- 2013 -


MoMA, PS1, New York city, NY









Colony, an ongoing module of the current exhibition Expo 1: New York, introduces a weekly rotation of artists living and working in the outdoor courtyard at MOMA PS1. The third week of this collective manifestation, titled Civilization: Monumental Materialism, was hosted by the Icelandic artists Hrafnhildur Arnardottir, Ingibjörg Sigurjónsdóttir and Ragnar Kjartansson, who then invited ten additional participants.

Artists' activities ranged from the enduring and far reaching, such as using a jackhammer to bury a mysterious time capsule on the grounds of PS1, to the more subdued: Sirra Sigrún Sigurðardóttir mentioned the occurrence of a lot of poetry reading, discussions and singing. On Friday, July 19, the colony's rites included a musical performance with Ragnar Kjartansson, Kria Brekkan, Ryan Erskine, Ragnar Helgi Ólafsson, along with other participants surviving the heat wave. In the lingering scorching sun, the colony erupted in a performance involving a pool of water emanating synthesized sound, as an excess of soap bubbles cascaded from a contraption involving a vacuum cleaner and a garbage can.

This foam machine was created by Kolbeinn Hugi Höskuldsson and inspired by prior group discussions. The operative and mythic was reinforced by the colony's self-created uniforms of anachronistic, tie-dyed garments, some remaining t-shirts, some resembling togas. The performance involved a hefty amount of spray and bubbles, which alighted skyward on currents of hot-city wind; this, and a dense capacity of bodies, conjured images of Venus' birth out of sea foam.

The 13 participating artists of Civilization: Monumental Materialism included Anna Hrund Másdóttir, Björk Guðnadóttir, Erling T.V. Klingenberg, Hildigunnur Birgisdóttir, Hrafnhildur Arnardóttir a.k.a. Shoplifter, Ingibjörg Sigurjónsdóttir, Kolbeinn Hugi Höskuldsson, Kria Brekkan, Magnús Sigurðarson, Ragnar Kjartansson, Ragnar Helgi Ólafsson, Ryan Erskine, Sirra Sigrún Sigurðardóttir.


Kari Adelaide, NY, 2013. Huffington Post.








"No awakened conscience and no heroic materialism. No Nietzsche, no Marx, no Freud. Just a group of ordinary human beings enjoying themselves." (Kenneth Clark)


We came here to do two things. You'll find out on Friday.


Join us on Friday July 19th between 4-6 pm at Moma PS1.

22-25 Jackson Ave. at the intersection of 46th Ave.

Long Island City, NY 11101

Sphinx gallery, New York city, NY






Erling Klingenberg and Sirra Sigrun Sigurdardottir collaboratively present a new clay sculpture hewn with the crucible of their bodies. Sigurdardottir and Klingenberg are the producers and the receivers of the work’s pleasure. They are simultaneously public and private, making marks on the sculpture yet leaving little behind. As a collaborative piece, completed in private ritual, we find only traces of enigmatic action, where robust traces on the surface confer with an infinite hole that “creates and destroys all.”




July 10 – July 20, 2013
Opening: July 10, 6-9 PM

John Phillip Abbott
Katherine Bernhardt
Erling Klingenberg & Sirra Sigrun Sigurdardottir
David Matorin






Cypher is a term of polyphony; its definitions contradict each other while also indirectly hinting at one another, and its adoptions in language are many. The word can mean “a secret code of writing,” such as in a cryptogram, suggestive of an esoteric fullness as one might use a cypher to alternately hide or decipher linguistic content. It is also, paradoxically, a numerical element equal to zero, a “quantity of no importance,” revealing emptiness and non existence. Yet, in its mathematical application, the term can also mean any of the Arabic numbers. It is zero and it is all numbers, it is full of meaning, empty of meaning, and a holding place for meaning all at once. And while not yet in the dictionary, the cypher has also been adopted in rap music, as a term for a freestyle session. As a freestyle, the cypher seems cognizant of the counteractions of its definitions. It becomes a technique to bridge contradictions, evoking its content out of interchangeable occurrences of metaphor and likeness, finding license to form poetics out of a temporal nothingness.


