The Art Event at G!  - Exhibitions, Food, Talks and Art


From Tummas Jákup Thomsens outdoor installation at G!

This years art and literature event at the G!Festival is a comprehensive one and it starts today 10.july in the Nordic House in Tórshavn. The title and theme of the event is Always Coming Home - citing the title of a book by American writer and critic Ursula K.Le Guin.

Please bring strange things. 
Please come bringing new things.
Let very old things come into your hands.
(…) May your soul be at home where there are no houses.
Walk carefully, well-loved one,
Walk mindfully, well-loved one,
Walk fearlessly, well-loved one.
Return with us, return to us,
Be always coming home.

                      Ursula K. Le Guin from Always Coming Home, 1985
Home is an abstract concept, a fleeting scent in the air, a sensation of belonging, however fragile and hard to grasp. Sometimes home is entirely concrete, a very particular place in the world that we may long for or long to escape from.

Home is a withdrawal, a motion towards the familiar, towards something sometimes already lost. Home is a fortification, a space demarcated by an exclusion by that which it cannot, will not contain. Home is a space for the reproduction of tradition and the proliferation of relations. Home is where we care in ways not always well accounted for. Home is also where we sometimes cease and fail to care.

Home is the traditional sphere of women and children, a supposedly non-political space harbouring life-sustaining practices and technologies so often taken for granted. Home is where life is maintained, an anchor of ongoingness. 

Home is also a privilege. ‘Ecology’ has its etymological roots in the Greek word ‘oikos’, meaning ‘home’. Contemporary ecological philosophies have introduced the word ‘solastalgia’, referring to feeling deprived of a home without having migrated. As Bruno Latour has stated, it is ‘homesickness at home’, the radical removal of the promise of sustaining life from land in a new climatic regime. The idea of solstagia refers only to the most privileged of us, who have not (yet) been forced to migrate. The eradication of homes and multispecies displacement as a consequense of ecological collapse is very much lived reality for a large number of critters and creatures - humans included - on this blasted planet, this wretched home of ours. 

Homes contain multitudes, and are often much larger, much stranger than we know. Homes are composed and inhabited by companion species such as plants, insects, bacteria and pets.  Homes are intimate spaces of reciprocity and interdependence. Our bodies, our first and foremost home, host a large number of species that do not carry the same DNA as ‘we’ do. Within us, strangeness reside. Me is the smallest we.

Always Coming Home is an international art and literary event, bringing an array of people together in renegotiating limits and potentials of home, of ancestry, of family and kinship. Through panels, exhibitions, workshops, and performances, the program will explore modest hope and situated regenerative practices staying with the im/possibilities of being able to always be coming home. 


Artists and other participants:

Angela Rawlings (ÍS), Eva Tind (DK), Siri Ranvá Hjelm Jacobsen (DK/FO), Carl Jóhan Jensen, Kim Simonsen, Lív Maria Jæger Róadóttir, Lasse Jæger, Oddfríður M. Rasmussen, Anna Malan Jógvansdóttir, Rannva Holm Mortensen, Vónbjørt Vang, Jóhan Martin Christansen, Julie Sass (DK), Tummas Jákup Thomsen, Scott Rettberg (US), Randi Samsonsen, Bruno Michael Eysturstein, Hanni Bjartalíð, Kinna Poulsen, Sunniva Guðmundsdóttir Mortensen, David Sebastian Lopez Restrepo (Columbia), Agnes Mols Mortensen, Meejah Soundbath: Mai Young Øvlisen (Dk), Daniel Nayberg (DK) og Andreas Isbrandt Løvenskjold (DK).


Thanks to our sponsors:

Rit og Rák, The Nordic House, The City of Tórshavn, The Faroese Cultural Foundation, The Faroese Cultural Ministry. 



Art in the Faroe Islands summer 2019


Summer has become the main season for art in The Faroe Islands with many visitors, Faroese students, and others arriving. In Steinprent in Tórshavn there is a group exhibition, MY OWN SPACE, and in Klaksvík there is a group show in Posthúskjallarin. 15.june 2019 another exhibition featuring Icelandic artist Ragnar Kjartansson opens at the Nordic House in Tórshavn. Friday 7.june there is a cultural night in Tórshavn with lots of different exhibitions and cultural events. See link below.

