă­ kringum verkefniĂ° ĂĄ Ă?slandi, ĂĄsamt pappĂ­rsmĂşrum hins

gjĂśrspilltum fĂĄrĂĄnleika smekkleysunnar.

STMRFIVE WIQ ïYVJXM EÍ ]½VWXuKE ZEV EÍIMRW WIQ HEYJX FIVKQjP ïIWW WIQ Rogers hefur orðið að takast å við annars staðar enda er íslenski hlutinn

1Âą2=ÂŒ;; :1¸5(940§ ´ 4,9205.(9:5(<§<4 30:;(/,040

langminnstur Ă­ sniĂ°um. FramtakiĂ° minnir um sumt ĂĄ Ăştiverkin sem

JarĂ°verk Rogers eru vĂŚgast sagt trĂśllvaxin, Ăžrungin merkingu, staĂ°fĂśst,

hjĂłnin Christo og Jeanne-Claude hafa gert vĂ­Ă°a um heim sĂ­Ă°an snemma

TzWMXuJ JVÂ&#x;OMPIK YTTLE½R SK XuQEPEYW ° SK WEQX IV zPuOPIKX EĂŤ ĂŻEY LIJĂŤY

ĂĄ ĂĄttunda ĂĄratugnum, aĂ° minnsta kosti hvaĂ° umfang varĂ°ar, en Ăžar endar

getaĂ° veriĂ° gerĂ° fyrr en ĂĄ okkar tĂ­mum. Ăžau bera ĂžvĂ­ einnig glĂśggt vitni aĂ°

líka samanburðurinn að mestu leyti. Þau vinna með ýmiss konar manngerð

ZIVE KIVÍ EJ OEVPQERRM WIQ PI]½V WqV EÍ FPzXE LMR jZ}PY JSVQ SK uFN KY PuRYV

efni og fjarlÌgja Üll vegsummerki eftir tiltekinn tíma meðan Rogers nýtir

j EPQERREJÂ&#x;VM SK ZMVĂŤMWX KERKE WOVI½RY PIRKVE QIĂŤ OPMWNYRRM YQ QzĂŤYV

sÊr hråefni nåttúrunnar, ótilhÜggvið grjót, og kemur Því fyrir til frambúðar.

jĂśrĂ° Ăžegar hann raĂ°ar kasĂłlettum konum upp ĂĄ verk sĂ­n Ăžvert ofan Ă­ allan

6SKIVW ZMRRYV u RjRY WEQWXEV½ ZMĂŤ uF E LZIVW WZÂ&#x;ĂŤMW QIRRMRKY ĂŻIWW SK

pĂłlitĂ­skan rĂŠtttrĂşnaĂ°. Satt best aĂ° segja er verkefniĂ° fullkomlega Ăşr takti viĂ°

sĂśgu, og ĂžvĂ­ mĂĄ segja aĂ° visst lĂ­frĂŚnt ferli eigi sĂŠr staĂ°, en Christo og Jeanne-

tĂ­mann ĂžvĂ­ svona gera ekki Ăžeir kĂşnstnerar sem fara samviskusamlega eftir

Claude virĂ°ast stĂłla meira ĂĄ eigin hugmyndir viĂ° ĂştfĂŚrslu verkanna sem

ZMRWÂ&#x;PYWXY OSOOEFzOYQ PMWXELIMQWMRW SK LMRY KVEYXEVPIKE LIMQWTIOMOIV½

leyna hvorki uppruna sínum nÊ nýstårleika; hver veit nema sagnfrÌðingar 23.

hans ef Þeir vilja låta taka sig alvarlega. Andrew Rogers er Üðruvísi. Og Það

aldar gÌtu dregið Þå ålyktun að verk Rogers vÌru mÜrg Þúsund åra gÜmul

er eimitt Þetta sem gerir verk hans åhugaverð, Þau skapa skýra viðmiðun

ef heimurinn fĂŚrist Ă­ hrikalegum nĂĄttĂşruhamfĂśrum og fĂĄtt annaĂ° stĂŚĂ°i eftir.

viĂ° ĂłreiĂ°una, hiĂ° duttlungafulla, hverfula og tilgangslausa sem svo mikiĂ° hefur veriĂ° lĂĄtiĂ° meĂ° ĂĄ undanfĂśrnum ĂĄrum.

Listamennirnir bera hins vegar allir mikla virĂ°ingu fyrir nĂĄttĂşrunni og ĂžvĂ­ YQLZIV½ WIQ ĂŻIMV ZMRRE u 6SKIVW KÂ&#x;XMV ĂŻIWW ZERHPIKE EĂŤ KERKE EJXYV JVj

Þó kastar fyrst tólfunum Þegar kemur að Þeim trúarlega eða andlega

WZÂ&#x;ĂŤMRY u ĂŻZu WIQ RÂ&#x;WX YTTVYREPIKY LSV½ ĂŻERRMK EĂŤ IRKMR YQQIVOM WNjMWX

undirtón sem býr í verkum Rogers en hann telst forboðinn og hafa leiðtogar

nema sjĂĄlft verkiĂ°. Annars vĂŚri ĂłlĂ­klegt aĂ° hann hefĂ°i fengiĂ° aĂ° vaĂ°a uppi

skynseminnar ĂĄ borĂ° viĂ° Richard Dawkins og Daniel C. Dennett keppst viĂ°

með åform sín í Góbí-eyðimÜrkinni í Kína, å Þeim slóðum Þar sem Marco

að berja Það inn í hausinn å Üllu upplýstu fólki að ekki megi koma nålÌgt

# ( 5+9,> 9 6.,9:

honum. Ekki svo aĂ° skilja aĂ° Rogers sĂŠ neitt sĂŠrstaklega guĂ°hrĂŚddur en Ă­

voru loksins teknir meĂ° Ă­ reikninginn og Ăžeim gert hĂĄtt undir hĂśfĂ°i. Miklir

heimi grasserandi veraldarhyggju mĂŚtti halda aĂ° hann vĂŚri einhvers konar

listamenn eru Þå myndhverfðir sem konur, Þeir verða Þungaðir af andanum

Ăśfgafullur bĂłkstafstrĂşarmaĂ°ur. Verk hans hvĂ­la ĂĄ trĂşarlegum grunni lĂŚgsta

IĂŤE LIMQWZMPNERYQ SK SJX IV XEPEĂŤ YQ QIĂŤK}RKY SK IV½ÍE JÂ&#x;ĂŤMRKY

Q}KYPIKE WEQRIJREVE EPPVE XV EVFVEKĂŤE WIQ LÂ&#x;KX IV EĂŤ WEQIMREWX YQ Pu½RY

listaverksins sem ekki fÌr sÊð dagsins ljós nema með harmkvÌlum, blóði

WNjPJY LVMRKVjW ïIWW SK LV]RNERHM WIQ ½RRE Qj u KN}VZEPPVM RjXX VYRRM 6SKIVW

og tĂĄrum.

PIKKYV QMOPE jLIVWPY j XMP½RRMRKEV MRRWÂ&#x;M VĂ­QMWWO]RNYREV SK ERHPIKEV ZuHHMV WIQ HVMJEž WO}TYREV SK YRHMVWX}ĂŤY WOMPRMRKW

Nietzsche sagĂ°i aĂ° ĂžaĂ° vĂŚru til tvĂŚr gerĂ°ir listamanna, Ăžeir sem vilji geta af sĂŠr og hinir sem vilji frjĂłvgast og fĂŚĂ°a af sĂŠr. Ă? FĂŚĂ°ingu harmleiks (1872)

9TTLEJRMRK LERW j Pu½RY SK RjXX VYRRM QIĂŤ WOuVWOSXYR XMP XMP½RRMRKE SK MRRWÂ&#x;MW

O]RRMV LERR XZ} ]½VLYKX}O u PMWXYQ SK Pu½ WIQ IVY %TSPPz WIQ WXIRHYV

fremur en rĂśkhugsunar og vĂŠlgengis minnir ĂĄ hugmyndir Rousseaus ĂĄĂ°ur en

J]VMV V}OZuWM LVI]½RKEVPI]WM SK LMÍ IMRWXEOE SK (uzRíWSW WIQ WXIRHYV J]VMV

LMR HMQQY }ž WIQ J]PKHY RjXX VYHíVOYR VzQERXuOYVMRREV SK LMRRM JSVRY

zV}OZuWM LVI]½RKY SK LMĂŤ QEVKĂŻÂ&#x;XXE (uEPIOXuOMRE WIQ WOETEĂŤMWX j QMPPM

jarðmóðurdýrkun) urðu allsråðandi. Lífheimspekin (Þ. Lebensphilosophie)

