Hanni Bjartalíð’s wood objects are made from recycled material and waste wood. These three dimensional sculptures provoke associations with childhood and are shrouded in silence and mystery. The artist’s work often features small-scale objects and his unique miniature houses elicit great intimacy in their relationship to the viewer. He has created a new large scale sculptural work for the exhibition.

Bjartalíð (b. 1968) is a major innovator in Faroese art. He is probably the only Faroese artist making sustainable work. Originally a painter, he has been compared to the Italian Arte Povera artists by using found materials close at hand. Bjartalíð recycles his canvases to such an extent that they are almost always heavy with paint, even the small paintings. He currently lives in Finland.

The inaugural North Atlantic Pavilion brings together artists from Greenland, Iceland and the Faroe Islands as part of City States at this year’s Liverpool Biennial.

Hosted in the former Royal Mail Sorting Office at Copperas Hill, the exhibition features new works from artists including Sigurður Guðjónsson (Iceland), Hanni Bjartalíð (Faroe Islands) and Jessie Kleemann (Greenland). The preview event on Sept 14 also features a live performance of Sassuma Arnaa / The Mother of the Sea by Jessie Kleemann, Iben Mondrup and Niels Lyngsø.

The exhibition showcases installations, performance and moving image works by artists from countries in the North Atlantic. Their work challenges and dissects the tensions that exist in embracing a strong national and regional identity – focusing especially on work that questions the received notions and surface appearances of what ‘hospitality’ means.

The geographical region explored in the pavilion represents a unique interaction of diverse localised cultures spread over a vast area that, all at one time in recent history, has been officiated over and represented to the outside world by the Danish Flag. The North Atlantic Pavilion asks how, in a world being transformed by the digital era, nationalism and regional identity remain constructs of mythical narratives implemented on specific artifacts: artifacts that will be exposed to further acts of territorial negotiation in the context of Liverpool Biennial 2012.

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