Steinprent's Summer Exhibition 2019 is this year about space in art and art in space: the artists’ own space and the exhibition space itself. The exhibition title appears in an interview from the Liverpool Biennale, where the artist Hanni Bjartalíð tries to put into words the starting point of his artistic inspiration. Bjartalíð claims that his ideas come from a special place; his own room. There can be no doubt that space is fundamental in Hanni Bjartalíð‘s works – both in pictures and sculptures, but not just that. In addition to the space we experience in works of art and the space these works occupy, visual artists have their own space, and these are the spaces that form the focal point of this exhibition.

Over many years Hansina Iversen, with consistency and sophistication in equal measure, has researched the possibilities of non-figurative painting, gradually developing her ‘image space’. Where the picture space in the 1990s was synonymous with form on a background (often the chalk-white primed canvas), today it appears much more complex. While individual shapes appear as two-dimensional as the surface on which they are painted, elsewhere one senses a tremendous depth and power in formations that overlap each other and which, depending on where the eye rests, appear to flit back and forth in an ever-rolling motion. Read more:

Julie Sass solo in Steinprent


Black Fog


STEINPRENT, Tórshavn, The Faroe Islands

March 30 – May 4, 2019

OPENING: Saturday march 30 15.00

This is the first solo show by Danish artist Julie Sass in The Faroe Islands, celebrating 6 years of her collaboration with STEINPRENT on various projects, including the artist books: Volume Rhythm Matter dialogues (2017) and Lemon Mood (2018).

For this show, Sass has created a body of new works: very large-scale litho print, heliographs, an artist book, drawings, paintings, a large-scale sewn work and a window installation with neon lights.

The gallery space will be slightly altered for the show; new walls are constructed to make the angles in the space appear somewhat irregular. Attention to the space is called on via works of monumental scale mixed with intensely detailed and evocative drawings. Another focal point of the show is the experimental nature and possibilities that the large-scale lithographs present.

When looking closer at the multiple layers in the paintings, things add up as an invitation into a semi-transparent space with forms that are loosely contoured, or forms as silhouettes, suggesting their impermanence. Things are stacked, waiting to be rebuild, in a suggestive environment that has a dimmed tone of light; here elements are both emerging and disappearing.

The artist book serves as a meta-layer of painting with its overlaps and references to lived life, which cannot be woven into a single painting. This is one of Sass’ traits as an artist. She continuously unfolds and adds to painting, pulling it out of place and re-assembling it again, and again.

The artist book features 16 heliographs and 8 short poetic and fictional texts. The images are divided in ‘chapters’ in the beginning of the book and the texts are placed at the end, like a final chapter. This format is in a sense a continuation of the tone from Lemon Mood, but here the text in itself is almost abstract as there are no names of places, so the person(s) is moving continuously into the unknown. A mix of the sexes is insinuated; he/she shifts into a subtle We, people, and general observations are almost commonplace with overlaps in textures and senses. The mind is both directed towards the landscape, a body moving, and intimate spaces that most people live with the experience of.

The images in the book are a free flow with a few divisions or shifts and have their own pace, giving attention to their own rhythm, texture, color; are in a way just by themselves images in their own right.

Excerpt from the artist book:


There is a small creek nearby. No pain from the height, no dizziness. No return either. The immense mountains are always in the mind as a black fog, a memory. The latter is repeated, retrieved, wanted.

The bodies are passing silently through landscapes, keeping the sense of the stones they touch in their hands. Then, meeting women in colorful clothing, finally.

Meeting the lost gold, glittering gold, wisdom gold.



Peter Callesen: Sinking boats



Steinprent 22.2-2019 - 23.3-2019

For the exhibition, Sinking Boats, Danish artist Peter Callesen created two works, Time is Running and Falling Cloud, which are inspired by a beloved Faroese hymn from 1897 that the priest, politician and poet, Fríðrik Petersen (1853-1917) wrote depicting the human existence like being in a boat without any oars drifting towards the big waterfall. Thus the poet describes the fundamental conditions of life, that we live our lives knowing that it will be over one day.

The Romantic subject matter of the elements of nature and the human within it is a recurrent theme in Peter Callesens work. We see it in the work Eismeer with it´s direct references in the title to the renowned painting by Caspar David Friedrich of a ship being wrecked by giant floes of ice. Peter Callesen is very interested in water as an element since it´s soft and life giving and yet can be hard and destructive.

