In a historical context art has been the facet of society where innovation and progressive thinking has been of most value. This forward-looking aspect of art has non-the-less always depended upon its historical precedents—previous art practice. It is in this context that contemporary artists are constantly renewing their previous premises. At the same time contemporary art worlds are by nature complex structures—an increasing mix of different media and influences, where artists of necessity are informed by theoretical, social, political, and economic premises. In accord with that, contemporary cultural premises are in constant flux, dependent upon changes in technology, urbanisation, globalisation, and climate, in addition to a more volatile political field. It is in response to these issues that the nature of artistic practice is constantly changing. For these reasons it is adamant to constantly re-conceptualise the analysis of art and its function in society, where novel ideas and definitions, such as the 'Anthropocene' and the 'posthuman', can be utilised to understand better the situation of art in human society. In this course we re-examine the theoretical premises of contemporary art practice via research of the field of art—historical and contemporary—through research based on the interplay of art with diverse fields of study: history, philosophy, literature, media and film studies, anthropology, political theory, geography, sociology.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

The course lays the foundation for the active work of curators for practical work in the field of art and museums. We work in an interdisciplinary and critical way with concepts and theories that relate to the work of curators in the field of contemporary art. Students work in teams and set up an exhibition in collaboration with art students or artists. Students will apply knowledge and methods to practical issues, work on preparation, design, text writing and preparation of promotional material in connection with an exhibition. The course is partly run in collaboration with the Master's program in art at the University of Iceland, and students will have the opportunity to collaborate with the University of Iceland Art Museum and other recognised art museums.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

MA-thesis 

MA-thesis 

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

Contemporary academic and artist discourses are today bringing forth new narratives about the role that the esoteric, the spiritual, and the occult have played in the history of modern art and culture. What was once disavowed and pushed to the margins or dismissed as the “irrational” folly of dreamers and fools, esoteric ideas, beliefs, practices, and symbols have played an integral part in aesthetic modernism and modern culture in the 19^th and 20th centuries, leading into the contemporary moment.  The aim of this course is to provide an introduction to several core esoteric traditions and practices – such as theosophy, magic, alchemy, spiritism, new age spirituality, occulture, etc. - and examine how they interact and impact upon modern art theory and practice. As such, we will explore how art in this regard is not only a medium for the representation and expression of esoteric concepts, it also operates as a site for ritual and experiential occult praxis. Through key works, movements, and artists, the course will look at cultural history with an interdisciplinary gaze that allows for the presence of other art forms such as dance, music, and film.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course will consider performance art in light of global warming and the contemporary threat to the natural environment. What impact can performance art make in this context? How have artists considered and reacted to the consequences of human activities on the Earth and its ecosystem? The intertwinement of performance art and Land art in the sixties and seventies will be highlighted, and the link between art and political environmental movements discussed. We will examine how contemporary artists around the globe have used performance to shed light on the complex relation of human beings to the environment, the boundaries of human-made and natural environments and the impact of global warming on human societies, on animals and the Earth‘s ecosystem. The environmental movement‘s connections to feminist critiques and indigenous struggle around the globe will be discussed. The definition of performance will be examined and organic processes and nonhuman activities within art will be considered in light of contemporary radical philosophies.

Artists’ books by Icelandic and foreign artists from the 1960s until the present are the subject of this course. Some sixty years ago a movement of artists who focused on the production of books as artworks took form. They exchanged books by mail and in doing so created a transnational network to foster radical new ideas on art, society and culture. Some Icelandic artists were quick to embrace this new art form, thus laying the groundwork for a tradition that later generations of artists have used to disseminate their art and nurture communication with progressive artists around the world. In the course we will examine this important aspect of contemporary Icelandic art, and try to reveal the important role that artists’ books played in ending the isolation of Icelandic artists and allowing them to become active participants in the international avant-garde. Emphasis will also be placed on identifying the uniqueness of artists´ books, as well as the context of diverse media used by artists and the overlap with other art forms: poetry, music, the performing arts, etc. We will focus on researching the interplay of visual elements and text in artists´ books and the shift in perception that occurs when different art forms are placed together in a book. We work with various artists´ books, artists´ writing about their own work as well as theoretical context. Emphasis is placed on independent student practice, artistic creation and new research on artists’ books.

The course provides an introduction to experimental film and film theory within the context of fine art. Various epochs and the critical responses that they provoked are defined and analysed. We look at different theoretical frameworks, such as Modernism, Humanism, Structuralism, Postmodernism, and the Anti-Aesthetic and make use of works by authors such as Kant, Nietzsche, Marx, Lacan, Bazin, Baudrillard, McLuhan and Jameson in order to analyse these. This theoretical framework provides a lens to interpret avant-garde cinema and fine art movements beginning with the emergence of expressionism. The course seeks to interpret the role of individualism via mass media as we explore various artists and filmmakers whose works are relevant in the context of this theoretical framework. Emphasis is placed on the viewing of time-based media that illustrate the various theories presented during the course, with a focus being on artists and filmmakers who have embraced these ideologies within their practice.

In the course, students develop venture projects from ideation to product. Emphasis is placed on practical work on real-world issues where students apply user-centered methods, work with business models, and conduct diverse analyses and plans.

The first part of the course will introduce design thinking and the basics of project management. The second part will be taught in collaboration with industrial engineering and business administration.

The course is based on workshops and collaboration between students with different academic backgrounds. Emphasis is placed on critical analysis of opportunities for innovation and entrepreneurship, creative solution-seeking, and the development of ideas based on user needs. Students will be introduced to methods for testing and communicating ideas and solutions and will become familiar with the practical and societal impacts of innovation on a broad basis. The course is suitable for students who want to strengthen entrepreneurial thinking and learn to apply innovation methods, whether within organizations, operating companies, or as independent entrepreneurs.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

The course will focus on various cases from the nineteenth century onwards of cultural elements that have been considered adversary to culture and civilisation in Iceland. Ideas, behaviour and artefacts that have been seen to be threats to Icelandic culture or a menace to a sound and healthy cultural life (such as jazz, popular fiction, avant-garde art) will be reflected upon, and the nature of the assumed dangers explored. As part of the discussion, the interconnection between social power and culture will be taken into careful consideration and questions about who defines cultural menace, by what means and for what purpose will be asked. Do such threats have aspects in common and in what ways have definitions been influenced by interests, ideals and moral standards that are subject to change? To what extent have ideas about cultural menace played a role in fashioning and defining Icelandic culture?

