Gunnhildur’s activities since then reflect the strong connections made by Icelandic artists in the 1970s with Fluxus and the European avant-garde. A member of the nebulous but well-connected Dieter Roth Academy since 2000 and ‘under the guidance of Björn Roth’, she moved on from the Art Academy in Reykjavík to pursue further studies at the Sandberg Institute in Amsterdam.
Gunnhildur’s work retains a lot of the characteristics associated with the Yellow House group, most obviously perhaps the use of cheap materials and rough execution. They have an air of impermanence—a ‘temporary’ air reflecting the urgency associated with an art space that was always operating just days ahead of the wrecking crew. Her most recent exhibition, in Kling & Bang Gallery, is a good example—an installation made of carpenter’s foam, store-bought baby bottles and electrical wiring. The result, however, is a thoughtful meditation on dependency and the rampant consumerism that reduces us all to the developmental stage of infants, being fed our culture and identity through an increasingly automated delivery system promising instant gratification at the risk of our losing all initiative and creative engagement. Her 2002 installation The Adorer and the Adored is a similarly executed examination of the symbiotic relationship between viewer and performer, artist and public.
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