The subject of the boat is recurrent in the three new lithographic pictures which Peter Callesen created in the graphic workshop, Steinprent for the exhibition; a melting boat, a sinking boat and a ship wreck. In all of the works at the exhibition death seems to get the final word, but this does not happen without a struggle which seems both poetic and humorous. There is an interesting contrast between the somewhat heavy memento mori existentialist theme and the material lightness of the works. They are all made of paper, but rather than working on the paper, Callesen works with paper as a sculpting material. The works show a main interest is the meeting between two and three dimensionality where the artist uses an ordinary A4 size white paper as a starting point for works which seem to transcend their material in such a suprising and wonderful way.

Steinprent, Skálatrøð 16 Tórshavn Faroe Islands. The gallery is open from 9-17.

Anna Seppälä show in Steinprent 31.august - 27.september 2018


Friday 31.august from 16-18 pm an exhibiton by Finnish artist, Anna Seppälä opens in Steinprent. The artist has participated in group shows in Faroe Islands several times - first time in the St.Olaf Exhibition in Listaskálin some twenty years ago, but this is her first solo show in the Faroe Islands. Her motives derive both from a realistic and a mythical  universe in collages on painted surfaces. These pictures are full of flowers, they are decorative and funny and at the same time a bit gloomy with a hint of the Memento Mori theme in paintings of the baroque era, where the flowers, fruit and beautiful objects intended to remind people of the inevitability of death. But the drawings, lithographic prints and collages by Anna Seppälä are all full life and a decisive believe in love as a forceful and fundamental power. The artist will be present at the opening.

Ape rules, O.K.!
 Claus Carstensen - Steinprent, 29th June - 21st July 2018


The exhibition Ape Rules, O.K.! is dominated by a number of monumental monkeys’ heads that surround and stare down the visitors from central points in the exhibition space. Although the pieces are thematically related to Carstensen’s large exhibition projects over the last several years - Becoming Animal in Den Frie Exhibition Building and The Museum for Religious Art in Lemvig, as well as Dyregørelser at Galleri Tom Christensen - the exhibition at Steinprent is also curated with some new revelations in mind. A recent report on Faroese television concluded that a mere 21% of the Faroese population believes in the Theory of Evolution, which states the common ancestry of humans and apes. A shocking 52% of the population, on the other hand, proclaimed a belief in Creationism, i.e. the belief that humans are created by God or some sort of higher power.

The exhibition contains several references to the many years’ collaboration between Claus Carstensen and the Faroese lithographic workshop, Steinprent. This is apparent in some of the collages, which consist paintings onto which lithographic fragments have been applied - Fragments of lithographic works that have been created at the workshop. Furthermore, there are three pieces that, in a manner of speaking, return to their place of origin, in that they consist of elements of the lithographic process. Namely the green rubber mats from the lithographic presses, on which one can still make out three of Carstensen’s lithographic subjects.

The collaboration between Claus Carstensen and Steinprent, which has lasted for sixteen years so far, is weighty and significant. Also in relation to Faroese art and art history. So far, it has resulted in numerous shows and approximately one hundred lithographic works, as well as several book releases. For example: Dét, hvorom man hverken kan tale ellar tie and Lille Dæmonologi with essays by Søren Ulrik Thomsen and Carstensen’s heliographic prints.

In terms of his subject matter, which frequently orbits interhuman brutalisation, Carstensen can not be despribed as someone afraid of conflict. Whether it is the genocide perpetrated by the Khmer Rouge, the nazis or so-called common human behavior. The primary subject matter has been animals the last couple of times that Carstensen has been working at Steinprent. In 2015, in collaboration with Jan Andersson, Carstensen created the monumental Lithographic piece, Hvalp (Puppy). A piece depicting an aggresive barking German Shepherd, with a snippet of text, phrased as a death threat, taken from a hate mail sent to the Danish poet Yahya Hassan. It reads (loosely translated from Danish): “Fucking dog, you slut. You are going to die, puppy. You filthy whore. I really want to kill you. Fucking cut you in to tiny little pieces, you bum. I hope I will see you some day and I promise you Hell.”

The term Becoming Animal is the starting point for Carstensen’s subject matter. It is a phrase that he describes as a two-sided anthropological plane, on which both sides are interconnected. It delineates graduations of notions, such as: culture, conscientious occurences, self-awareness and human characteristics. The idea that humans are mindful of the fact that we do not live on an open, endless terrain, but see ourselves losing territory. Whereas animals see an unenclosed, unlimited and timeless landscape, where there is no ‘before’ or ‘after’ and therefore neither any consciousness of death. From Carstensen’s perspective, there is an agressive/active and a passive model of ‘Becoming Animal’. The passive side ‘Becoming Animal’ relates to an enormous longing for eternity. The active side ‘Creating Animal’ is about turning ‘the others’ into animals, with an awareness of an hierarchical elevation in relation to those that one degrades.

