VINNUSTOFA
/ Open Studio
21.09 – 11.10.26
REYKJAVIK TOOL ORCHESTRA
KRASSASIG
Reykjavík Tool Orchestra er nýstofnuð sveit undir stjórn krassasig og kemur hún fram á State of the Art hátíðinni 11. október. Í aðdraganda hátíðarinnar verður Gryfjan í Ásmundarsal að opinni vinnustofu þar sem framdar verða tilraunir með borvélar, sagir, steypuhrærivélar og önnur iðnaðarverkfæri, í leit að duldum músíkölskum eiginleikum.
Kristinn Arnar Sigurðsson, krassasig (f. 1995) útskrifaðist af sjónlistadeild Myndlistarskólans í Reykjavík árið 2018 og lauk síðar MA gráðu í sviðsetningu frá HKU í Hollandi árið 2025. Í verkum sínum leitast Kristinn við að tengja saman ólíka miðla á borð við skúlptúr, teikningu, tónlist og gjörning. Verk Kristins eru drifin áfram af forvitni, leikgleði og tilraunamennsku. Algeng þemu í verkum Kristins eru samspil strúktúrs og flæðis, karakter í efni og samruni leikhúss og hversdagsleika.
Vinnustofa
/ AN Open Studio
[English]
In search of softness and warmth through tools that are, by nature, cold and harsh, Reykjavík Tool Orchestra embraces industrial machinery with the aim of bringing out their more delicate sides. The chamber ensemble consists of 8 drills, 8 saws, 2 concrete mixers, 2 grinders, and 4 heat guns. The orchestra is conducted by Kristinn Arnar Sigurðsson, also known as krassasig.
Reykjavík Tool Orchestra will perform at Ásmundarsalur as part of State of the Art on October 11. Until then, the Gryfja will become an open workshop where experiments will be conducted with drills, saws, concrete mixers and other industrial tools, exploring their hidden musical qualities.
Krassasig (b. Kristinn Arnar Sigurðsson, 1995) is an artist, scenographer, and musician from Iceland. He emerged through the music scene in Reykjavík, quickly making a name for him self both as a musician and an artistic visionary, designing and building stages, music videos, live TV performances, and more. He holds an MA degree in Scenography from Hogeschool voor de Kunsten Utrecht (HKU) in the Netherlands.
His practice centers on his methodology of spatial instruments and acts as a bridge between theater, architecture, music, and visual art. He is driven to create structures and systems that allow the organic to grow, systems that behave like musical instruments, and allow you to play, practice, and perform space. With his work, he seeks to transform the practicalities of everyday into something playful and poetic.