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Kveikjuþræðir / SparkPlugs – sýningarverkefni meistaranema í myndlist á vormisseri

Florence Lam (HK) og Rebecca Digby (SWE) opna næstu sýningarverkefni meistaranema í myndlist á vormisseri innan sýningaraðarinnar Kveikjuþræðir / SparkPlugs. Sýningin opnar föstudaginn 1. apríl kl. 16 í Kubbnum, sýningarsal myndlistardeildar Listaháskóla Íslands, Laugarnesvegi 91.

the end of no relevance er afrakstur á samvinnu meistaranema Florence Lam og Rebecca Digby, í samvinnu við meistaranámsbraut Háskóla Íslands í listfræði og listfræðinema Ingu Björk Bjarnadóttur, Birki Karlsson og Magnús Jensson. Hægt er að lesa nánar um sýninguna á ensku hér neðar.

Frekari upplýsingar um Kveikjuþræði á heimasíðu skólans má finna hér: http://www.lhi.is/event/kveikjuthraedir-2016

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The next opening in the Sparkplugs exhibition series of the MA fine art programme this spring semester of 2016 will be Friday April 1st, at 4 – 6 pm in Kubbur, exhibition space at the premises of the department of Fine Art, Laugarnesvegur 91.

the end of no relevance is the result of a collaborative process between artists Florence Lam (HK) and Rebecca Digby (SWE), featuring Art Theory students Inga Björk Bjarnadóttir, Birkir Karlsson and Magnús Jensson (IS). This is the second exhibition as of the SPARKPLUGS exhibition series.

Rebecca Digby was born 1987 in Hammersmith, UK and grew up in Helsingborg, Sweden. While pursuing her first year MA at the Royal Institute of Art in Stockholm, where she also did her BA, she is currently on an exchange program at LHÍ. Her interdisciplinary work revolves around questions about relations and hierarchies through the prism of social behaviour and bodily experiences.

Florence Lam was born Vancouver, Canada in 1992 and grew up in Hong Kong. She obtained her BA in Fine Art at Central Saint Martins College of Art & Design in 2014, and is currently pursuing her Masters in Fine Art at Iceland Academy of the Arts. In her work, she places herself in a position where she is in control of the presentation while simultaneously being out of control of how the material performs, therefore creating an illusion of familiar intimacy, exposing the life within the materials as they interact with audiences.

 

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