79:. The work can be described as a small fragment of coal captured through an electron microscope that uses a beam of accelerated electrons as its source of illumination, a materialized projection of a layered moment in time, that mirrors itself through texture. Sigurður Guðjónsson represented Iceland at 59th International Venice Biennale 2022 with his installation Perpetual motion His artwork at the Venice biennale, titled Perpetual Motion, offered a poetic exploration of materiality at the edge of the boundaries of perception, powerfully combining moving images and sound to activate the space and create an entrancing, meditative experience for visitors. The work is staged as a split-screen installation, featuring a 6m-tall vertical projection that connects to a large-scale floor projection that occupies most of the pavilion’s space, and was chosen as one of the top five national pavilions in Venice by the Financial Times. Located in the Arsenale," the pavilion was curated by Mónica Bello and it features a soundscape by Guðjónsson in collaboration with composer and sound technician Valgeir Sigurðsson, known for his collaborations with Björk. It has been further described as "a playground for the imagination, placing the focus on the smallest elements which make up the world", a dreamscape of magnets and metals.
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other like mirror images, but their playback speeds are different. This is not the first time that Guðjónsson has played with perception by using mundane objects. For
Fluorescent (2021), the artist took a peep into a fluorescent tube and presented a mesmerizing alternative view of the everyday object, exposing a hidden universe made of swirling dust. He also employed an electron microscope to scan a fragment of carbon in Enigma (2019), conjuring an otherworldly image of the material, and made the mysterious poetic space of Lightroom (2018) from an old slide projector. Tape (2016), a particularly important work for the artist, is a close-up study of a cassette tape, another medium that has been largely forgotten in the digital age.
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90:, Kennedy Center DC, Scandinavia House NYC, The Royal Society of British Sculptors and Hamburger Bahnhof in Berlin. He has participated in biennales such as the Liverpool Biennale, Vienna Biennale and Njord Biennale in Copenhagen. Guðjónsson is represented by the art gallery BERG Contemporary. He currently lives and works in Reykjavík.
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The primary object depicted in the work is, in fact, a small magnetic disc taken from an old loudspeaker, with metal dust sprinkled around the rim. The work depicts the metal dusted rim in extreme close up as it revolves. The outcome is a 45-minute uncut video shown on two screens connected to each
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Guðjónsson is mostly known for his video works, which carry dark and moody characteristics, as well as complex conceptual ideologies behind them. They often focus on the relationship between man-made infrastructure, technical relics, machinery, juxtaposed against natural objects and their
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soundscapes. He often works with musical composers and one of his newest works, titled Enigma, is made in collaboration with Anna
Thorvaldsdóttir. It consists of a string quartet and a video piece and has recently been on tour with four-time
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Guðjónsson was awarded the
Icelandic Art Prize as Visual Artist of the Year in 2018, for his 2017 exhibition Inlight. The exhibition featured video installations set within the defunct St. Joseph’s Hospital in Hafnarfjörður, Iceland.
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With more than twenty solo exhibitions and dozens of groups shows and festival screenings, his works have been shown to critical acclaim around the world and been exhibited in such institutions as the
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between the years of 2003-4. He is one of the founding members of death metal band
Cranium, an influential force in Reykjavík's underground metal scene in the 1990s.
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417:"'My Anchor Point Is Here': How Icelandic Artist Sigurður Guðjónsson's Venice Pavilion Is—and Isn't—Inspired by Homeland"
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435:"Aesthetica Magazine - North Atlantic Pavilion at Liverpool Biennial: Interview with artist Sigurdur Gudjónsson"
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Ostfildern, Hatje-Cantz. Icelandic Art Today: ed. by
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485:"BERG Contemporary | Artists, Art for Sale, and Contact Info | Artsy"
206:"Artist Sigurður Guðjónsson represented Iceland at the Venice Biennale in 2021"
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Distanz, SIGURÐUR GUÐJÓNSSON, Perpetual MOTION 59th Venice
Biennale, 2022.
242:"Sigurður Guðjónsson will represent Iceland at the Venice Biennale in 2021"
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Cantz, Hatje. SKULPTUR: The Royal
British Society of Sculptors. , 2015.
392:"His dark materials: Iceland presents dreamscape of magnets and metals"
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Scacco, Lorella. Northwave: published by
Silvana Editoriale. , 2009.
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317:"Venice Biennale 2022 closing review: who, how and what on earth?"
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356:"Icelandic pavilion: The magnetic attraction of light and sound"
292:"Venice Biennale meets the moment with outstanding pavilions"
274:"Sigurður Guðjónsson creates mindbending Icelandic Pavilion"
539:"Interview: Sigurður Guðjónsson at BERG Contemporary"
554:"Sigurður Guðjónsson is the artist of the year 2018"
471:"Sigurður Guðjónsson | Scandinavia House, US"
54:, Iceland. He studied art in Reykjavík at the
224:"Venice Biennale: next artist already chosen"
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552:Guðrúnardóttir, Áslaug (February 23, 2018).
374:"Pavilions of Change: Venice Biennale 2022"
342:"Mónica Bello curates Icelandic pavilion"
16:Icelandic contemporary artist (born 1975)
256:"Sigurður Guðjónsson: Perpetual Motion"
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58:, graduating in 2003 and in Vienna, at
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503:"Saturday 27/1 2018 // REFLECTIONS"
453:"VIDEOWORKS - SIGURÐUR GUÐJÓNSSON"
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50:Guðjónsson was born in 1975 in
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26:. He works in the field of
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46:Early life and career
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210:Listaháskóli Íslands
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541:. 2 September 2016.
525:bergcontemporary.is
521:"Berg Contemporary"
439:Aesthetica Magazine
360:theartnewspaper.com
230:. December 4, 2019.
212:. December 4, 2019.
24:contemporary artist
20:Sigurður Guðjónsson
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612:978-3-95476-450-1
601:978-3-7757-3283-3
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423:. April 20, 2022.
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