Elin Jakobsdóttir: Hinges Between Days
Various artistic attempts to render the familiar strange are here assembled in an extraordinarily neat sequence of objects, films and photographs. Icelandic artist Jakobsdóttir has got the knack for styling, and it’s the fastidious nature of these charmingly clean-cut works that sets about a methodical dismantling of fiction from fact. A displayed wooden box, for example, re-appears in a film – is it a prop or a documented object?
Pairings, perspectives, postures, scales and viewpoints are scrupulously switched in 16mm film work ‘Horsebox’. Simultaneously evoking and undermining the idea of utilitarianism, the seemingly instructional film documents two dungaree-clad men as they build the strange titular box. Identical to the plywood structure exhibited, the men carry it through Berlin, oblivious to the act’s glaring futility. Slips in reason are heightened by an awareness of the central prop in the gallery space, and its dull aesthetic jars with the increasingly surreal and delightful postures of the men.
Similar to the box works, ‘Two-Sided Table’, an object reminiscent of the old double-sided library desks, in which the divider has been replaced with an intricate latticework of paper, is refracted by ‘Worktable’, a film presented upon a floor-mounted wooden screen. Synchronised upon its obverse, screens ‘Worktable 2’. It seems Jakobsdóttir has created a hall of mirrors, but workaday, and without the shine. The accompanying literature suggests that these works imbue everyday experiences with the ‘logic of the subconscious’. Simply put, they provoke a double take, and when you look at them you draw imaginary connections – a penny-drop process that makes you feel pretty good.
Stills Gallery, Edinburgh, until Sun 14 Mar