Ólöf Nordal’s exhibition, Blird, in Ásmundarsalur is an installation with sculptures, text and sound. Ólöf Nordal has for long worked with bird images in her work which are often rooted in folklore, image building and contemporary culture. Blirds are bronze casts that portray figures in transformation. Their transition suggests morphing from human form to bird form, from the earthly to the spiritual. The Blirds belong to the world of the grotesque and the uncanny, but also refer to migrating birds who fly over the sea in the shape of a bird as well as in human form. The work is in dialogue with Nordal´s latest work Mannfuglar (2022), located in the garden of Móberg nursing home in Selfoss.

First exhibition opening at Cafe Pysja in 2023.

Logi Leó works with sound, sculpture and video in unexpected compositions and installations that often take over the exhibition space.  By activating everyday materials in combination with music, recordings and sound equipment, he enables the audience look at and listen to familiar things in a new way.

Logi Leó Gunnarsson (b.1990) lives and works in Reykjavík. He graduated with a BA degree in Fine Art from the Iceland University of the Arts in 2014. Logi has exhibited works in Kópavogur Art Museum, Gallery Port, Kunsthall Oslo and One Minute Space in Athens. Logi participated in the exhibition Abrakadabra at Reykjavík Art Museum in 2021.

This year, in 2023, the Reykjavík Art Museum celebrates its 50th anniversary and it is an occasion to look at the treasures that have been collected over this time. Of the approximately 17,000 registered works, sketches and other collection items, there are nearly one thousand by international artists. Amongst those, are names that can be considered “friends of Iceland”, but various other connections also lie behind these works in the collection.

This exhibition is divided into an introductory section where interesting international works give insight into various eras, works in the collection that have resulted through connections with Erró and his generous gifts to the museum in recent decades, and a special donation of selected works by Flúxus artists from a sister institution in Norway. There is enough to choose from and it is safe to say that this will be a curious display.

The exhibition contains ten works that  Magnússon has been working on in recent years. “A circle and its diameter are obscurely related in an irrational ratio. This means that these most common forms of creation can not have relations refering to their own existence. Thus, the circle can not describe its diameter and the diameter is unaware of the circle. The exhibition Constructive Vandalism is the wrecking of the perfect thesis of Galileo and Bruno and an exaltation of the geocentric theory of Ptolemy.

The museum has a unique collection of approximately 550 works of art, from the greatest masters of Icelandic art to lesser-known artists. Founded in 1963, it was the first art museum in Iceland to open outside the capital. Bjarnveig Bjarnadóttir and her sons Loftur and Bjarni Markús may justly be said to have laid the cornerstone for the LÁ Art Museum with a generous donation of works of art from their collection in 1963. Their initial gift comprised 41 works of art, and they continued to donate works to the museum until 1986 – when the collection amounted to 75 works of art. It contains works of the greatest masters of Icelandic painting in the first half of the twentieth century: 19 paintings by Ásgrímur Jónsson, and works by Kjarval, Gunnlaugur Scheving, Jón Stefánsson and Þorvaldur Skúlason among others.

Video works by Barbara Naegelin, Dodda Maggý, Gústav Geir Bollason, Sigurður Guðjónsson, and Steina

An exhibition of five video works on the theme of movement in various forms — elastic, flickering, perpetual, spontaneous, and hypnotic — will animate and illuminate the Skaftfell Gallery in an exhibition titled Composition in Five Movements. The group exhibition will open on February 10, during the annual List í Ljósi festival of light in Seyðisfjörður.

Curated by Pari Stave

The Visitors – an ode to friendship under the intonation of romantic desperation. A group of friends and musicians gather in the natural habitat of bohemians, during the twilight hour, in the faded splendor of Rokeby Farm in Upstate New York. The location becomes a scene for what Kjartansson calls a feministic nihilistic gospel-song: a multilayered portrait of the artist‘s friends, an exploration of film-music, which title derives from ABBA‘s final album, The Visitors, marked by separation and defeat. The music is written to a collage of sentences from Ásdís Sif Gunnarsdóttir´s video works and performances.

The Corridor is an artist-run exhibition space founded by artist Helgi Þorgils Friðjónsson in 1979, and it is probably Iceland’s longest-running privately-operated gallery. The Corridor has always been housed in Helgi Þorgils‘  home; the gallery‘s first exhibition, of For the Time Being by Hreinn Friðfinnsson early in 1980, was held at Laufásvegur 79. The Corridor moved on to Mávahlíð 24, then Freyjugata 32 and Rekagrandi 8. It is now located at Brautarholt 8; in 2017–18 the Corridor had a branch at Kárastígur 9 in Hofsós, north Iceland, when Helgi spent a year there with his family.

How did I get to the bomb shelter is a multidisciplinary group exhibition featuring seven contemporary Ukranian artists curated by Yulia Sapiha and produced by The Nordic House in Reykjavik. In the exhibition artists explore themes related to their personal experience of the war, their longing for a peaceful life, their paths towards survival and their hope for the future.

How did I get to the bomb shelter opened on February 4th in the Hvelfing exhibition space at The Nordic House and continues until May 2023. 

The artists of Tracing Fragments examine the complicated histories behind colonial and racial violence, repossessing terms like power and victimhood. Realizing the brown, indigenous, and queer body on their own terms, each artist imagines what forms this body and history can take. In their distinct practices, the artists of Tracing Fragments appropriate a certain colonial visual memory as a way to reassemble potential histories and rewrite narratives of oppression and dispossession.

Sigga Björg is known for her imaginative drawings, installations, videos and books. She has created a unique visual world where fantasy, humor and horror go hand in hand. In her works, she threads the emotional life in all its chaos and creates moods that are almost impossible to put into words, but with her characteristic style she manages to express the most incredible nuances.

Ásmundur Sveinsson shaped his imagery in sculpture that spanned everything from a figurative method to an abstract one. He worked in line with the direction and trends of the modernist development of the 20th century and always worked with material and form.