Verkefnið byggir á heimsókn nemenda á sýningu Kristínar Gunnlaugsdóttur, Ósagt, þar sem þeir kynntust fjölbreyttri myndlistarnálgun hennar. Í kjölfarið fóru fram umræður um verkin og nemendur unnu í hópum að eigin sköpun, undir áhrifum frá völdum verkum listakonunnar.  

Útkoman er fjölbreytt safn verka þar sem sjá má persónulegar túlkanir nemenda á viðfangsefnum Kristínar.  

Þar má meðal annars finna tilbrigði við verkið „Barnið (1997)“, þar sem kúlulaga formið fær nýja merkingu í höndum nemenda. Önnur verk sækja innblástur í litagleði og glimmerheim Kristínar sem birtist á óvæntum stöðum á sýningunni.  

Eitt umfangsmikið hópverk er unnið með vísun í portrett verk Kristínar, þar sem nemendur nálguðust þá hugmynd að hvert portrett geymi sína eigin sögu. Sú nálgun er þróuð áfram með því að vinna með þekktar konur úr mannkynssögunni, þar sem hver og ein ber með sér sína eigin sögu.  

Á sýningunni eru einnig skúlptúrar og önnur verk sem bera vitni um fjölbreytta útfærslu og skapandi nálgun nemenda á verkefnið.  

Á Barnamenningarhátíð er frítt á safnið fyrir fullorðna í fylgd barna.

The project is based on a visit by the students to Kristín Gunnlaugsdóttir’s exhibition Unspoken, where they became acquainted with her diverse approaches to visual art. This was followed by discussions of the works, after which the students worked in groups on their own creative projects, inspired by selected works by the artist.  

The outcome is a diverse collection of works that reflects the students’ personal interpretations of Kristín’s subject matter.  

Among them are variations on the work The Child (1997), in which the spherical form takes on new meaning in the students’ hands. Other works draw inspiration from Kristín’s vibrant use of color and her world of glitter, which appears in unexpected places throughout the exhibition.  

One large-scale collaborative piece references Kristín’s portrait works, where the students explored the idea that each portrait contains its own story. This approach is further developed by working with well-known women from human history, each of whom carries her own story.  

The exhibition also includes sculptures and other works that bear witness to the students’ diverse interpretations and their creative approach to the project.

During the Children’s Culture Festival, admission to the museum is free for adults accompanied by children.

An exhibition of works by students from Laugalækjaskóli in Hafnarhús, April 20–26.

Children's Culture Festival 20th-26th of April | Laugalækjaskóli student exhibition

Sýning á verkum nemenda Laugalækjaskóla í Hafnarhúsi 20.–26. apríl.

Barnamenningarhátíð 20.–26. apríl | Sýning nemenda Laugalækjaskóla

Sýning

Myndlistaskólinn í Reykjavík tekur þátt í Barnamenningarhátíð á Kjarvalsstöðum og sýnir verk nemenda í barnadeild skólans.   

Verkin eru frá vorönn 2026 og taka um 140 börn þátt í sýningunni. Þau eru unnin út frá þema hátíðarinnar þetta árið sem er samfélag og samkennd og eru þetta tví- og þrívíð verk á pappír og úr keramiki.  

Á Barnamenningarhátíð er frítt á safnið fyrir fullorðna í fylgd barna.

The Reykjavík School of Visual Arts is taking part in the Children’s Culture Festival at Kjarvalsstaðir, presenting works by students from the school’s children’s department.  

The works are from the spring semester of 2026, and around 140 children are participating in the exhibition. They are based on this year’s festival theme, community and empathy, and include both two- and three-dimensional works on paper and in ceramics.  

During the Children’s Culture Festival, admission to the museum is free for adults accompanied by children.

An exhibition of works by students from Reykjavík School of Visual Arts in Kjarvalsstaðir, April 20–26.

Children's Culture Festival 20th-26th of April | Reykjavík School of Visual Arts

Sýning á verkum nemenda Myndlistaskólans í Reykjavík á Kjarvalsstöðum 20.–26. apríl.