The Sphinx’s inaugural show brings together four artists working from Albuquerque, to New York, to Morocco, to Iceland — presenting cyphers of their own, where meaning remains hidden from conscious utterance, yet blooms to reverberate beyond.

- 2012 -

Kling&Bang gallery - Reykjavík Iceland

SPLASH - 1/3

 BURN - 2/3



The first work I encountered of Erling T.V. Klingenberg’s was that of his undergraduate thesis show at the Icelandic College of Arts and Crafts in the early 1990s. In a museum like set-up, he had filled numerous display cases with artifacts – the detritus and debris of the trade in used brushes, empty paint tubes, random photos, sketchbook drawings, examples of childhood art, etc. – to craft an exhibition that surveyed the life and accomplishments a revered artist at the peak of his career. The irony here, of course, was that this was merely a convincing tableau dedicated to none other than Klingenberg himself, a very young artist at the onset of his professional career and one with very few accolades to his name at that point. Rather than putting his time and energy into making some decent paintings like the rest of his classmates, Klingenberg worked hard on staging this grand facade, and in doing so he passed them by and took short cut straight to the top. He decided to stay there. This set things in motion for the Klingenberg we’ve come to expect and know.


In Artists, for example, first exhibited at Khyber Gallery in Halifax in 1995, he presented a series of photographs that merged his own image with those of an assortment of contemporary artists – Jeff Koons, Andy Warhol, Cindy Sherman, Jenny Holzer, Joseph Beuys, etc. The resulting hybrid portraits placed Klingenberg amongst the most widely recognized art historical figures of the past century. In 1997, a similar a set of photographs saw him once again morphing his likeness with that of others, in this case with 50 of the international art world’s most powerful people – curators, critics and collectors – as declared by the publication Art in America. Here, Klingenberg located himself in the milieu of art world persuasion and influence, a place that he has occupied ever since in his mind and that of his audience too.


In 2006 at Kling & Bang, Klingenberg returned to the tableau format in I Exhibit Nothing But in a New Context, the title of the exhibition now a familiar mantra to many of the artist’s faithful. For this project he convincingly replicated an entire exhibition of a local private art collection that was simultaneously on display just doors away from the artist run centre in which he was showing. Included were a bunch of “fake” artworks; the neon corner piece by Dan Flavin, some Dieter Roth sculptures of dirt and grass, a text-based wall mural by Lawrence Weiner, among numerous others, all reproduced right down to the minute details. I am sure some people visiting this show said, “I could do that.” Others probably asked, “Why can’t he just come up with some original ideas of his own?” Those people were missing the point (or perhaps getting it without even realizing), something in which the artist revels. Once again, Klingenberg cast a sardonic light on the procedures and operations of the art world in his community and beyond.


Throughout the years, Klingenberg has always placed himself central to the things he creates, quite literally in works such as Digging-(One is the loneliest number) – a series clay sculptures “carved” by a particular body part – and figuratively speaking too, through the repeated use of his namesake and own image as subject and material. In The Klingenberg Case, for example, visitors were encouraged to wear Halloween-like masks donning his face. In another setting, he commissioned a life-size silicon rubber mannequin, a complete self-portrait from head to toe. For nearly two decades now, Klingenberg has tinkered with the apparatus of art and its trappings – anxiety, fame, etc. and along the way he has toyed with us too. This leads me to wonder what

is happening in this current exhibition of his latest output. I can’t help but be a bit suspicious in what I see.


A group of “splash paintings,” as the artist refers to them, occupy the gallery. The colours and gestures of the free-form compositions seem familiar, reminiscent of a bygone genre of painting akin to Jackson Pollock and others of the abstract expressionist era. What is Klingenberg up to now? Are these paintings mere rip offs, made in a glib attempt to insert himself, once again, as a member of this particular paradigm of art history? Or is there something else going on here beyond the tongue-in-cheek? These questions and others are ones that need to be asked.