To what extent has Icelandic culture been formed through normative ideas about cultivated behaviour and civilisation? To what extent has Icelandic culture been shaped through resistance to foreign mass culture that has been seen to present itself in the Icelandic community in the guise of, for example, Danish dress fashion and American soap-operas?

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Constant technological development and emphasis on digital solutions has brought about frequent and numerous changes in the role of the webmaster. In this course, Efforts will be made to provide students with good insight into the main aspects of the webmaster's work. The writings of experts and scholars will be examined, and students will be introduced to the necessary tools and equipment. Professionals in the field will visit and share their experience with students.

The job of a web editor is often integrated with general web management. Students get a good insight into web editing and writing for digital media. The main aspects that a webmaster / web editor needs to be able to master will be discussed, such as information architecture, writing for the web, presentation of images, fundamentals in web design, accessibility, usability, security, analytics, content management systems (CMS), and basic web interface technology.

Students set up their own websites and use a CMS of their choice, e.g., WordPress or Wix, which are both available in free versions, and some of the assignments are submitted on there. In this way, students gain training in setting up a simple website. Particular attention is drawn to the fact that instruction in the use of the CMS is not part of the course. Those who have no or limited experience, in the use of CMS, are advised that YouTube has numerous videos where you can learn about the systems, from the basics to much more complex aspects that are expected in this course.

The aim of the course is to provide students with a more comprehensive and deeper insight into the different theoretical approaches within the humanities. In the course, the main theories that have influenced theoretical discussion in the humanities over the last decades will be presented and discussed, and the students are taught how to apply them in their own research.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

One of the main purposes of Icelandic museums is to preserve the country's cultural and natural heritage for future generations. Furthermore, to encourage increased knowledge of this heritage and understanding of its connections to the outside world. According to Icelandic museum laws, museums are expected to "enhance people's quality of life" by fostering an understanding of the development and status of culture, art, nature, and/or science. Therefore, museums and museum education can impact society, groups, and individuals. Museology plays a key role in this context and is the main subject of this course.

Students will be introduced to theoretical approaches aimed at supporting diverse and impactful educational practices related to archaeology, art, natural sciences, cultural heritage, and other museum subjects. Attention will be given to the different target audiences of museum education, the role of visitors within museums, spatial considerations, text production, multimedia, interactivity, and more.

This is a distance-learning course divided into three modules. Each module includes short lectures by the instructor reflecting on the course material, guest lectures (delivered digitally), and supplementary materials. Over the semester, three in-person and/or Zoom sessions will be held, where students will receive lectures from museum professionals and work on an educational project in collaboration with a museum in Reykjavík. The project will be developed based on students’ academic interests, under the supervision of the instructor and with support from museum staff.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course examines how contemporary artists respond to and reimagine futures shaped by white supremacy, the colonial legacy, and capitalist systems of power. Rather than treating the future as abstract or technological, we approach it as a site of struggle, a space where dominant power systems extend themselves, and where others imagine, rehearse, and refuse.  Drawing from Co-futurism, Radical Futurism and decolonial thought, students engage with artistic practices that break from linear time and extractive logics. These include speculative aesthetics, science-fictional imaginaries and counter-archives. The course also approaches future-making as a healing and collective act, a practice of care, resistance, and relation. We will ask questions such as what futures are being designed for us? What aesthetic and political gestures might help us diverge from those scripts?  Through readings, screenings, and studio practice, students will build their own research-based or practice-led projects. Emphasis will be placed on situated knowledge, unlearning, and creative experimentation.  Students will critically engage with theories of the colonial present, temporality, and futurity, situating their own perspectives within both local and global contexts. Through artistic research and speculative practice, students will explore alternative world-making and aesthetic strategies that resist and reimagine dominant power structures. Students will develop and articulate their own artistic positions with critical awareness, openness, and social responsibility. 

Interdisciplinary reseach on material culture has expanded considerably in the last decades. Although art historians have, in some sense, always studied materiality, material culture, collecting and provenance, art history as a field has had limited part in academic discourse within material culture studies on human relationships to objects. In this course students are afforded a valuable opportunity to consider deeply art objects and their „lives“ within and outside of institutions: their manufacture, use, exchange, exhibition, conservation, classification and definition, as well as the values and ideas attached to them. Each week students are presented with one object  of study and receive training in various methods of researching, analyzing and interpreting art, through visual analysis, analysis of the material and make of objects, their categorization within the classification systems of museums and examination of provenance and exhibition history. Alongside this students will be introduced to theories of material culture studies and their intersection with the subjects and theories art history, such as insititutional critique and provenance. The course is run in collaboration with museums in the capital region of Iceland and is suitable for students of art history, visual art, history, archaeology, folkloristics and museum studies.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course explores artworks in the context of gender and discusses the theoretical basis of gender studies and its trans-disciplinary nature. It seeks to explore how ideas on gender influence artistic practice and discussion and writing on the fine arts. The representations and meanings of gender in language, society and culture are also analyzed with an emphasis on stereotypes and/or their deconstruction in the positions artists take in their work. The approach taken by feminists and queer theory is used to explore the role of gender in the works of artists who bend stereotypical images of femininity and masculinity and create upheaval in the dominant discourse and gender systems of the Western world. Studies on gender inequality and its diverse representations in the contemporary art world are introduced and discussed.

