soil is the earth´s skin 23.07 - 31.08.2026
María Kristín Antonsdóttir and Rigmor Fischer
soil is the earth's skin
a duo exhibition by María Kristín Antonsdóttir and Rigmor Fischer
Bringing together painting, collage, and video installation, the exhibition unfolds as a conversation between two artistic practices. Drawing inspiration from earth and soil layers, the works explore the ground beneath us—both as a physical material shaped by extraction, memory and time, and as a metaphor for identity, origin and the layers we carry within ourselves.
Though working across different media, the artists share an interest in what lies beneath the surface. Their works explore the intersections of personal experience, landscape, history, and the human psyche.
María Kristín Antonsdóttir (b. 1990, Iceland) is a visual artist living and working in Møn, Denmark. She holds an MFA from Funen Art Academy and recently received a working grant from the Danish Arts Foundation. Her work has been exhibited at Den Frie Udstillingsbygning, Fotografisk Center, and the Icelandic Embassy in Copenhagen, and she has participated in residencies in Iceland. Working with photography, video, and installation, Antonsdóttir explores identity through family archives, examining memory, childhood, and the ties that shape who we are.
Rigmor Fischer is an interdisciplinary artist working between visual art, diplomacy, and international relations. She is currently completing a master's degree in International Relations at the University of Copenhagen and previously studied Fine Art at Goldsmiths, University of London. Working across painting, installation, sculpture, printmaking, and ceramics, Fischer investigates systems of extraction and the overlooked dimensions of diplomacy. She has exhibited in Denmark and Japan and is a founding member of the artist collective De Blide.
We look forward to welcoming you at the opening between 17-20 on July 23rd and furthermore on August 21st for a collage workshop and a special performance by Sara Flindt (17-21)
Sara Flindt welcomes you to the other side of the Gutenberg parenthesis. She’s been waiting there for you ever since she first understood what you didn’t mean.
Her artistic practice is because it’s imperfect. Her sound is best described as mutable. Some of it is made of songs. Some of it is already gone. She performs live, sometimes digitally and other times with her fingers, and also at www.saraflindt.com, [a virtual world] which in turn performs living. But that’s neither hear nor the air: [either way,] the goal is to make the textual textural, or altogether oral. Her improvised work is a dialogue with the present, which echoes the past, unless it’s the other way around: dyslexia makes a girl suspicious of structure. And without fixed grammatical rules, how can anything break the bond between us?
Her artistic practice is because it’s imperfect. Her sound is best described as mutable. Some of it is made of songs. Some of it is already gone. She performs live, sometimes digitally and other times with her fingers, and also at www.saraflindt.com, [a virtual world] which in turn performs living. But that’s neither hear nor the air: [either way,] the goal is to make the textual textural, or altogether oral. Her improvised work is a dialogue with the present, which echoes the past, unless it’s the other way around: dyslexia makes a girl suspicious of structure. And without fixed grammatical rules, how can anything break the bond between us?
Without the weight of the words on her shoulder, this is expressed through her solo project as well as the duo slóra (IS/DK), and a collaborative project with Polish composer Szymon Wójcik. Recent releases include the albums when you rub your eyes, you see things you can’t describe and tearstobealone (slóra).
In August, she will release an EP in collaboration with author Cecilie Lind, who has made a remix of Sara’s lyrical fragments.
