Elín Hansdóttir, ‘SUSPENSION OF DISBELIEF’, 2015, Installation, Installation view, KW Institute for Contemporary Art
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Elín Hansdóttir

SUSPENSION OF DISBELIEF, 2015

Installation view
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Courtesy Elín Hansdóttir und/and i8 Gallery, Reykjavik Foto: Elín Hansdóttir
Elín Hansdóttir
Icelandic, b. 1980
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Elín Hansdóttir has said that art should “cut the ground from beneath your feet and make you re-evaluate your rigid ideas.” Indeed, the Icelandic artist’s site-specific installations are designed to alter the audience’s perception of space, whether through architectural manipulations or optical illusions. Casting the viewer as the central actor in her works, Hansdóttir often combines mirrors, video, light, and sound to create her immersive environments. For example, her work Path (2008-2011) consists of a narrow, meandering tunnel, partially lit by horizontal and vertical slits throughout the structure. Zigzagging through the space, visitors can easily become disoriented—mistaking shadows for walls and vice versa—which focuses their attention on the often-overlooked experience of navigating a gallery space.

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Elín Hansdóttir, ‘SUSPENSION OF DISBELIEF’, 2015, Installation, Installation view, KW Institute for Contemporary Art
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About the work
Exhibition history
Medium
Image rights
Courtesy Elín Hansdóttir und/and i8 Gallery, Reykjavik Foto: Elín Hansdóttir
Elín Hansdóttir
Icelandic, b. 1980
Follow

Elín Hansdóttir has said that art should “cut the ground from beneath your feet and make you re-evaluate your rigid ideas.” Indeed, the Icelandic artist’s site-specific installations are designed to alter the audience’s perception of space, whether through architectural manipulations or optical illusions. Casting the viewer as the central actor in her works, Hansdóttir often combines mirrors, video, light, and sound to create her immersive environments. For example, her work Path (2008-2011) consists of a narrow, meandering tunnel, partially lit by horizontal and vertical slits throughout the structure. Zigzagging through the space, visitors can easily become disoriented—mistaking shadows for walls and vice versa—which focuses their attention on the often-overlooked experience of navigating a gallery space.

Elín Hansdóttir

SUSPENSION OF DISBELIEF, 2015

Installation view
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