ĂŻIWWEVE XZIKKNE EžE WEKĂŤM LERR ZIVE WO}TYREVOVEJXMRR Ăˆ ZIVOYQ 6SKIVW

JIPYV u WqV KEKRVíRM j V}OL]KKNYRE SK XIžMV ïIWW u WXEÍ JVEQ Pu½RY WIQ ZIVÍERHM

sjĂĄum viĂ° allar Ăžessar hugmyndir Ă­ sĂĄtt og samlyndi; hann vinnur verkin,

sem lýtur lÜgmålum eilífrar hringråsar.AndrÜkhyggja lífheimspekinnar greinir

hugmyndir og ĂştfĂŚrslu, bĂŚĂ°i einn og meĂ° mĂśrgum. Hann upphefur bĂŚĂ°i

ïEY }ž WIQ F E EÍ FEOM QIRRMRKYRRM u JSVXuÍ SK WEQXuÍ SK PMWXMR ZIVÍYV

anda og efni en andinn frjĂłvgar ekki efniĂ° frekar en aĂ° efniĂ° getur af sĂŠr

ĂŻERRMK FMVXMRKEVQ]RH jOZIĂŤMRRE EžE MRRVE QIĂŤ QERRMRYQ )R ĂŻz SVĂŤVÂ&#x;ĂŤE

andann. Ă“rĂśkvĂ­sin er sett fram af rĂśkvĂ­si, hĂśfundurinn er ĂłvĂŠfengjanlegur

lífheimspekinnar virðist kallast å við lýsingar Rogers å eigin lífssýn Þå eru

en samt ósýnilegur, åstríður eru reiknaðar út og mÌldar með aðstoð

verkin talandi dĂŚmi um rĂśkvĂ­si, tĂŚkni og stÜðugleika. Ăžau eru augljĂłslega

gervitungla.

gerð til að endast von úr viti Þrått fyrir Þå vitneskju að allt er niðurbroti og eyðingu håð í heiminum. Fallvaltleiki lífsins, sem verkin snúast um, er í

Ă hugi rĂłmantĂ­kurinnar ĂĄ hinu kvenlega og fĂŚĂ°ingu sem tĂĄknmynd hins

hrĂłpandi ĂłsamrĂŚmi viĂ° Ăłbrotgjarnt efni Ăžeirra. AĂ°all listarinnar er hins

skapandi listamanns hafĂ°i ekkert aĂ° gera meĂ° ĂĄhuga ĂĄ raunverulegum konum

vegar aĂ° reyna aĂ° klĂłfesta tĂ­mann og hvaĂ°eina mannlegt sem hĂŚgt er aĂ°

og raunverulegum fĂŚĂ°ingum enda er hugmyndafrĂŚĂ°i Ăžessa tĂ­mabils talin ein

tengja viĂ° hann og ĂžvĂ­ mĂŚtti segja aĂ° ĂžversĂśgnin hjĂĄ Rogers sĂŠ svo grĂ­Ă°arleg

sĂş kvenfjandsamlegasta Ă­ mannkynssĂśgunni. Rogers myndar barnshafandi

EÍ L R LZIV½WX YQ WNjPJE WMK SK LjPJTEVXMRR LZIV½

konur ĂĄ LĂ­fstaktinum sem undirstrikar aĂ° hann er aĂ° fjalla um fyrirbĂŚrin tĂ­mgun og skĂśpun sem eitt og sama lĂ­fshugtakiĂ° en ekki tĂĄknmyndir fyrir

, 03´-(9 -ÂŒ§05.(9/9´§09 /(5+(5 9Âť4: 6. ;´4(

hvort annaĂ°. Ă sama hĂĄtt og nĂĄttĂşruverndarsinnar geta orĂ°iĂ° ĂłrĂłlegir

Rogers leggur auĂ°sjĂĄanlega hugmyndina um skĂśpun listamannsins og

gagnvart verki sem er óður til nåttúrunnar gÌtu kvenrÊttindasinnar verið

tĂ­mgun mannkynsins fram sem hliĂ°stĂŚĂ°ur. Ăžetta er mjĂśg kunnuglegt

tortryggnir gagnvart Því að kvenlíkaminn sÊ notaður, jafnvel Þótt Það sÊ

minni Ăşr sĂśgunni. Snillingar fortĂ­Ă°arinnar voru Ăžeir andans menn sem

gert Ă­ gĂśfugum tilgangi. Upphafning ĂĄkveĂ°inna eĂ°liseiginleika kvenna (einnig

hĂśfĂ°u vald ĂĄ rĂśkhugsun, nĂĄĂ°u meistaratĂśkum ĂĄ efni og gĂĄtu af sĂŠr mikla

kynÞåtta og stÊtta) hefur ósjaldan í sÜgunni verið notuð sem kúgunartÌki.

list. EfniĂ° sjĂĄlft lagĂ°i ekki neitt til skĂśpunarinnar ĂĄ sama hĂĄtt og konan

AĂ° konur fĂŚĂ°i bĂśrn verĂ°ur jafngildi Ăžess aĂ° karlmenn geri listaverk;

lagĂ°i Ă­ skilningi AristĂłtelesar ekkert til barnsins nema sjĂĄlfa sig sem efni

karlar gera konum bĂśrn og bĂşa til listaverk Ăşr nĂĄttĂşrunni, sĂŚĂ°i karlsins

meĂ°an karlmaĂ°urinn lagĂ°i til sĂŚĂ°iĂ° sem bar Ă­ sĂŠr skĂśpunina. Ă rĂłmantĂ­ska

SK LYKQ]RHEžYK IVY XÂ&#x;OM LERW XMP EĂŤ WMKVEWX j XuQERYQ SK HEYĂŤERYQ WIQ

tĂ­manum breyttust Ăžessar hugmyndir um skĂśpun Ăžegar eiginleikar ĂłrĂśkvĂ­si

eru innbyggĂ° inn Ă­ hina eilĂ­fu hringrĂĄs nĂĄttĂşrunnar. Ăžetta eru gĂśmul og nĂ˝

j FSVĂŤ ZMĂŤ XMP½RRMRKEV SK MRRWÂ&#x;M WIQ LEJĂŤM ZIVMĂŤ IMKREĂŤ RjXX VY SK OSRYQ

sannindi. 9 /@;/4: 6- 3 0-, $

: ;ÂŒ9§-9ÂŒ§0 6. -,.<9§(9/<.;(20§

tĂşlkaĂ° meĂ° stafnum T sem vĂ­sar Ă­ fyrsta staf grĂ­ska orĂ°sins Ç…Ç Â—Ćą sem

LĂ­fshugtak Andrews Rogers ĂĄ auĂ°vitaĂ° rĂŚtur sĂ­nar Ă­ menningarsĂśgunni

Þýðir skurður eða sneið. SÊ gengið út frå hinum hringlaga tíma, sem

og hin rĂśkrĂŠtta ĂłrĂśkvĂ­si hans ĂĄ sĂŠr kannski einhverja samsvĂśrun Ă­

Rogers leggur til grundvallar verkum sínum og lífsskilningi, Þå skynjum

OIRRMRKYQ 7TMRSWE ,IMQWTIOM 7TMRSWE IV WOMPKVIMRH WIQ OIV½WFYRHMR

ZMÍ EÍ YTTLE½Í SK IRHMVMRR IVY WXEÍWIXX j WEQE TYROXM SK Wj TYROXYV

rĂśkhyggja um leiĂ° og lykilatriĂ°in Ă­ heimspeki hans eru GuĂ°, maĂ°urinn

er akkĂşrat Ă­ nĂşinu.

og leit mannsins að hamingju. Spinosa gerði grein fyrir fjórum leiðum til Þess að Üðlast Þekkingu en í hans huga voru Ìðstu gÌði tengd

Ă? ĂžvĂ­ ljĂłsi verĂ°ur rĂşnastafurinn NĂş ĂĄ VaĂ°laheiĂ°i ekki bara ĂĄhugaverĂ°ur

henni. Hann hafnaði fyrstu Þremur leiðunum sem voru: upplýsingar

vegna Ăžess sem hann merkir heldur einnig vegna Ăžess hvernig hann

fengnar frå Üðrum, beinn lÌrdómur af persónulegri reynslu og að

lĂ­tur Ăşt. Hin bogadregna lĂ­na sem myndar rĂşnina sem tĂĄknar tĂ­mann er

hÌgt sÊ að leiða sannar fullyrðingar af Üðrum fullyrðingum sem

skorin å einum stað með Þverstriki. Ef rúnin er lesin sem myndletur Þå

taldar eru sannar. Engri Ăžessara leiĂ°a var treystandi aĂ° mati Spinosa,

miĂ°lar hĂşn ĂĄ milli hugmyndanna um tĂ­mann sem annaĂ°hvort lĂ­nulaga

en um Þå fjórðu gegndi Üðru måli; um hana var ekki hÌgt að efast

eĂ°a hringlaga fyrirbĂŚris.TĂ­minn er boginn og upphaf hans og endir liggja

Ăžar sem hĂşn felur Ă­ sĂŠr beint innsĂŚi sem leiĂ°ir hiĂ° raunverulega eĂ°li

Ă­ sama plani en ekki Ă­ sama punkti og til viĂ°bĂłtar stendur stafurinn ĂĄ

hlutanna Ă­ ljĂłs. Uppbygging frumspeki og siĂ°frĂŚĂ°i Spinosa grundvallast

Ă­myndaĂ°ri lĂ­nu sem lokar hringnum.

j WXÂ&#x;VĂŤJVÂ&#x;ĂŤMPIKY OIV½ LERR OSQWX EĂŤ ĂŻIMVVM RMĂŤYVWX}ĂŤY EĂŤ ZIV}PHMR og GuĂ° sĂŠ Ăłdeilanlegur og Ăłendanlegur frumhlutur sem ĂĄ sĂŠr engin

: (49<50 -69;´§(9 6. -9(4;´§(9

takmĂśrk Ă­ tĂ­ma og rĂşmi nĂŠ ĂĄ nokkurn annan hĂĄtt.

