Conversations With the Land Icelandic Landscape Plays Major Role in ëConfronting Natureí Exhibit by Serena Lei see also: Cold as Ice by Gary Tischler The Icelandic art exhibit at the Corcoran Gallery of Art begins with a panoramic landscapeóoil on canvas, blue skies, a dormant, snow-capped volcano in the backgroundóand ends with a disturbing video installationóthree projectors playing distorted images of nature accompanied by a soundtrack of unrecognizable noises. "Itís chaotic," said "lafur Kvaran, director of the National Gallery of Iceland and curator of the exhibit, and then he repeats himself, "chaotic, chaoticÖ" because no one can hear him above the sound. A woman steps in front of one projector; her silhouette is thrown against the wall where a close-up shot of a lava rock looks like alien terrain. "I have to go to my therapist after seeing that," she said. In between are ¡sgrÌmur JÛnssonís idyllic "Mt. Hekla" (1909) and Steina Vasulkaís disorienting "Moss and Lava" (2000) and 22 other Icelandic artists displaying paintings, photography and installations in a broad range of styles. It is the largest exhibit of Icelandic visual art eve r shown in the United States. This ambitious collection was brought together by the National Gallery of Iceland in Reykjavik. It represents the changing body of Icelandic art in the 20th century and portrays how central the landscape is to the political and cultural conversation. Iceland is affected by a volatile climate and environment. Active volcanoes, avalanches and earthquakes continue to shape the landscape. Black lava fields become slowly covered by moss. Glaciers, geysers and waterfalls co-exist. It is an environment that is always changingódestroying and rebuildingóand cannot be ignored. As a result, visual arts, which have only truly come to significance in the 20th century, are influenced by the inescapable presence of the land. The four pioneers of art in the early 1900s, ThÛrarinn B. Thorl·ksson (1867-1920), ¡sgrÌmur JÛnsson (1876-1958), JÛn Stef·nsson (1881-1962) and JÛhannes Kjarval (1885-1972) painted romantic scenes of nature, almost entirely without people. It was a tribute to the distinctive landscape of Iceland and contributed to the growing sense of nationalism. These early paintings reflect a country struggling with political independence and embracing the land as part of their cultural identity. Although many Icelandic artists studied abroad, the landscape continued to be a dominant presence in their artwork. Nature is still the subject of abstract painting, as evidenced by Svavar Gudnasonís "Mountains of Gold" (1946) and NÌna TryggvadÛttirís earth-toned squares of broad brushstrokes. The conversation began to shift to the relationship between man and nature, as well as culture and nature, as in Helgi Thorgils FridjÛnssonís paintings or Sigurdur Gudmundssonís photographs. Landscape became the background for narratives about the alienation of man and his resiliency in a harsh environment. Gudmundssonís "Mountain," is a prime example of the dialogue among nature, culture and man. Gudmundsson has created a "mountain" in layersórocks and turf on the bottom; shoes, loaves of bread and books on the top; and a man lying in between. Pop artist ErrÛ, redefines the traditional landscape art in his new "scapes," including "The Key to the Sympathetic Nervesystem, Nervescape" (1959) and "Odelscape" (1982). These detailed paintings are composed like panoramic landscapes but with an entirely new subject. Recent artists have new technologies at their disposal. Ragna RobertsdÛttirís "The Volcanoís Gate," which literally attaches lava chips to the gallery wall, is completed by Finnbogi PÈturssonís sound installation, recreating a volcanic eruption. KatrÌn SigurdardÛttirís "Circuit" (1999) speaks to the modern Icelandic artist, now living in another country and interpreting the land from a distant perspective. SigurdardÛttir said she wanted to create a place that "you can only see from a distance Ö miniature as metaphor for distance." The tiny towns in her installation look like computer circuit boards. The title of the piece also refers to circuit boards as memory chips. SigurdardÛttir explained that although she returns to Iceland frequently, she needs to rely on her memory as reference, or risk losing touch with the landscape of home. It is telling that even though Icelandic artists are a part of the international community, they are still looking toward homeótheir art continuing the conversation with the land. "Confronting Nature: Icelandic Art of the 20th Century" will be on display at the Corcoran Gallery of Art from Oct. 13 to Nov. 26. For more information, call (202) 639-1700 or visit www.corcoran.org. Serena Lei is an arts writer for The Washington Diplomat. Cold as Ice The weather is getting cooler and the art world is no exception. Thatís certainly true at the Meridian International Center, where you can view two exhibitions focusing on lands to the far north and south. The center will be home to "Polar Extremes: Art From Frozen Places" and "Iceland: Land of the Vikings" through Dec. 30. "Polar Extremes" features prints by Jessie Oonark, an Inuit artist from the Canadian Central Arctic, and paintings and watercolors by Georgia artist Alan Campbell, based on his visits to Antarctica. "Iceland: Land of the Vikings" will feature photographs by well-known Icelandic photographer P·ll Stef·nsson. Jessie Oonark, an Inuit, lived in the Canadian Central Arctic until she settled in Baker Lake in the late 1950s. Here, at age 52, she decided to become an artist. Her drawings were seen and admired by Canadian government artist James Houston, and with his encouragement, she began making prints. Her art is inspired by Inuit customs, myths and legends as well as memories of her own life and nomadic upbringing. Campbell, acting as a visiting artist with science research programs, has roamed the world. He has traveled to Antarctica three times with the National Science Foundation for a total of eight months. What he brought back where beautiful oils and watercolors that managed to evoke the peculiar and wondrous sights of his journeys. P·ll Stef·nsson is one of Icelandís foremost nature photographers. The gallery is located at 1630 Crescent Place, NW, Washington, D.C. The hours are Wednesday to Sunday, 2 p.m. to 5 p.m. For information, please call (202) 667-6800. óGary Tischler