The spectator is taken aback by the apes’ glances and their abiguous nature. The open jaws with the agressive presentation of teeth versus the monkeys’ sorrowful expression indicates a form of thoughtfulness. ‘The Eyes Are the Windows to the Soul’ reflects on the significant symbolism that we impart on the eyes - In many ways, the notion of the ‘human particular’ lies in the glance. The ape that the Faroese society is now faced with became embarrassingly obvious in Heini í Skorini’s TV-documentary Gud signi Føroyar (God Bless the Faroe Islands), wherein the religious persuasions of the Faroese people was mapped out. Here it became clear, that the Faroe Islands are statistically more similar to some fundamentalist regimes in the world, in comparison to some of the other usual commonalities with Northern Europe.

Hansina Iversen - Steinprent


Summer is a very busy time for the people who work in Steinprent, the lithographic workshop in Tórshavn. But somehow in between the many visitors, they seem to manage to get a lot of work done. Downstairs the exhibition by Randi Samsonsen is still on. Upstairs the Danish artist, Peter Callesen has been working at the workshop and his three lithographic works will be part of his exhibition in Steinprent in august.

The Faroese artist, Hansina Iversens works in the non representational field, she has finished a series of lithographic works this last week with fascinating material effects. They contain several layers of colour like the piece at the top of this page, which seems to have a burning sensation which is juxtaposed by the cool, strange transparent silver grey form on top. It has the shape and appearance of a spooky face, but it is in fact just an organic formation of colour.


Randi Samsonsen In Search of Lost Colours - Vernissage


Í gjár læt framsýningin hjá Randi Samsonsen In Search of Lost Colours upp í Steinprenti. Har vóru nógv fólk og lagið var gott í nýrenoveraða og kekkaða framsýningarhølinum, sum var ein flottur og væl hóskandi karmur kring tey bundnu, heklaðu, seymaðu og samansettu listaverkini. Framsýningin verður hangandi til 23.juni. Farið í Steinprenti og fáið tykkum eina góða, fjølbroytta og øðrvísi listauppliving.

Listakvinnan lurtar meðan Fríða og Jan bjóða vælkomin

Listakvinnan lurtar meðan Fríða og Jan bjóða vælkomin

Eitt av teimum sveimandi verkunum

Eitt av teimum sveimandi verkunum

Fók práta um lív og list

Fók práta um lív og list

Solveig granskar eitt av verkunum

Solveig granskar eitt av verkunum

Steinprent Crew, Fríða, Jan, Louise og Magnus

Steinprent Crew, Fríða, Jan, Louise og Magnus

32293385_10216679236636323_6206775286625730560_n (1).jpg



Randi Samsonsen - New works - Steinprent


In Search of Lost Colours

The opening of Randi Samsonsen’s exhibition ‘In Search of Lost Colours’ takes place at Steinprent (Tórshavn, Faroe Islands) on Saturday the 12th of May at 3pm.

Randi Samsonsen’s main medium is textile. Knitted, crocheted, sewn and stuffed artworks. Lithographic works have also been created for the exhibition.

The exhibition is conceptual. Both the lithographic and textile works have the same starting-point, which the artist has referred to as colour memories from the different homes that she grew up in and visited as a child. From childhood, we are blessed with an outstanding ability to sense our surroundings. With our untarnished senses, we see, smell, hear and feel the rooms surrounding us and the things in them so thoroughly, that we are able to relive these sensory recollections many years later.

Colours play a vital role in Randi Samsonsen’s memories, which is the reason for her empirical take on colour memories.

Through studies of family photo albums she has been making notes and colour charts, which she has been using for both her textile and graphic works. All of the pieces in the exhibition are fundamentally non-representational. Randi Samsonsen’s colour memories manifest themselves in organic shapes, which she places lying, standing or hanging in the space. Some pieces have very natural characteristics, reminiscent of coccons, hanging plant stems or bladder wracks. But the human body also plays a crucial role in these works, from an inspirational, as well as a comprehensive standpoint.

Randi Samsonsen’s textile work relates to the human body, with anthropomorphous shapes evocative of body parts, but this is also art that is to be understood in a complete physical, tactile and sensory manner. Several works are soft, whilst others possess a more rough exterior. The processes used for the creation of these pieces are a wide variety of needlework. The same, which for centuries, have been used to produce common everyday items. But Randi Samsonsen’s work forces a different perspective on this. Somewhere between the known and the unknown, her work surprises by making us laugh, frown and recall.