Barna­menn­ing­ar­hátíð 20.–26. apríl | Myndlistaskólinn í Reykjavík

Undraland: Opin vinnustofa býður börnum, fjölskyldum og öllum sem eiga leið um safnið að taka þátt í skapandi ferli þar sem unnið er með form, efni og hugmyndir á opinn og aðgengilegan hátt. Í vinnustofunni er athyglinni beint að vinnuaðferðum Ásmundar Sveinssonar – hvernig hann vann í gegnum tilraunir, endurtekningar og náið samtal við efnið. Lögð er áhersla á einfaldan og fjölbreyttan efnivið og handverkslega nálgun, þar sem ferlið sjálft skiptir meira máli en endanleg niðurstaða.  

Á Barnamenningarhátið verður boðið upp á fjórar smiðjur fyrir börn og fullorðna. Hver smiðja tekur fyrir ólíkar leiðir í sköpun og kynnir mismunandi nálganir að efninu. Gestir geta komið og farið að vild, dvalið stutt eða lengur og tekið þátt á sínum forsendum, einir, með öðrum eða í samveru ólíkra kynslóða.  

 Á Barnamenningarhátíð er frítt á safnið fyrir fullorðna í fylgd barna.

Wonderland: Open Workshop offers children, families, and all visitors to the museum the opportunity to take part in a creative process that explores form, materials, and ideas in an open and accessible way. The studio focuses on the working methods of Ásmundur Sveinsson — how he developed his work through experimentation, repetition, and a close dialogue with materials. Emphasis is placed on simple yet varied materials and a hands-on, craft-based approach, where the process itself is valued more highly than the final outcome.  

During Children's Culture Festival four workshops will be offered. Each workshop explores different pathways in creative practice and introduces varied approaches to working with materials. Visitors are welcome to come and go as they please, stay for a short time or longer, and participate on their own terms—alone, with others, or in intergenerational settings.  

During the Children’s Culture Festival, admission to the museum is free for adults accompanied by children.

Be warmly welcomed to Wonderland in Ásmundarsafn – an open studio that places emphasis on togetherness and living creativity, inspired by the methods of Ásmundur Sveinsson.

Children's Culture Festival 20th-26th of April | Wonderland:

Verið hjartanlega velkomin í Undraland í Ásmundarsafni – opna vinnustofu þar sem áhersla er lögð á samveru og lifandi sköpun byggða á aðferðum Ásmundar Sveinssonar.

Barnamenningarhátíð 20.–26. apríl | Undraland: Opin vinnustofa í Ásmundarsafni

Smiðja

UNGI er alþjóðleg sviðslistahátíð fyrir börn sem hefur verið haldin annað hvert ár í Reykjavík frá árinu 2013 í tengslum við Barnamenningarhátíð. Hátíðin hefur boðið upp á innlendar og erlendar sviðslistasýningar fyrir börn og ungmenni auk smærri viðburða. 

Menningarráðherra Logi Einarsson setur hátíðina og í framhaldinu kemur Leikhópurinn Lotta með skemmtilega söngvasyrpu.   

Opnunarhátíðinni lýkur með sirkushópnum Hringleik sem kynnir nýtt verk sem heitir Sjómennirnir.  

Nánari upplýsingar um hátíðina má finna á ungifestival.is

UNGI is an international performing arts festival for children that has been held biennially in Reykjavík since 2013 in connection with the Children’s Culture Festival. The festival presents Icelandic and international performing arts productions for children and young people, along with a range of smaller events.  

Minister of Culture Logi Einarsson will open the festival, followed by a lively musical programme by the theatre company Leikhópurinn Lotta.  

The opening celebration concludes with the circus group Hringleikur, who will present a new work titled The Sailors.  

Further information about the festival can be found at ungifestival.is.

The opening celebration of UNGI will take place on the First Day of Summer at 2:00 PM in Hafnarhús.

Children's Culture Festival | Opening Celebration of the UNGI Performing Arts Festival for Children

Opnunarhátíð UNGA verður sumardaginn fyrsta kl 14.00 í Hafnarhúsi.

Barnamenningarhátíð | Opnunarhátíð UNGA sviðslistahátíð fyrir börn

Opnun

Á sýningunni Blómstrandi framtíð beinir Katrín sjónum sínum að plöntum sem hafa ferðast milli heimkynna. Í verkunum mætast grípandi fegurð og hugleiðingar um uppruna. Hún veltir fyrir sér hvað það þýðir að tilheyra, að festa rætur – vera aðfluttur og samt hluti af heild.  

