Myndlistakonan Nora van Klingeren opnar sýningu í Sögumiðstöðinni Grundarfirði.
Þar sýnir hún afraksturinn af mánaðardvöl sinni í Grundarfirði.
Þar sýnir hún afraksturinn af mánaðardvöl sinni í Grundarfirði.
Hún fjallar um, Loftslags breytingar og hvernig tíminn getur bæði unnið með okkur og á móti. Á sama tíma og hún veltir fyrir sér spurningum um loftslagsmál skapar hún verk sem eru flest úr náttúrulegum efnum og tengjast viðfangsefninu. Nora hefur dvalið í gestavinnustofu Artak350 í Maí mánuði og lýkur dvölinni með því að bjóða Grundfirðingum á sýninguna, hún hefur ferðast um landið og orðið fyrir upplifun og fengið innblástur í verkin á sínum ferðum.
Bók Andra Snæ Magnússonar “Um tímann og vatnið” hafði djúp áhrif á hana, gaf henni innblástur og leiddi inn í verkefnið.
Climate and/in time is the working title for this Artist in residency .
And/in: there was no easy choice in which preposition to be used. Now at the end of my residency it
is still not clear. Is it about time in it self? Is it about on time to keep climate change within limits?
And/in: there was no easy choice in which preposition to be used. Now at the end of my residency it
is still not clear. Is it about time in it self? Is it about on time to keep climate change within limits?
Is it
a fight against time? Or no time to lose? Or is it about consequences of being too late?
For this project I did internet-reseach on climate change. The Book by Andri Snaer Magnason “Um
timann og vatnid” was a good start both for the climate issues and for specific knowledge about Ice
land.
Lots has changed and even more is going to change. All the data and science is there, still there is no
sense of urgency. Shouldn’t we have to be very nervous? But may it is all too complex. You read
about tonnes of CO2, global warming of 1,5, 2 or 3 degrees. What does that mean?
I try to get a grip on it. Inspired by my stay in the land where ice and fire dance, or is it almost were
ice and fire danced?
The result of this stay will be a booklet where fragments of the scientific knowledge are to be found,
along with photographs, sketches and (photo’s of the actual) textile work and thereby I hope to
contribute to a commonly held discussion or as you might say in Icelandic bermal.
a fight against time? Or no time to lose? Or is it about consequences of being too late?
For this project I did internet-reseach on climate change. The Book by Andri Snaer Magnason “Um
timann og vatnid” was a good start both for the climate issues and for specific knowledge about Ice
land.
Lots has changed and even more is going to change. All the data and science is there, still there is no
sense of urgency. Shouldn’t we have to be very nervous? But may it is all too complex. You read
about tonnes of CO2, global warming of 1,5, 2 or 3 degrees. What does that mean?
I try to get a grip on it. Inspired by my stay in the land where ice and fire dance, or is it almost were
ice and fire danced?
The result of this stay will be a booklet where fragments of the scientific knowledge are to be found,
along with photographs, sketches and (photo’s of the actual) textile work and thereby I hope to
contribute to a commonly held discussion or as you might say in Icelandic bermal.
Nora van Klingeren (1956, Amsterdam) makes textile mainly in hangings for the wall.
Some components are always used. These are wool felted together with handpainted and
screenprinted silk. For every work silk will be painted and screenprinted, as to make a perfect match.
Nora’s basic education is architecture. After working in projectmanagment for many year she got to know felting. Since this is such a miracle process there was just no way to stop to working with it.
On textile Nora is more or less autodidact, but architecture sure helps a lot for a feeling of forms and
measurements
Some components are always used. These are wool felted together with handpainted and
screenprinted silk. For every work silk will be painted and screenprinted, as to make a perfect match.
Nora’s basic education is architecture. After working in projectmanagment for many year she got to know felting. Since this is such a miracle process there was just no way to stop to working with it.
On textile Nora is more or less autodidact, but architecture sure helps a lot for a feeling of forms and
measurements