Tíminn er eitt dularfyllsta hugtak sem maðurinn hefur Þurft að glíma við og aldrei hefur tekist að útskýra til hlítar. Hið Þekkta

AĂ° skilja ĂžaĂ° hvernig er aĂ° vera maĂ°ur jafngildir ĂžvĂ­ aĂ° skilja hvernig

YQLZIV½WPMWXEZIVO 6SFIVXW 7QMXLWSR Spírallinn (Spiral Jetty, 1970), sem

maĂ°urinn er hluti alverunnar. Ă? hugmynd Spinosa er ĂžvĂ­ verĂśldin og GuĂ°

fÌstir hafa Þó barið augum Üðruvísi en å ljósmynd, fjallar eins og Ünnur

hiĂ° sama, engin stigsmunur er ĂĄ efni og anda. FrĂĄ Ăžessu sjĂłnarhorni eru

verk hans og skrif Üðrum ÞrÌði um tímann og núið sem huglÌgt rými.

hin innbyggĂ°u sjĂłnarhorn Ă­ verkum Rogers ĂĄhugaverĂ°. TĂĄknin verĂ°a

Ă? grein sinni „SetlĂśg hugans“ („Sedimentation of the Mind“) frĂĄ 1968

ekki sĂŠĂ° og skilin nema frĂĄ sjĂłnarhorni fuglsaugans, gervihnatta eĂ°a

segir hann:

hins alsjĂĄandi GuĂ°s. SjĂłnarhorn manna innan verkanna skapar upplifun um leiĂ° og ĂžaĂ° tĂĄkngerir undrunarefni mismunandi viĂ°miĂ°a.

=½VFSVĂŤ NEVĂŤEV SK uQ]RHERMV LYKERW LEJE PEK j ĂŻZu EĂŤ sundrast Ă­ aĂ°skiljanleg sviĂ° listarinnar. [‌] ListamaĂ°ur

Ăžetta leiĂ°ir hugann aĂ° gullinsniĂ°inu og stĂŚrĂ°frĂŚĂ°ilĂśgmĂĄli Fibonaccis

er einungis undirokaĂ°ur af tĂ­manum ef eitthvaĂ° eĂ°a

sem byggir ĂĄ ĂłrĂśkvĂ­sri talnaspeki. Andrew Rogers hefur eins og

einhver annar en hann sjĂĄlfur stjĂłrnar tĂ­manum. ĂžvĂ­

zXEP WXÂ&#x;VĂŤJVÂ&#x;ĂŤMRKEV Q]RHL}KKZEVEV SK EĂŤVMV PMWXEQIRR JVj YTTLE½

dýpra sem listamaður sekkur í straum tímans, Þeim

vestrĂŚnnar menningar heillast af Ăžessum leyndardĂłmi sem margir telja

mun lĂ­kara Ăłminni verĂ°ur ĂžaĂ°; vegna Ăžessa verĂ°ur hann

undirstÜðu allra lífsmagna í nåttúrunni og fela í sÊr hina fullkomnu fegurð.

EĂŤ LEPHE WMK RÂ&#x;VVM XuQEFYRHRY ]½VFSVĂŤM 1EVKYV Q]RHM

Ă riĂ° 2004 bĂŚtti hann viĂ° enn einu verki, Ratio, Ă­ Arava-eyĂ°imĂśrkinni

kjĂłsa aĂ° gleyma tĂ­manum fyrir fullt og allt, ĂžvĂ­ hann

og staĂ°setti milli hinna jarĂ°listaverkanna. StĂŚrĂ°frĂŚĂ°ireglan er tĂĄknuĂ°

leynir „lĂśgmĂĄli dauĂ°ans“ (eins og allir sannir listamenn

með gríska stafnum LJ eftir gríska myndhÜggvaranum Feidías sem

vita). Ă? Ăžessari tĂ­mabundnu ĂĄ eru leifarnar af listasĂśgunni

talinn er hafa notaĂ° regluna Ă­ listskĂśpun sinni. Eins hefur lĂśgmĂĄliĂ° veriĂ°

j žSXM IR ïz KIXYV à R XuÍMR¹ IOOM PEKX QIRRMRKYRRM u

( 5+9,> 9 6.,9:

EvrĂłpu liĂ°, nĂŠ heldur ĂŚvafornum eĂ°a frumstĂŚĂ°um

umfang verkefnisins og ekki sĂ­st hrikaleg framkvĂŚmdagleĂ°in sem er

menningarheimum; hĂşn verĂ°ur Ăžess Ă­ staĂ° aĂ° kanna

zZIRNYPIK WZS SK LÂ&#x;½PIMOM 6SKIVW XMP EĂŤ ]½VWXuKE QEVKZuWPIK Q}VO SK

hinn for- og eftir-sÜgulega huga; hún verður að fara å Þå

vandamĂĄl; nĂĄttĂşruleg, trĂşarleg, verkfrĂŚĂ°ileg, pĂłlitĂ­sk og fĂŠlagsleg.

staði Þar sem fjarlÌgar framtíðir og fjarlÌgar fortíðir mÌtast. (Art in Theory 1900–2000, bls. 881.)

ĂžaĂ° vĂŚri forvitnilegt aĂ° vita hvaĂ° Steini Steinarri, sem vitnaĂ° er Ă­ hĂŠrna Ă­ byrjun, hefĂ°i Þótt um uppĂĄtĂŚki Andrews Rogers, hvort hann hefĂ°i mĂŚrt

Smithson vill ekki aĂ° viĂ° afneitum okkar eigin tĂ­ma Ă­ hugmyndinni um

ĂžaĂ°, sent honum eina af sĂ­num baneitruĂ°u hĂĄĂ°svĂ­sum eĂ°a bara hvĂ­lt Ă­

afstĂŚĂ°i tĂ­mans ĂžvĂ­ ekki sĂŠ til neitt sem heiti tĂ­malaus listaverk, ĂžaĂ°

Þagnarbrag eins og hann gerir núna. Honum hefði alltÊnt Þótt mikið

vĂŚru svik viĂ° listamanninn. Smithson sameinaĂ°i ĂĄ kaldhĂŚĂ°inn hĂĄtt Ă­

koma til efniviĂ°ar listamannsins, hinna mĂŠluĂ°u beina jĂśtunsins Ă?mis,

verkum sínum hugmynd um úrvalshyggju SK uQ]RHYREVEž u KEKRVíRRM

eins og skĂĄldanafn hans ber meĂ° sĂŠr. Ef til vill mĂĄ draga inntak Ăžessarar

ERHWX}ĂŤY ZMĂŤ žSOOYR SK WMĂŤEVIKPYV QzHIVRuWOVEV JEKYVJVÂ&#x;ĂŤM :IVOMR

greinar í eina setningu og segja að „allt sem hefur gerst og mun gerast

hans voru eins konar innrĂĄs inn ĂĄ ĂžaĂ° einskismannsland sem liggur ĂĄ

ĂĄ sĂŠr staĂ° nĂĄkvĂŚmlega nĂşna“ og kalla Ăžetta „Byssubrandskenninguna“,

milli Ăžessarar einstrengingslegu fagurfrĂŚĂ°i og hins ruddalega iĂ°naĂ°ar-

ekki vegna neins ofsa heldur Ăžeirrar guĂ°dĂłmlegu snerpu sem ĂĄ Ăžarf aĂ°

heims nĂştĂ­mans.

halda til að grípa hana å lofti í einum hvelli frå Üllum hliðum samtímis. )RKMRR QERRPIKYV QjXXYV FíV ]½V ïIMQ ZMXWQYREPIKE PIMJXYVLVEÍE WIQ

Verk Andrews Rogers eru einnig barn síns tíma — Þ.e. okkar tíma

XMP ĂŻEVJ ,MRW ZIKEV Qj ZIP ZIVE EĂŤ %RHVI[ 6SKIVW LE½ EJ HN TY MRRWÂ&#x;M

° ïVjXX J]VMV JVYQWTIOMRE WIQ u ïIMQ IV EÍ ½RRE SK XMPVEYR LERW XMP EÍ

ĂĄttaĂ° sig ĂĄ inntaki hennar og meĂ° LĂ­fstaktinum hitt beint Ă­ mark, en ĂžaĂ°

fara inn í Það rými Þar sem „fjarlÌgar framtíðir og fjarlÌgar fortíðir

getur nĂĄttĂşrlega aĂ°eins tĂ­minn leitt Ă­ ljĂłs.

mĂŚtast“. Ă“lĂ­kt verkum Smithsons eru verk Rogers algerlega laus viĂ° OEPHLÂ&#x;ĂŤRM SK jHIMPY ĂŽIXXE IVY ]½VKIRKMPIK FNEVXWĂ­RMWZIVO ĂŻEV WIQ KMPHM PuJWMRW SK WO}TYREVMRREV IV XIžX JVEQ WIQ ZSR SK jWOSVYR KIKR WXVuĂŤM ĂžjĂĄningu, sofandahĂŚtti og ĂłtĂ­mabĂŚrum dauĂ°a. Enda Þótt Rogers sĂŠ