Klingenberg is quite aware of the look of these works and the associations that rest therein. However, there is indeed something deeper than what one sees on the surface at play here. Rather than the typical art tools – brushes, pallet knives, etc. – he uses a motorcycle in creating these works on canvas by placing a container of paint under its rear wheel before hitting the accelerator to unleash its raw horsepower. The resulting paintings are accompanied by others made through variations on this process that is steeped in overt clichés of masculinity. In another set of works, for example, the artist drove his bike through paint and over pieces of paper and canvas to create a series of tire “prints.” Continuing his onslaught, there was a massive rubber burnout in the gallery space to reveal several layers of paint on the gallery floor and on 8 sheets of wood. For all of these works, the creative process has been made visible through a series of videos that capture the artist in the act of making. In a full disclosure, his tools – the motorcycles – find themselves on display in the gallery as well.


Not to be overlooked are 420 “motorcycle portraits,” photographs of random bikes parked on the streets of cities in which the artist has travelled – Reykjavik, Berlin, New York and London. Documented without riders, we’re presented with images of static objects that embody collective notions of status and desire. The artist is familiar with these things – symbols of status in general and motorcycles in particular. In fact, Klingenberg owns a number of bikes. He wants us to be aware of that. Klingenberg has been riding motorcycles for years. He’d like us to know that too. I have to ask, “Is he merely flaunting the fruit of his labour and his lifestyle in our faces?” That may be part of it, but I believe there is something more sincere to his intent. Aside of status and desire, the motorcycle also conveys a profound sense of freedom and the very idea of escape itself. For years Klingenberg has put himself on the line for his cause taking us along for the ride. In the process of doing so, he has gained a strong following, garnered widespread recognition, reaped numerous awards, and given us what we want to see at every turn. His success has been difficult to bear. He notes, “It’s hard to be an Artist in a Rockstar body.” This exhibition is a poignant attempt by him to get away from it all – from the work we’ve come to expect and the artist we’ve come to know. Clearly Klingenberg has left us in the dust.



                              - David Diviney 2012 -

Dorothea Schlueter gallery Hamburg Germany


Sirra Sigrún Sigurðardóttir,

Erling TV Klingenberg

Opening: October 26, 5pm

October 27 – December 1


Dorothea Schlueter
Galerie, Große Bäckerstraße 4
20095 Hamburg, Germany


Landmarks, Seismology, Motor Sport and the Scandal of Politics and Banking

Some news from Iceland: a man instructed by his bank to hand over the keys to his house and his car hired a large digger, dug an enormous hole, and pushed both car and house into it, piling the earth back on top. The next day, as arranged, he handed over both sets of keys to the bank.

Everyone orientates themselves on landmarks. It doesn’t matter what they are: a pile of rubble, a construction site, a single standing tree, a rock formation or a flat-topped mountain, all serve equally well.


In the exhibition “Landmarks” the Icelandic artists Sirra Sigrún Sigurðardóttir and Erling TV Klingenberg cut intersections between differently marked out landscapes. The landscape of motorcycle escapism, like a German bank commercial: lone trapper’s paths opened up by the empowering roar of an internal combustion engine, the thrusting power of banking opening up limitless freedom. Opposing this lionised liberation are towering heights and sundering chasms, graphs that plot the sudden rise and ensuing descent into hell of the Icelandic banks, the brutal verticality of these peaks and troughs an uncanny mirror of the mountains and gorges of Iceland itself.


Sirra Sigrún Sigurðardóttir’s Tremors show landscapes where all orientation has broken down. People are filmed standing on an earthquake simulator, the action starting after the main shock has occurred. The films show the still reeling disorientation of aftershocks, a recurring experience that confuses as much the tenth time as the first. Such emergencies are no time for poetic subtleties: the repeated tremors in Sirra Sigrún Sigurðardóttir’s films hammer home a parallel with Iceland’s financial collapse, and the aftershocks that continue to rock Iceland’s society and institutions.