Fjórar seríur sýningarinnar fjalla um inngrip mannsins í náttúruna: Plöntur eru fluttar á milli staða sem gjafir, sem eign, fyrir forvitnissakir eða í nafni rannsókna og framþróunar. Í forgrunni eru fjórar tegundir; kirsuberjatré, bananatré, fenjagreni og kínversk plastblóm, sem hver um sig býr yfir langri og áhugaverðri sögu sem tengir saman ólíkar heimsálfur.  

Aðgöngumiði á safnið gildir. Frítt fyrir Árskorts- og Menningarkorthafa, frítt fyrir yngri en 18 ára.

In the exhibition A Botanical Future, Katrín focuses on plants that have traveled between habitats.  

At the forefront are three plant species, cherry blossom, banana plant, and Dawn Redwood each with a long and fascinating history connecting different continents. She follows them with her camera – not to pin them down, but to record them and transform them into another form. In the photograph they belong to another world, created by the artist. They bear witness to something movable, but not forgotten, of what can flourish — even far away from its origins.  

Admission with museum ticket. Free for Annual pass- and Culture Card holders, free for visitors under 18.

Katrín Elvarsdóttir guides guests through the exhibition A Botanical Future in Hafnarhús on the first day of summer, Thursday 23rd of April at 20.00. The talk will be in english.

Artist talk | Katrín Elvarsdóttir: A Botanical Future

Katrín Elvarsdóttir leiðir gesti um sýninguna Blómstrandi framtíð í Hafnarhúsi á sumardaginn fyrsta, fimmtudag 23. apríl kl. 20.00. Leiðsögnin fer fram á ensku.

Leiðsögn listamanns | Katrín Elvarsdóttir: Blómstrandi framtíð

Leiðsögn

Sýningarspjall

Tónlistargjörningar frá Spider Network og Gubba Hori ásamt Bonitu.   

Pop-up bar frá Hafnar.haus opinn frá kl. 18.00.   

Á þessari sýningu fjallar Hugo um það margslungna ferli að aðlagast nýrri menningu sem innflytjandi. Hann nýtir sér undirstöður íslenskrar og mexíkóskrar menningar – tungumál, matarhefðir, listasögu og tónlist – til að kanna hvernig þessar hefðir blandast, hvaða hliðstæður koma í ljós og hvað það þýðir að tilheyra.

Síðasti dagur sýningarinnar er 3. maí.   

Aðgöngumiði á safnið gildir. Frítt fyrir Árskorts- og Menningarkorthafa.

Live music performances by Spider Network and Gubbi Hori ft. Bonita.  

A pop-up bar by Hafnar.haus will be open from 6:00 PM.  

In this exhibition Llanes examines the intricate and often contradictory experience of cultural adaptation as an immigrant. Engaging with foundational elements of both Icelandic and Mexican/Latino culture: language, food, art history, and music, he investigates how cultural exchanges take shape, which parallels are in place and what it means to belong.

The last day of the exhibition is the 3rd of May.  

Admission with museum ticket. Free for Annual pass- and Culture Card holders.

You are warmly invited to the finissage of the exhibition D54 Hugo Llanes: Bonita at Hafnarhús on Thursday, April 30, starting at 7:00 PM.

Finissage | D54 Hugo Llanes: Bonita

Verið velkomin í lokahóf sýningarinnar D54 Hugo Llanes: Bonita í Hafnarhúsi fimmtudaginn 30.apríl kl. 19.00.

Lokahóf | D54 Hugo Llanes: Bonita

Um miðja síðustu öld hafði íslenska sauðkindin étið upp stóran hluta af gróðri á landinu. Ísland var orðið frekar gróðaursnautt og því var átaki hrint af stað til að græða upp landið. Meðal annars voru flutt inn lúpínufræ til að binda jarðveginn og til að byrja með var fræjunum sáð í reiti.  

Lúpínan vex aldrei ein, hún myndar alltaf breiðu. Í verkinu Blábreiðu gerir Guðbjörg tilraun til að endurskapa hughrifin. Verkið samanstendur af handrenndum steinleirsvösum með fjólubláum glerjungi í formi sem minnir á lúpínu.  

Guðbjörg Káradóttir hannar vörur undir merkinu Ker. Allar vörur Ker eru handrenndar í Reykjavík af Guðbjörgu sjálfri. Guðbjörg vinnur aðallega með postulín sem hún blandar saman við eldfjallaösku og steinleir í verkum sínum og sækir innblástur í íslenska náttúru.

