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In his search for a pathway for musical expressions that know neither grids nor straight lines, Guðmundur Steinn Gunnarsson has had to incorporate digital dynamic screen scores or animated notation (or related digital methods) to express his inability to adapt to the convenient society. This often calls for working frequently with the same musicians, f.ex Fengjastrútur and its offshoot his own quartet Fersteinn. Once the methods started to take shape they would travel into various other types of ensembles and practices.
In his collaboration with the Slátur collective, Jaðarber concert series, Traktorinn Records etc. Guðmundur found like minded individuals to engage in radical experimentations, finding excuses and support to go further into uncomfortable places musically.
It was after his studies in Mills College that he came straight back into the Icelandic bank crash. This held like minded artists in the same financial custody on an island, forming an island within an island.
Apart from experimental notation Guðmundur has experimented with tuning/temperament and experimental or adjusted instruments and vocal performance. His interest in Icelandic folk song has fuelled his belief in life without barlines or equal distances and no-grid approach to music. In all his experiments the computer acts as an unlikely ally between the seemingly irrational and its realization.
His music has been heard in:
November Music, Time of Music, Music for People and Thingamajigs, Music21Niedersachsen, aDevantgarde, Transart, Transit, TENOR, Timisoara International Music Festival, MATA, Ultima, Reno Interdisciplinary Arts Festival, Nordlichter Biennale, Tectonics (Reykjavík, Glasgow, Athens) and ISSTC in Ireland where he was also keynote speaker
His music has been heard by:
Ensemble Adapter, Ensemble Crush, notabu.ensemble, Caput, Toyen fil og klafferi, Defun Ensemble, l’Arsenale, Goodiepal and the Icelandic Animated Notation Orchestra, Dog Star Orchestra, BBC SSO, Iceland Symphony Orchestra, Reykjavík Chamber Orchestra, Ligeti Quartet, Siggi String Quartet, Zapolski Quartet, Nordic Affect, The Icelandic Flute Choir, Roberto Durante, Timo Kinnunen and Markus Hohti.
He frequently collaborates with artists from other disciplines such as instrument designer Halldór Úlfarsson, artists Sam T. Rees, Marina Rees, Birgir Sigurðsson, Berglind Jóna Hlynsdóttir and several others.
His teachers have included: Alvin Curran, Fred Frith, John Bischoff, Atli Ingólfsson, Úlfar Ingi Haraldsson, Hilmar Þórðarson and Hilmar Jensson. He studied at Mills College and Iceland Academy of the Arts.