Cycle I Impossible situations, solo act and women in film

11.-17. september

Cycle Music and Art Festival will take over Gerðarsafn all September with a diverse programme. During the first week concerts, workshops, screenings and works under construction will take place.

Cycle Music and Art Festival will take over Gerðarsafn all September with a programme of workshops, residencies, talks, film screenings, communal dinners, concerts, role-playing events, performances and art exhibitions. Cycle is taking place for the third year based around the upcoming centenary of Icelandic sovereignty with focus on Greenland, the Faroe Islands, and Iceland and these countries' historical and current relations with Denmark. During the second week concerts, workshops, screenings and works under construction will take place.


11 September at 7 p.m.

Participants present their perspective and experience of filmmaking and the film world, possibilities and barriers for women´s empowerment through film in addition to panel- and open discussion.

Discussions will be followed by screenings of short-films and clips. Among others: Anahí's Room (2017), film by Ivalo Frank in collaboration with Jessie Kleeman and two Faroese short films, selected by Ingun Olsen. Films will be followed by Q&A sessions.


Dögg Mósesdóttir, director, script-writer and chairwoman of Women in Film and Television - Iceland 
Ivalo Frank, director and film artist 
Ingun Olsen, filmmaker and producer 
Ragnheiður Gestsdóttir, artist, visual anthropologist and documentary maker

12 September at 8 p.m.

The latest project of Duo Hellqvist/Amaral and the artist collective Impossible Situations includes works by Ida Lundén, Marina Rosenfeld and Øyvind Torvund. In Lundén's ba-ro-me-ter - Variations in air and sound pressure (WP), violin and piano pattern after some of the first existing sound recordings made by Édouard-Léon Scott de Martinville over 160 years ago with his then newly invented phonautograph. Rosenfeld's My red, red blood (2011), presented for the first time in duo version, is based on a single-channel video-score from experimental scenarios by poet Kim Rosenfield on the (ostensibly true) experiences of a comedian entertaining US troops abroad. A meditation on US military power, the piece takes its cues both from the punning, disjointed pacing of the stand-up comedian and the idiosyncratic syntax and grammar of musical notation itself. Proposing shifts in meaning through improvisation, interpretation and translation, the video-score emphasizes the conceptual possibilities of musical notation for the production of music in real-time. Last, Torvund's Plans for future violin and piano pieces (2016) presents in multimedia format a collection of imaginary musical ideas that would, in real life, be impossible to realise.

SOLO ACT I Concert
14 September at 8 p.m.

In a world of high quality digital musical reproduction, how do performers connect with their audience? When at the click of a mouse, perfect sounding recordings from around the world can be listened to through speaker systems that reproduce instruments in all their detail, why do we even need performance?

To investigate the enduring power of the live performance, and to embrace the physical nature of the performer, accordionist Andreas Borregaard presents new pieces from three composers whose work embraces both the musical and the physical.

Jennifer Walshe, Simon Steen-Andersen and Niels Rønsholdt are three of the most exciting composers writing for notes and bodies, bringing notions of performance and physicality back into the frame of live music making.

Top image: Jeannette Ehlers, Black Magic at the White House, 2009.
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