Visitations was exhibited from September 25th 2021 to January 16th 2022 at Akureyri Art Museum, Akureyri, north Iceland and was curated by Æsa Sigurjónsdóttir.
2019 ArtZine https://artzine.is/a-table-or-a-hand-on-the-progressive-hospitality-within-snaebjornsdottir-wilsons-vanishing-point-where-species-meet/?fbclid=IwAR2FhEuUgLbbA984_ucYK86wZg7L-8vj6KuIR3vybKzi3YYLJjMhJQlMo0c
2017 AnTENnae: 10 years of the The Journal of Nature in Visual Culture ISBN-10: 9198385607 (see above in Publications)
2016 Antennae: The Journal of Nature in Visual Culture, Book Review by Wood Roberdeau You Must Carry Me Now: The Cultural Lives of Endangered Species Snæbjörnsdottir/Wilson (Spring) ISSN 1756-9575
2016 Humanimilia: Volume 8, Number 1 – Fall 2016 Reviews Katja Aglert &Tora Holmberg Extinction Stories
2016 Morgunblaðið, Reykjavík, Iceland. Feral Attraction at ASÍ.
2015 Art Ltd, US. Review of Snæbjörnsdotti/Wilson’s work in Late Harvest and ASU Museum of Art.
2014 Configurations, Present Signs, Dead Things: Indexical Authenticity and Taxidermy’s Nonabsent Animal, Helen Gregory, Anthony Purdy. Volume 23, Number 1, Winter 2015 pp. 61-92, John Hopkins University Press.
2013 Mustekala.info Trout Fishing in America and Other Stories, After the Animal, 4/13 Vol. 53. Snæbjörnsdóttir/Wilson in conversation with Ron Broglio
2012 ANTENNAE issue #21 Animal Influence Volume #1 () Snæbjörnsdóttir/Wilson paper On Animal Terms appears in the two-part online journal publication (peer-reviewed) based on the International Conference, Interactive Futures, Vancouver, November
2012 Black Flash, Magazine of Art, Photography and New Media, Snæbjörnsdóttir/Wilson by Amy Fung, pg. 24-26. Issue 29.2 Winter.
2011 GIBCA Andreas Haagstrom interviews Snæbjörnsdóttir/Wilson for the Gothenburg International Biennial of Contemporary Art http://goteborg.biennal.org/en/conversation_snaebjornsdottir_wilson/
2011 Kulturradioen Kosmo: Sveriges Radio. 12th February 2011. Interview by Gunnar Bolin
2010 Art Lies (no 65) The Back Forty, Uncertainty in the City, ed. Anjali Gupta
2010 Antennae,(issue 13) Radio Animal at Interspecies, Interview Giovanni Aloi and Rikke Hansen
2010 Brainstorm, (102-103): Konst och djur ed. Ulrika Flink Uppsala,
2010 reCollections – Libby Robin – Journal of the National Museum of Australia. section nanoq – the Great White Bear
2010 Art and Research, The Animal Question, www.artandresearch.org.uk Interview with Kate Foster, Authors Snæbjörnsdóttir/Wilson
2010 Antennae Issue #13, Online Magazine, Interview with Kira O´Reilly; by Snæbjörnsdóttir/Wilson
2009 Art and Research, A Journal of Ideas, Contexts and Methods. Volume 3 www.artandresearch.org.uk ,Spaces of Encounter: Art and Revision in Human – Animal Relations Author B. Snæbjörnsdóttir
2009 Art and Research, Spaces of Encounter: Art and Revision in Human – Animal Relations edited by Ross Birrell,
2009 Suplemento Cultural de Reforma by Jesús Pacheco Domingo 16 de Agosto, Mexico
2009 Resonance FM, London based radio station – Interview with Mark Wilson for Pestival
2009 Animals and Society (Australia) Study Group News Bulletin, June
2009 nanoq in http://www.opinia.co.uk written by Marzena Parzymies (February)
2009 nanoq: flat out and bluesome, Cultural Life of Polar Bears, by Ruby Russell, http://www.foto8.com/home/content/view/790/77/
