Discussion about the harbor, performance 2011

After a 10 minute discussion about what a harbor represents I was pushed backwards into the harbor, unaware of the exact timing of the push.

 

 

Grève (Strike) in collaboration with Leifur Ýmir Eyjólfsson

Six hour long performance outside of Palais de Tokyo as part of the festival Do Disturb, 2016.

"Suddenly we're staring at the artist-as-art (artist replacing artwork), protesting his own exhibition outside the Palais du Tokyo cake, questioning (again), 'What do I represent?' A double innuendo that challenges both the rôle of the artist as well as the ethical feat that contemporary artists face concerning where and by whom they are represented. Here the artist becomes an image of himself, a sign leading us to think about the active version of himself. I am reminded of Robert Filliou and George Brecht's 'The Cedilla who Smiles,' La Cédille Qui Sourit, a non-commercial, ultimately made-to-fail «shop» set up on the coast outside of Nice, named after the hook symbol that hangs from the 'c' in the French language, converting the 'c' sound to an 's.' Just as the former Fluxus artists didn't intend to abandon their art practice, but rather to transform the expectations of the art object, 'Gréve' sought to undermine associations with art as labor and to create a productive tension toward an artwork as action. However, as the French shop resisted art market demands, 'Grève' and many of Sigudur's other endeavors, defy the present-day demands of an artist to conform to strict professional codes, yet remain unemployed."  Erin Gigl

 

 

Moseying

Hour long concert playing old punk songs in a country tune on guitar and a lap steel guitar. Performed for the traffic at the intersection outside the artist-run Elektrohaus in Hamburg.