By the mid-20th century, the Icelandic sheep had grazed away a large part of the country’s vegetation. Vast areas of Iceland had become barren, and efforts were initiated to restore the land. Among the measures taken was the introduction of lupine seeds, which were used to stabilize the soil. At first, the seeds were sown in designated plots.  

Lupine rarely grows alone; it spreads in wide blankets across the landscape. In Blábreiða, Guðbjörg attempts to recreate this impression. The work consists of hand-thrown stoneware vases with a purple glaze, their forms evoking the lupine flower.  

Guðbjörg Káradóttir is a ceramic artist who designs products under the brand Ker. All Ker pieces are hand-thrown in Reykjavík by Guðbjörg herself. She primarily works with porcelain, which she mixes with volcanic ash, as well as stoneware in her artworks, drawing inspiration from the Icelandic landscape.

Guðbjörg Káradóttir, ceramic artist, presents the work Blábreiða, which references land reclamation in Iceland. The piece is inspired by the lupine, a plant that few people feel neutral about. Some love it, others hate it, and many find themselves battling it every spring.

DesignMarch | Ker / Blábreiða

Guðbjörg Káradóttir keramiker sýnir verkið Blábreiðu sem er vísun í landgræðslu á Íslandi. Verkið er innblásið af lúpínunni, plöntu sem flestir hafa skoðun á. Fólk ýmist elskar eða hatar lúpínuna, sumir stráfella hana jafnvel á hverju vori.

HönnunarMars | Ker / Blábreiða

Guðrún hefur skapað sér sérstöðu í íslenskri myndlist með verkum sem skoða samband náttúru og manns, mótað af veðri og birtu á Íslandi. Hún nálgast náttúruna sem lifandi afl, þar sem kyrrð og kraftur mætast og óvænt fegurð birtist í hógværum augnablikum.  

Sýningin spannar verk frá áratugalöngum ferli Guðrúnar og gefur heildstæða mynd af óþrjótandi áhuga listakonunnar á að fanga upplifun okkar af náttúrunni - frá agnarsmáum vatnsdropum til þokukenndra fjallstinda, bláma fjarskans og ljósi sem breytist á hverri stundu. Sýningin tengir saman náttúru, skynjun og tíma og kallar fram upplifun sem er bæði sjónræn og tilfinningaleg – andartak til að staldra við og finna snertingu við umhverfið.  

Aðgöngumiði á safnið gildir. Frítt fyrir Árskorts- og Menningarkorthafa, frítt fyrir yngri en 18 ára.

Guðrún has carved out a unique place in Icelandic art with works that explore the relationship between nature and man, shaped by the weather and light in Iceland. She approaches nature as a living force, where stillness and power meet and unexpected beauty emerges in humble moments.  

The exhibition spans works from Guðrún's decades-long career and provides a comprehensive picture of the artist's tireless interest in capturing our experience of nature - from tiny drops of water to misty mountain peaks, the blue of the distance and light that changes at every moment. The exhibition connects nature, perception, and time, evoking an experience that is both visual and emotional – a moment to pause and feel connected to the environment.  

Admission with museum ticket. Free for Annual pass- and Culture Card holders, free for visitors under 18.

Curator Sunna Ástþórsdóttir will give a guided tour of the exhibition Guðrún Kristjánsdóttir: Traces, in Kjarvalsstaðir 3rd of May at 2PM.

Curator talk | Guðrún Kristjánsdóttir: Traces

Sýningarstjórinn Sunna Ástþórsdóttir veitir leiðsögn um sýninguna Guðrún Kristjánsdóttir: Leiðir, á Kjarvalsstöðum þann 3. maí kl. 14.00.

Leiðsögn sýningarstjóra | Guðrún Kristjánsdóttir: Leiðir

Á foreldramorgnum er boðið upp á sérleiðsagnir um sýningar fyrir foreldra með ungabörn í rólegu umhverfi. Eldri systkini velkomin með. Frábært tækifæri fyrir foreldra og ung börn þeirra til að hittast og eiga rólega stund saman á safninu.  

Leiðsögn í boði frá 10.30 –11.30. 

Á Kjarvalsstöðum er gott pláss fyrir barnavagna, aðstaða með skiptiborði og hljóðlátt rými fyrir brjóstagjöf. Hægt er að kaupa veitingar á Klömbrum bistro.  