2009 Modern Painters, March 2009. The Right Stuff, by Steven Connor, p.62, (March), pp 58-63
2008 Art Artistic Research and the Animal Question, Art Monitor, No 3. Bryndis Snæbjörnsdóttir and Dr. Helena Pedersen
2008 Antennae, Issue #8, Winter 2008.
2008 Antennae, Issue #6, Summer 2008
2008 Get Polarized, in Herald Sun Australia by Sally Bennett.
2008 Artists turn up the Heat on climate change and culpability, in The Age, 24/09/08 by Robert Nelson.
2008 Changing the artistic climate, in The Critics, by Andrew Stephens 6/9/09
2008 ‘Climate Change Art’ ABC TV Sunday Arts, (accessed 13/10/08)
2007 Delayed: Life from Edge City, pod-cast in conversation with Bob Cheatham and Ron Broglio, http://noel.pd.org/~jdemmers/pdblog/index.html
2007 Art & Research, Snæbjörnsdóttir/Wilson in conversation with Steve Baker, Ross Birrell,
2007 Polar Bear: Lost and Found, Current TV broadcast http://current.com/items/77339021_polar_bear_lost_and_found
2007 Cultural Geographies in Practice, Review by Dr. David Matless
2007 New Scientist: February 17, p.48 Second Sight
2007 frieze magazine: June/July/August, p.263 Great White Bear, Andrew Dodds
2007 Art and Research Rhapsody in Blue, review by Sam Stead,
2007 List 11 – cia.
2006 Time Out London: October 18 – 25, p.38 Bear Essentials, Lisa Mullen
2006/7 The Times, Oct. 25th 06, Rachel Campbell-Johnston
The Daily Telegraph, 14th Oct 06, Benjamin Secher.
The Daily Mail, Oct. 20th 06, Michael Hanlon
The London Paper, The Guardian, Morgunbladid 28.10.06 (Iceland)
ACP Photofile 79, Susan Bright (Australia),
2007 The Royal Photographic Society Journal, December/January Vol.146 Issue 10
2004 Big Issue, no 581 nanoq: flat out and bluesome
2004 Artist’s Newsletter (May issue) nanoq: flat out and bluesome
2003 NatSCAN (Natural Sciences Collections Association) issue number one. Article: nanoq: flat out and bluseome Snæbjörnsdóttir/Wilson
Vanishing Point: Where Species Meet (2011/19) St Mary’s Episcopal Cathedral, Haymarket, Edinburgh.
Despite the original site-specific setting on the Gothenburg waterfront, our ambition has always been to show this work in an ecclesiastical context. In some small but significant way, the work can be construed to reference a well-known biblical miracle narrative in which generosity and sharing are key. But strategically, rather than situating it entirely in human terms, it carries the idea across and between species. (see Project: Vanishing Point)
Vanishing Point: Where Species Meet is a three-channel video work commissioned for the Gothenburg Biennial 2011,Pandemonium by the curator, Sarat Maharaj. The brief was for a site-specific, relational work: Vanishing Point focused on the roof of the main Biennial building, Roda Sten, situated on the River Gota waterfront. Research included acquiring knowledge of and developing sensitivity towards the site, including the various species of gulls, their diet and behaviour and was conducted through discussions and interviews with local fishermen, birdwatchers and pavement café owners in the area. Seagulls are often regarded by people locally, as a nuisance.
The performance-based HD video work documents a meeting between a human and the gulls around a custom-built table at which food (bread and fish) is prepared and shared. The table, designed by the artists, also played a crucial role in generating and testing our ideas concerning notions of sharing and hospitality across species.
The performance took place on the roof of Roda Sten, the main Biennial building in Gothenburg, on the River Gota waterfront, along which al fresco café and restaurant tables are targeted on a regular basis by fearless gulls.
Vanishing Point can be seen as a critique on the legacy of how Christian values have been interpreted and together with Cartesian objectivity, have placed anthropocentrism and human interests at the heart of our conceptions of the world, to the detriment of a potentially more ecological consciousness. Such viewpoints have contributed to a dislocation between human beings and the wider environment rendering it largely as a series of resources and sites for exploitation. The project asks how performance, involving the free will and participation of non-human others, may be used to test ideas of parity. Vanishing Point sets out, site-specifically to reconfigure ideas of notoriety and interspecific social order. How can art and aesthetic presentation contribute to the reappraisal and rehabilitation of a known pariah? In the context of long-established scientific rationale and religious dogma, the work attempts through the processes and actions of art, constructively to effect new audience-awareness of interspecific interdependence?
