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.


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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