Aðgöngumiði á safnið gildir. Frítt fyrir árskortshafa, menningarkortshafa og yngri en 18 ára.

At parent mornings, special guided tours of the exhibitions are offered for parents with infants in a calm and relaxed environment. Older siblings are also welcome. A wonderful opportunity for parents and their young children to meet, spend time together, and enjoy a peaceful moment at the museum.  

Guided tour available from 10:30–11:30.  

Kjarvalsstaðir offers ample space for strollers, facilities with a changing table, and a quiet area for breastfeeding. Refreshments can be purchased at Klambrar Bistro.  

Admission with museum ticket. Free for Annual pass- and Culture Card holders, free for visitors under 18.

Parents with young children are especially welcome to visit Kjarvalsstaðir on the first Tuesday of each month.

Parents’ Morning at Kjarvalsstaðir

Við bjóðum foreldra með ungabörn sérstaklega velkomin á Kjarvalsstaði fyrsta þriðjudag mánaðarins.

Foreldramorgunn á Kjarvalsstöðum

Fræðsla

Í samtali Fríðu og Sunnu er farið yfir verk Guðrúnar Kristjánsdóttur á sýningunni og þau sett í samhengi við feril hennar og ólíkar leiðir í listsköpun. Formið verður opið og lifandi og gestum boðið að taka virkan þátt í umræðunni, umvafðir verkum sem spanna fjóra áratugi.  
 
Guðrún hefur skapað sér sérstöðu í íslenskri myndlist með verkum sem skoða samband náttúru og manns, mótað af birtu á Íslandi. Hún nálgast náttúruna sem lifandi afl, þar sem kyrrð og kraftur mætast og óvænt fegurð birtist í hógværum augnablikum.  

Aðgöngumiði á safnið gildir. Frítt fyrir Árskorts- og Menningarkorthafa, frítt fyrir yngri en 18 ára.

In the conversation between Fríða and Sunna, Guðrún Kristjánsdóttir’s works featured in the exhibition are discussed and placed in the context of her career and the different pathways she has explored in her artistic practice. The format will be open and lively, with guests invited to take an active part in the discussion, surrounded by works spanning four decades.  

Guðrún has established a distinctive position within Icelandic visual art through works that explore the relationship between nature and humanity, shaped by the unique light of Iceland. She approaches nature as a living force, where stillness and power converge and unexpected beauty emerges in quiet, understated moments.  

Admission with museum ticket. Free for Annual pass- and Culture Card holders, free for visitors under 18.

Fríða Björk Ingvarsdóttir, former Rector of the Iceland University of the Arts, and Sunna Ástþórsdóttir, curator, discuss Guðrún Kristjánsdóttir’s exhibition Pathways at Kjarvalsstaðir.

Exhibition talk | Guðrún Kristjánsdóttir: Traces

Fríða Björk Ingvarsdóttir, fyrrverandi rektor Listaháskóla Íslands og Sunna Ástþórsdóttir, sýningarstjóri ræða sýningu Guðrúnar Kristjánsdóttur Leiðir á Kjarvalsstöðum.

Samtal um sýningu | Guðrún Kristjánsdóttir: Leiðir

Hafnarhús, Kjarvalsstaðir, Ásmundarsafn

Erró

Hafnarhús

The Reykjavik Art Musem houses the most extensive collection of Erró's works and exhibitions from the Erró collection are a regular fixture at the Hafnarhús site of the Reykjavík Art Museum, with the purpose of giving as clear an image as possible of the diverse character of the artist's works.

Erró is one of the few Icelandic artists who has gained a foothold in the international art scene.

This exhibition is a comprehensive overview of the artist's colourful career that has made use of various media in the visual arts. Within it you will find everything from performances, video works, graphics, multiples and collages, to larger works in public spaces and paintings of all scales.

The artist Erró, born Guðmundur Guðmundsson in 1932 in Ólafsvík, West Iceland, was among the most prominent figures of the European avant-garde of the 1960s. In the history of art of that period, his name is associated not only with the renewal of pictorial figuration, due to his invention of narrative collage-paintings, but also with the Happenings movement and experimental cinema. Although his work is often, rightly, attached to artistic groups like Surrealism, Narrative Figuration or Pop art, it cannot be reduced to any one of them.