This course delves into the multifaceted relationship between museums and the societies they serve. It aims to explore how museums are not only custodians of cultural heritage but also active participants in shaping cultural narratives and communal identities. By examining historical contexts, theoretical frameworks, and practical case studies, students will gain insight into the influential role that museums play in reflecting and sometimes challenging societal values. The course will cover topics such as museums as agents of social change, the importance of inclusivity and accessibility, and the impact of digital technology on community engagement. Through discussions, case studies, and hands-on projects, students will explore how museums can effectively engage with diverse audiences and contribute to a more equitable society. By the end of the course, students will have developed a nuanced understanding of how museums can evolve in response to the dynamic needs and values of the communities they serve.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include:

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning.

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from late February to April, the course introduces students to the professional challenges of object preservation—including issues such as poor storage conditions and contemporary collecting—collection documentation, and museum research. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

This course critically examines the impact of contemporary social issues on museums and their practices. It seeks to provide students with a comprehensive understanding of how museums are confronted with, and often strive to address, various societal challenges, including diversity, equity, inclusion, social justice, and sustainability. Throughout the course, students will explore social issues within the museum context and analyze real-world examples of museums that actively engage with these topics. Key themes will include the role of museums as advocates for marginalized communities, the importance of community collaboration and co-creation, and strategies for addressing climate change within museum practices. The course is taught from the end of February to the end of March.

This course offers students an introduction to the professional challenges involved in the daily operations of a museum, specifically at the Museum of Design and Applied Art in Iceland. The goal is to familiarize students with public expectations, museum administration (including museum councils), and museum owners, and how institutions strive to meet these demands. Students will gain insight into the professional responsibilities of museum staff in general and the role and purpose of design museums in this context. The course aims to provide practical knowledge of museum work, analysed through academic readings, professional regulations, museum work practices, and the ethical guidelines of ICOM. The course begins with online lectures, followed by an in-person half-day seminar at the Museum of Design and Applied Art in late January (attendance is mandatory). Additionally, each student will select one day during the semester (during a period set by the teacher and the museum) to participate in a hands-on workday at the museum, working in pairs alongside a museum staff member for a full day. Assessment is based on attendance at the in-person seminar and workday, as well as a written assignment that reflects on their experience at the Museum of Design and Applied Art in relation to academic reading materials.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include: •

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from mid-January to February, the course covers museum governance (including museum councils, legislation, and ICOM ethics), collection acquisition, and methods of public engagement. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

Curating is a fast growing discipline within various types of museums, like art museums, natural history museums and cultural history museums. In this course different approches to curating, exhibition making and exhibition design in such museums will be examined from critical perspectives, with emphasis on management, different narrative strategies, scripting and mediation. Past and present exhibitions of art museums, natural history museums and cultural history museums, in Iceland and abroad, will be critically addressed and analyzed.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The course explores diverse manifestations of cultural innovation within the fields of culture and mediation, with a special emphasis on the impact and potential of digital technologies. Attention is given to the management and operation of organizations working in the cultural and creative sectors, and to how innovation can support cultural value, sustainability, and the development of new modes of mediation.

Students are introduced to key theories and methods related to cultural management, creative thinking, and entrepreneurship in cultural contexts. The course examines the interrelations between culture, economy, and technology, and how cultural innovation can foster participation, new business models, and emerging forms of cultural communication and experience.

The course discusses the philosophical and theoretical foundations of gender studies, and the critical and interdisciplinary content of the field. The representation and meaning of sex and gender in language, culture, history, science, and society is explored. The analytical perspective of the field is presented, as is its relationship with methodology. Students are trained in applying theoretical concepts and methods independently and critically.

The course deals with interconnections between political radicalism, culture, tradition and power. We will focus on contemporary representations of dissent in particular, look at the discourse of democracy and cultural difference, reactions to and criticism of protest in the Western political tradition and dissent in more repressive political systems. The role of intellectuals and writers will be explored as well as the function of artistic expression and design in transforming cultural and social environments. We will also discuss media and social media discourse in connection with an attempt to understand the various and sometimes contradictory objectives of public institutions. A few points of conflict will be discussed that to some extent expose fundamental conflicts in liberal democratic societies such as questions about the wisdom and ignorance of publics, reactions to climate change, inequality and extreme poverty. Finally corruption and power will be discussed as well as social and cultural expression, the possibilities and limitations of freedom of speech, the use and abuse of information, disinformation, secrecy, fake and “fake news”.

In the course Communication channels II during the spring semester the students work with the following communication methods: a) oral presentation and b) exhibitions of cultural and historical material. Digital communication will be integrated into both aspects.

The students will work with the basics of oral presentation and practice in smaller and larger groups. Basic issues regarding the organization of conferences and seminars and their management will also be reviewed and a conference is held where all students present their projects. Digital communication will also be integrated into this section. Following is a section about exhibitions with connection to digital communication. The basics of exhibitions and different ways of presentation will be discussed.  The basics of digital communication will be covered, what are the main channels, advantages and disadvantages, and what rules apply to the presentation of texts on the web.

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Lecture at a conference and other projects in that context
2. Exhibition analysis and a practical project in connection with exhibitions organized by the City History Museum (Borgarsögusafn)
3. Digital communication will be integrated into both aspects. Emphasis is placed on common themes and group work in the course.

The course is not taught remotely.

An introduction to the collaboration and division of work between an editor and a graphic designer in the creation of printed work with emphasis on the importance of typography. Students will gain insight into the basis of typography and preparation for print as well as learning about the graphic designer's tools in context with principal kinds of print. The course will include readings and discourse on the influence of graphic design on legibility and understanding, as well as discourse on quality, usefulness, aesthetics and practicality in graphic design.

The student will present and hand in a written analysis on a printed good of their own choice and are also encouraged to actively participate in discussions in class. The final project consists of creating your own publishing project and communicating ideas on its editing graphically and in writing.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.

