Gónhóll
Garún Kríudóttir býr inní Gónhól og þar gerast töfrarnir – þar tengist allt saman –
Gónhóll er forn bæjartóft og er talið að þar hafi verið kapella í kaþólskum sið frá Skúmstöum og líklega grafreitur. Í tíð Skálholtsbiskupa var naust þar nokkuð vestar og lá þar skip Þorláks biskups (Þorlákssúðin). Gónhóll dregur nafn sitt af því að þar er gott útsýni til hafsins. Formenn á Bakkanum og hafnsögumaðurinn sem bjó í Garðbæ fyrr á tíð höfðu gjarnan staðið þar og kannað sjólagið.
Gónhóll er talinn ráða yfir dularfulllum öflum að handan. Á honum hvíla álög og fólki er því ráðlagt að forðast átroðning á hólnum.
Garún Kríudóttir lives inside Gónhóll – that is where all the ideas come from, all the magic..
Gónhóll is ancient ruins and it is believed that there was a chapel in the Catholic church from Skúmstöðum and likely a burial place. During the time of Skálholts-bishop, there lay a ship that belonged to Þorlákur Bishop, (Þorlákssúðin). Gónhóll (Staring/hill) gets its name as it was a good view to the sea. People who lived in Eyrarbakki and the man in charge of the harbor, who lived in Garðbær, often walked on to Gónhóll to check the sea.
Gónhóll is believed to possess magical powers from the beyond. People believe there is a spell on it and people are advised to avoid intrusion on it.
Garún Kríudóttir
Title:
Cyborg Manifest (Weaving the Signal)
Text:
The cyborg weaves through interference. Kríudóttir’s hand-drawn marks translate network theory into something bodily and situated. Static enters the signal not as nostalgia for the organic, but as a method. Repetition is always slightly off; pattern never settles into authority. Reflecting on Haraway’s ‘A Cyborg Manifesto’ (1985), the cyborg counters algorithmic totality with the partial — marked by what it cannot include. Bodies that feel and remember become, in 2026, a counter-argument to automated pattern recognition.
Garún Kríudóttir
Intro and Individual works / (work in progress).
Donna Haraway wrote A Cyborg Manifesto in 1985 as a critique of fixed identities, technological determinism, and purity ideals. It presented the cyborg as a figure already present in daily life, put together from inconsistencies and uneven labor, rather than as a futuristic machine-body. This text reappears in 2026 under circumstances that Haraway foresaw but was unable to completely identify at the time: automated perception, networked cognition, and abstract power structures. This edition interprets the manifesto as a dynamic system that keeps changing as its networks grow rather than as a historical record. The manifesto is not descriptively illustrated in Garún Kríudóttir’s drawings and collages. Rather, they adhere to its link, interruption, and assembly logic. They stand for an artist’s application of a theory of media. Images are layered, sliced, and reassembled; lines repeat, diverge, knot, and shatter. While staying firmly rooted in drawing and collage as visual techniques, the piece progresses as though along a thread, monitoring pathways, crossings, and tensions. Here, weaving manifests as a style of thinking rather than a material skill, serving as a metaphor for how information, memory, and feeling flow through bodies and systems without ever entirely resolving.
The manifesto’s rejection of origins and unities is consistent with this strategy. Interfaces, translations, and frictions make up Haraway’s cyborg. The visual language of Garún Kríudóttir reflects this state. Partial forms and shaky connections are highlighted in the illustrations. Instead of an actual nervous system, what appears is a map of transmission formed by pattern, disruption, and repetition.
The Cyborg Manifesto emphasizes contextual knowledge on bodies that feel, remember, and react in a time where artificial intelligence and automated pattern recognition rule. This persistence is extended graphically in Garún Kríudóttir’s art, which translates network theory back into hand-drawn overlays, cuts, and marks. The visuals defy modern computing techniques’ promises of complete readability and smoothness. Rather, they continue to be contingent, partial, and textured. When combined with Haraway’s text, these illustrations update the manifesto by reiterating its central thesis—that systems, whether biological, technological, or social, are produced, not given, and may therefore be reconfigured—rather than by modernizing its aesthetics.
Erin Honeycutt
Magic spell – short version
魔法-短版
Galdraþula / (Heilaþræðir)
Magic spell / (Brain-threads)
A mix of video, illustration, stop-motion, painting made with the thinking of a weaver.
The sound comes from my experiments in collaboration with the universal soundmaster (moons, sun, saturnus, jupiter and venus).
Trying to hear what you can´t normally hear (sounds of the universe), sounds of the other side! Seeing what you can´t normally see / the other side.
Parallel lives
Parallel lines
parallel sounds
emotion
weaving / layers
Like a child in a game I´m connecting coordinates, from one dot to the next. The game has taken my whole life, registrating every little detail in many different ways,
I find via this game that this is always the circle – repetition, as everything else in life.
I didn’t know I would cross a border to meet one. I didn’t know I would cross an ocean to make a world picture. The strings are making a streamline to a spiral face that has been arranged into flesh with the dates of time strung invisible on the string like pearls/gestures of an unkempt bed of snow/linen where lay the images of death masks. A woman is proving that this movement is the message and the messenger based on a rising from within (an entire planetary system evolving from an embryo.)
by Erin Honeycutt
This is the part of the longer sonnet in the Baroque
Beekeeping text that is about Galdrathula by Erin Honeycutt
God, there is always another highway
Before and after seeing so clearly.
This one leads us to the swordplay bouquet.
The eye and the navel call sincerely.
Making the line so simply drawn between
One thing and the next, simply a line drawn.
But the line is also a scene, a screen,
One moment drawn, a swan in the Koran.
Easily it bends into anything,
time of times and the way it moves about
cycles, patterns, eternity, the spring.
She awaits the next rainbow river trout.
Faces containing a motion giving
A picture in the picture beginning.
魔法-更長的版本
視頻，插圖，定格動畫和繪畫的混合，這些都是考慮到織工的想法。
聲音來自我與通用聲音大師（月亮，太陽，土星，木星和金星）合作進行的實驗。
嘗試聽到您通常無法聽到的聲音（宇宙之聲），另一邊的聲音！看到您通常看不到的東西/另一面。
平行生活
平行線
平行聲音
感情
編織
//圖層
就像遊戲中的孩子一樣，我在連接坐標，從一個點到另一個點。遊戲佔據了我的一生，以許多不同的方式記錄了每個小細節，
通過這個遊戲，我發現這始終是循環-重複，就像生活中的其他一切一樣。
我不知道我會越過邊界遇見一個。我不知道我會穿越海洋來描繪世界圖畫。繩子使螺旋狀的流線形流線化，將其排列成肉狀，在繩子上看不到時間串的日期，就像珍珠/無用的雪床/亞麻床的手勢，上面放有死亡面具的圖像。一個女人正在證明這種運動是信息的傳遞，也是基於從內部上升（整個行星系統是從胚胎進化而來）的信使的。
艾琳·霍尼庫特（Erin Honeycutt）
這是巴洛克時期較長十四行詩的一部分
養蜂業有關Galdrathula的文字
艾琳·霍尼卡特（Erin Honeycutt）
天哪，總有另外一條高速公路
前後看得很清楚。
這把我們引到了劍術花束。
眼睛和肚臍真誠地呼喚。
使線之間如此簡單地繪製
一件事和下一件事，只是畫一條線。
但是這行也是一個場景，一個屏幕，
片刻之間，一隻可蘭經中的天鵝。
容易彎曲成任何東西
時間和它的運動方式
週期，模式，永恆，春天。
她在等下一條虹鱒魚。
包含動作的人臉
圖片中的圖片開始