Erró: Remix - including a selection of Scapes

Katrín Elvarsdóttir

Black and White close up photo of  Fenjagreni by artist Katrínu Elvarsdóttur

At the forefront are three plant species, cherry blossom, banana plant, and Dawn Redwood each with a long and fascinating history connecting different continents. She follows them with her camera – not to pin them down, but to record them and transform them into another form. In the photograph they belong to another world, created by the artist. They bear witness to something movable, but not forgotten, of what can flourish — even far away from its origins.

In A Botanical Future, Katrín focuses on plants that have traveled between habitats. 

Katrín Elvarsdóttir:  A Botanical Future

This project was Iceland's contribution to the 19th International Architecture Exhibition of the Venice Biennale in 2025. The exhibition tells the story of a future society that has learned to tame lava flows, utilize them, and thus turn a local threat into an opportunity for creativity.

Lavaforming is a proposal on how the brutal force of lava can be turned into a valuable resource, capable of lowering atmospheric emissions through its future use as a sustainable building material.

In our story, placed in 2150, we have harnessed the lava flow, just as we did with geothermal energy 200 years earlier in Iceland. The main goal of Lavaforming is to show that architecture can be the force that rethinks and shapes a new future with sustainability, innovation, and creative thinking. A lava flow can contain enough building material for the foundations of an entire city to rise in a matter of weeks without harmful mining and non-renewable energy generation. Lavaforming is exploring a building material that has never been used before. The theme is both a proposal and a metaphor - architecture is in a paradigm shift, many of our current methods have been deemed obsolete or harmful in the long term. In our current predicament - we need to be bold, think in new ways, look at challenges and find the right resources - Arnhildur Pálmadóttir, curator, architect, founder and creative director of Lavaforming. 

Architect Arnhildur Pálmadóttir is the founder and owner of s.ap architects, which specializes in sustainability and circularity in construction, and the curator and the creative director of Lavaforming. She is renowned for her entrepreneurial attitude and interdisciplinary interest that she uses to tackle projects from various perspectives. 

The exhibition team of the Venice Biennale comes from s. ap architects, an interdisciplinary research studio focusing on speculative projects of the future, along with interdisciplinary collaborators. The exhibition team consists of Arnhildur Pálmadóttir, Arnar Skarphéðinsson, Björg Skarphéðinsdóttir, Sukanya Mukherjee, Jack Armitage, and Andri Snær Magnason. The graphic design is handled by the design studio Studio Studio, and Markús Þór Andrésson, Head of Exhibitions and Mediation at the Reykjavík Art Museum, serves as the exhibition's consultant. 


s. ap architects: Lavaforming

Hugo Llanes

In this exhibition Llanes examines the intricate and often contradictory experience of cultural adaptation as an immigrant. Engaging with foundational elements of both Icelandic and Mexican/Latino culture: language, food, art history, and music, he investigates how cultural exchanges take shape, which parallels are in place and what it means to belong. 

Hugo Llanes (b. 1990) is the 54th artist to exhibit in Gallery D, a space dedicated to artists whose practice has had a formative influence on the Icelandic visual arts scene and who are invited to present their first solo exhibition in a public museum.

In Gallery D his work draws on the structures and peculiarities of language, errors in translation, lived experience, and the symbolic markers encountered throughout his journey. For Llanes, thoughts and words exist in a constant state of translation: errors, gaps, and misunderstandings naturally arise as his cultural identity is slowly transforming. From this liminal space he created Bonita, an alter ego who inhabits the in between of cultural identities, where interpretation and meaning remain perpetually in flux. Words shift as they move from one language to another; their emotional resonance alters or fades. In much the same way, the self is reshaped through the movement between countries looking for a new home, whether voluntary or driven by necessity. Bonita attempts to hold on to traces of her former identity while simultaneously adapting to a new social landscape.

The exhibition is made up of multiple different art mediums, supported by a structure of steel pipes traditionally used for scaffolding. A metaphor for a state under construction and of transformation. Punk aesthetics, vulnerability, and humour infuse the exhibition, serving as tools through which the artist communicates both collective and deeply personal aspects of the immigrant experience in Iceland.

Originally from Mexico, Llanes now lives and works in Reykjavík. He holds an MFA in Fine Arts from the Iceland University of the Arts and a BA in Visual Arts from Universidad Veracruzana, Mexico. He has been an active participant in initiatives that advocate for the inclusion of minority communities, including Komd’inn, Artists in Iceland Action Visa Group, and Get Together (GETA).


