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2019 by Freya Björg Olafson

 

website last updated Dec 2019

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'HYPER' screening online as part of 'Insomniac's Dream' curated by Letch Kinloch and Kegan McFadden for Video Pool Media Arts Centre - Sept 30 - Oct 2

October 2, 2016

Insomniac’s Dream

In conjunction with Nuit Blanche Winnipeg 2016, Video Pool is excited share four works from our collection selected by Letch Kinloch and Kegan McFadden. Video Pool will host this selection for exclusive online viewing from Friday 30 September – Sunday 02 October.

 

link to the works: http://www.videopool.org/video-pool-media-arts-centre-continues-their-online-screening-with-insomniacs-dream/

 

 

Howie Cherman

Untitled (Time Stand Still Life), 1997

2:40, Black & White

The kinetic/static composition references a potential for action within the contained architectural and psychological space. The elements within the frame allude to an implied action within an implied narrative of continuous presence, though no action takes place.

 

Freya Bjorg Olafson

HYPER, 2012

3:00, colour

The word ‘hyper’ is derived from the Greek ‘above, beyond or outside’. In mathematics, hyper is used as a prefix, to denote four or more dimensions. Specifically, this work explores the possibility of passing to a fourth dimension wherein perception of past, present, and future becomes more fluid. This video was created in residency at Studio 303 Interdisciplinary Performance Centre in Montreal.

 

Scott Leroux

Pepper Green Pepper, 2014

6:11, colour

Using a simple method of screen capturing low res images Scott Leroux creates a dense pallet of ever changing visuals drenched in subconscious efforts. Then par to the course is a score produced in similar fashion by XIE (eXperimental Improv Ensemble).

 

Erika MacPherson

All of Me, 1996

3:06, b+w

An incident at the fridge. Some floozy, a gal in waiting, a gal in a camisole, a guy in a dress, a gal in a kilt, and a gal in charge. A meal of knowledge, a kiss… an incident.

 

 

Insomniac’s Dream

Somewhere between sundown and sunrise, we meet — or at least we keep trying to. To record another moment together. Where once there was discourse, we are now disquiet. Distant, distinct, disoriented. When I am x-rayed I think you are visible, for a moment, and when you stare stare at the moon maybe that’s me staring back, anxiously awaiting, always awake. Always the potential —to reunite, to fall awake to the part where our bifurcation occurred, to grab hold, hold, hold (pause).

 

Occupying this state, dreaming awake, your uninterrupted presence is a folly act — mocking, making absurd the reality of this existence. In which case, this physical rejoinder and your less than sharp materialization is a persistent tease at the impossibility of rewinding to anything, to a place where we once knew.  So we travel. We leave and arrive, together once again. Speaking nonsense, but together. We’ve rewound to the parts that worked when they worked and from here we start. Wake up. Wake up. Wake up. wakeup. wakeup.

 

Letch Kinloch and Kegan McFadden, respectively, occupy a place on the spectrum that includes publishing, writing, curating, and making artwork. Insomniac’s Dream is their first joint effort.

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