Perhaps a good way to avoid feeling the smaller earthquakes might be to jump on a motorbike and redline off into the landscape. The growl of the engine and clouds of dust should mask the shuddering ground, or the social collapse, depending on what kind of quake you’re trying to get away from; literal or metaphorical (or perhaps in Iceland, both). Although Erling TV Klingenberg is no willing petrolhead, he has nonetheless been driven to co-opt the motorcycle. What subtle gesture of obtuse conceptual art can still be recognised in the thundering overnight collapse of the state? Klingenberg uses a motorcycle as tool to paint with. Like a dog flinging earth out behind him with a gnarly paw, Klingenberg sprays paint up with a wildly spinning revved up rear wheel. Stupidly dangerous and pathetically impotent, the bike is raised off the floor and can go nowhere. The paintings that result from this dare-devil mud flinging resemble the silhouettes of vertiginous peaks.



- We would like to thank Heuser Motorräder for their generous support in realising this exhibition -

68 sqm gallery - Copenhagen, Denmark




The author Mark Twain once remarked that "whisky is for drinking; water is for fighting over"

and a series of reports from intelligence agencies and research groups indicate the prospect of a water war is becoming increasingly likely.

In March, a report from the office of the US Director of National Intelligence said the risk of conflict would grow as water demand is set to outstrip sustainable current supplies by 40 per cent by 2030.

"These threats are real and they do raise serious national security concerns," , the US secretary of state, said after the report's release.

Internationally, 780 million people lack access to safe drinking water, according to the United Nations.

By 2030, 47 per cent of the world’s population will be living in areas of high water stress, according to the Organisation for Economic Co-operation and Development's.

Some analysts worry that wars of the future will be fought over blue gold, as thirsty people, opportunistic politicians and powerful corporations battle for dwindling resources.



1 | 2Many hundreds of books and movies have peered into the future to imagine a world that is overrun by environmental disaster or perpetual war. Only a few movies delve into a much more real future problem for our world…the availability of water.

When one looks at the data, it cannot be denied that humanity is approaching a self-generated environmental crisis. The perception of the crisis in which we find ourselves has appeared in models developed for and described in the report "Global 2000". These reports give the impression that the ultimate downfall of human civilizations under the cumulative effects of population increase, resources depletion, and degradation of the environment is imminent and almost unavoidable - a view that appears to be contradicted by the evidence: life expectancy increases almost everywhere, instead of decreasing, and costs of basic





Europe is looking to open a new frontier in the ever more urgent quest for new natural resources – the pristine icy wastes of Greenland.


Oil and gas have been the focus of exploitation so far – but the EU sees just as much potential in a massive opening up of mining operations across the world's biggest island, according to Antonio Tajani, the European commission's vice-president and one of the most powerful politicians in the union. He called the move "raw material diplomacy".


Latest satellite data reveal that 97% of the surface of the Greenland ice sheet underwent surface melting over four exceptionally warm days in July, indicating natural resources will become more available for extraction in the coming decades.


The potential gold rush is being welcomed by some in Greenland, but has raised fears of environmental damage, pollution and despoliation across the Arctic  that could destroy one of the world's last wildernesses!!!


Tajani said: "Greenland is hugely important in terms of natural resources, it has vast opportunities. We are currently working very hard with the prime minister of Greenland on this – we are working on our own agreement with Greenland on raw materials."


He said: "This is raw material diplomacy. We have allies working on this worldwide."



Greenland's government is keen to exploit the island's natural wealth in order to alleviate some of the serious poverty and social problems that blight the indigenous population.


Henrik Stendal, of the Greenland government's mineral extraction department, told the Guardian: "The government would like to have another source of income – currently there is just fishing, and a little from tourism, so this is a big opportunity for us. These explorations can be done sensitively, we believe."