Hannes SigurĂ°sson

Ăłvenjulegur listamaĂ°ur er ĂžaĂ° reyndar ekki rĂŠtt aĂ° verk hans sĂŠu

forstÜðumaður Listasafnsins å Akureyri

alveg ĂĄ skĂĄ og skjĂśn viĂ° hinar pĂłstmĂłdernĂ­sku ĂĄherslur samtĂ­mans. Eftir niĂ°urbrot, afbyggingu og sundrun hefĂ°bundinna tĂĄknkerfa Vesturlanda sem hafa gengiĂ° sĂŠr til húðar, pĂşslar hann bĂştunum saman aftur, tĂĄknum frĂĄ ĂłlĂ­kum lĂśndum og ĂłlĂ­kum tĂ­ma og brĂŚĂ°ir viĂ° eigin persĂłnulega tĂĄknsĂ˝n. Hann blandar saman fornum miĂ°lum og nĂ˝tĂ­sku tĂŚkni, er upptekinn af ÞåtttĂśku Ăžeirra sem njĂłta verkanna, reynir aĂ° sĂŚtta ĂłlĂ­ka menningarheima og mynda gagnvirk tengsl. Rogers leggur ĂĄherslu ĂĄ eins konar fjĂślmenningarlega Ăžjóðernishyggju Ă­ anda Johanns Gottfrieds Herder (1744–1803) Ăžar sem styrking menningarlegrar sjĂĄlfsmyndar mismunandi Ăžjóða sameinar ÞÌr Ă­ KVYRHZEPPEVKMPHYQ ZIVEPHEVMRREV ° Pu½RY WNjPJY ĂŽEĂŤ IV NjOZÂ&#x;ĂŤRMR 9 /@;/4: 6- 3 0-,

(SIWJ\ 9TLJWX (5+9,> 96.,9: IV IMRR EJ ĂŻIOOXYWXY R XuQEPMWXEQ}RRYQ Ă…WXVEPuY SK LIJYV XEPWZIVX PjXMĂŤ EĂŤ WqV OZIĂŤE u LMRYQ EPĂŻNzĂŤPIKE PMWXELIMQM ,ERR LIJYV WĂ­RX ZuĂŤE YQ P}RH SK ½RRE mĂĄ skĂşlptĂşra eftir hann Ă­ fjĂślmĂśrgum einkasĂśfnum, sem og Ă­ mikilvĂŚgum opinberum sĂśfnum Ă­ Ă stralĂ­u, SuĂ°austur-AsĂ­u, MiĂ°-AusturlĂśndum, EvrĂłpu og BandarĂ­kjunum. Verk LERW LEJE SJX SVĂŤMĂŤ J]VMV ZEPMRY ĂŻIKEV JSV]WXYQ}RRYQ u LIMQMRYQ LEJE ZIVMĂŤ KIJREV KNE½V SK Qj XMP EĂŤ Q]RHE RIJRE .SLR ,S[EVH :MRGIRX *S\ )JVEMQ /EX^MV 6MGLEVH &YXPIV og Simon Wiesenthal. Hin stĂłru Ăştiverk Rogers Ăşr bronsi prýða margar vel Ăžekktar byggingar og hafa hvarvetna hlotiĂ° góðar viĂ°tĂśkur. LĂ­fstakturinn, sem hann byrjaĂ°i ĂĄ Ă­ Arava-eyĂ°imĂśrkinni Ă­ Ă?srael ĂĄriĂ° 1999, er langmetnaĂ°arfyllsta verkefni hans og nĂŚr nĂş Ăžegar til sjĂś landa Ă­ fjĂłrum heimsĂĄlfum og hefur vakiĂ° athygli um heim allan. VerkefniĂ° LĂ­fstakturinn er stĂŚrsta landlistarverkefni sem rĂĄĂ°ist hefur veriĂ° Ă­ ĂĄ okkar tĂ­mum og myndar keĂ°ju steinskĂşlptĂşra, eĂ°a steingarĂ°a, um alla jarĂ°arkringluna. +VuĂŤEVWXzVMV WXIMRKEVĂŤEV LEJE ZIVMĂŤ VIMWXMV u WN} P}RHYQ XMP ĂŻIWWE ĂˆWVEIP 'LMPI &zPMZuY 7VM 0EROE Ă…WXVEPuY ĂˆWPERHM SK /uRE Ăˆ JVEQXuĂŤMRRM ZIVĂŤE žIMVM VIMWXMV j -RHPERHM u &ERHEVuONYRYQ &VIXPERHM SK %YWXYV )ZVzTY ĂŽIKEV ZIVOIJRMRY PĂ­OYV QYRY ]½V QERRW u WI\ LIMQWjPJYQ LEJE PEKX L}RH j TPzKMRR ZMĂŤ EĂŤ VIMWE WXIMRKEVĂŤERE 7O PTX VEVRMV sem bera sameiginlega heitiĂ° LĂ­fstakturinn, IVY NjOZÂ&#x;ĂŤEV PuOMRKEV J]VMV LMRE IMPuJY LVMRKVjW PuJWMRW IRHYVZ}\X FEVjXXY QERRWMRW SK ĂŻ}VJ LERW J]VMV XMPKERK u Pu½RY 7XIMRKEVĂŤEVRMV fela Ă­ sĂŠr breiĂ°a alĂžjóðlega sĂ˝n sem tengir saman minningar og margvĂ­sleg tĂĄkn sem eiga uppruna sinn Ă­ fornum steinristum, mĂĄlverkum og goĂ°sĂśgnum ĂĄ hverjum staĂ°; Ăžeir marka tĂ­mann og framlengja sĂśguna inn Ă­ hina ĂłrĂŚĂ°u framtĂ­Ă° um leiĂ° og Ăžeir kanna djĂşpsĂŚvi menningararfs okkar Ă­ leit aĂ° hinu andlega. SĂ˝ningin Ă­ Listasafninu ĂĄ Akureyri IV J]VWXE EPQIRRE ]½VPMXWWĂ­RMRKMR j ĂŻIWWY WXzVFVSXRE ZIVOIJRM

Mitt helsta viĂ°fangsefni verĂ°ur eftir sem ĂĄĂ°ur LĂ­fstakturinn — myndlĂ­kingar um hina eilĂ­fu hringrĂĄs lĂ­fsins, vĂśxt og allar ÞÌr kenndir sem lita mannlega tilveru. Ăžeim er ĂŚtlaĂ° aĂ° vera jĂĄkvĂŚĂ° tĂĄkn lĂ­fs og endurfĂŚĂ°ingar, aĂ° tjĂĄ og minna ĂĄ mannlega barĂĄttu og sjĂĄlfskoĂ°un. SkĂşlptĂşrar mĂ­nir endurspegla samfĂŠlag okkar, drauma okkar og vĂŚntingar. AĂ° XNj WMK IV zXuQEFYRHMR SK QMOMPZÂ&#x;K REYĂŤW]R fK ZSRE EĂŤ u ZIVOYQ QuRYQ QIKM WNj LZIVRMK ZMXWQYRMV SK LYKEVžYK VIRRE WEQER u IMXX SK EĂŤ ĂŻEY IRHYVWTIKPM LÂ&#x;JRM XMP EĂŤ JÂ&#x;VE uQ]RHYREVEžMĂŤ u F RMRK Ăˆ QuRYQ LYKE IV WO PTX VMRR Â&#x;XuĂŤ XNjRMRK LNEVXERW IOOM IMRK}RKY FIMXMRK JEKOYRRjXXY 1IĂŤ ĂŻZu EĂŤ QzXE PÂ&#x;VMWX QERRM EĂŤ WO]RNE jXXE WMK j Ă­QWYQ mismun, gera hlutina ljĂłsari, taka ĂĄkvarĂ°anir og sjĂĄ aĂ° lokum hvaĂ° ĂžaĂ° er sem mĂĄli skiptir Ăžegar maĂ°ur gefur einhverju lĂśgun. MeĂ° hvaĂ°a hĂŚtti Üðrum getur maĂ°ur betur XNjĂŤ QERRWERHERR# ?ŠA ĂŽEĂŤ IV EĂŤIMRW XZIRRX WIQ IV }VYKKX u ĂŻIWWY Pu½ EĂŤ QEĂŤYV JÂ&#x;ĂŤMWX SK HI]V fK LIJ jLYKE j KEKRZMVOY WEQFERHM SOOEV ZMĂŤ YQLZIV½Í SK ERREĂŤ JzPO u OVMRKYQ SOOYV fK WOSĂŤE KNEVRER ĂŻEY WOIMĂŤ WIQ ZMĂŤ PMJYQ SK FVI]XMRKEVREV WIQ IMKE WqV WXEĂŤ u OVMRKYQ SOOYV jWOSVERMVREV WIQ ZMĂŤ QÂ&#x;XYQ j PIMĂŤ SOOEV KIKRYQ PuJLZSP½Í [‌] LĂ­fstakturinn WRĂ­WX YQ jLVMJE}žMR u Pu½ SOOEV ÂŻ YTTLEJWVIMX SOOEV SK IRHEWX}ĂŤ Ăˆ ĂŻIWWY IRHYVWTIKPEWX KVYRHZEPPEVLYKQ]RH /ERHMRWO]W ,ERR PIMX WZS j EĂŤ PuRE ZÂ&#x;VM IMRYRKMW rÜð punkta sem tengjast saman. Ef til vill er kjarni lĂ­fsins fĂłlginn Ă­ Ăžessu. (5+9,> 96.,9: ( 5+9,> 9 6.,9:

ZUUQÂŤXNSLFW ZR XYJNSLFW¨FSF ´XWFJQ (9F[F J^¨NR|WPNS $$$Â&#x; Til lĂ­fsins (Chai), mars 1999 SteingarĂ°ur, 38 x 33 metrar LĂ­fstakturinn (Rhythms of Life), aprĂ­l 2001 SteingarĂ°ur, 29 x 34 metrar SneiĂ° (Slice), mars 2003 SteingarĂ°ur, 80 x 38 metrar Hlutfall (Ratio), oktĂłber 2004 SteinhleĂ°sla, 8 x 32 metrar

,ERR IV WXEĂŤWIXXYV j 7PqXXY ĂŻSPMRQÂ&#x;ĂŤMRREV u QIXVE LÂ&#x;ĂŤ ]½V WNjZEVQjPM 13 kĂ­lĂłmetra frĂĄ bĂŚnum San Pedro, og steinveggirnir eru 1.200 metrar aĂ° lengd. Ăžeir eru gerĂ°ir Ăşr hrauni og leir. LĂ­fstakturinn IV u QIXVE LÂ&#x;ĂŤ u 7EPXJN}PPYRYQ WIQ VuWE ]½V 7PqXXY ĂŻSPMRQÂ&#x;ĂŤMRREV og MĂĄnadalinn, Ăžar sem landslagiĂ° er lĂ­kast ĂžvĂ­ sem er ĂĄ tunglinu, Ă­ um ĂžaĂ° bil 14 kĂ­lĂłmetra fjarlĂŚgĂ° frĂĄ San Pedro. FornaldartungumĂĄl sĂŚkir innblĂĄstur sinn Ă­ 4.800 ĂĄra gamla bergrĂşn sem rist er Ă­ stein ĂĄ svĂŚĂ°inu Ă­ kring, Yerbas Buenos, Ă­ 20 kĂ­lĂłmetra fjarlĂŚgĂ° frĂĄ Rio Grande. Ăžessi steingarĂ°ur er 80 metra langur og 2,8 metra hĂĄr.

Ă? Ă?srael teygir LĂ­fstakturinn WMK ]½V WZÂ&#x;ĂŤM WIQ IV IMRR JIVOuPzQIXVM EĂŤ WXÂ&#x;VĂŤ u KVIRRH viĂ° hinar fornu Nabatean-rĂşstir og kryddleiĂ° frĂĄ fornĂśld. VerkiĂ° samanstendur af Ăžremur steingĂśrĂ°um sem bera heitin Til lĂ­fsins, LĂ­fstakturinn og SneiĂ°. AĂ° auki er steinhleĂ°sla, Hlutfall, sem lokiĂ° var viĂ° ĂĄriĂ° 2004, og byggir hĂşn ĂĄ hlutfĂśllum gullinsniĂ°sins. HĂşn er ĂĄ fjallstoppi skammt frĂĄ Sapir.

)yQN[tF (QYNUQFST RFWX

*MNQJ (YFHFRF J^¨NR|WPNS XJUYJRGJW

Hringir (Circles) SteingarĂ°ur, 100 metrar Ă­ ĂžvermĂĄl

FornĂžjóðirnar (The Ancients) SteingarĂ°ur, 90 metra langur LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 30 metra langur FornaldartungumĂĄl (Ancient Language) SteingarĂ°ur, 80 metra langur Ă? Chile nĂŚr LĂ­fstakturinn ]½V LjPJER ERRER JIVOuPzQIXVE SK XI]KMV WMK YTT u metra hĂŚĂ°. Fyrsti hluti verksins er ĂĄ mjĂśg framandlegum staĂ°, SlĂŠttu ĂžolinmĂŚĂ°innar (Llano de la Paciencia) Ă­ Atacama-eyĂ°imĂśrkinni, Ăžurrustu eyĂ°imĂśrk jarĂ°arinnar, og svo teygir ĂžaĂ° sig til austurs, klĂ­fur SaltfjĂśllin (Cordillera de la Sal) sem gnĂŚfa ]½V 1jREHEPMRR :EPPI HI PE 0YRE Ă… ĂŻIWWY WZÂ&#x;ĂŤM IVY ĂŻVuV WXIMRKEVĂŤEV WIQ FIVE heitin FornaldartungumĂĄl, FornĂžjóðirnar og LĂ­fstakturinn. SteingarĂ°urinn FornaldarĂžjóðirnar ĂĄ sĂŠr 6000 ĂĄra gamla fyrirmynd, bergrĂşn sem kallast El SeĂąor de los BĂĄculos og fannst ĂĄ Rio Loa-svĂŚĂ°inu skammt frĂĄ Calama.

LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 100 x 100 metrar NĂŚrvera (Presence) SteingarĂ°ur, 100 x 100 metrar

Ă? BĂłlivĂ­u eru Ăžessir ĂžrĂ­r steingarĂ°ar Ă­ allt aĂ° 4.360 metra hĂŚĂ°. Ăžeir eru Ă­ sex kĂ­lĂłmetra fjarlĂŚgĂ° hver frĂĄ Üðrum og frĂĄ hverjum Ăžeirra sjĂĄst hinir tveir Ăžar eĂ° loftiĂ° er tĂŚrt Ă­ Ăžessari hĂŚĂ°. Ăžessir steingarĂ°ar voru reistir meĂ° hjĂĄlp 800 verkamanna, sem margir hverjir voru konur sem bĂĄru barn ĂĄ bakinu. NĂŚrvera ĂĄ rĂŚtur aĂ° rekja til bergrĂşna Ă­ grenndinni af seiĂ°manni Ă­ Cerro Ispina, San Antonio, en Hringir eru hins vegar innblĂĄsnir af steinlistaverkum ĂĄ Betanzos-svĂŚĂ°inu. Ăžegar verkinu var lokiĂ° var dĂ˝ri fĂłrnaĂ° til aĂ° helga byggingarsvĂŚĂ°i og skĂśpun steingarĂ°anna.

:WN 3FSPF 2ZWZSJLFQF Sy[JRGJW LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 60 x 60 metrar Stolt (LjĂłn) (Pride (Lion)) SteingarĂ°ur, 60 x 60 metrar

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Uppstigning (Ascend) SteinskĂşlptĂşr, 6,5 x 6,5 metrar Ă Sri Lanka eru tveir steingarĂ°ar og einn steinskĂşlptĂşr meĂ° 3,5 kĂ­lĂłmetra millibili Ă­ kringum vatn. Ăžeir standa ĂĄ heilĂśgum bjĂśrgum sem rĂ­sa Ă­ 350 metra LÂ&#x;ĂŤ ]½V YQLZIV½ WMXX

ÂąXYWFQtF .JJQTSL KJGW~FW ! LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 100 x 90 metrar Bunjil SteingarĂ°ur, 100 x 100 metrar Ă? Geelong Ă­ Ă stralĂ­u voru verkin LĂ­fstakturinn og Bunjil (hVRMRR QIĂŤ žI]KEĂŤE WXqPMĂŤ) reist fyrir You Yangs-ĂžjóðgarĂ°inn Ă­ tilefni af Samveldisleikunum ĂĄriĂ° 2006. LĂ­fstakturinn IV F]KKĂŤYV V L}VĂŤYQ OEPOWXIMRM WIQ ½RRWX j WZÂ&#x;ĂŤMRY Ăˆ BunjilsteingarĂ°inum er stĂŚrsti steinninn um ĂžaĂ° bil 12 tonn aĂ° Ăžyngd og ĂĄ honum er rista af Bunjil, hinum mikla anda forfeĂ°ranna sem skapaĂ°i Kulin-landiĂ°. Hann bjĂł til dĂ˝rin og plĂśnturnar og kenndi fĂłlkinu hvernig ĂžaĂ° ĂŚtti aĂ° haga sĂŠr ĂĄ jĂśrĂ°inni. Hann kenndi ĂžvĂ­ lĂ­ka hvernig ĂŚtti aĂ° standa fyrir Ăžeim athĂśfnum sem tryggja myndu viĂ°gang lĂ­fsins. Steinninn veit Ă­ ĂĄtt aĂ° You Yangs-fjĂśllunum Ăžar sem LĂ­fstakturinn er staĂ°settur.