Randi Samsonsen lives and works in Tórshavn. She holds a Master of Design from the Designschool in Kolding, Denmark. She is a textile artist and also works as teacher at Glasir Tórshavn College. In 2013 she had a solo show at Nordatlantens Brygge, Copenhagen. She has curated several exhbitions at the National Gallery of the Faroe Islands, as well as taken part in a myriad of group shows in the Faroe Islands and internationally.


- Traditionsbrud, Hobro, Denmark


- IsThisKnit, Copenhagen, Denmark.

- Aguille en Feté, Paris, France


- Our Arctic Future, Berlin, Germany


Jack Kampmann - An important modernist

Jack Kampmann was a Danish artist who became a very important figure in the development of Faroese modern art. He lived in the Faroe Islands for many years with his wife and children. He arranged art exhibitions and also he was a teacher in the first Faroese art school. Faroese artist, Ingálvur av Reyni has acknoledged Kampmann as one of his most important mentors.

The exhibition runs from 4ht of May to the 22nd of July 2018

On the 4th of May the exhibition "Jack Kampmann - A Modernist on the Faroe Islands" opens at the National Gallery of the Faroe Islands.

Nils Ohrt, director, bids welcome. Hanna Kampmann, daughter of the artist, opens the exhibition.
Lea and Janus Kampmann play a couple of songs.

Everyone is welcome to the opening of the exhibition. The museum is open every day of the week from 11 a.m. to 5 p.m. Also on holidays

A new poetry collection by Anna Malan Jógvansdóttir


Forlagið Eksil has released the second poetry collection "Korallbruni", by poet Anna Malan Jógvansdóttir. Her first collection "Undirfloyma" was published in 2015, and in 2016 she was awarded the Culture Prize for Young Artists by the Faroese Cultural Ministry. 
Anna Malan Jógvansdóttir is 23 years old and is currently a student at the Literature College "Forfatterskolen" in Copenhagen. Anna Malan has illustrated both collections herself. 
Anna Malan says that "Korallbruni" is an attempt to write herself out of human nature and into nature and let nature take control. Anna Malan is inspired by the posthuman and nature-philosophic trend which currently is much in fashion on the Nordic art and literature scene. With this poetry collection Anna Malan wants to remind us that we need to reconsider our place on Earth, and that earthly matter is not just dead and idle but a part of everything, not least ourselves.

slímutur snigil
mítt hjarta
ber beinagrindina


The Spring Exhibition 2018 - You should clean yourself


From 6th to 29th of April the annual exhibition, Várframsýningin, arranged by Føroysk Myndlistafólk, the Faroese Artist Society, can be seen in the National Gallery of the Faroe Islands. This is an open-submission show which every year is arranged and selected by different members of the Faroese Artist Society. This years organizers are Annika Gregoriussen, Randi Samsonsen and Jón Sonni Jensen.

Participating in the exhibition this year: Alda Mohr Eyðunardóttir, Anna Kathrina Højgaard, Astri Luihn, Bjarni Mohr, Bjørg Jacobsen, Dan Helgi í Gong, Jana Jónhardsdóttir, Jóhan Martin Christiansen, Maria Smith, Nicolina Højgaard, Pernille Mejslov, Vagnur Dam, Vígdis Petersen and Zacharias Heinesen.

Many of the participators are quite young, several of them are quite new to art. This cannot be said about Jóhan Martin Christiansen, he is a quite experienced artist who has created several solo shows the last years. Jóhan Martin Christiansen exhibits two interesting works made by dark coloured cloth diapers, that are put together in monumental hanging compositions. 


The perhaps youngest appearing artwork is the springy painting by nestor amongst the Faroese artists, Zacharias Heinesen. The title “kan-din-sky” is a playful hint to the abstract pioneer artist, Wassily Kandinsky, as is the colourful abstract composition in shimmering, blue and orange, yellow, purple and pink squares and rectangular forms.


The artist Dan Helgi í Gong has for many years worked as a DJ and a sound artist. His first appearance in the Spring Exhibition was only two years ago. His video installation in this years exhibition is called  "You Should Clean Yourself" and deals with shame. It shows the artist lying/sitting in a tub like a little boy, performing dance movements while he is moving around. The tub filled with water is also present physically in the exhibition. This is of course hardly the first time in art history we experience an artist posing naked. But in the small society of the Faroe Islands this is a very courageous self portrait and a work of art with lots of interesting allusions to childhood and sexuality as it also deals with and poses questions to masculinity. According to the title it´s about shame and the effort to wash the shame away. The effort seems to be hopeless since it´s bound to the body and person. 