The course critically engages with the concept of culture, addressing predominant conceptualizations while simultaneously exploring the role, conditions and influence of culture in the present. The objective is to generate a disciplined discussion on cultural heritage, cultural politics and policy, and cultural sustainability in conjunction with questions on the practicality of presenting and communicating expressions of culture. Attention is paid to the relationship between the cultural field and other social, political and economic aspects of society and how these enable and limit the communication and dissemination of cultural resources. Questions on how cultural heritage, traditions, collective memory, ideas on authenticity and identity generate the formation and reproduction of cultural constellations are dealt with as well as how conceptualizations such as ‘cultural capital’, ‘cultural hegemony’ and ‘authorized discourse on heritage’ can be employed to understand and analyze manifestations of culture.

Recent years have seen an increased focus on data collection and statistical analysis within the humanities. This is particularly apparent in growing branches such as psycholinguistics, cognitive literary studies and experimental philosophy, to name a few. The push towards quantitative methods occurs at a time where the validity and reliability of well-established statistical methods are called into question in other fields, with increased demands of replicability and open access as well as data protection and responsibility. In this course, students explore the value of quantitative methods in their field while getting training in the collection and analysis of data. A diverse set of research methods will be introduced, ranging from surveys to corpus analysis and experiments in which participants’ response to stimuli (such as words, texts or audio-visual materials) is quantified. Basic concepts in statistics will be reviewed, enabling students to know the difference between descriptive and inferential statistics, understand statistical significance and interpret visual representations of data in graphs. The course will be largely practical and students are expected to apply their knowledge of data collection and analysis under the instructor’s guidance. Students will work on a project within their own discipline but will also explore the possibility of cross-disciplinary work. Open source tools such as R Studio will be used for all assignments but no prior knowledge of the software or statistics in general is required. The course is suitable for all students within the humanities who want to collect quantitative data to answer interesting questions and could therefore be a useful preparation for a BA or MA project.

Students learn and are trained in the methods of archival research, finding and evaluating sources in archives.  Practical exercises will be assigned.

The goal of this course is to give students an opportunity to present their theoretical knowledge and research to listeners of the Icelandic Public Broadcasting Service (Ríkisútvarpið). Students will be introduced to public radio as a medium and trained in radio programming and in presenting theoretical material in simple manners suitable for broadcasting in public radio.

In a historical context art has been the facet of society where innovation and progressive thinking has been of most value. This forward-looking aspect of art has non-the-less always depended upon its historical precedents—previous art practice. It is in this context that contemporary artists are constantly renewing their previous premises. At the same time contemporary art worlds are by nature complex structures—an increasing mix of different media and influences, where artists of necessity are informed by theoretical, social, political, and economic premises. In accord with that, contemporary cultural premises are in constant flux, dependent upon changes in technology, urbanisation, globalisation, and climate, in addition to a more volatile political field. It is in response to these issues that the nature of artistic practice is constantly changing. For these reasons it is adamant to constantly re-conceptualise the analysis of art and its function in society, where novel ideas and definitions, such as the 'Anthropocene' and the 'posthuman', can be utilised to understand better the situation of art in human society. In this course we re-examine the theoretical premises of contemporary art practice via research of the field of art—historical and contemporary—through research based on the interplay of art with diverse fields of study: history, philosophy, literature, media and film studies, anthropology, political theory, geography, sociology.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

The course lays the foundation for the active work of curators for practical work in the field of art and museums. We work in an interdisciplinary and critical way with concepts and theories that relate to the work of curators in the field of contemporary art. Students work in teams and set up an exhibition in collaboration with art students or artists. Students will apply knowledge and methods to practical issues, work on preparation, design, text writing and preparation of promotional material in connection with an exhibition. The course is partly run in collaboration with the Master's program in art at the University of Iceland, and students will have the opportunity to collaborate with the University of Iceland Art Museum and other recognised art museums.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

MA-thesis 

MA-thesis 

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

Contemporary academic and artist discourses are today bringing forth new narratives about the role that the esoteric, the spiritual, and the occult have played in the history of modern art and culture. What was once disavowed and pushed to the margins or dismissed as the “irrational” folly of dreamers and fools, esoteric ideas, beliefs, practices, and symbols have played an integral part in aesthetic modernism and modern culture in the 19^th and 20th centuries, leading into the contemporary moment.  The aim of this course is to provide an introduction to several core esoteric traditions and practices – such as theosophy, magic, alchemy, spiritism, new age spirituality, occulture, etc. - and examine how they interact and impact upon modern art theory and practice. As such, we will explore how art in this regard is not only a medium for the representation and expression of esoteric concepts, it also operates as a site for ritual and experiential occult praxis. Through key works, movements, and artists, the course will look at cultural history with an interdisciplinary gaze that allows for the presence of other art forms such as dance, music, and film.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course will consider performance art in light of global warming and the contemporary threat to the natural environment. What impact can performance art make in this context? How have artists considered and reacted to the consequences of human activities on the Earth and its ecosystem? The intertwinement of performance art and Land art in the sixties and seventies will be highlighted, and the link between art and political environmental movements discussed. We will examine how contemporary artists around the globe have used performance to shed light on the complex relation of human beings to the environment, the boundaries of human-made and natural environments and the impact of global warming on human societies, on animals and the Earth‘s ecosystem. The environmental movement‘s connections to feminist critiques and indigenous struggle around the globe will be discussed. The definition of performance will be examined and organic processes and nonhuman activities within art will be considered in light of contemporary radical philosophies.

Artists’ books by Icelandic and foreign artists from the 1960s until the present are the subject of this course. Some sixty years ago a movement of artists who focused on the production of books as artworks took form. They exchanged books by mail and in doing so created a transnational network to foster radical new ideas on art, society and culture. Some Icelandic artists were quick to embrace this new art form, thus laying the groundwork for a tradition that later generations of artists have used to disseminate their art and nurture communication with progressive artists around the world. In the course we will examine this important aspect of contemporary Icelandic art, and try to reveal the important role that artists’ books played in ending the isolation of Icelandic artists and allowing them to become active participants in the international avant-garde. Emphasis will also be placed on identifying the uniqueness of artists´ books, as well as the context of diverse media used by artists and the overlap with other art forms: poetry, music, the performing arts, etc. We will focus on researching the interplay of visual elements and text in artists´ books and the shift in perception that occurs when different art forms are placed together in a book. We work with various artists´ books, artists´ writing about their own work as well as theoretical context. Emphasis is placed on independent student practice, artistic creation and new research on artists’ books.

