#studio magga

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Cape Schanck House | Studio Goss | studio_magga

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Studio magGA

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by STUDIO MAGGA

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Maison les Hiboux (The Owl House), Édouard Pelseneer, 1899.

First photo by Nadene Stapleton, retrieved from Studio Magga.

Art Nouveau in Brussels, Belgium baby. It's fun, there's detail, gorgeous brick colour, lovely shapes and delicate window frames, owl sgrafitto, what more could ya ask for?

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Interview with Margret Bjarnadottir

I discovered the work of multi-disciplinary Magga on Instagram, where else do you find exciting talent the days? 

Just by her name, I knew she must be Icelandic. Upon discovering her work, I became mesmerized. I got in touch with Magga to discuss her work and life in Iceland. 

Jaclyn Bethany: Where are you from and where are you based now?

Margret Bjarnadottir: I am from Reykjavík, Iceland. I then lived abroad for the majority of my twenties and am now based in Reykjavík. 

JB: Tell me a little bit about yourself, your childhood. What was it like growing up in Iceland? 

MB: I grew up right by the sea, in the west side of Reykjavík, in a house my grandparents built and where my father was born. It´s a part of town that can be insanely beautiful, but also very wild and stormy. In the winter you see very clear Northern Lights there and in the summer the incredible midnight sun. But then I also remember the feeling of walking by the sea in total darkness, wind rain and waves crashing at 8 A.M. on my way to school. Pretty bleak. So, it´s a little bit like living in the countryside, in the sense that you are in nature, even if it´s just a twenty minute walk to the city centre. Growing up, there was a lot of space and freedom. And family bonds are strong. My mother has six brothers and sisters and we would meet and have lunch together every Saturday, all the kids and everybody. I was also pretty busy doing ballet six days a week after school, so from the age of eleven there kind of wasn´t time for much else.

JB: Were you surrounded by an artistic community?

MB: Art was never far away. I maybe wasn´t surrounded by artists, but my uncle is a poet and my cousin is a filmmaker. My parents often took me to the theatre and there was a general interest in art and literature at home.

JB: Why do you think Iceland has produced so many successful and talented artists?

MB: It´s hard to say. There are all sorts of home made theories. Some say it´s because it´s cold and dark a big part of the year and there´s not a lot to do, so people have had to find a way to entertain themselves … But if that´s the recipe then you should maybe see the same results in some Scandinavian city of 330.000 people? The older I get the more I buy the energy theory – that there is simply an unusually high energy level in Iceland. Which there must be … the island is basically a very active volcano. It´s all bubbling underneath our feet. It sure effects and manifests itself in the nature here, so it would be strange if it didn´t somehow effect the people who live here as well? I also think that because of all those centuries of isolation there is an inbuilt curiosity in the nation´s DNA – a hunger for something, an openness and lack of fear (a part of that is naivety). In that way, Iceland is a bit like a teenager. And then there´s definitely a sense of humour. I think you have to have a good sense of humour to be able to live here.

JB: You work as a multidisciplinary artist. What do you consider your primary art form, if any? Have you ever felt challenged as a multi-hyphenate female? (I read Iceland is the most feminist country in the world)…

MB: I feel like I need to move between all these art forms to express different things. They inform and support each other. Dance is what I´ve spent most time doing because I started very young, but I don´t necessarily consider it my primary art form. I have always approached my dance pieces more like a visual artist - even sometimes more like a writer. And my writing is quite literal, concrete and confessional. I guess because I started using it to save my life as a teenager, when I wrote extensively in my diary, just to understand all these first time experiences. And then the poet in me is probably most apparent in my visual art work. So, it all hangs together like this somehow.

I can´t say I´ve felt especially challenged as a multi-hyphenate female. Or, I can´t distinguish between what has to do with the fact that I´m a female or that I´m multi hyphenate. Generally, I feel that people are more comfortable labelling you one thing. In my case, people tend to want to label me a choreographer or even a dancer – which is very far from the truth. I decided when I was nineteen not to become a dancer and I hardly ever dance on stage these days. 

I remember one of the teachers in my art university in Holland, said that I would have to choose one medium because otherwise I would be an amateur in every form. I tried to take it seriously at first, but then I realized that this surfing between forms was the only way I could work. And that, in my case, all the different forms supported each other. 

What I have noticed though, is that when it comes to text in my work and particularly when it´s some “clever” word play, some people think that I didn´t write it. That someone must have helped me. Or that it´s based on an idea from someone else. And some have gone as far as to explain the work I have made… to me. It´s really interesting! Like language and humour somehow automatically belonged more to men? Or at least certainly not to a woman with a dance background… Having said that, this is still the exception. I feel more supported, in general.

JB: Why do you think female voices in the  film industry are important? Why do you think a female driven film (like Indigo Valley) should be made, and audiences and investors alike should support them?

MB: Recently I was lucky to see a film, The Swan, by Ása Helga Hjörleifsdóttir, still in the editing process. Ása Helga is my age and this is her first feature film, soon to be released. While watching the film, I gradually became almost sad, because I just realized what I had missed out on throughout all my childhood and teens and basically all my life, hardly ever seeing a film directed by a woman. I wasn´t looking for this, it just crept up on me during the film and shocked me. You can´t describe the female perspective, because of course there are many. 

But I still felt this perspective, which is just somehow different to what you´re used to seeing in films. Something I could very much relate to on a deeper level than I can explain with words, even though the film is based on a novel written by a male writer.

JB: What are you working on currently? What are you excited for in the next year? 

MB: I just finished choreographing a piece with my friend, artist Ragnar Kjartansson, for the Iceland Dance Company. It´s a guitar ballet called “No Tomorrow”, for eight female dancers who play guitar the whole time, while moving. The music is composed by Bryce Dessner (from The National). We are starting to tour the piece now and I have to step in for one of the dancers in the first two shows in Holland at the end of May. So, I´m busy learning the guitar. After that I plan to work by myself in the studio, writing, drawing and who knows what… which I haven´t had time to do for a while. Working without a particular aim. Just following what I´m interested in and seeing where it takes me.

Check out more of Magga’s work at www.maggabjarnadottir.com 

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Trento Cathedral | studio_magga

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Casa de Retiro Espiritual | Emilio Ambasz | studio_magga

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Casa Cuixmala | Sir James Goldsmith | studio_magga

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Rebelo de Andrade | studio_magga

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Fiat Jolly | studio_magga

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Mehmet Ali Uysal | studio_magga

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Gijs Van Vaerenbergh | Johnny Umans

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IBM Pavillion | Charles Eames | Eero Saarinen | studio_magga

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VUILD | studio_magga