How can one claim “the group exhibition of every Icelandic contemporary artist” to be Katrín’s solo project? What is the definition of contemporary art? How can one define what an Icelandic contemporary artist is?
A publication under the title The 6th Volume will form an integral part of the exhibition. To be revised and added to in three phases over the course of the exhibition, the publication will develop in flux with the exhibition, which will be under constant change. At the end of the exhibition period, the three revised phases of the publi- cation will be present under a single book cover. In it will be descriptions of the work and texts in the exhibition. Text pieces will be mounted on the museum walls along with the other contributions.
When within the walls of the Living Art Museum, the works and texts will form a whole which will from that point on not be broken up.
The whole stands as Katrín’s point of intersection of the current time. Should the work be sold, it would be as a whole, all profits turning into the base of a new fund, dedicated to art practice and theory. The fund’s mission would be to strengthen frameworks around creative practices and support var- ious forms of project work in the arts The hypothetical fund is Katrín’s declaration of the importance of a stron- ger framework around art as a profession.
The exhibition explores the boundaries between the author, curator, theorist and artist by expanding and tweaking ideas about these relationships. It looks at the overhead and inner struc- tures of the art practices
in a sincere and humorous way. As an ode to some of the practitioners that have influenced her in one way or another, for Katrín the run- ning theme throughout the exhibition is gratitude to art- ists, thinkers and educators. Dealing with questions of history, the 6th Volume poses
questions about who writes work into art history books, who builds the public collections and who influences or decides the future significance of cultural activity.
The editorial board of the publication, led by Gunnhildur Hauksdóttir and Katrín Inga, con- sists of Stephanie Bokenföhr, Björk Konráðsdóttir, Elín Hrund Þorgeirsdóttir and Gunndís Ýr Finnbogadóttir. Curating has been in the hands of Gunnhildur Hauksdóttir.
The title of the exhibition refers to the five volumes of Icelandic art history recently published by the National Gallery, where of the 5th volume came under considerable criticism for its attempt to deal with the contempo- rary period. Problems of whom and what is given significance arose immediately. The publication was the first grand scale attempt to deal with the young history of art in Iceland.
The 6th Volume / 2013
performance - The Living Art Museum / Reykjavík
The 6th Volume presents work and writings by individuals active within the practice and theory of visual art, chosen by Katrín in an attempt to define contemporary art, based on the Icelandic art practices that have influ- enced her. The goal is to construct an “exhibition of every Icelandic contemporary artist” and by doing so, reflect on the current political environment of art. Katrín has hand made several hundred sculptures in the form of a victory cup, which she calls Gratitude Sculptures. In a letter to invited participants she wrote to individuals she defines as “every Icelandic contemporary artists” consisting of artists, writers and thinkers involved in the field hoping to instigate an exchange; a work donated to Katrín for the exhibition in exchange for a