The course provides an introduction to experimental film and film theory within the context of fine art. Various epochs and the critical responses that they provoked are defined and analysed. We look at different theoretical frameworks, such as Modernism, Humanism, Structuralism, Postmodernism, and the Anti-Aesthetic and make use of works by authors such as Kant, Nietzsche, Marx, Lacan, Bazin, Baudrillard, McLuhan and Jameson in order to analyse these. This theoretical framework provides a lens to interpret avant-garde cinema and fine art movements beginning with the emergence of expressionism. The course seeks to interpret the role of individualism via mass media as we explore various artists and filmmakers whose works are relevant in the context of this theoretical framework. Emphasis is placed on the viewing of time-based media that illustrate the various theories presented during the course, with a focus being on artists and filmmakers who have embraced these ideologies within their practice.

In the course, students develop venture projects from ideation to product. Emphasis is placed on practical work on real-world issues where students apply user-centered methods, work with business models, and conduct diverse analyses and plans.

The first part of the course will introduce design thinking and the basics of project management. The second part will be taught in collaboration with industrial engineering and business administration.

The course is based on workshops and collaboration between students with different academic backgrounds. Emphasis is placed on critical analysis of opportunities for innovation and entrepreneurship, creative solution-seeking, and the development of ideas based on user needs. Students will be introduced to methods for testing and communicating ideas and solutions and will become familiar with the practical and societal impacts of innovation on a broad basis. The course is suitable for students who want to strengthen entrepreneurial thinking and learn to apply innovation methods, whether within organizations, operating companies, or as independent entrepreneurs.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

The course will focus on various cases from the nineteenth century onwards of cultural elements that have been considered adversary to culture and civilisation in Iceland. Ideas, behaviour and artefacts that have been seen to be threats to Icelandic culture or a menace to a sound and healthy cultural life (such as jazz, popular fiction, avant-garde art) will be reflected upon, and the nature of the assumed dangers explored. As part of the discussion, the interconnection between social power and culture will be taken into careful consideration and questions about who defines cultural menace, by what means and for what purpose will be asked. Do such threats have aspects in common and in what ways have definitions been influenced by interests, ideals and moral standards that are subject to change? To what extent have ideas about cultural menace played a role in fashioning and defining Icelandic culture?

To what extent has Icelandic culture been formed through normative ideas about cultivated behaviour and civilisation? To what extent has Icelandic culture been shaped through resistance to foreign mass culture that has been seen to present itself in the Icelandic community in the guise of, for example, Danish dress fashion and American soap-operas?

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Constant technological development and emphasis on digital solutions has brought about frequent and numerous changes in the role of the webmaster. In this course, Efforts will be made to provide students with good insight into the main aspects of the webmaster's work. The writings of experts and scholars will be examined, and students will be introduced to the necessary tools and equipment. Professionals in the field will visit and share their experience with students.

The job of a web editor is often integrated with general web management. Students get a good insight into web editing and writing for digital media. The main aspects that a webmaster / web editor needs to be able to master will be discussed, such as information architecture, writing for the web, presentation of images, fundamentals in web design, accessibility, usability, security, analytics, content management systems (CMS), and basic web interface technology.

Students set up their own websites and use a CMS of their choice, e.g., WordPress or Wix, which are both available in free versions, and some of the assignments are submitted on there. In this way, students gain training in setting up a simple website. Particular attention is drawn to the fact that instruction in the use of the CMS is not part of the course. Those who have no or limited experience, in the use of CMS, are advised that YouTube has numerous videos where you can learn about the systems, from the basics to much more complex aspects that are expected in this course.

The aim of the course is to provide students with a more comprehensive and deeper insight into the different theoretical approaches within the humanities. In the course, the main theories that have influenced theoretical discussion in the humanities over the last decades will be presented and discussed, and the students are taught how to apply them in their own research.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

One of the main purposes of Icelandic museums is to preserve the country's cultural and natural heritage for future generations. Furthermore, to encourage increased knowledge of this heritage and understanding of its connections to the outside world. According to Icelandic museum laws, museums are expected to "enhance people's quality of life" by fostering an understanding of the development and status of culture, art, nature, and/or science. Therefore, museums and museum education can impact society, groups, and individuals. Museology plays a key role in this context and is the main subject of this course.

Students will be introduced to theoretical approaches aimed at supporting diverse and impactful educational practices related to archaeology, art, natural sciences, cultural heritage, and other museum subjects. Attention will be given to the different target audiences of museum education, the role of visitors within museums, spatial considerations, text production, multimedia, interactivity, and more.

This is a distance-learning course divided into three modules. Each module includes short lectures by the instructor reflecting on the course material, guest lectures (delivered digitally), and supplementary materials. Over the semester, three in-person and/or Zoom sessions will be held, where students will receive lectures from museum professionals and work on an educational project in collaboration with a museum in Reykjavík. The project will be developed based on students’ academic interests, under the supervision of the instructor and with support from museum staff.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course examines how contemporary artists respond to and reimagine futures shaped by white supremacy, the colonial legacy, and capitalist systems of power. Rather than treating the future as abstract or technological, we approach it as a site of struggle, a space where dominant power systems extend themselves, and where others imagine, rehearse, and refuse.  Drawing from Co-futurism, Radical Futurism and decolonial thought, students engage with artistic practices that break from linear time and extractive logics. These include speculative aesthetics, science-fictional imaginaries and counter-archives. The course also approaches future-making as a healing and collective act, a practice of care, resistance, and relation. We will ask questions such as what futures are being designed for us? What aesthetic and political gestures might help us diverge from those scripts?  Through readings, screenings, and studio practice, students will build their own research-based or practice-led projects. Emphasis will be placed on situated knowledge, unlearning, and creative experimentation.  Students will critically engage with theories of the colonial present, temporality, and futurity, situating their own perspectives within both local and global contexts. Through artistic research and speculative practice, students will explore alternative world-making and aesthetic strategies that resist and reimagine dominant power structures. Students will develop and articulate their own artistic positions with critical awareness, openness, and social responsibility. 