For the biennial,Vanishing Point was exhibited alongside works by Francis Alys and Ernesto Neto.
Vanishing Point: Where Species Meet (2011/19) St Mary’s Episcopal Cathedral, Haymarket, Edinburgh.
Despite the original site-specific setting on the Gotheburg waterfront, our ambition has always been to show this work in an ecclesiastical context. In some small but significant way, the work can be construed to reference a well-known biblical miracle narrative in which generosity and sharing are key. But strategically, rather than situating it entirely in human terms, it carries the idea across and between species.
photographic documentation by Daniel Starrason
Visitations: Polar Bears Out of Place
In 2019, Snæbjörnsdóttir/Wilson received major funding from Rannís, the Icelandic Research Fund, for a 3-Year project 2019-2022. The project will conclude with two major solo exhibitions in Akureyri Museum of Art (September – January 2021) and Anchorage Museum (October 2022 – September 2023)
Please enter here: http://visitations.lhi.is
In January 2019, Mark Wilson PhD, artist and Professor at the University of Cumbria, UK and Bryndís Snæbjörnsdóttir PhD, artist, Professor and MA programme director at the Department of Fine Art, Iceland University of the Arts, received a 42 million ISK (268,000GBP) grant from Rannís, the Icelandic Research Fund for a three-year research project Visitations: Polar Bears out of Place.
In the context of global warming and sea-level rise, ‘Visitations’ takes specific historic and contemporary polar bear arrivals to the coasts of Iceland as a point from which to consider more widely, issues of population displacement, hospitality and increasingly excited global migration patterns. Approaching the subject from a contemporary art perspective, in a cross-disciplinary collaboration with folklorists, anthropologists and an international art curator, the project probes intimate and geo-political contact zones, between humans and others and thereby, related networked effects of climate change, population displacement and environmental disruption The research will gather and combine images, texts, audio, biological and other material relating to specific recorded polar bear arrivals. Methodologies will involve a close study of the relationship between source material and its cultural and environmental contexts as well as to the transmission, interpretation and presentation of subtexts embedded within all visual and textual matter. The project has a number of satellite partner institutions, both locally and abroad, allowing for further comparative study within a wider cultural context, and will conclude in two major museum exhibitions, an international conference and a publication encapsulating the project as a whole.
Collaborators are from the University of Iceland´s programme in Folkloristics, Kristinn Schram and in Art History, Æsa Sigurjónsdóttir, as well as its Research Centre in Strandir, the Akureyri Art Museum and the Anchorage Museum in Alaska.
Of the 198 applications submitted to the IRF for this year, 16%, or 31 projects received support. The project is hosted by the Iceland University of the Arts. This is the first time a research project within the field of arts practice has received support from the Icelandic Research Fund.
Snæbjörnsdóttir and Wilson’s 2018 series of works Shooting the Messenger (2018) takes as its leitmotif, the idea of the unwelcome visitor, arriving at the shores of an island. The visitor’s appearance in this place, though opportune, is not entirely voluntary and certainly not comfortable. In Daniel Defoe’s Robinson Crusoe, Marcus Coates’ Finfolk, Lars von Trier’s Dogville, the protagonist’s appearance, may be seen as the consequence of changed circumstance and possibly a harbinger of other more extreme events to come. Like them, with global warming, looming belatedly but ever more prominently in the media gestalt and so, in public consciousness, the arrival of polar bears in Iceland signifies a pivotal moment, in its potential to trigger either (temporally) new (or historically repetitive) behaviours in the host, with equally far reaching consequences.
In the summer of 2008, two polar bears made respective appearances on the Skaga peninsula, (Skagaströnd) in the north of Iceland, on the 3rd and on the 16th of June. Their arrival, though not at all extraordinary in itself, caused a particularly public reaction and controversy.
In response, for Anchorage Museum, last year, the artists made a two-part work entitled Shooting the Messenger in which a cross section of one of each bear’s teeth indicating annual, cementum-layer growth, was set against a roster of climate change events, summits and warnings correspondent with those same years of each bear’s life.