Jaguar Print Pointer BIRNA BIRNA BIRNA Á. Birna Björnsdóttir

Visual artist based in Amsterdam/Reykjavík.
Recepient of the Artist Start Grant from the Mondriaan Fonds 2020.
Email for portfolio or full CV.
Instagram: @b__i__r__n__a

Co-creator of recidency project/artist summer camp Laumulistasamsteypan with Helena Aðalsteinsdóttir and Arna María Kristjánsdóttir.

Co-creator and co-curator of GSM exhibition space in frequencies with Helena Aðalsteinsdóttir.

Co-creator of at7 project space.


The publication 'Sleepmode' published by Artfinger Pub, 2022.

A contribution to the book 'Yes, a falling tree makes a sound (and it has a lot to say)', published in 2022 by Helena Aðalsteinsdóttir and Kling og Bang.

Selected exhibitions:

A Twitch and a Tug at Prospects, group exhibition by Mondriaan Fonds at Art Rotterdam, 2022.

Snertitaug solo exhibition at the Reykjavik Art Museum, 2022.

Tumble-humble-weed at Happyhour GallerÝ, 2022.

All These Elephants exhibited in the group show Architecture of Goodbye at Laurel Project Space, 2021.

I feel asleep, solo exhibition as a part of the series 'Messages from the Deep' by GSM exhibition space in frequencies and Ja Ja Ja Nee Nee Nee radio, 2021.

Kept Between the Toes at Sterrentuin ii, group exhibition, Den Haag, 2021.

Ten of Moods with Bergur Anderson at the Pole, 2021, Rotterdam, The Netherlands.

Greetings Across the Ocean, group exhibition, The North Atlantic House, 2020, Copenhagen, Denmark.

The Jeopardy, exhibition with Laumulistasamsteypan, 2020, Palanga Street Radio.

Anomia, a night of moving images by artists, Kling og Bang, 2020.

The Goatcast, online screenings by Cashmere Radio, 2020.

Comp Ass at Art Rotterdam, 2020.

Hvers vegna syngja fuglar? / Why do birds sing?, as a part of Haustlaukar / Autumn Bulbs by Reykjavík Art Museum, 2019. Exhibited at Vesturbæjarlaug and Breiðholtslaug, Reykjavík, Iceland.

The All Seeing Ad, exhibited in Cosmos Carl - platform parasite, 2019.

Jester's Pool Laumulistasamsteypan, Middlesex Presents project space, 2019, London, the UK.

Four Cups: Spheres of Substantial Solidity and Precarious Subliminal Stimuli - A Conference, made in collaboration with Susan van Veen, at7 project space, 2018, Amsterdam, The Netherlands.

KAFFIPÁSA, 6 day coffee-break by Laumulistasamsteypan, the Living Art Museum, 2018, Reykjavík, Iceland.

To that special someone, anniversary show of at7 project space, 2018, Amsterdam, The Netherlands.

Ég hef þig í vasanum / I got you, in Djúpþrýstingur, the Living Art Museum, 2018, ReykjavÝk, Iceland.

Allir þessir fílar I & II / All these Elephants I & II at Sequences Art Festival, 2017, Reykjavík, Iceland.

Texts and publications:

A two part text written to accompany the two part exhibition Universal Sugar by Hildigunnur Birgisdˇttir, Listasafn AS═, 2019, Gar­abŠr/Vestmannaeyjar, Iceland.

I found an atom in my sock the other day, in Bæklingar / Pamphlet exhibition at OPEN, 2018, ReykjavÝk, Iceland.

Three Snakes and Four Obsessions, a youtube-playlist and text written for Art in America Magazine to accompany a profile written by Brian Droitcour, Art in America, December issue 2017.

How rocks move? They don't move - The rocks don't move., essay 2016.
Á. Birna Björnsdóttir (IS) is a visual artist based in Amsterdam. She graduated from the Gerrit Rietveld Academy in 2016 and has since developed her independent practice through research, collaboration and creation of works and installations for various settings and platforms.

Using and activating matter of various consistency she creates works that take place on a broad scale of materiality; hundred meters of electrical wire, digital luster, a piece of aerogel, a soft hum, blinking eyes on a carelessly placed smartphone, an apricot kernel, live stream, electromagnetic waves, a lump of lead or a missed phone call. Birna is especially drawn to that which seems to exist on the verge of perception; the intangible, invisible and indiscernible play an important role contrasted with the concrete, voluminous and seemingly more important.

Birna questions the daily assumptions she herself is guilty of concerning her own engagement with the world and the forces around her. Translating them into almost light-hearted material interactions she tries to trace the outlines of the nature of things: where waves become solid, matter becomes thing, nature becomes man and facts become truth.

Though deceiving by their harmless looks, Birna's works often inhabit a trickster-like character, gently poking the viewer by snapping them out of their role as audience. Using triggering or loud sounds and involuntary participation, Birna's pieces don't refrain from being naughty - at times slightly uncomfortable.

Initiating platforms for art is furthermore close to Birna's heart and she is the cofounder of the following initiatives:
GSM exhibition space in frequencies