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Sited in a converted library building on a promontory overlooking the ocean in the town of Stykkish�lmur on the west coast of Iceland, VATNASAFN / LIBRARY OF WATER incorporates many of Roni Horn's abiding artistic concerns with water and weather, reflection and illumination, and the fluid nature of identity. Twenty-four glass columns containing water from glaciers around Iceland refract and reflect the day into a rubber floor embedded with words used to describe weather, inside or out. VATNASAFN / LIBRARY OF WATER also offers a space for community gatherings, a studio for writers, and it houses an oral archive of weather reports gathered from people who live in and around Stykkish�lmur. This book surveys the interconnecting elements of Roni Horn's long-term project on the island through a series of image sequences and texts. It also includes a selection of writings by the artist inspired by her experience of being in Iceland.
"Roni Horn (b. 1955) is a prominent contemporary artist known for her sculptures, photography, and installations inspired by landscape and the natural world, and especially the isolated landscapes of Iceland, where she has travelled and lived for substantial periods of time since the early 1970s. Horn's work explores geology and climate; the interplay of nature, art, and place; and the relationships between words, appearance, androgyny, and the self. Horn is author of more than twenty books and artist's books, and is herself the subject of more than thirty books and exhibition catalogs, including a survey published by Phaidon and many by Steidl. Examples of her work include You Are the Weather (1994-96), a series of photographs of a young woman bathing in Icelandic hot springs; Pair Objects (1988), identical metal sculptures placed in two different locations; and the installation Library of Water (2007) in Iceland, with columns that enclose water from melting glaciers. Horn is arguably the most important visual chronicler of the landscape of Iceland. Upon graduating from her MFA program at Yale, she traveled to Iceland, journeying across its interior on a motorcycle. Over thirty years, she has continually returned to Iceland to explore and record the astonishing beauty of its geology, climate, and culture. This book will contain a range of texts, from evocative vignettes to illustrated essays written for Iceland's most widely-read newspaper. A combination of artists' writings and travelogue, the texts reveal Iceland as one of Horne's most important influences and inspirations, and record a unique and beautiful environment undergoing climate change"--
Photographs of a young woman's face taken throughout Iceland in the October, 2010.
The reports included here were collected throughout 2005 and 2006. The accompanying snapshots were taken at the time and place of each intervew. This publication initiates the archive of weather reports that will be collected and maintained onthe VATNASAFN/LIBRARY OF WATER website.
In this collection of 120 black-and-white photographs, Roni Horn takes us on a journey through a locker room in Reykjavik, Iceland. With minimal movement between the camera and subject in succeeding frames, and through the use of a slow-shutter technique, this finely crafted body of work provokes the viewer to contemplate the subtleties of each image. A blur behind a portal suggests that someone else is in the locker room with the viewer. Room numbers, open and closed doors, and intersecting hallways give clues to the surroundings, and as we turn each page of the book, we sense the subtle shifting of time and space in photographs that reflect a sculptor's attention to the details of surfaces, repetition and form.
These photographs of the Thames River show many changes in light, movement and colour, and are accompanied by references to poems and short stories. An additional level is provided in Dead Body Reports, collected by the artist from London police
A New York Times Notable Book Finalist for the National Book Critics Circle Award A personal, lyrical narrative about storytelling and empathy, from the author of Orwell's Roses Apricots. Her mother's disintegrating memory. An invitation to Iceland. Illness. These are Rebecca Solnit's raw materials, but The Faraway Nearby goes beyond her own life, as she spirals out into the stories she heard and read—from fairy tales to Mary Shelley's Frankenstein—that helped her navigate her difficult passge. Solnit takes us into the lives of others—an arctic cannibal, the young Che Guevara among the leprosy afflicted, a blues musician, an Icelandic artist and her labyrinth—to understand warmth and coldness, kindness and imagination, decay and transformation, making art and making self. This captivating, exquisitely written exploration of the forces that connect us and the way we tell our stories is a tour de force of association, a marvelous Russian doll of a book that is a fitting companion to Solnit's much-loved A Field Guide to Getting Lost.
As a research methodology, walking has a diverse and extensive history in the social sciences and humanities, underscoring its value for conducting research that is situated, relational, and material. Building on the importance of place, sensory inquiry, embodiment, and rhythm within walking research, this book offers four new concepts for walking methodologies that are accountable to an ethics and politics of the more-than-human: Land and geos, affect, transmaterial and movement. The book carefully considers the more-than-human dimensions of walking methodologies by engaging with feminist new materialisms, posthumanisms, affect theory, trans and queer theory, Indigenous theories, and critical race and disability scholarship. These more-than-human theories rub frictionally against the history of walking scholarship and offer crucial insights into the potential of walking as a qualitative research methodology in a more-than-human world. Theoretically innovative, the book is grounded in examples of walking research by WalkingLab, an international research network on walking (www.walkinglab.org). The book is rich in scope, engaging with a wide range of walking methods and forms including: long walks on hiking trails, geological walks, sensory walks, sonic art walks, processions, orienteering races, protest and activist walks, walking tours, dérives, peripatetic mapping, school-based walking projects, and propositional walks. The chapters draw on WalkingLab’s research-creation events to examine walking in relation to settler colonialism, affective labour, transspecies, participation, racial geographies and counter-cartographies, youth literacy, environmental education, and collaborative writing. The book outlines how more-than-human theories can influence and shape walking methodologies and provokes a critical mode of walking-with that engenders solidarity, accountability, and response-ability. This volume will appeal to graduate students, artists, and academics and researchers who are interested in Education, Cultural Studies, Queer Studies, Affect Studies, Geography, Anthropology, and (Post)Qualitative Research Methods.
Roni Horn's "To Place" is an ongoing series of small editions, each book a unique look at the relationship between identity and location. They take as their starting point Iceland and Horn's evolving experiences there, illustrated in watercolors, photographs, typographic drawings, and text. "Doubt Box" is the ninth book in the set, printed in a limited edition of 1,000 copies, and it comes in the form of a collection of 28 loose two-sided images printed on cards, which makes for 56 color reproductions. One face of each shows the glacial river Skafta, proverbially both changing and constant. The other shows any of a collection of possibilities--a boy, an iceberg, birds. Each card offers a hybrid, a composite, while together they suggest the universality of duality, and particularly the dual nature of identity.
Hack Wit is a playful and complex body of work developed between 2013 and 2015, using clichés or proverbs and watercolor. For each work, the artist made two watercolors of a different proverb, cut them apart and then combined them into one. The Canadian poet Anne Carson wrote the text Hack Gloss in response to the “Hack Wit” drawings.