Ívar Glói Gunnarsson Breiðfjörð (1992) richt zich in zijn recen­te werk op de hyper­ver­bon­den wereld van mas­sa­le auto­ma­ti­se­ring, de stan­daar­di­sa­tie van onze omge­ving en zoek­tocht naar authen­ti­ci­teit die daar­uit volgt. Technologie zou ons leven ver­een­vou­di­gen, maar heeft eer­der het tegen­over­ge­stel­de bereikt.

In 2023 won Ívar de CAS-CO BAC award. De prijs wordt elk jaar uit­ge­reikt aan een veel­be­lo­ven­de jon­ge kun­ste­naar die afstu­deert aan LUCA School of Arts. De win­naar krijgt o.a. een resi­den­tie in BAC ART LAB en Cas-co, en finan­ci­ë­le steun.

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His recent work con­cerns itself with today’s hyper­con­nec­ted world of mass auto­ma­ti­on, the standar­di­za­ti­on of our sur­roun­dings and the sub­se­quent search for the ​“authen­tic”. In light of the fact that tech­no­lo­gy, des­pi­te its pro­mi­se to sim­pli­fy our lives, has rather done the oppo­si­te, it beco­mes again impor­tant to ques­ti­on how artists and their art objects should act. In his object orien­ted appro­ach to sculp­tu­re, each work takes on a dif­fe­rent role as an actor, props, gestu­re, atmos­p­herics etc that form alli­an­ces with each other, ema­na­ting an infor­ma­ti­on net­work with its own self con­tai­ned logic. As all gene­ral pla­ces have clear con­no­ta­ti­ons as to their func­ti­on and iden­ti­ty, fil­led with agents that make up the logic of what the pla­ce is, an art exhi­bi­ti­on has the advan­ta­ge of not having clear inten­ti­on. Thus, it can resist any pre­con­cei­ved expecta­ti­on an art vie­wer might have as well as any form of sin­ce­re gestu­re. How fic­ti­o­nal or arti­fi­ci­al are our sur­roun­dings, and, any­way, do we even mind that? Probably not.

In 2023, Ívar won the CAS-CO BAC award. The pri­ze is awar­ded eve­ry year to a pro­mi­s­ing young artist gra­du­a­ting from LUCA School of Arts. The win­ner will recei­ve, among other things, a resi­d­en­cy in BAC ART LAB and Cas-co, and finan­ci­al support.