´XQFSI (PZWJ^WN XJUYJRGJW ! LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 100 x 100 metrar Ă–rninn (The Eagle) SteingarĂ°ur, 100 x 100 metrar NĂşna (rĂşnastafur) (Now (rune)) SteingarĂ°ur, 100 x 100 metrar Ă?sland var numiĂ° af vĂ­kingum ĂĄriĂ° 874, og er Ăžjóðin aĂ° mestu komin af norskum og keltneskum stofni. Akureyri er „å toppi“ jarĂ°arkringlunnar, aĂ°eins 100 kĂ­lĂłmetra JVj RSVĂŤYVLIMQWOEYXWFEYKRYQ ,ZIVKM IVY N}OPEV žIMVM u )ZVzTY IR j ĂˆWPERHM

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SK PERHMĂŤ IV j Q}VOYQ NEVĂŤWOSVTYžIOE )ZVEWuY SK 2SVĂŤYV %QIVuOY Ă… ĂŻIWWY hvikula svĂŚĂ°i er jarĂ°skorpan sĂ­fellt virk, og ĂžvĂ­ eru jarĂ°skjĂĄlftar og eldgos ekki Ăłalgeng og talsvert er af heitum goshverum. MosagrĂłin hraunin og grĂ­Ă°arlegur fjĂśldi Ăłvenjulegra bergmyndana eru aĂ°alsmerki hins Ă­slenska landslags og hafa skapast af hinum stÜðugu ĂĄtĂśkum Ă­ss og elds. LĂ­fstakturinn IV j WZÂ&#x;ĂŤM WIQ RÂ&#x;V ĂŻZIVX ]½V )]NEJN}VĂŤ WIQ ZIMX EĂŤ LMRY RSVĂŤPÂ&#x;KE %XPERXWLE½ :IVOMĂŤ ZEV VIMWX u LjPJKIVĂŤYQ OYPHE SK J]VMV OSQ EĂŤ ĂŻEĂŤ WRNzEĂŤM Ă–rninn er ĂŚttaĂ°ur Ăşr Ă­slenskri goĂ°afrĂŚĂ°i og er tĂĄkn Akureyrar og ein af landvĂŚttunum fjĂłrum Ă­ skjaldarmerki Ă?slands, en hinar eru uxinn (vestur), drekinn (austur) og bergrisinn (suĂ°ur). RĂşnastafurinn NĂş er efst Ă­ hlĂ­Ă°um VaĂ°laheiĂ°ar, austan fjarĂ°arins, gegnt Akureyri en hinir tveir steingarĂ°arnir eru Ă­ fjĂśllunum ofan viĂ° bĂŚinn.

2tSF .TGN J^¨NR|WPNS TPYyGJW ! LĂ­fstakturinn (Rhythms of Life) SteingarĂ°ur, 200 x 200 metrar HellisbĂşinn (The Caveman) SteingarĂ°ur, 150 x 150 metrar SendiboĂ°inn (The Messenger) SteingarĂ°ur, 200 x 200 metrar Þúsund hermenn Ă­ kĂ­nverska hernum voru fengnir til aĂ° reisa ĂžrjĂĄ stĂłra steingarĂ°a sem samanstanda af um ĂžaĂ° bil 4 kĂ­lĂłmetrum af hlÜðnum veggjum sem vega Þúsundir tonna. Ăžeir eru ĂĄ afskekktu svĂŚĂ°i Ă­ Gobi-eyĂ°imĂśrkinni andspĂŚnis snĂŚvi OVĂ­RHYQ 5MPMER JN}PPYRYQ u QIXVE LÂ&#x;ĂŤ ]½V WNz ĂŽIWWM WXEĂŤYV IV ZMĂŤ LPMĂŤ svĂŚĂ°is sem er ĂĄ heimsminjaskrĂĄ MenningarmĂĄlastofnunar SameinuĂ°u Ăžjóðanna (UNESCO) og skammt frĂĄ vesturenda KĂ­namĂşrsins, sem er stĂŚrsta mannvirkiĂ° ĂĄ jĂśrĂ°inni, 6400 kĂ­lĂłmetra langur. HellisbĂşinn ĂĄ sĂŠr fyrirmynd Ă­ bergrĂşn frĂĄ 476–221 f.Kr. sem er Ă­ Heishan-fjĂśllunum norĂ°vestur af borginni Jiayuguan. SendiboĂ°inn er sprottinn upp Ăşr teikningu sem fannst skammt frĂĄ steingĂśrĂ°unum Ă­ grĂśf keisara frĂĄ valdatĂ­mum Wei-JinkeisaraĂŚttarinnar og er frĂĄ 220–265 e.Kr. SteingarĂ°arnir voru afhjĂşpaĂ°ir viĂ° undirleik 450 trommuleikara Ăşr hljĂłmsveit kĂ­nverska hersins, Ăžar sem meĂ°al annars er leikiĂ° ĂĄ trommur sem eru meira en tveir metrar Ă­ ĂžvermĂĄl.

()6<; ;/, (<;/69: /(55,: :0.<9+::65 has been actively involved in the art world for 27 years. He was appointed the director of the Akureyri Art Museum in 1999, and is the founder and director of the Icelandic Cultural Enterprise art.is. Sigurdsson received an M.A. in Art History from UC Berkeley, having previously studied at University College London and graduated from the Icelandic College of Arts and Crafts, Department of Painting, ERH XLI 6I]ONEZMO 'SPPIKI SJ 1YWMG EW E žEYXMWX ,I [SVOIH MR 2I[ =SVO JSV LEPJ E decade as an art correspondent and began his career as an independent curator there. Since then, he has edited and published dozens of books and catalogues and curated over 350 exhibitions and large-scale projects, including shows on Matthew Barney, Louise Bourgeois, Jenny Holzer, Per Kirkeby, Carolee Schneemann, Sally Mann, Spencer Tunick, Joel-Peter Witkin, Henri Cartier-Bresson, Rembrandt and Goya, to name but a few. Sigurdsson has collaborated with museums, institutions, educational authorities, corporations and galleries around the world in countries as diverse as Norway, Faroe Islands, Greenland, Latvia, Russia, Germany, England, France, Spain, Jordan, India, Japan and the United States. He is the founder of the Icelandic Visual Arts Awards that were launched in 2006.

3033@ >,0 is an independent curator and critic based in New York. She has written for many publications in the United States and abroad, as a contributing editor at ARTnews ERH %VX %WME 4EGM½G EW E VIKYPEV GSRXVMFYXSV WMRGI XS %VX MR %QIVMGE EW [IPP EW %WMER %VX News, Art Papers, Sculpture Magazine, Tema Celeste, Flash Art, Art Press, Art and Auction and Glass Quarterly, among others. She has been the essayist for many exhibition catalogues and brochures on contemporary art, including publications for the Albright-Knox Art Gallery, the Neuberger Museum and the Metropolitan Museum of Art. She has served on numerous advisory panels and review committees, including the Pew Fellowship awards, and is a member of several boards, including the International Association of Art Critics (AICA/USA), Art in General, and Art Omi, an international artist residency programme. Wei has been a guest lecturer, panellist and visiting critic at art institutions in the United States and abroad, and has curated numerous shows. She has an M.A. in art history from Columbia University, New York.

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Weightless, Canberra, Australia, 2006 150 x 340 cm (4.9 x 5.5 ft) Weightless, Chicago Pier Walk, 2003 150 x 340 cm (4.9 x 5.5 ft) Folded, 2006 140 x 70 cm (4.6 x 2.9 ft) Unfurling, 2006 170 cm (5.6 ft) Folded 3, National Gallery of Victoria, Australia, 2003 100 cm (3.4 ft) Folded 1, 2006 140 x 80 cm (4.6 x 2.6 ft) Weightless 5, Melbourne, Australia, 2003 120 cm (3.9 ft) Rise, 2003 4,5 m x 4 m (14.7 x 13.1 ft) Weightless 7, 2006 80 cm (2.6 ft)

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*MWTSTQTL^ GNGQNTLWFUM^ :636 ,?/0)0;065: +0:73(@: 2007 2007 2007 2005 2004 2004 2003 2002 2002 2002 1999 1998 1997 1994 1993

Akureyri Art Museum, Iceland: Rhythms of Life 1-VII William Mora Gallery, Melbourne, Australia James Gray Gallery, Los Angeles, USA Victorian Arts Centre, Melbourne, Australia Grounds for Sculpture, New Jersey, U.S.A. Gomboc Sculpture Park, W.A. Australia Deakin University, Victoria, Australia: Survey Exhibition Auronzo di Cadore, Italy Le Venezie, Treviso, Italy Mudima Foundation, Milan, Italy Boritzer Gray Hamano, Santa Monica, USA: Rhythms of Life Embassy of Australia, Washington, USA: Rhythms of Life Lauraine Diggins Fine Art, Victoria, Australia: Rhythms of Life Meridian Gallery, Victoria, Australia: Of Freedom & Will Meridian Gallery, Victoria, Australia: Mankind in the Gesture of an Individual

:,3,*;,+ .96<7 ,?/0)0;065: 2006 2005 2004 2004 2003 2002 2002 2001 1998 1998 1997 1994

Soho Galleries, Sydney, NSW, Australia Soho Galleries, Sydney, NSW, Australia Soho Galleries, Sydney, NSW, Australia Geelong Art Gallery, Victoria, Australia Soho Galleries, Sydney, NSW, Australia Art Singapore, Contemporary Asian Art, Singapore Soho Galleries, Sydney, NSW, Australia Sofa, Chicago, USA Grounds for Sculpture, New Jersey, USA Latrobe University, Victoria, Australia Sculpture at Heidelberg Medical Centre,Victoria, Australia 4th Australian Contemporary Art Fair

(>(9+: -NSFQNXY 2006 2005 2004 2004 2003 2002

Sculpture by the Sea, Bondi, NSW, Australia McClelland Contemporary Sculpture Survey & Award, Australia Chicago Navy Pier Walk, USA Helen Lempriere National Sculpture Award McClelland Survey and Sculpture Park, Victoria, Australia Sculpture by the Sea, Sydney, NSW, Australia

