The ventilators are started one after the other forming pillars of wind rising up vertically from the floor, pillars that the viewer cannot see but rather feels upon approaching the work.
Wind-drawing - Istanbul bienalle 1995
Wind-drawing - Gallery Artec, Finland 1999 ( Ragna Robertsdottir on the wall.)
Finnbogi Petursson's Winddrawings (1995) used the assistance of wind and electronic programming. The least material element, the wind, and the immaterial programming have a parallel in their ability to rearrange substances with uncompromising strength. For digital nomads in the recently expanded universe of the art world, indifferent to the place of living, forming matter is still conditioned by the material conditions set at the beginning. But reshaping one's space is not the same as reshaping one's own body, no matter how informing and enlighting playing games with virtual space/identity is. Who, might one ask, is the looking/experienceing subject implied in the disturbingly defamiliarised images of space? Urban, Internet-user, smart and Englishspeaking.
Charlotte Bydler is a doctoral candidate at the Department of Art History at Uppsala University in Sweden and an art critic at Aftonbladet. At present she is working on her thesis, focusing on the internationalization of contemporary art