– MIDNIGHT JUMP – Hreinn Fri∂finnsson

We had to close Hreinn Friðfinnsson’s MIDNIGHT JUMP earlier than planned. Here is a 12 minutes overview for those who missed it.
MIDNIGHT JUMP took place at Rozenstraat a rose is a rose Amsterdam from February 15 – March 14 2020

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Press Review – Midnight Jump –

WELKUNST March 23 2020

Berichten en opinies over kunst vandaag.

Edited by Roger D’Hondt/New Reform

(since 1970)

https://welkunst.blogspot.com/2020/03/hreinn-frifinnsson-een-leven-van-en-met.html

Roger d’Hondt and his wife Marie-Helene meeting up with Raul Marroquin at the MIDNIGHT JUMP exhibition of Hreinn Fri∂finnsson

 

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

PUBLIC EVENTS – Midnight Jump –

Halla Einarsdóttir & Hrafnhildur Helgadóttir

Through the Insides of the Archive

Halla Einarsdóttir and Hrafnhildur Helgadóttir have worked as Hreinn Friðfinnsson’s assistants for years. They were asked to present a personal tour through the exhibition MIDNIGHT JUMP by Hreinn Fridfinnsson. The doors to the exhibition were closed early due to Covid 19, but luckily they still kept the key. In fact, they have the key to the show, the storage, the stories and even to some of the secrets. While wrapping everything up you are invited to peek into Hreinn’s arcane archive of boxes, folders, rigmaroles and memories which they have compiled and categorised, yet continue to get lost in.

This video was made for the public program of Hreinn Fri∂finnsson’s exhibition MIDNIGHT JUMP at Rozenstraat a rose is a rose. Curated by Corinne Groot & Rob van de Ven, Zapp Magazine and Studio Fri∂finnsson. February 15 – April 04 2020.

https://vimeo.com/413500471

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– MIDNIGHT JUMP – HreinnFri∂finnsson

PUBLIC EVENTS – Midnight Jump –

Styrmir Örn Guðmundsson,

The Red Eyed Artist Assistant

February 20 2020

 

A lyrical storytelling performance by Styrmir Örn Guðmundsson about the experience of working as an artist’s assistant for Hreinn Friðfinnsson.
The performance took place February 20 2020 during Hreinn Fri∂finnsson’s exhibition MIDNIGHT JUMP, curated by Corinne Groot & Rob van de ven of Zapp Magazine and Studio Fri∂finnsson.
camera & editing: Zapp Magazine
https://vimeo.com/396884355

 

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Press review MIDNIGHT JUMP

HET PAROOL March 27 2020

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

PRESS REVIEWS MIDNIGHT JUMP

Trendbeheer online March 30 2020

Virtueel Rondje Amsterdam

Metropolis M online April 04 2020

http://www.metropolism.com/nl/features/40759_hreinn_fri_finnsson_rozenstraat_a_rose_is_a_rose_is_a_rose_on_hold_5

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MIDNIGHT JUMP – Hreinn Fri∂finnsson

MIDNIGHT JUMP

February 15 – April 04 2020

(unfortunately closed earlier due to COVID 19)

at Rozenstraat a rose is a rose

Curated and exhibition design:

Corinne Groot & Rob van de Ven,

with Studio Hreinn Fri∂finnsson

images by Gert Jan van Rooij

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– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Press reviews about MIDNIGHT JUMP…

De Groene Amsterdammer (February 26 2020):

Mister Motley (February 24 2020):

mister motley interview HREINN FRIDFINNSSON

 

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Styrmir Örn Guðmundsson: Performance The Red Eyed Artist Assistant, Thursday February 20, 2020

Styrmir Örn Guðmundsson: The Red Eyed Artist Assistant

at Rozenstraat 59 second evening event during

– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Doors open 19:30 performance starts at 20:00 sharp

A lyrical storytelling performance by Styrmir Örn Guðmundsson about the experience of working as an artist’s assistant for Hreinn Friðfinnsson. Specifically envisioned for the exhibition at Rozenstraat- a rose is a rose is a rose.

Styrmir Örn Guðmundsson (b.1984 Reykjavik, Iceland) is a storyteller, a performer, a dancer, an object maker, an illustrator.  He has a love for the absurd, by which is meant less an obsessive passion for the ridiculous, nonsensical or the odd, than a tender and caring attitude: he takes care of the absurd, he helps it to develop, he gives it a place alongside everything else where it can be your most disturbing neighbour and your best friend.  More often than not Styrmir uses the written language as a genesis of his work. Written pieces are then adapted into live performances that activate objects, things and gestures. The performances and their narrative, that often are delivered as monologues, serve as an exhibition device for autonomous art objects. Styrmir studied at the Gerrit Rietveld Academy (2005-2009) and the Sandberg Institute in Amsterdam (2010-2012), during these years he worked as an assistant to Hreinn Fridfinnsson. Styrmir now lives in Berlin.
www.styrmir.eu

redeyedassistant-200x300

This is me you are looking at. And in the picture I am busy at work. I am an assistant. I have been an assistant for a long time. Been struggling to assist an artist of another generation. Let me tell you about this artist. What he does on daily basis is that he sits at home on an elevated chair. He has a wooden table in front of him. And on this table there is an arrangement of of computers, keyboards and all sorts of electronica. And what he does there
is that he remote controls the world he has created around him. So his task is to be a sort of “mothership” in a World of Art

