SUMMER SHOW 2026

 

Gardar Eide Einarsson’s practice explores the complex dynamics of personal liberty, belonging, and the ideological influence of propaganda. Working across diverse media – including installation, painting, and sculpture – he repurposes found materials to examine the friction between individual freedom and the constraints of societal systems. His work often carries a wry sense of humor, balancing subversive undertones with a measured, critical distance.

 

A geometric, seemingly abstract painting derived from the Bank of America logo – which itself is a stylized abstraction of the American flag – Bank of America (B/W) is rendered entirely in black on a white background, replacing the logo's original red, white, and blue. The work recalls the formal language of postwar painting, from Frank Stella to Jasper Johns, while the stark monochrome palette lends the familiar corporate symbol a sinister, authoritarian quality. In doing so, Einarsson points to the complicity of financial institutions such as Bank of America in the forms of repression and violence that underpin – and at times openly sustain – contemporary capitalism.

 

Rebecca Lindsmyr’s work revolves around questions of identity, language, and the shifting nature of the self. Through painting, she explores how subjectivity is formed, fractured, and reshaped over time – both personally and culturally. Her practice often draws on psychoanalytic and post-structuralist thought but remains grounded in the material and emotional language of the body.

Rebecca Lindsmyr's weak spot series, created for the 2024 exhibition THE WEAK SPOT at a former glass factory in Korsør, DK, explores reflection, fragility, and the relationship between material, language, and value. Inspired by archival photographs of glass workers carrying large sheets of glass with their bare hands, Lindsmyr draws a parallel between the fragile glass pane and the painter's canvas, both surfaces that register the movement of the hand.

The paintings incorporate enlarged and inverted reproductions of handwritten notes from the factory archives, layered with the artist's own gestural marks. Oscillating between legibility and abstraction, these overlapping traces collapse different temporalities, bringing the industrial past into dialogue with the present act of painting.

Weak spot (4) includes a stylized cracked-glass symbol commonly found on transport packaging. Beyond signaling fragility, the motif points to the painting's circulation as both an artwork and a commodity. Layered with archival handwriting and expressive gestures, it evokes the painting as both a reflective surface and a site where history, labour, and economic value intersect. Like a mirror, the work offers fleeting glimpses of what usually remains unseen, inviting viewers to confront their own blind spots.