D54 Hugo Llanes: Bonita

Jóhannes S. Kjarval

Kjarvalsstaðir

These works extend across the period during which the painter Jóhannes S. Kjarval was active. In examining Kjarval's journey, and comparing it to the works of his contemporaries, it is possible to see the various ways art changes and evolves. The prevailing spirit of each era is reflected in differing shifts in style, and the artworks provide insight into the artists' inspirations, their surroundings and circumstances. Initially, a romantic view of nature predominated, but symbolism soon after made its way into the narrative, and the first steps were taken towards breaking away from naturalistic imagery.

In this exhibition, you can see artworks by Icelandic artists that span approximately six decades following the turn of the 20th century. 

Kjarval was born in 1885 and died in 1972. Between these points in time lies a significant period in cultural history and global society. This was a period of profound social transformation, industrialisation, urban development and technological advancement. Icelandic artists traveled abroad for education, returned home with fresh ideas, and were inspired by the currents and movements they encountered in Europe. In this sense, artists truly are not isolated islands in world history, but rather engage with various circumstances, innovations, revolutions and conflicts through their works.

As contemporary values embedded themselves in Icelandic society, the subjects and methods of artists evolved. Traditional artistic boundaries were shattered, and abstraction found its place. The then present era left its mark on Icelandic society, as is evident in the progress and diversity of artists' creative endeavors, and in the lifelong work of Kjarval.

In 1973, a year following Kjarval's death, Kjarvalsstaðir was inaugurated and named in his honor. Kjarval is one of the most beloved artists of the nation and his works have been exhibited here for half a century. Kjarval‘s works and those of other artists in this exhibition come from the collection of Reykjavik Art Museum, with the exception of Kjarval's famous _Mountain Milk_ (_Fjallamjólk_), one of the artist's most renowned pieces, which is currently on loan from ASÍ Art Museum.

Kjarval and the 20th Century: When Modernity Anchored

Guðrún Kristjánsdóttir

A picture of Guðrún Kristjánsdóttir´s work 

Guðrún has carved out a unique place in Icelandic art with works that explore the relationship between nature and man, shaped by the weather and light in Iceland. She approaches nature as a living force, where stillness and power meet and unexpected beauty emerges in humble moments.

Guðrún Kristjánsdóttir's exhibition in the West Hall of Kjarvalsstaðir brings the vastness of nature closer to us.

Guðrún's work reflects a constant search for balance and captures both the small and the vast in the landscape. In her paintings, nature appears as an ever-changing process where transformation and movement are in constant collaboration. By connecting different materials and methods – videos, light, reflections, rhymes and music – a place and time is created where perception itself becomes part of the work. In recent years, she has worked with materials from the environment – ​​rocks, minerals and coal (surtabrandur) – and created works that carry with them the legacy of geological history. The exhibition spans works from Guðrún's decades-long career and provides a comprehensive picture of the artist's tireless interest in capturing our experience of nature - from tiny drops of water to misty mountain peaks, the blue of the distance and light that changes at every moment. The exhibition connects nature, perception, and time, evoking an experience that is both visual and emotional – a moment to pause and feel connected to the environment.

A short bio of the artist:
Guðrún Kristjánsdóttir was born in 1950 and studied art at the École des Beaux-Arts in Aix-en-Provence, France. She held her first solo exhibition in Kjarvalsstaðir in 1986 and has since exhibited widely, both in Iceland and abroad, including in Europe, the United States and Asia. Guðrún has worked as an artist for over four decades and also as a curator, editor and lecturer. She lives and works in Reykjavík and at Hlöðuberg on Skarðsströnd. The exhibition Traces springs from the book Bláleiðir, which Guðrún wrote together with Oddný Eir Ævarsdóttir and Snæfríð Þorsteinsdóttir, based on the artist's life's work.

Guðrún Kristjánsdóttir: Traces

Ásmundur Sveinsson

Myndhöggvarinn að störfum á vinnustofu sinni.

Ásmundarsafn

Sculptor Ásmundur Sveinsson worked in different materials. He carved wood, cut stone, shaped clay, transferred forms to concrete, in addition to working with iron and found materials. Many of his best-known works are enlarged and placed in public space around the city. His works were created in relentless experimentation in the studio where he allowed material, content and space work hand in hand. The sculptures are either figurative or abstract, as Ásmundur went through various periods in his artistic creation. In the exhibition, we go back in time and into Ásmundur's studio. We get a sense of what happened behind the scenes in the artist's search for the appropriate completion for the ideas that emerged.