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Talks inspired by Hreinn Fri∂finnsson’s House Project, Tuesday February 18 2020

Talks by Cassandra Edlefsen Lasch and Annabelle von Girsewald inspired by Hreinn Friðfinnsson’s House Project.

at Rozenstraat 59 first evening event during

– MIDNIGHT JUMP – Hreinn Fri∂finnsson

Door open 19:00 lectures start at 19:30 sharp (event in english)

FIRST HOUSE

In 1974, through an ephemeral gesture, Hreinn Friðfinnsson claimed the whole universe within the site of a small house, turned inside-out, in the middle of an Icelandic lava field. Encountered only through happenstance or hearsay, a timeless lore grew around the house. House Project became a resonating series of works, appearing in multiple iterations, inversions, and reductions in form.

Cassandra Edlefsen Lasch will speak on Friðfinnsson’s House Project (1974–) in the vein of her essay “A Theorem of Inversion” written for the monograph Hreinn Friðfinnsson: Works 1964-2019 (London: Koenig Books, 2019), which took the ongoing work as its focus. Viewed through multiple lenses, such as quantum physics, her talk will propose the work as a lens itself. In this light she will also touch upon the publication homecomings 1, 2, 3, etc. (Berlin: Archive Books, 2018), which culminates a three-year co-curated group exhibition and symposium series of the same name inspired by Friðfinnsson’s House Project (1974–) and author Georges Perec’s Species of
Spaces (1974).
Annabelle von Girsewald will visit each iteration of Hreinn Friðfinnsson’s House Project from the prospects of the ideal, real and desire. How do his houses frame the meaning of ‘home’? How are notions of identity reflected in the house project? In 2005 Annabelle curated her first three part exhibition series in her apartment – “home is where the heart is”, “home is where the hurt is” and “homing desire”. The series was inspired by NOI♀SE: Network Of Interdisciplinary W♀men’s Studies in Europe summer school “Diasporic Identities and Mediated Cultures: Gender, History and Representation” which took place at Utrecht University 1999.

FIRST HOUSE, detail

Annabelle von Girsewald (1972, USA) is an exhibition maker, tour manager and art agent based in Berlin, Reykjavik and Sarasota. She obtained her M.A. in Empirische Kulturwissenschaften and American Studies from the University of Tübingen and her B.A. in Women’s Studies and Art History at the University of Wisconsin Milwaukee. Her academic ‘home’ themed shows started in her apartment in Frankfurt am Main 2005. She has been working with the Icelandic conceptual artist Hreinn Friðfinnsson since 2010. Recent projects include Earth Homing: Reinventing Turf Houses and Terminal Exhibitions. Terminal is an ongoing series of an exchange of Icelandic artists in an in between state of transit. She is currently developing Terminal Exhibitions in collaboration with the International Lunar Exploration Working Group, Institute of Earth Sciences Iceland and Universität der Künste Berlin.
Cassandra Edlefsen Lasch (1984, USA) is a curator, editor, and writer based in Berlin, focused on the role of the editorial—processes of rereading—within artistic practice at large and at length. She holds an M.Litt. in Contemporary Art History from the University of Glasgow and a B.A. in Art History with minors in Political Science and Psychology from Santa Clara University, California. She has managed global publications with Hatje Cantz, served as Founding Editor at PRAXES Center for Contemporary Art in Berlin and within Bergen Assembly 2016, and liaisoned on behalf of international artists with the gallery neugerriemschneider in Berlin. The publication homecomings 1, 2, 3, etc. (Berlin: Archive Books, 2018) culminates a three-year co-curated exhibition and symposium series of the same name inspired by artist Hreinn Friðfinnsson’s House Project (1974–) and author Georges Perec’s Species of Spaces (1974). Her essay “A Theorem of Inversion” took House Project as its focus within the monograph Hreinn Friðfinnsson: Works 1964-2019 (London: Koenig Books, 2019). Recent and forthcoming publications under her editorial management include: Boris Buden, Transition to Nowhere: Art in History after 1989 (Berlin: Archive Books); Susanne Kriemann, Ge(ssenwiese) and K(anigsberg): Library for Radioactive Afterlife (Leipzig: Spector Books); Florian Neufeldt, Folds and Faults (Berlin: Distanz); and with editor Rhea Dall, Tempo Tempo Tempo (Oslo: Kistefos-Museet, 2019), and Wilhelm Sasnal: ENGINE (Oslo: Kistefos-Museet, 2018).

 

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