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CURRICULUM VITALE -Hörður

Education
1969-1973 Sund college, Reykjavik’s, Iceland.
1975-1982 Experimenting and studying art in Italy and New York
1994-1995 Profile learning and computing, Lexikon, Linköping
1999-2000 Distance learning – Introduction to Computer technology, UKD Sweden
2000-2001 Multimedia producent, Kvalitetsdata, UKD Sweden
2001-2002 Media and Communication science 60 p, Kalmar University and Växjö University
2001-2002 Creative writing 40 p, Mid Sweden University
Works and Projects
1991 Art Project with Children in elementary school Linköping community, Sweden.
1998-2000 Teacher in sculpture The Art College Folkuniversity Linköping, Sweden
1995 Project leader, choreograph in body art performance ”TATTVA" stage fighting. LK Arbetsmarknad, Sweden
1994 Kursledare och anordnare Avancerad betongteknik Kurs för yrkeskonstnärer, Länsarbetsnämnden.
1997 Teacher in concrete technique, practical and theoretical teaching in Gotland Art School
1994 Project leader and director of advanced concrete technique. Course for Artists Länsarbetsnämnden, Örebro Sweden.
1995 Project leader and director of advanced concrete technique. Course for Artists Länsarbetsnämnden, Linköping Sweden.
1996 Teacher in Öland’s Art School in practical and theoretical concrete technique.
1990-2003 Artist/dancer//sculpture/Graphic designer/different artistic work as SHITA, Sweden See Shita CV.
1998-2000 Teacher in sculpture. The Art College Folkuniversitetet Linköping, Sweden
2000-2002 Work as a Graphic designer. Company profile and logotype for Michael Savbäck AB. Design work for Kanevad Träsnideri HB.
Awards
2002 Editors choice Award by International Library of Poetry.

 


Art is not indifferent to truth; it is essentially the pursuit of truth. But the truth it pursues is not a truth of relation; it is a truth of individual fact. The truths art discovers are those single and selfcontained individualities that from the intellectual point of view become the 'terms' between which it is the business of intellect to establish or apprehend relations. Each of these individualities, as art discovers it, is a perfectly concrete individual, one from which nothing has yet been abstracted by the work of intellect. Each is an experience in which the distinction between what is due to myself and what is due to my world has not yet been made. If that experience consists in admiring a lady, I do not as poet ask whether this happens because in herself she is somehow different from other ladies, or because I am in a admiring mood
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