 In the exhibition, we go back in time and into Ásmundur's studio.

Wonderland was the name of the next farm to the place in Laugardalur where Ásmundur built his studio, the "dome" in Sigtún. He lived here with his family, built and developed unique facilities for artistic creation. The house was partially rebuilt and opened as an art museum and sculpture garden after Ásmundur's death over 40 years ago. Reykjavík Art Museum's aim ever since has been to show his work in all its variety and to provide a platform for a younger generation of artists to show their own work in the context of his heritage.

Ásmundur Sveinsson (1893–1982) was one of the pioneers of Icelandic sculpture. He studied at the Swedish Academy of Arts in Stockholm, spent several years in Paris and travelled through Greece and Italy. Ásmundur always remained loyal to the position that art had a mission for the people and belonged among them. He was called the folk poet in art, and without a doubt, that ideal is rooted in his attitude to life as much as in the sculptural tradition.

Ásmundur Sveinsson: Wonderland

Sara Riel

Halldór Ásgeirsson

Finnur Arnar Arnarson

Ásta Fanney Sigurðardóttir

Amanda Riffo

Unnar Örn J. Auðarson

The exhibition features a variety of works that bear the marks of experimentation and the creativity that took place while the artists worked in the museum. The project was conceived as a living dialogue between artist, space and viewer — and the remains that are now on display are both traces, memories and new interpretations of what was created.

The exhibition Remnants in  Ásmundarsafn museum presents works by six artists who have stayed in the museum's studio in a special project called Wonderland- work in Progress, which was ongoing during fall-winter of 2025-2026. Ssix artists were given the opportunity to work in close connection with the museum's space, the spirit of Ásmundur Sveinsson and its daily activities.

The exhibition features work by:
Unnar Örn, Ásta Fanney Sigurðardóttir, Amanda Riffo, Halldór Ásgeirsson, Sara Riel and Finnur Arnar Arnarsson. 
The remainder highlights diverse perspectives and working methods, but together the works form a vibrant whole that reflects the artists' time in the museum and opens up new ways of perceiving Ásmundarsafn and its surroundings.


Nine Exhibitions
Hafnarhús, Kjarvalsstaðir, Ásmundarsafn

Exhibitions

Erró: Remix - including a selection of Scapes

Erró: Remix - including a selection of Scapes

Katrín Elvarsdóttir: A Botanical Future

Katrín Elvarsdóttir: A Botanical Future

s. ap architects: Lavaforming

s. ap architects: Lavaforming

D54 Hugo Llanes: Bonita

D54 Hugo Llanes: Bonita

Kjarval and the 20th Century: When Modernity Anchored

Kjarval and the 20th Century: When Modernity Anchored

Guðrún Kristjánsdóttir: Traces

Guðrún Kristjánsdóttir: Traces

Ásmundur Sveinsson: Wonderland

Ásmundur Sveinsson: Wonderland

Wonderland: Remnants

Wonderland: Remnants

Events

Locations

Ásmundarsafn

Hafnarhús

Kjarvalsstaðir

Nine Exhi­bitions Hafn­ar­hús, Kjar­vals­staðir, Ásmund­arsafn

Exhibitions

Erró: Remix - including a selection of Scapes

Erró: Remix - including a selection of Scapes

Katrín Elvarsdóttir: A Botanical Future

Katrín Elvarsdóttir: A Botanical Future

s. ap architects: Lavaforming

s. ap architects: Lavaforming

D54 Hugo Llanes: Bonita

D54 Hugo Llanes: Bonita

Kjarval and the 20th Century: When Modernity Anchored

Kjarval and the 20th Century: When Modernity Anchored

Guðrún Kristjánsdóttir: Traces

Guðrún Kristjánsdóttir: Traces

Ásmundur Sveinsson: Wonderland

Ásmundur Sveinsson: Wonderland

Wonderland: Remnants

Wonderland: Remnants

Events

Locations

Ásmundarsafn

Hafnarhús

Kjarvalsstaðir

Nine Exhibitions
Hafnarhús, Kjarvalsstaðir, Ásmundarsafn