Interdisciplinary reseach on material culture has expanded considerably in the last decades. Although art historians have, in some sense, always studied materiality, material culture, collecting and provenance, art history as a field has had limited part in academic discourse within material culture studies on human relationships to objects. In this course students are afforded a valuable opportunity to consider deeply art objects and their „lives“ within and outside of institutions: their manufacture, use, exchange, exhibition, conservation, classification and definition, as well as the values and ideas attached to them. Each week students are presented with one object  of study and receive training in various methods of researching, analyzing and interpreting art, through visual analysis, analysis of the material and make of objects, their categorization within the classification systems of museums and examination of provenance and exhibition history. Alongside this students will be introduced to theories of material culture studies and their intersection with the subjects and theories art history, such as insititutional critique and provenance. The course is run in collaboration with museums in the capital region of Iceland and is suitable for students of art history, visual art, history, archaeology, folkloristics and museum studies.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course explores artworks in the context of gender and discusses the theoretical basis of gender studies and its trans-disciplinary nature. It seeks to explore how ideas on gender influence artistic practice and discussion and writing on the fine arts. The representations and meanings of gender in language, society and culture are also analyzed with an emphasis on stereotypes and/or their deconstruction in the positions artists take in their work. The approach taken by feminists and queer theory is used to explore the role of gender in the works of artists who bend stereotypical images of femininity and masculinity and create upheaval in the dominant discourse and gender systems of the Western world. Studies on gender inequality and its diverse representations in the contemporary art world are introduced and discussed.

This course delves into the multifaceted relationship between museums and the societies they serve. It aims to explore how museums are not only custodians of cultural heritage but also active participants in shaping cultural narratives and communal identities. By examining historical contexts, theoretical frameworks, and practical case studies, students will gain insight into the influential role that museums play in reflecting and sometimes challenging societal values. The course will cover topics such as museums as agents of social change, the importance of inclusivity and accessibility, and the impact of digital technology on community engagement. Through discussions, case studies, and hands-on projects, students will explore how museums can effectively engage with diverse audiences and contribute to a more equitable society. By the end of the course, students will have developed a nuanced understanding of how museums can evolve in response to the dynamic needs and values of the communities they serve.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include:

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning.

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from late February to April, the course introduces students to the professional challenges of object preservation—including issues such as poor storage conditions and contemporary collecting—collection documentation, and museum research. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

This course critically examines the impact of contemporary social issues on museums and their practices. It seeks to provide students with a comprehensive understanding of how museums are confronted with, and often strive to address, various societal challenges, including diversity, equity, inclusion, social justice, and sustainability. Throughout the course, students will explore social issues within the museum context and analyze real-world examples of museums that actively engage with these topics. Key themes will include the role of museums as advocates for marginalized communities, the importance of community collaboration and co-creation, and strategies for addressing climate change within museum practices. The course is taught from the end of February to the end of March.

This course offers students an introduction to the professional challenges involved in the daily operations of a museum, specifically at the Museum of Design and Applied Art in Iceland. The goal is to familiarize students with public expectations, museum administration (including museum councils), and museum owners, and how institutions strive to meet these demands. Students will gain insight into the professional responsibilities of museum staff in general and the role and purpose of design museums in this context. The course aims to provide practical knowledge of museum work, analysed through academic readings, professional regulations, museum work practices, and the ethical guidelines of ICOM. The course begins with online lectures, followed by an in-person half-day seminar at the Museum of Design and Applied Art in late January (attendance is mandatory). Additionally, each student will select one day during the semester (during a period set by the teacher and the museum) to participate in a hands-on workday at the museum, working in pairs alongside a museum staff member for a full day. Assessment is based on attendance at the in-person seminar and workday, as well as a written assignment that reflects on their experience at the Museum of Design and Applied Art in relation to academic reading materials.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include: •

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from mid-January to February, the course covers museum governance (including museum councils, legislation, and ICOM ethics), collection acquisition, and methods of public engagement. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

Curating is a fast growing discipline within various types of museums, like art museums, natural history museums and cultural history museums. In this course different approches to curating, exhibition making and exhibition design in such museums will be examined from critical perspectives, with emphasis on management, different narrative strategies, scripting and mediation. Past and present exhibitions of art museums, natural history museums and cultural history museums, in Iceland and abroad, will be critically addressed and analyzed.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The course explores diverse manifestations of cultural innovation within the fields of culture and mediation, with a special emphasis on the impact and potential of digital technologies. Attention is given to the management and operation of organizations working in the cultural and creative sectors, and to how innovation can support cultural value, sustainability, and the development of new modes of mediation.

Students are introduced to key theories and methods related to cultural management, creative thinking, and entrepreneurship in cultural contexts. The course examines the interrelations between culture, economy, and technology, and how cultural innovation can foster participation, new business models, and emerging forms of cultural communication and experience.

The course discusses the philosophical and theoretical foundations of gender studies, and the critical and interdisciplinary content of the field. The representation and meaning of sex and gender in language, culture, history, science, and society is explored. The analytical perspective of the field is presented, as is its relationship with methodology. Students are trained in applying theoretical concepts and methods independently and critically.