Ripening, Dallas Texas, USA. 4 x 3 metres, 1999

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:,3,*;,+ 4<:,<4: 7<)30* *69769(;, *633,*;065: 05;,95(;065(3 Grounds for Sculpture, New Jersey, USA Flora Exemplar, H 2.2m (7ft. 3�) Leading 1, H 2.0m (6ft. 7�) Flora Exemplar, H 4.6m (15ft ) 2006 Stonebriar Park, Dallas, Texas, USA Rhythms of the Metropolis, H 6m (19ft. 8�) Flora Exemplar, H 2.2m (7ft. 3�) Growing, H 4m (13ft. 2�) Leading 2, H 2.2m (7ft. 3�) Evolving, H 2.4m (8ft.) Macrocosm, H 3m (9ft. 10�) Observe, H 3m (9ft. 6�) Living, H 4m (13ft. 2�) Balanced, H 4m (13ft. 2�) Ripening, H 4m (13ft. 2�) Propagating, H 4m (13ft. 2�) Coil 1, H 3m (9ft. 6�) Rhythms of Life, H 2.6m (8ft. 5�) Hebrew University of Jerusalem, Jerusalem, Israel Torch of Learning Rhythms of the Metropolis, H 6m (19ft. 8�) Technion – Institute of Technology, Haifa, Israel (Artist in Residence, The Technion, Haifa, Israel) Transform, H 3.8m (12ft. 10�) Flora Exemplar

Australian Consul General’s Residence, Kobe, Japan Rhythms of the Metropolis Sound Sapir, Arava, Israel Flora Exemplar, H 2.2m (7ft. 3�) To Life, H 38.5M X 33M (126ft. x 108ft) Rhythms of Life, 29m x 20m (95ft. x 65ft.) Slice, 60m x 38m (197ft. x 125ft.) Ratio, 8m x 32m (26ft. x 105ft.)

Warner Village Cinemas, Berkshire, UK Film Director, H 3.5m (11ft. 6�) Hokoku Construction, Kobe, Japan Flora Exemplar, H 2.2m (7ft. 3�) Balexert Cinemas, Switzerland Film Director, H 3.5m (11ft. 6�) City of Vienna, Nussdorferstrasse,Vienna, Austria Flora Exemplar, H 3.1m (10ft. 2�)

Harwood Center, Dallas, Texas, USA Running Man, H 1.5m (4ft. 11�) Transitory

Presented in Vienna to Simon Wiesenthal by the Ambassador of the United States to Vienna, Austria for the State of the World Forum Resistance, 1999

Hall Vineyard Inc., California, USA Reaching Away, H 4.6m (15ft. 8�) I Dreamed, H 2.6m (8ft. 6�) Flora Exemplar, H 2.2m (7ft. 3�) Growing, H 2.6m (8ft. 6�) Spirit, H 3m (9ft. 6�) Evolution, H 4m. (13ft. 2�) Balance, H 2.4m (8ft.) Organic, H 4m (13ft. 2�) Growth, H 4m (13ft. 2�) Coil 1, H 3m (9ft. 6�)

Machu Picchu Municipality, Peru Rhythms of the Andes, H 3.5m (11ft. 6�)

Warner Brothers Complex, Taipei, Taiwan Film Director, H 3.5m (11ft. 6�)

Curitiba, Brazil Holocaust Memorial, 2002

Golden Village, Marine Square South Multiplex, Singapore CameraMan, H 2m (ft. 6�) Maroussi Multiplex, Athens, Greece CameraMan 2, H 2m (ft. t�) International Conference Center, Jerusalem, Israel Rhythms of Life, H 2.6m (8ft. 6�)

:,3,*;,+ 4<:,<4 7<)30* *69769(;, *633,*;065: (<:;9(30( National Gallery of Australia, Canberra, ACT Rhythms of Life Art Gallery of New South Wales Flora Exemplar, H 2.6m (8ft. 6�) National Gallery of Victoria Folded, H 78cm (31�) Victorian Arts Centre, Melbourne Rhythms of Life, H 2.6m (8ft. 6�) City of Melbourne, King Street, Melbourne, Victoria City Living, H 5m (16ft. 5�) City of Melbourne, Jolimont Terrace, Melbourne, Victoria I Dreamed, H 3.6m (16ft. 5�) The Victorian State Government - City of Melbourne Reaching Away, H 4.6m. (15ft.) Sale Regional Art Gallery, Victoria Running Man Mornington Peninsula Art Gallery, Victoria Perception & Reality 2 Castlemaine Art Gallery, Victoria Reaching Away Mildura Art Centre, Victoria Running Man Bendigo Regional Art Gallery, Victoria Growing

High Court Building, Queen & Little Bourke Streets, Melbourne, Victoria Rhythms of the Metropolis, H 4.7m (15ft. 6â€?) 'SQQSR[IEPXL 4EVPMEQIRXEV] 3J½GIW 8VIEWYV] 4PEGI 1IPFSYVRI Ascend Citibank Building, 350 Collins Street, Melbourne, Victoria I Dropped My Bow, H 3.5m (11ft. 6â€?) Jam Factory, Prahran, Victoria Camera Man, H 2m (6ft. 6â€?) ;IWX½IPH 'SVTSVEXI 0XH 7]HRI] 27; The Experience

Melbourne Holocaust Museum, Elsternwick Pillars of Witness, H 6m (19ft.10�) Mount Scopus College, Melbourne Growth, H 4m (13ft. 2�) Port Melbourne, Victoria Leading 1, H 2m (6ft. 6�) Jewish Museum of Victoria Resistance

University of new South Wales, Sydney Screen

Springvale Cemetery, Victoria Buchenwald Memorial, H 4m (13ft. 2�) Tomb Memorial, H 3.5m (11ft. 6�)

Crown Casino Complex, Melbourne, Victoria Film Director, H 3m (9ft. 10�)

McClelland Gallery, Langwarrin, Victoria Observe, H 2.6m (14ft. 8�)

University of Melbourne, Victoria Running Man

World Square - Sydney NSW Rhythms of Life, H 2.6m (8ft. 6�) Leading, H 2.2m (7ft. 3�)

Copelen, South Yarra, Victoria Flora Exemplar, H 3.6m (11ft. 10�) Wesley College, Prahran, Victoria Together Novotel International Hotel, Springvale, Victoria Industrial City, 7.5m x 4.5m (24ft. 6� x 14ft. 8�) Bristol Myers Squib, Victoria Leading 2 The Becton Corporation, Port Melbourne, Victoria Observe, H 2.6m (14ft. 7�)

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Shoreham, Victoria Growing, H 4m (13 ft.)

Elgee Park, Red Hill, Victoria Leading 1, H 2m (6ft. 6�) Macquarie University, NSW Coil, H 3m, (9ft.6�). McClelland Gallery & Sculpture Park, Langwarrin, Victoria Organic, H 4.2m, (14ft.) Peter MacCallum Cancer Centre, Victoria Catching Wind, H 1.5m (5ft.)

*6440::065: 05;,95(;065(3 Arava Desert, Israel Sculpture Ratio, 8 x 32 m, 2004

Gobi Desert, China 2006 Geoglyph Rhythms of Life, 200 x 200 m, 2006 Geoglyph Messenger, 150 x 150 m, 2006 Geoglyph Caveman, 150 x 150 m, 2006

City of Vienna, Nussdorferstrasse, Austria Presented to the City of Vienna on behalf of State of the World Forum by the United States Ambassador to Austria Flora Exemplar, 1999

Akureyri, Iceland 2006 Geoglyph Rhythms of Life, 100 x 100 m, 2006 Geoglyph Rune, 100 x 100 m, 2006 Geoglyph Eagle, 100 x 100 m, 2006

Technion - Israel Institute of Technology, Haifa, Israel Artist in Residence 1998 Transform, H 3.8 m, 1998

Bank One Tower, Fort Worth, Texas, USA Unfurling, 3.5 m, 2006

Curabati, Brazil Holocaust Memorial, 2002

Arava Desert, Israel Geoglyph Slice, 80 x 38.15 m, 2003 Geoglyph Rhythms of Life, 29 x 24 m, 2001 Geoglyph To Life, 38 x 33 m, 1999

Kurunegala, Sri Lanka 2005 Geoglyph Rhythms of Life, 60 x 60 m, 2005 Geoglyph Pride, 60 x 60 m, 2005 Sculpture Ratiio, 6.5 x 6.5 m, 2005

State of the World Forum,San Francisco, USA Critical Power, 1998

Stonebriar Park Dallas, Texas, USA Rhythms of the Metropolis, 6 m, 2001

Grounds for Sculpture, New Jersey, USA Flora Exemplar, 4.6 m, 2006

Hebrew University, Jerusalem, Israel Rhythms of the Metropolis, 6 m, 2002

City of Jerusalem, Israel Ratio, 4.5 x 5 m, 2005

Presented in Vienna to Simon Wiesenthal by the Ambassador of the United States to Vienna, Austria for the State of the World Forum Resistance, 1999

Young Presidents’ Organization, New Zealand Rhythms of Life, 1999 Arava Regional Council, Sapir Town, Israel Geoglyph, To Life , 38 x 33 m, 1999 State of the World Forum, San Francisco, USA Ripple, 1999