Only one company is currently operating a productive mine in Greenland, producing gold. But at least five are in the advanced stages of setting up new mines, and more than 120 sites are being explored. Greenland is thought to contain vast mineral wealth, including rare earth metals, gemstones and iron ore.


As competition from developing world pushes up price of energy, metals, minerals and other raw materials, finding new sources of supply is at a premium – putting densely populated Europe at a disadvantage, with little opportunity to expand its oil and gas supplies or mining operations.


But Greenland – with strong historical ties to the EU through Denmark, though the island now has home rule – represents a vast and largely untapped resource. Drilling for oil in Greenland's waters is now at the exploratory stage, having been impractical until recent advances in deep sea drilling. Mining has also been all but impossible across most of the country, which is covered in a 150m thick sheet of ice except for a few coastal strips, but melting ice and new techniques are likely to bring more of the region's potential mineral resources within reach in the coming years.


But Europe may face competition. China is already ahead; one of the most advanced metals mining projects in Greenland is nominally owned by London Mining, a UK company, but most of the finance and direction comes from China. Other countries are also eyeing the prize – although Greenland's historical ties are mainly with Europe, it is geographically close to the US and Canada.


Tajani's aggressive push into the Arctic puts him on a potential collision course with Greenpeace, the global environmental pressure group. Greenpeace recently opened up a new campaign focusing on the threats to the Arctic – one of the last places on earth where the industrial revolution and exploitation of natural resources have yet to penetrate. As part of the campaign they closed 74 UK Shell petrol stations in protest at the company's moves to drill for oil in the Arctic.


Jon Burgwald, an Arctic expert at Greenpeace, said that mining operations can bring pollution and destruction: "There could be some very harsh environmental consequences."


Mikkel Myrup, chair of the Greenlandic environmental campaigning group Akavaq, said that dealing with waste and "tailings" from the mines would be a key concern, as well as handling the toxic chemicals that are used in some forms of mining. "Mining does not have the same risks as oil drilling, but mining can be very hazardous to the environment. It's a real worry, and we don't think that the Greenlandic government has the capabilities to regulate this in the way that's needed – they can't stand up to these multinational companies. The public haven't been given the full picture," he said from his office in Nuuk, Greenland's only town of any size, with 15,000 inhabitants.


Burgwald also warned of the potential social consequences. "What happens when you have Chinese workers living next to a small town of indigenous people?"The debate in Greenland’s parliament failed to bring us any closer to a decision about whether we should accept aluminium producer Alcoa’s ultimatum that we allow the company to use under-paid Chinese workers if it is to build its smelter here, and some in parliament have begun to get cold feet as the deadline for an answer approaches.




Greenpeace has already succeeded in delaying attempts by Cairn Energy to establish oil and gas drilling operations in the Arctic seas. Activists have more such protests in their sights. Burgwald said that if there was damage or prospective damage from mines in Greenland, they too would attract similar actions. "We would certainly oppose it if it wasn't being done right."






He did not rule out mining in Greenland altogether, if done in a sustainable manner, but said that current plans were unclear and Greenland's government would need substantial help in order to set up the right standards that would avoid the dangerous consequences. There was little sign of such help being forthcoming yet, he said.


Large international corporations are showing an interest in Greenland's underground, and nation states are rearming and patrolling the Arctic area. In 2012, Denmark is launching the third scientific expedition to gather proof that the North Pole is Danish territory. China has increased its staff at their embassy in Iceland significantly, and Japan, China, South Korea and the EU have all requested observer status on the Arctic Council.

Latest satellite data reveal that 97% of the surface of the Greenland ice sheet underwent surface melting over four exceptionally warm days in July,

Latest satellite data reveal that 97% of the surface of the Greenland ice underwent surface melting over four days in July,






(SMÁ PÁSA.........)








