Danger: trolls crossing
The distinctions of Icelandic culture are examined in work at aceartinc

The nuances and mores in Icelandic culture are approached through the themes and pieces in Crumpled Darkness at aceartinc.

The contemporary works coming out of Iceland in recent years — such as those shown at the amazing Volcana exhibit at Plug In ICA in 2005 – show that Icelanders have a different way of not only working but also seeing the evolution of contemporary art. The work of Steingrímur Eyfjörd and Haraldur Jónsson’s is no exception.

Jónsson’s work makes one think of the power of emotions honestly. Echoing in the aceart space is the soft voice of a young Icelandic boy learning English for the first time. He carefully reads out a list of emotions, without really knowing what the words truly signify. It is this innocence and the human reaction to it that Jónsson is addressing (in combination with the expressive nature these emotions have, which we sometimes take for granted).

The exhibition’s title comes from the heap of crumpled black paper located just off-centre in the space. As simple as it may seem, the work is quite multi-faceted. By inviting viewers to stare into the pile of darkness, Jónsson again conveys the range of emotions that can take hold of a person. He also references the lack of sunlight in Iceland; like many northern countries, it’s very dark much of the year.

It is a pleasant surprise to see work by Eyfjörd — who represents Iceland in the upcoming Venice Biennale — at a local, artist-run centre such as aceartinc. It’s been a big year for him, as he was also nominated for the 2006 Carnegie Art Award — an important Nordic nod to contemporary artmakers.

Eyfjörd’s exploration of the clash of modern and traditional in Icelandic culture and landscape may not be evident to viewers if not explained. It is thought in Iceland that trolls, or ‘hidden people,’ lie beneath rocks and stones, and hide in the mountains — so much so that major roads divert in the country to avoid these large stones,so as to not disturb them.

Through both aluminum troll sculptures and Tremclad-traced shadows of figures hanging on the wall, Eyfjörd tells the tale of the tension between modern day Iceland and its history. The trolls and paper are timeless, while the car paint and aluminum (Iceland’s newest export) are modern. He presents these images in order to work out and understand how a country rich in history and sagas has been handling the progressions of contemporary society and technology.

The notion of modernity disturbing the trolls is also expressed though Eyfjörd’s rock-fall warning sign sprayed on paper. The trolls have jumped out of hiding and are in the gallery for all to see, showing that tradition is being breached.

Distinctions of language and legend play a large part in Icelandic culture. North American viewers may not understand the themes and meanings behind the work in Crumpled Darkness, but this exhibition is a beautiful contemporary take on not only Icelandic but also human nature.