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Atli Bollason (b. 1985 in Reykjav\u00edk) holds an MA in English Literature from Concordia University, Montr\u00e9al and a BA in Comparative Literature from the University of Iceland.<\/p>\n\n\n\n
Every new media technology claims to carry its message objectively. But this is wishful thinking. Technological fingerprints are everywhere, not only in the literal distortions of colour and motion we observe, for instance, in different video formats but in the cultural and historical connotations that come with such distortions. As Marshall McLuhan so pointedly observed, \u201cthe medium is the message,\u201d every new medium introduces a new sort of syntax and the effects of new media on human sensory capacities and our symbolic order override the actual content they relay. <\/p>\n\n\n\n
In an attempt to foreground these effects, my art is often made up of modulated video noise (static, snow). Noise is a message without content, so it turns the viewer\u2019s attention to the limitations and fingerprints of media technologies. Such limitations can nevertheless be creative avenues to follow; a blizzard of black and white can become a source of all sorts of colours and shapes.<\/p>\n\n\n\n
Furthermore, creative uses of outdated technologies fascinate me because\u2013once obsolete\u2013they are free from their intended purpose. They become a site of play, experimentation and beauty, paying no service to the economy. Therein lies radical potential: by rejecting the value system of capital we can attempt to create meaning or affect from that which is worthless.<\/p>\n\n\n\n
Selected works and exhibitions:<\/strong><\/p>\n\n\n\n 2021 \u201cRofar til.\u201d Interactive installation at Raflost Festival, Reykjav\u00edk.<\/p>\n\n\n\n 2020 \u201cVisual percussive acid for video, bass synthesizer and drums.\u201d Semi-improvised performance in Mengi, Reykjav\u00edk (with Magn\u00fas Trygvason Eliassen).<\/p>\n\n\n\n 2020 \u201cUnfiled – skj\u00e1skot.\u201d Exhibition in \u00c1smundarsalur, Reykjav\u00edk (with Gu\u00f0mundur \u00dalfarsson).<\/p>\n\n\n\n 2020 \u201cSnowscapes.\u201d Exhibition of oil paintings in Galler\u00ed Port, Reykjav\u00edk.<\/p>\n\n\n\n 2020 \u201cSj\u00f3nsm\u00ed\u00f0 1.\u201d Video installation in Nordic House, Reykjav\u00edk (part of Dark Music Days).<\/p>\n\n\n\n 2019 – 2020 Experimental audiovisual workshop in Mengi, Reykjav\u00edk (with Gu\u00f0mundur \u00dalfarsson).<\/p>\n\n\n\n 2019 Artist residency at Signal Culture, new media institution in Owego, NY.<\/p>\n\n\n\n 2018 \u201cThe Schneer.\u201d Exhibition of images on silk, at Bism\u00fat gallery, Reykjav\u00edk.<\/p>\n\n\n\n 2018 \u201cFivefiles.\u201d EP under the alias Allenheimer.<\/p>\n\n\n\n 2017 Co-writer and lyricist of Two Trains, an album by H\u00f6gni, released by Erased Tapes.<\/p>\n\n\n\n 2017 Directed the music video \u2018End Time\u2019 by DA\u00d0I.<\/p>\n\n\n\n 2016 Directed the music video \u2018Blush\u2019 by Pocket Disco.<\/p>\n\n\n\n 2016 \u201cSnow Motion.\u201d Series of twenty photographs and a video installation in Galler\u00ed Port, Reykjav\u00edk.<\/p>\n\n\n\n 2016 \u201cHarpa Light Organ.\u201d Interactive light installation on the fa\u00e7ade of Harpa Music Hall, Reykjav\u00edk.<\/p>\n\n\n\n 2016 \u201cVideo Hailstorm (VHS).\u201d Installation in Mengi, Reykjav\u00edk.<\/p>\n\n\n\n 2015 Ensemble cast member in O, Brazen Age, a feature film by Alexander Carson.<\/p>\n\n\n\n 2014 \u201cSpor.\u201d Short story, published in T\u00edmarit M\u00e1ls og menningar 3\/2014.<\/p>\n\n\n\n 2014 \u201cPONG.\u201d Interactive light installation on the fa\u00e7ade of Harpa Music Hall, Reykjav\u00edk (with Owen Hindley).<\/p>\n\n\n\n 2013 \u201cSandy\u2019s Gallery.\u201d Short story, published in Headlight Anthology 16.<\/p>\n","protected":false},"excerpt":{"rendered":"