- Any fool can paint a picture, but it takes a wise man to be able to sell it -

- Bad artists always admire each other's work -

- Good art is in the wallet of the beholder -

- One eye sees, the other feels -

- A genius with the IQ of a moron -

- The immature artist imitates. Mature artists steal -

- Give me a museum and I'll fill it -

- Art is a jealous mistress -

- The history of art is the history of revivals -

- Art is not a mirror but a hammer -

- If Botticelli were alive today he'd be working for 'Vogue' -

- In free society art is not an weapon... Artists are not engineers of the soul -



- Why was the art dealer in debt?- He didn't have any Mone(t) -

- What did the artist say to the dentist?- Matisse hurt -

- What do you get if you cross a painter with a boxer?- Mohammed Dali -


Institute for (X) Aarhus, Denmark


Endemi Magazine - Reykjavík Sculpture Association/Sculpture park


- 2011 -

Torstrasse 111 - Berlin, Germany


Ace Art Inc Gallery - Winnipeg, Canada



Galtarviti - lighthouse






Galtarviti (lighthouse) is located at a very remote place in Westfjords of Iceland – and to there lie no roads.  At this group-exhibition (Hljómur norðursins) were therefore organized hiking-tours with guide, that also guided the exhibition.


The work consist of a specially selected place, the rock and engraved sign with the words; “Klingenberg sæti” (“sæti” can mean both seat and cute).


Many stories are from this lighthouse location, including stories of ghosts and various spells – therefore I asked the guide to spread the word that no one could or should sit in this seat (rock) until the spell was removed – and the  only way to do that was if Klingenberg (the artist) would sit there first (the artist has never been yet at the location).

Reykjavík Art Museum







Erling and Adalsteinn call this work “Grabbing the void”, - that is a known experience these years

among the common public of the Western-world and beyond when dealing with the economy

- where many things disappear into the whirlpool - that sucks everything to untraceable places.



But the work can also be viewed from many other sides - at least four;

One can see it as machine against magical ´natural´ forces.....

One can see it as a pure alchemy....

One can see it as a playground of perception.....

One can see it as........





We will install crane/claw/motor (taken from a Toy crane machine) and rebuild the track inside the box (an arm controlled by a micro-processor) - At the bottom of the box will be coloured liquid in a bowl, with a whirlpool in the middle (see photo) created by a machine and/or a magic.

The crane will move around inside the box, go down in various places and try to grab (nothing) - (there´s an Icelandic phrase (in rough translation) "to grab an eptiness (or nothing/the void)" - meaning you try to grab something but there´s nothing to grab.

Erling and Adalsteinn would like to thank the following for all the work and assistant in the making:


Gudlaugur Kristinn Ottarsson, professor in Electronic engineering, head-designer of tech solutions.


Ragnar Thorisson, professor in Turning, designer of mechanical components.


Hermann Karl Bjornsson, student in programming.


Eyjolfur Gudmundsson, student, electronic circuits & mechanical implementation


Bjarni Freyr Thordarsson, student, electronic circuits.

Davíð þór Sævarsson, mechanical implementation.

Also thanks to: Kling & Bang gallery / Rafal ehf. /

Petur Orn Fridriksson / Reykjavik Art Museum



- Work was installed at Kjarvalsstadir, Reykjavik Art Museum, Reykjavik, Iceland – facing the public park ´Klambratun´and could be viewed 24 hours 7 days a week -

Alliance Warehouse


Living Art Museum






It is in this context of societal and economic pragmatism that the art world has begun to increasingly comply with utilitarian agendas. Icelandic art and artists are now an integral part of the social and community service rationale, of economic planning and nation-branding projects. Attempting to unravel neoliberal governmental modes of “managerializing” society, including the arts, the exhibition reflects upon “diffuse and subtle” methods of governance and raises questions as to what presuppositions are built into artistic activities, values, and ambitions.


This analysis of the Icelandic cultural politics, however, is a sensitive and highly political subject. The engagement in critical discussions on the relationship of systems of representation and ideology, as attempted in this project, faces opposition from the cultural institutional apparatus and other agencies that have a vested interest in promoting Icelandic arts and culture. The content of Koddu has stirred forthright agitation and antagonism and as a result the project was censored out of its original exhibition venue. It is now being shown in an extended version at The Living Art Museum, Reykjavik focusing primarily on new artistic commissions.


