Projects

Dráttir
An attempt not to write in brackets
Reyðarstrípur
To change what was intended
To contain the meaning when we destroy it separately
Brimgarður


Alda  Mohr Eyðunardóttir


Through a variety of media Alda Mohr Eyðunardóttir (b. 1997, Faroe Islands) explores themes of language, silence, and cultural heritage, weaving them together with recognisable materials such as wool, bronze, and film, relocating these objects in new contexts. She engages with the fluidity of meaning and history, recognizing how they continuously shape the present. As she always creates in Faroese, a minority language in most contexts, she works actively with the layered ways in which her work is interpreted, often through subtitles and translation. Drawing from feminist theory, craft traditions, and language, Eyðunardóttir examines how to create broader meanings through a personal lens.

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Dráttir

Screenprint on plexi, primer, digital footage,
16mm- and double super 8 footage.
(11:00 min.)

Mariam Elnozahy: 

“To not believe the idea of emptiness” – this excerpt from Alda Mohr Eyðunardóttir’s film, Dráttir, relates to the idea of emptiness rooted in the historical portrayal of the Faroe Islands, Eyðunardóttir’s homeland and a site of political contestation. As an island nation, the Faroe Islands have often been rendered invisible, both geographically and politically, under the Danish kingdom. To counter the popular representation of the Faroe Islands as ‘empty’, she offers a new portrayal that resists imposed silences, whether in political structures, historical narratives or personal experiences of shame. The work unfolds through a series of conversations between Eyðunardóttir, the filmmaker Maria Guldbrandsø Tórgarð and researcher Turið Nolsøe, jumping between the complex discourse around abortion and the history of self-perception of Faroese people. Their words surface through subtitles and sound, revealing the weight of tradition, cultural expectations and knowledge that exists beyond the written record. The medium of analogue film produces an image that is fragile and imperfect, reconstituting the ephemeral moments that are lost in popular documentation of the Faroes. This fragility and duality are picked up in the installation, where the film is projected onto a transparent backdrop with a centre that makes the picture as well as the subtitles visible. The dialogue in the film is in Faroese, so audiences can only access the subtitles by circumambulating the work, at which time they are deprived of the image. Here, the search for meaning becomes a physical act mirroring the themes of the work. By collectivising a narrative that is often shrouded in secrecy, Eyðunardóttir’s work becomes both a meditation on shame and a space for visibility, where the unsaid is finally given voice. Exhibited at Kunsthal Charlottenborg from 11th of april until august 10. Curated by Mariam Elnozahy.

Link to article.