The course deals with interconnections between political radicalism, culture, tradition and power. We will focus on contemporary representations of dissent in particular, look at the discourse of democracy and cultural difference, reactions to and criticism of protest in the Western political tradition and dissent in more repressive political systems. The role of intellectuals and writers will be explored as well as the function of artistic expression and design in transforming cultural and social environments. We will also discuss media and social media discourse in connection with an attempt to understand the various and sometimes contradictory objectives of public institutions. A few points of conflict will be discussed that to some extent expose fundamental conflicts in liberal democratic societies such as questions about the wisdom and ignorance of publics, reactions to climate change, inequality and extreme poverty. Finally corruption and power will be discussed as well as social and cultural expression, the possibilities and limitations of freedom of speech, the use and abuse of information, disinformation, secrecy, fake and “fake news”.

In the course Communication channels II during the spring semester the students work with the following communication methods: a) oral presentation and b) exhibitions of cultural and historical material. Digital communication will be integrated into both aspects.

The students will work with the basics of oral presentation and practice in smaller and larger groups. Basic issues regarding the organization of conferences and seminars and their management will also be reviewed and a conference is held where all students present their projects. Digital communication will also be integrated into this section. Following is a section about exhibitions with connection to digital communication. The basics of exhibitions and different ways of presentation will be discussed.  The basics of digital communication will be covered, what are the main channels, advantages and disadvantages, and what rules apply to the presentation of texts on the web.

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Lecture at a conference and other projects in that context
2. Exhibition analysis and a practical project in connection with exhibitions organized by the City History Museum (Borgarsögusafn)
3. Digital communication will be integrated into both aspects. Emphasis is placed on common themes and group work in the course.

The course is not taught remotely.

An introduction to the collaboration and division of work between an editor and a graphic designer in the creation of printed work with emphasis on the importance of typography. Students will gain insight into the basis of typography and preparation for print as well as learning about the graphic designer's tools in context with principal kinds of print. The course will include readings and discourse on the influence of graphic design on legibility and understanding, as well as discourse on quality, usefulness, aesthetics and practicality in graphic design.

The student will present and hand in a written analysis on a printed good of their own choice and are also encouraged to actively participate in discussions in class. The final project consists of creating your own publishing project and communicating ideas on its editing graphically and in writing.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.

The course critically engages with the concept of culture, addressing predominant conceptualizations while simultaneously exploring the role, conditions and influence of culture in the present. The objective is to generate a disciplined discussion on cultural heritage, cultural politics and policy, and cultural sustainability in conjunction with questions on the practicality of presenting and communicating expressions of culture. Attention is paid to the relationship between the cultural field and other social, political and economic aspects of society and how these enable and limit the communication and dissemination of cultural resources. Questions on how cultural heritage, traditions, collective memory, ideas on authenticity and identity generate the formation and reproduction of cultural constellations are dealt with as well as how conceptualizations such as ‘cultural capital’, ‘cultural hegemony’ and ‘authorized discourse on heritage’ can be employed to understand and analyze manifestations of culture.

Recent years have seen an increased focus on data collection and statistical analysis within the humanities. This is particularly apparent in growing branches such as psycholinguistics, cognitive literary studies and experimental philosophy, to name a few. The push towards quantitative methods occurs at a time where the validity and reliability of well-established statistical methods are called into question in other fields, with increased demands of replicability and open access as well as data protection and responsibility. In this course, students explore the value of quantitative methods in their field while getting training in the collection and analysis of data. A diverse set of research methods will be introduced, ranging from surveys to corpus analysis and experiments in which participants’ response to stimuli (such as words, texts or audio-visual materials) is quantified. Basic concepts in statistics will be reviewed, enabling students to know the difference between descriptive and inferential statistics, understand statistical significance and interpret visual representations of data in graphs. The course will be largely practical and students are expected to apply their knowledge of data collection and analysis under the instructor’s guidance. Students will work on a project within their own discipline but will also explore the possibility of cross-disciplinary work. Open source tools such as R Studio will be used for all assignments but no prior knowledge of the software or statistics in general is required. The course is suitable for all students within the humanities who want to collect quantitative data to answer interesting questions and could therefore be a useful preparation for a BA or MA project.

Students learn and are trained in the methods of archival research, finding and evaluating sources in archives.  Practical exercises will be assigned.

The goal of this course is to give students an opportunity to present their theoretical knowledge and research to listeners of the Icelandic Public Broadcasting Service (Ríkisútvarpið). Students will be introduced to public radio as a medium and trained in radio programming and in presenting theoretical material in simple manners suitable for broadcasting in public radio.

In a historical context art has been the facet of society where innovation and progressive thinking has been of most value. This forward-looking aspect of art has non-the-less always depended upon its historical precedents—previous art practice. It is in this context that contemporary artists are constantly renewing their previous premises. At the same time contemporary art worlds are by nature complex structures—an increasing mix of different media and influences, where artists of necessity are informed by theoretical, social, political, and economic premises. In accord with that, contemporary cultural premises are in constant flux, dependent upon changes in technology, urbanisation, globalisation, and climate, in addition to a more volatile political field. It is in response to these issues that the nature of artistic practice is constantly changing. For these reasons it is adamant to constantly re-conceptualise the analysis of art and its function in society, where novel ideas and definitions, such as the 'Anthropocene' and the 'posthuman', can be utilised to understand better the situation of art in human society. In this course we re-examine the theoretical premises of contemporary art practice via research of the field of art—historical and contemporary—through research based on the interplay of art with diverse fields of study: history, philosophy, literature, media and film studies, anthropology, political theory, geography, sociology.

Training in various aspects of the writing and editing of scientific texts. Various kinds of texts (non-fiction) examined and evaluated. Training in reviewing and commenting on scientific texts and in other aspects of editorial work. The main emphasis will be on the writing of articles, but other kinds of texts will also be considered, both shorter (conference abstracts, reviews) and longer (theses, books), as well as research proposals. Discussion of guidelines for the preparation of manuscripts. Types of plagiarism and how to avoid them and find them. Texts on different subjects will be used as examples, especially writings in linguistics, literature and history. The book Skrifaðu bæði skýrt og rétt will be used as a textbook (Höskuldur Þráinsson 2015).