DURATION: April 16 - May 15, 2011

LOCATION: The Living Art Museum and Alliance Warehouse, Reykjavik, Iceland


Erling T.V. Klingenberg:

“Black(s)out” –


Copy of a known work of Birgir Andrésson – but the content changed by a single act of

moving S behind and from words.

- 2010 -

Hafnarborg: The Hafnarfjörður Centre of Culture & Fine Art - Hafnarfjörður, Iceland




20. MAÍ - 20. JÚNÍ 2010






Það er erfitt að vera listamaður í líkama rokkstjörnu er yfirskrift sýningar á verkum Erlings T.V. Klingenberg sem verður opnuð með gjörningi í Hafnarborg, menningar- og listamiðstöð Hafnarfjarðar, næstkomandi fimmtudagskvöld 20. maí kl. 20. Opnunin verður viðburður sem mun skilja eftir sig sjálfa sýninguna en hún verður að öðru leyti byggð á videóverki, skúlptúr og málverki svo fátt eitt sé nefnt.

Yfirskrift sýningarinnar vísar til umfjöllunarefnis sem Erling hefur talsvert fengist við en það er spurningin um það hvað það er að vera listamaður. Þetta verk eins og mörg fyrri verka hans hverfist um hans eigin persónu og mörkin sem eru eða eru ekki á milli einkalífs og opinbers lífs. Í gjörningnum beinir hann athyglinni að eigin persónu, líkama og tilvist og undirstrikar þessa þætti einnig í sýningunni með málverki og skúlptúr sem varpa fram spurningum um frummynd og eftirmynd, tilbúning og upprunaleika. Er Erling T.V. Klingenberg raunveruleg persóna?


Þátttakendur í virkjun sýningarinnar eru The Stimulators en það eru þau Helgi Svavar Helgason, Valdimar Kolbeinn Sigurjónsson, Ómar Guðjónsson, Heiða Eiríks, Bóas Hallgrímsson og Óttarr Proppé auk þeirra taka þátt Kvennakór Öldutúns, Karl Jóhann Jónsson og Klingenberg Klúbburinn.

Erling T.V. Klingenberg (f.1970) hefur verið atkvæðamikill í íslensku listalífi á undanförnum árum en hann hefur um árabil rekið Kling og Bang sýningarýmið ásamt öðrum listamönnum. Erling lauk prófi í myndlist frá Myndlista- og Handíðaskóla Íslands árið 1994. Á meðan hann stundaði nám þar var hann skiptinemi við Fachhochschule fur Bildende Kunst í Kiel í Þýskalandi. Hann stundaði síðan framhaldsnám bæði í Þýskalandi og Kanada og lauk MFA gráðu við Nova Scotia College of Art & Design í Halifax. Erling hefur tekið þátt í fjölda sýninga bæði á Íslandi og erlendis.


Erling T.V. Klingenberg skapar myndlist um hvað það er að vera listamaður og beinir sjónum að faglegum en ekki síður tilvistarlegum spurningum því tengdum. Verkin hverfast um hans eigin opinberu ímynd og útiloka að því er virðist öll merki um að sú persóna eigi sér nokkuð einkalíf. Erling T.V. Klingenberg gæti allt eins verið tilbúinn karakter; ,,listamaður í líkama rokkstjörnu”, eins og hann heldur þráfaldlega fram. Hann notar ljósmyndir, skúlptúra, gjörninga og myndbandsverk til að beina athygli að eigin líkama, andliti og ímynd á alla mögulega vegu. [...] Verkin eru sem slík kaldhæðnisleg myndbirting þess að skapa list yfir höfuð þegar sú viðleitni skilar í raun aðeins bergmáli þess einstaklings sem að þeim stendur.


                 - Markús Þór Andrésson, Icelandic Art Today, 2009 -

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