Research Catalogue

HEIMILDALEIKSÝNINGIN: FÚSI, ALDUR OG FYRRI STÖRF. UM VERKIÐ: Fúsi, aldur og fyrri störf er heimildaleiksýning um Sigfús Sveinbjörn Svanbergsson. Verkið var frumsýnt 17. nóvember á Litla sviði Borgarleikhússins og var sýnt frá haustinu 2023 til vorsins 2025. Í sýningunni fer Fúsi yfir ævi sína og valin atriði úr fjölbreyttu lífi hans eru færð í leik- og söngbúning með aðstoð leikara og söngvara. Verkið fór í leikferð til Leikfélags Akureyrar og var sýnt á 80 ára afmæli Leikfélags Sólheima á Sólheimum í Grímsnesi. Fúsi er húmoristi, fótboltaáhugamaður, leikari, söngvari og lífskúnstner sem minnir okkur á að lífið er alltaf þess virði að lifa því þó að stundum sverfi að. Hindranirnar í lífi Fúsa hafa eflt hann og hvatt hann til að lifa lífinu til hins ítrasta með fötlun sinni og njóta hvers einasta dags. Stundum er lífsreynsla þó þess eðlis að aldrei verður fyllilega hægt að komast yfir hana, sama hversu jákvæður og sterkur einstaklingur er. Sýningin byggir á viðtölum við Fúsa, sem Agnar Jón Egilsson frændi hans og leikstjóri sýningarinnar tók við hann á meðan covid faraldrinum stóð. Tilurð sýningarinnar er því samband frændanna Fúsa og Agga og samverustundir þeirra. Í samstarfi við sviðslistaframleiðandann Monochorme og MurMur Productions LEIKARAR: Sigfús Sveinbjörn Svanbergsson, Agnar Jón Egilsson, Vala Kristín Eyríksdóttir, Þórunn Arna Krjistjánsdóttir, Halldóra Geirharðsdóttir, Bergur Þór Ingólfsson og Egill Andrason. Leikstjóri: Agnar Jón Egilsson Höfundar: Agnar Jón Egilsson og Sigfús Sveinbjörn Svanbergsson Leikmynd og búningar: Svanhvít Thea Árnadóttir Aðstoðarleikstjóri: Ástbjörg Rut Jónsdóttir Tónlistarmaður. Egill Andrason Aðstoð við söng: Gísli Magna Framkvæmdastjórn: Davíð Freyr Þórunnarson fyrir MUR MUR Production. Tilnenefningar og verðlaun: Sýningin fékk Múrbrjótinn, viðurkenningu Landssamtakanna Þroskahjálpar árið 2024. Múrbrjóturinn er veittur þeim sem þykja hafa skarað framúr í að ryðja fötluðum nýjar brautir í átt til jafnréttis. Í rökstuðningi kom fram að verkið hlyti m.a. viðurkenninguna á forsendum þess að í Fúsi, aldur og fyrri störf sé skrifað og leikið af leikara með þroskahömlun og að það sé í fyrsta skipti sem slíkt gerist í atvinnuleikhúsi á Íslandi. Fúsi, aldur og fyrri störf fékk einnig hvatringarverðlaun ÖBÍ árið 2024. Hvatningarverðlaunin eru veitt þeim sem hafa með verkum sínum stuðlað að einu samfélagi fyrir alla og endurspegla nútímalegar áherslur um þátttöku, sjálfstæði og jafnrétti fatlaðs fólks. Fúsi, aldur og fyrri störf hlaut tvö Grímuverðlaun árið 2024, leikstjóra ársins og Sprotann (hvatnigarverðlaun Grímunnar). En sýninginn fékk samtals fjórar tilnefningar til Grímunnar 2024, fyrrnefndar tvær ásamt Sýningu ársins og Leikara ársins í aukahlutverki (Agnar Jón).

This exposition gathers all the essential information needed to get started with the Research Catalogue (RC) platform at the Iceland University of the Arts (IUA). It offers a clear overview of how to create a profile, start an exposition, and navigate the basic functions of the platform. The goal is to provide staff with a central reference point for working with RC in the context of artistic research and institutional use.

This exposition or archive is a work in progress, under construction, for gathering material of encounters with junipers.

I am a composer, musician and radio producer, and in this exposition I explore how I brought my artistic practice into dialogue with a cartographic approach called deep mapping to create a sound installation called ECOTONE: A Sonic Journey Through Kildimo-Pallaskenry. Deep mapping encompasses the discursive and ideological dimensions of a place, such as memories, imaginations and the multiple realities that exist in our surroundings (Bodenhamer et al. 2015; Roberts 2016; Biggs and Modeen 2020). The approach has spatial considerations and adheres to locations and boundaries, but what is added is a reflexive narrativity that includes the complexity of human stories and identities that exist in a place. Deep mapping has the capacity to bring together histories, mythologies, facts and fictions, and weave them together in expressing a place. In this work, which formed part of my practice-as-research PhD, I developed a sonic deep mapping approach that involves recording the music, sounds and stories of place, and re-imaging them through my composition practice. This research explores a new approach to understanding and representing place, and adds a new perspective to the field of deep mapping. I propose that my sonic deep mapping approach forges connections between creative process, people and place. It invites us to listen deeply to our surroundings and to create representations of place that bring us into the realm of imagination and connection. Download Accessible PDF

This exposition invites you to reflect on the various things you do in your doctoral artistic research and to consider how these activities might form an interconnected system — a methodology. In a guided tour of words, images, and visits to my garden, I reconsider several research models I encountered as a PhD student investigating transdisciplinary performing practices. However, my primary aim is to carve out a pathway — from model to metaphor — one that offers a viable means of seeing your doctoral project existing within a terrain of complexity rather than utter chaos. Throughout the exposition I employ metaphors inspired not only by my artistic work, but also by my garden in Abruzzo, where I lived throughout my PhD studies. To fully discover Abruzzo, it is necessary to slow down — even allow yourself to get bored — before inevitably being revitalized and inspired by its natural beauty and ever-welcoming ambiance. I hope you will embrace this exposition’s journey. Permit yourself to be a rural-Italian wanderer, enjoy the breaks, and take extra ones so you can also enjoy an espresso or glass of Montepulciano d’Abruzzo. Download Accessible PDF

The research project BODIES IN TRANSITION (2023-2024) searches for sensitive and collaborative bodies of the future by interlacing voices and materials from the Wadden Sea into a cosmology of plants, animals, bacteria, humans and planets. In the context of global crises, which appear as symptoms of a patriarchal and hierarchical self-understanding of human existence, three performers travel to the island of Sylt (Germany) to relearn ‘being’ in this more-than-human-world. Performative research is undertaken in the protection zone 1, the Morsum cliff and the mudflats near Munkmarsch. These dynamic ecosystems, with their tidal rhythms dictated by the moon and sun and their diverse life forms, ranging from Japanese berry seaweed to Pacific oysters, make the world’s processualism perceptible and remind us that our lives are intertwined with dynamic ecosystems. The performers immerse themselves in a fluid space of video, sound, natural materials, and performance, rethinking and questioning the diverse relationships between the organisms of the Wadden Sea and their own state as living beings. The leading question of this research is what we can learn from this dynamic interplay, to transform our existence with planet Gaia and all its organisms into a sensitive and resilient future. Download Accessible PDF