Art
Rooms Full Of Potential: Sunscreen Smell And Weeds At Kling & Bang
Beyond Death And Satan: Ragnar Kjartansson’s “Key Works” On Show In The Faroes
A Flood Of Feeling: ‘Nr. 3 Umhverfing’ Fills The Snæfellsnes Countryside With Art
William Morris In Iceland: Dungeons, Dragons And English Magic
One Endless Idea: Sculptor Steinunn Þórarinsdóttir Dives Into The Human Condition
Bergur Thomas Anderson’s Curious ‘Lego Flamb And The Hum Of Life’
Found In Transition: Café Bismút Goes From Serving Caffeine To Culture
Shoplifter At The Venice Biennale: Meet The Chromo Sapiens
Brynhildur Karlsdóttir: The Layers Of Love On A Performance Art Drive
Photographing The Unseen: Anna Maggý Aims For The Top
Katrín I. Jónsdóttir Hjördísardóttir’s Self Love Contract For The People
The Art Of Being Seen: Bára Halldórsdóttir Will Bring Disabled Reality To Light
Flétta Design Studio Turns The Mundane Into Beauty
Grapevine Illustrator Lóa Hjálmtýsdóttir Takes Over The Guardian
Artist Of The Year: Eygló Harðardóttir Reflects On Her Career
Return To The Primal: Kathy Clark On Finding The Ancient Feminine Divine
Winners Of The 2019 Icelandic Art Awards Announced
Clichés From Civilization: Ragnar Kjartansson On Epic Screensavers, Theatre & Nobility
Versatile Uprising: A Window Into Another World
Concourse Discourse: Terminal Exhibitions En Route To Iceland
A Witness Of Life: Haraldur Jónsson Reveals His Expansive Artistic Spectrum
The Weight Of Air: Capturing the Intangible Through the Camera Lens of Ng Hui Hsien
Árni Paints The Sea: An Oceanic New Exhibition Looks At One Of Painting’s Classic Subjects
Search For Life: Halldór Ragnarsson’s Accidental Art Project Finds Its Final Form
Beyond Logic: Sara Riel’s ‘Automatic’ Brings Emotion Into Motion
