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19-09.2020 -11-10.2020
RHEUM
DUO SHOW
Litten Nystrøm, Amanda Riffo
Harbinger Project Space
Reykjavik
Iceland
Curator : Claudia Hausfeld
photo : Claudia Hausfeld
Sand-in-my-eyes.jpg

OPTOLITE,

Silver foil gilding on found document, anodized aluminium

16 x 25  cm , 

1954, 2018, 2020.

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Dust Screen detail.jpg

Dust Screen,

color print on perforated vinyl, 200 x 250 cm .

 2020.

Dust Screen,

detail of the view through the window.

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Lebanon series,

Gouache drawings on found document from National geographic 1954, anodized aluminium, non reflective glass.

32 x 25  cm , 

1954, 2014, 2020.

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Untitled, (sandstorm)

perforated document, anodized aluminium, reflective vinyl, dust.

20 x 30  cm , 

1954, 2020.

untitled-rheum-detail.jpg

RHEUM,

Handout text by Claudia Hausfeld.

‘ I was talking about time. It‘s so hard for me to believe in it. Some things go. Pass on. Some things just stay. I used to think it was my rememory. You know. Some things you forget. Other things you never do. But it‘s not. Places, places are still there. If a house burns down, it‘s gone, but the place - the picture of it – stays, and not just in my rememory, but out there, in the world. What I remember is a picture floating around, out there outside my head. I mean, even if I don‘t think it, even if I die, the picture of what I did, or knew, or saw is still out there. Right in the place where it happened.‘

‚Can other people see it?‘ asked Denver.

‚Oh yes. Oh yes, yes, yes. Someday you be walking down the road and you hear something or see something going on. So clear. And you think it‘s you thinking it up. A thought picture. But no. It‘s when you bump into a rememory that belongs to someone else. [...] “

Toni Morrison, Beloved

 

Tout ce qui brille voit. (All that glows sees.)

Gaston Bachelard, The Poetics of Space

 

In this exhibition, Amanda Riffo and Litten Nystrøm explore the physical properties of visibility. RHEUM the sand in one‘s eye after sleep, stands for the slight discomfort of the unresting gaze. Both artists employ tactics that simultaneously complicate the visual and allow them to navigate its form and content, towards a kind of solidified experience.

Amanda‘s Lebanon Series is an attempt to transcend the depths of a photograph via a fragmentation of the image plane. Each photograph allows to accommodate the maximum number of specifically sized circles. By carefully placing the circles directly onto the document, Amanda explores the image to its tiniest detail. Her relationship to the place is part of the investigation, as a means to remember and perhaps to compartmentalize her experiences. The placement of the document on the anodized aluminium sheet corresponds to the original position of the image in the magazine in which it was found.
Dust Screen, in the gallery’s window, twists the street view through yet another circular fragmentation. A semi-permeable surface, Dust Screen evokes a binary visual sensation by being both an image and holes through which the very same image is visible.
Optolite, a tongue-in-cheek linguistic entanglement of two quite distinct concepts, takes up the idea of the eye as an object with both seeing and reflective properties.

Litten employs a silky, almost repellent fabric as a base for a print. The print is made with pigments from the selfsame rocks that the image  depicts. Litten’s sense of belonging is embodied in a variety of residues – dust from ground stones that she picks up along the way from traveling between homes, leftovers of paint from abandoned houses, mud from places that she connects to through personal experiences or found objects that have lost their purpose. She uses these residues as a material to make and remake images in space, as a way to materialize something visual. Litten creates works out of an ongoing moment and relates every element of an installation to each other through precise gestures and interventions. The work often grows and develops during a process that can reach into the duration of the exhibition.