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The interactive show Þađ er enacted a visual and sonic medley which was concerned with histories and sagas; with telling stories – as if telling them in honesty could fill them with truth. Þađ er took place during Aimée’s residency in the north of Iceland during the winter 2010/2011 and was based at two sites. An autobiographic performance, inclusive of serving personalized food to each of the 500+ inhabitants of Skagaströnd took place in a gallery called ‘the freezer’, transforming the gallery space into a space in which to share food and stories. In contrast, the main show took place in an ‘off-space”: Three rooms on the ground floor of Bjamanes – the former school of Skagaströnd -, which is located directly at the sea-side, served as the second site of the show, where an interactive exhibit of narrated sculptural works was shown.

Over all, Þađ er offers an insight into a passerby’s mind, which is trying to grasp the historicities, social relations, customs, sagas, truths and tastes, etc., within a place that is rich and sharing in all of these. Like a broken mirror, Þađ er still reflects... but only fragments, leaving the rest to the audience, the ones who see and make sense, smell and listen, to be part of it. Þađ er, furthermore, hands the experiences that the artist had ‘over to the audience’ and responds in part directly to questions that Aimée was confronted with during her stay. Being asked how it feels to not understand a word, led, after having completed a day long performance during which 110 people of Skagaströnd taught Icelandic to Aimée (see ‘your icelandic’ under performances), to the development of a short movie, which played in the room through which one enters Bjamanes. In this movie, an Icelandic sign language interpreter ‘translates’ all of the words that Aimée was taught into sign language. Visitors of Þađ er receive an alphabetical list of all of the words and are requested to number them following the order in which they are signed in the movie. Watching Icelandic as spoken (signed) by a minority in the country and trying to make sense of it resonates with the experience of being to a certain degree excluded by the language that is spoken in one’s social surrounding.  

The second room of the show is concerned with stories related to the migration waves that took Icelanders to the US and Canada after the cold years at the end of the 19th century.  Unusually, many women migrated, which was related to the fact that, statistically, the number of women who were of the age to marry was higher then the number of men for many years in the history of Iceland. The installation in the second room uses sculptured sound and visuals, as well as light, to narrate imagined reality fragments that echo the experiences of leaving and leaving behind, as well as expecting.

The third room shows a sculptural installation produced using techniques that are traditional to Iceland, such as weaving and felting, and playing with symbols, such as that of a sea monster, which women were traditionally taught to stitch in textile school courses during the last century. This installation plays with various tensions, such as between inside and outside, expecting and remembering, seeing and adding to what we see by making use of other senses. Using various sound-scapes that are accessible through headphones, visitors who are in the room at the same time are simultaneously in very different sound spaces that argue with the sculptural work shown.