Bolivia Geoglyph Rhythms of Life, 100 x 100 m, 2005 Geoglyph Presence, 100 x 100 m, 2005 Geoglyph Circles, 100 x 100 m, 2005

Atacama Desert, Chile 2004 Geoglyph Rhythms of Life, 40 x 30m, 2004 Geoglyph The Ancients, 90 x 88 m, 2004 Geoglyph, Ancient Language, 80 x 2.8 m, 2004

*6440::065: FZXYWFQNFS Springvale, Victoria Babi-Yar Memorial, 2006 'EYP½IPH :MGXSVME Rise, 4.6m Commonwealth Games 2006, Melbourne, Victoria Bunjil, 100m x 100m (328ft x 328ft) Rhythms of Life, 100m x 90m (328ft x 295ft) Holocaust Memorial, Melbourne, Victoria Tomb, 2005 Presented to the President of Israel Mother Earth, 2005

Australia/Israel Chamber of Commerce Awards — 1997, 1998 and 2004 Commerce World Square - George Street, Sydney, NSW Rhythms of Life, Leading, 2003 Presented to Prime Minister John Howard 0SGEXIH EX 'SQQSR[IEPXL 4EVPMEQIRXEV] 3J½GIW Treasury Place, Melbourne, Victoria Ascend, 2000

Hebrew University of Jerusalem Friends Torch of Learning, 2001 Springvale Cemetery, Victoria Buchenwald Memorial, 2000 Jewish Holocaust Museum, Elsternwick, Victoria Pillars of Witness, 1999 %YWXVEPMER -WVEIP 7GMIRXM½G *SYRHEXMSR Flora Exemplar

Marquette Village Roadshow Theatres Pty. Ltd, Presentation 1998, 1999, 2002 - Melbourne Cup, Australia Film Director

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:7,*0(3 /0./30./;: Three Geoglyphs created on the Altiplano in Bolivia in 2005 at an altitude of 4200 metres. These works comprise the largest contemporary art site created, forming part of a chain of such creations around the world. Photographed by satellite. CNN Television: “Inside the Middle East: Geoglyphs in the Arava Desert, Israel.� November 2005 Celebration of Life photographs of 42 pregnant women in the Arava Desert, Israel 2003

05=0;,+ 3,*;<9,: (5+ >692:/67: 1997: 1998: 2004:

State of the World Forum, San Francisco, USA The Young Presidents’ Organization. Auckland, New Zealand Artist in Residence, Institute of Technology at Technion University, Haifa, Israel Symposium at Sculptures by the Sea, Boondi, NSW. Australia

:,3,*;,+ )0)306.9(7/@ Ken Scarlett, a book entitled Rhythms of Life: The Art of Andrew Rogers. Melbourne Macmillan Art Publishing, 2003. Comments by Edmund Capon, Director of the Australian Gallery, NSW, Australia, Edmund Pilsbury, former Director of Kimball Art Museum and Idit Porit, formerly of Tel Aviv Museum of Art. ISBN: 187683261-4 Dr. Chris McAuliffe, a book entitled Forms, Essay. ISBN: 0-9577671-3-7 Ken Scarlett, a book entitled Elgee Park: Sculpture in Landscape. Melbourne, Macmillan Art Publishing, 2004. ISBN: 1-875-832-32-0 Sculpture Magazine of China Sculptors Association, 2006 Parliament of Victoria, Victoria’s Hansard, March 18, 2006 The Age Newspaper, January 28, 2006 Jetstar Magazine, December/January 2006 Lino, Issue No. 10 2005 The Sydney Morning Herald, December 28, 2005 CNN Television: Inside the Middle East, Geoglyphs in the Arava Desert, Israel. November, 2005 The Australian Newspaper, November 16, 17, 18, 2005 The Herald Sun Newspaper, November 7, 2005 The Australian Art Collector, Issue 34, October-December 2005 World Sculpture News, Volume 11 Number 2, Spring 2005 Melbourne Weekly Magazine, September 28-October 4, 2005 Melbourne Magazine, Issue 032, August 2005 ABC Television, Foreign Correspondent, June 21, 2005 ABC Radio, June 19, 2005 State of the Arts, Australia, 2005 Art in America, June/July 2005 Australian Art Monthly, May 2005 The Age Newspaper, May 16, 2005 Art Monthly Australia, May 2005 Number 179 Monument Architecture & Design, April 2005 World Sculpture News, Volume 10 Number 4, Autumn 2004 Australian Financial Review, August 28-29, 2004 The Age Newspaper, March 3, 2004 Craft Arts International, #60 2004 Sculpture, Magazine of the International Sculpture Center, USA, April 2004 Good Reading, October 2003 World Sculpture News, Volume 9, Number 4, Autumn 2003 Victorian Arts Centre, Melbourne, Australia Website, 2002 University of Melbourne: Australian Sculpture Server, 2002 Sculpture, Magazine of the International Sculpture Center, USA: On Record, Jan/Feb 2003 Kult, Italy, March 2002 Victorian Arts Centre Home Page, February 2002 Jerusalem Post, Friday February 1 and February 8, 2002 Victorian Arts Centre News: Preview, December 2001 Melbourne City Art Walks, City of Melbourne, December 2001 World Sculpture News, Volume 7 Number 3, Summer 2001 Coil, Montalto Vineyard, Mornington Peninsula, Victoria, Australia. The Jerusalem Post, Friday August 25, 2000 3.3 x 2.4 metres, 1999 The Herald Sun, Arts & Entertainment, July 31, 2000

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World Sculpture News, Volume 6 Number 2, Spring 2000 Monument Architecture & Design, April/May 2000 The Australian Magazine, April 1-2, 2000 World Sculpture News, Volume 5 No. 2, Spring 1999 ORF Austrian Broadcasting Corporation, Wien Heute –Television, June 12, 1999 Kurier Newspaper, Wien Austria, December 8, 1999 World Sculpture News, Volume 5 Number 4, Autumn 1999 The Age Newspaper, Melbourne, Australia, December, 6 1999 The Age Newspaper, Melbourne, Australia, October 25, 1999 Sculpture, Magazine of The International Sculpture Center, USA, September 1999, Vol. 18 No. 7 19th & 20th Century Australian Painting Sculpture and Decorative Arts, 1999. Lauraine Diggins Fine Art Salzburger Nachrichten, March 20, 1999 Wiener Zeitung, March 22, 1999 Austria Today Newspaper, March 25, 1999 Die Presse Newspaper, Vienna Austria, March 20, 1999 World Sculpture News, Autumn1998, Volume 4 Number 4 19th & 20th Century Australian Painting Sculpture and Decorative Arts, 1998 Catalogue 90. Lauraine Diggins Fine Art City of Melbourne Open Air Sculpture Museum, 1997 Generation, June 1995, January 1996, October 1996, October 1997, May 2000 Venice Magazine, Los Angeles Arts March 1998 Must See Melbourne: City of Melbourne, Greeting Service, December 1997 Becton Living, 1997 City of Melbourne: Events Magazine, January, March, April 1998 Miscellanea 'YPXYVEP %JJEMVW 3J½GI SJ XLI )QFEWW] SJ %YWXVEPME (IGIQFIV 19th & 20th Century Australian Painting Sculpture and Decorative Arts 1997, Lauraine Diggins Fine Arts Herald Sun Newspaper, 1997 Australian Council for Educational Research, 1997, Administration Manual Fourth Australian Contemporary Art Fair, October 1994 YPO Worldwide, December 1995, A Renaissance Legacy The Herald Sun: Home Magazine, September 2, 1995. The Qantas Club: Artistic Sensibilities, September 1995 Sunraysia Newspaper, May 18, 1996 Architectural Review, Australia, Autumn 1996, Presenting the Future Herald Sun Newspaper, June 20, 1993

Macrocosm, Dallas Texas, USA. h. 3 metres, 1996

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Akureyri Art Museum, Iceland: Rhythms of Life I-VII. ISBN: 978-9979-9632-7-1 Mudima Foundation, Italy: Rhythms of Life II. ISBN: 095776710 Lauraine Diggins Fine Art, Melbourne, Australia: Rhythms of Life II Holocaust Museum, Melbourne Australia: Pillars of Witness. ISBN 064638229 2 Lauraine Diggins Fine Art, Melbourne, Australia: Rhythms of Life Meridian Gallery, Melbourne, Australia: Of Freedom and Will Meridian Gallery, Melbourne, Australia: Mankind in the Gesture of an Individual

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Galleria La Subbia, Pietrasanta James Gray Gallery, Santa Monica, California Soho Galleries, Sydney, NSW

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Celebration of Life, Israel 2003

Andrew Rogers is one of Australia’s most prominent contemporary sculptors with an international reputation. He exhibits internationally and his sculptures can be found in numerous private and significant public collections in Australia, South-East Asia, the Middle East, Europe and the United States. His works have been presented to leading world figures such as John Howard, Vincent Fox, Efraim Katzir, Richard Butler and Simon Wiesenthal. Rogers’ large outdoor bronzes grace many well-known buildings and have received critical acclaim. Rhythms of Life, which he began in Israel’s Arava Desert in 1999, is by far his most ambitious project, already extending to seven countries on four continents and commanding worldwide attention.

Back cover: work in progress, China, 2006

136

A ndrew R ogers

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