Mentanarnáttina fríggjadagin 6.juni klokkan 20.30 verður nýggja bókin Í EYGNAHÆDD løgd fram á Reinsarínum. Kinna Poulsen fer at greiða frá bókini, Hansins Iversen fer at halda røðu, og alt verður ballað inn í góðan tónleik og harumframt verða aðrar bøkur lagdar fram.
Í EYGNAHÆDD snýr seg um listina í Føroyum í okkara tíð, tað merkir list, sum er framleidd og sýnd fram frá 2020, men samtíðarlistahugtakið verður eisini til tíðir rakt aftur til aldarskiftið. Bókin er bygd á tær eygleiðingar, Kinna hevur gjørt sær sum ummælari og seinni eisini sum kuratorur. Síðan hon skrivaði sítt fyrsta lønta listaummæli í 1996, hevur hon starvast sum fríyrkisummælari í ymsum miðlum, og síðan 2003 hevur hon ummælt og miðlað list aftrat sínum lærarastarvi á Glasi.
Heitið Í EYGNAHÆDD merkir ítøkiliga, at bókin er grundað á hennara egnu listaupplivingar, men bendir myndaliga eisini á, at hesar listaupplivingar verða lýstar í eygnahædd – ikki bara við listina, men vónandi eisini við lesaran og samtíðina. Tað er hennara vón, at øll listaáhugað kunnu fáa okkurt burtur úr bókini, sum er býtt upp í níggju kapitlar við ymiskum evnum.
Friday june 6.th 20.30 there will be a presentation at Reinsaríið of Kinna Poulsens new book on contemporary art in the Faroe Islands. This century is, and has in many ways been, a time of reckoning—a period where you constantly feel a sense of losing overview and control, forced to realize that nothing is as self-evident as you once thought. This includes the peace and reconciliation that has prevailed in our privileged part of the world for the last many years. In the poem "Onkran morgun" (Some morning) by Jóanes Nielsen, from the collection Brúgvar av svongum orðum (Bridges of Hungry Words) published at the start of the century (2003), it is stated that "everything fixed comes loose." This phrasing captures a period brimming with new possibilities, but one also largely marked by threats and breaking waves that have shifted our way of living and thinking—including artistically.
Such a dynamic state of change—where everything moves, loosens, and old authorities are constantly challenged—is hardly the most stable foundation for an art history book. At least not if it were the old kind of canonizing art history, where a multitude of artists and movements are described and analyzed chronologically with great perspective and a seemingly clear overview of hierarchy and belonging. This seems more or less hopeless when the very foundation is shaking and has been throughout the century, causing old systems to lose their grip and authority—including the professional book medium itself, with its otherwise fixed and permanent form. This is how it must be when everything moves so fast that encyclopedias and similar handbooks become outdated before they are even finished printing.
The book begins with a long essay on the social and cultural events that characterize the 21st century, both abroad and at home. Next, it describes artistic pioneers—older and younger—whose influence is felt well into our time, and artistic advancements that steadily lead us forward. This is followed by an extensive analysis of the art of over fifty artists, and finally an afterword summarizing trends and the contemporary scene.