We don´t often see queer art in the Faroe Islands and therefore the video installation by Dan Helgi í Gong seems refreshing. Gay, bisexual, and transgender rights in the Faroe Islands are relatively similar to that of Denmark, but the progress of LGBT rights has been much slower and it was not untill april 2016, the Faroese Parliament passed legislation legalizing civil same-sex marriage on the Faroes, recognizing same-sex marriages established in Denmark and abroad and allowing same-sex adoption. 

The video installation is rather dark with a blue light which give allusions to classic video installations by pioneer Bruce Nauman and maybe a poster from the old movie Blaue Engel with the german actress and singer, Marlene Dietrich posing. In the video "You Should Clean Yourself" we sense a sort of development during 2.09 minutes (the sound lasts longer) from a closed to a more open and expressive body language. The contrast between the childlike position in the tub and the somewhat sexualized body language makes the work both grotesque and very moving. If the person in the tub was a woman, then this would be a rather standard pinup position – women have frequently been staged as sexualized babies with large ignorant eyes in tubs, on cars, in showers. The plastic tub is an interesting, but rather understated part of the installation

The museum is open Tuesday to Sunday from 1pm to 4pm. Also open on Flagday, 25th of April and General Prayer Day, 27th of April.

Hanni Bjartalíð - New Perspectives

Hanni frams apríl 18 innbj.jpeg

The new exhibition by visual artist Hanni Bjartalíð in Steinprent, Skálatrøð 16 in Tórshavn runs untill 5.may 2018.

In this exhibition, the artist, who was born in 1968 in Klaksvík Faroe Islands, unfolds new aspects of his art, but is at the same time quoting characteristics from old pieces in his growing body of work. Hanni Bjartalíð is an extremely meticulous artist, he is always working. His method seems playful and sensuous, driven by intuition and continuous material research, an approach that echoes global, contemporary art, which clearly emphasizes the artistic process.

With Hanni Bjartalíð material research in itself becomes such an extensive and open part of the expression, that is reminiscent of a form of deconstruction. The artist examines and deconstructs the artistic ideas in his pieces and presents them within the pieces themselves. Hanni Bjartalíð started out as a painter and I think there is a clear painterly feeling in all the surfaces in his sculptures and carved out pictures. Recycling is a defining characteristic of Hann Bjartalíð´s artistic process. No matter what he is doing, he will use up all the material, including any scrap paper or leftover wood. Hanni Bjartalíð has been working on wooden objects for about twelve years. These wooden sculptures are made from recycled material, little pieces of wooden chairs, bread boards, blinds and rubbish. His procedure is always cumulative and aims to bring myriad image elements together into a whole, which appears raw, poetic and highly unique.

The works by Hanni Bjartalíð are partly inspired by childhood memories. Some of them look a bit like the huts we would build when we were little, while they also appear enigmatic and characterized by philosophical gravitas in their non-functional quietness. Hanni Bjartalíð once explained to me how he liked being by the seaside as a child. One reason was alle the fascinating objects that would drift ashore, each with a plausible exiting story.

Boxes and their capacities have always fascinated Hanni Bjartalíð. As a boy he was given a sewing box with lots of tiny compartments, and he was very fond of it. This spatial interest in compartments and compartmentalization is evident in all of Hanni Bjartalíðs work also in the current exhibition. Some of the works seem to be compartments with bottles and even though the works are relatively small, the bottles seem monumental and oversized whereby the works get a sort of surrealistic touch. Other works are reminiscent of ritualistic objects with primitive yet figures and forms. One sculpture is tall, slender and colourful like a totem pole but with references to industrial architecture both in different forms and painted on the surface. Photograps cannot capture this exhibition, these works must be seen in Steinprent.

hanni b.jpg

Listaportal - Faroese art

Welcome to Listaportal

This site concerns art and culture in the Faroe Islands. Most of the texts are Faroese.

My name is Kinna Poulsen, I am a teacher in upper secondary school in visual arts and Danish language and litterature. I live and work in Tórshavn, Faroe Islands. For some twenty years I have communicated art and literature as a critic and author, later also as a curator and I have written several books about Faroese artists and art. I write and run the art site I have a MA (cand mag dansk og kunsthistorie) from the University in Copenhagen.