This course is open to students of many MA programmes in the School of Humanities, cf. the regulations of the individual subjects. Students in the MA programmes in Icelandic literature, Icelandic linguistics, Icelandic studies and Icelandic teaching can take the course as part of the MA course requirements in Icelandic literature or Icelandic linguistics. Students in the MA programme in Icelandic teaching can, however, not have this course as the only linguistics or literature course in their MA.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

The course lays the foundation for the active work of curators for practical work in the field of art and museums. We work in an interdisciplinary and critical way with concepts and theories that relate to the work of curators in the field of contemporary art. Students work in teams and set up an exhibition in collaboration with art students or artists. Students will apply knowledge and methods to practical issues, work on preparation, design, text writing and preparation of promotional material in connection with an exhibition. The course is partly run in collaboration with the Master's program in art at the University of Iceland, and students will have the opportunity to collaborate with the University of Iceland Art Museum and other recognised art museums.

In recent decades, theoretical contexts of art historiography and art criticism have been thoroughly reexamined. New theories, new data and digital technologies have led to a drastic change in research questions and approaches. Critical concepts such as intersectionality, inclusion, sustainability, social activism, and environment have led to new methodologies and different perspectives. In this course, these approaches will be discussed though reading the latest research in the field of art and cultural history. Ideas about the global artworlds and its cultural and political connections will be examined in detail, a variety of topics will be discussed and dissected in writing.

MA-thesis 

MA-thesis 

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

Contemporary academic and artist discourses are today bringing forth new narratives about the role that the esoteric, the spiritual, and the occult have played in the history of modern art and culture. What was once disavowed and pushed to the margins or dismissed as the “irrational” folly of dreamers and fools, esoteric ideas, beliefs, practices, and symbols have played an integral part in aesthetic modernism and modern culture in the 19^th and 20th centuries, leading into the contemporary moment.  The aim of this course is to provide an introduction to several core esoteric traditions and practices – such as theosophy, magic, alchemy, spiritism, new age spirituality, occulture, etc. - and examine how they interact and impact upon modern art theory and practice. As such, we will explore how art in this regard is not only a medium for the representation and expression of esoteric concepts, it also operates as a site for ritual and experiential occult praxis. Through key works, movements, and artists, the course will look at cultural history with an interdisciplinary gaze that allows for the presence of other art forms such as dance, music, and film.

The course explores the relationship between political and aesthetic discourse in Iceland during the era of the cultural Cold War, a global ideological struggle waged by the two superpowers, the United States and the Soviet Union, for the hearts and minds of populations around the world in the latter half of the 20th century. The course draws on interdisciplinary research on the Cold War, with a focus on the interplay between global influences and local conditions. This glocal approach allows for an examination of Icelandic agents in the Cold War not only as representatives of the two empires, the United States and the Soviet Union, but also based on their own cultural values and interests. A mixed methodology will be employed, incorporating theories and methods from the social sciences, as well as from art history, literary studies, and historiography. Special emphasis will be placed on the analysis of literary texts and artworks, while attention will also be given to the participation of Icelandic intellectuals and artists in international cultural activities. Students will explore how the Cold War has been addressed in recent years, both in academic contexts and in public dissemination through exhibitions, podcasts, and graphic novels.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course will consider performance art in light of global warming and the contemporary threat to the natural environment. What impact can performance art make in this context? How have artists considered and reacted to the consequences of human activities on the Earth and its ecosystem? The intertwinement of performance art and Land art in the sixties and seventies will be highlighted, and the link between art and political environmental movements discussed. We will examine how contemporary artists around the globe have used performance to shed light on the complex relation of human beings to the environment, the boundaries of human-made and natural environments and the impact of global warming on human societies, on animals and the Earth‘s ecosystem. The environmental movement‘s connections to feminist critiques and indigenous struggle around the globe will be discussed. The definition of performance will be examined and organic processes and nonhuman activities within art will be considered in light of contemporary radical philosophies.

Artists’ books by Icelandic and foreign artists from the 1960s until the present are the subject of this course. Some sixty years ago a movement of artists who focused on the production of books as artworks took form. They exchanged books by mail and in doing so created a transnational network to foster radical new ideas on art, society and culture. Some Icelandic artists were quick to embrace this new art form, thus laying the groundwork for a tradition that later generations of artists have used to disseminate their art and nurture communication with progressive artists around the world. In the course we will examine this important aspect of contemporary Icelandic art, and try to reveal the important role that artists’ books played in ending the isolation of Icelandic artists and allowing them to become active participants in the international avant-garde. Emphasis will also be placed on identifying the uniqueness of artists´ books, as well as the context of diverse media used by artists and the overlap with other art forms: poetry, music, the performing arts, etc. We will focus on researching the interplay of visual elements and text in artists´ books and the shift in perception that occurs when different art forms are placed together in a book. We work with various artists´ books, artists´ writing about their own work as well as theoretical context. Emphasis is placed on independent student practice, artistic creation and new research on artists’ books.

The course provides an introduction to experimental film and film theory within the context of fine art. Various epochs and the critical responses that they provoked are defined and analysed. We look at different theoretical frameworks, such as Modernism, Humanism, Structuralism, Postmodernism, and the Anti-Aesthetic and make use of works by authors such as Kant, Nietzsche, Marx, Lacan, Bazin, Baudrillard, McLuhan and Jameson in order to analyse these. This theoretical framework provides a lens to interpret avant-garde cinema and fine art movements beginning with the emergence of expressionism. The course seeks to interpret the role of individualism via mass media as we explore various artists and filmmakers whose works are relevant in the context of this theoretical framework. Emphasis is placed on the viewing of time-based media that illustrate the various theories presented during the course, with a focus being on artists and filmmakers who have embraced these ideologies within their practice.

In the course, students develop venture projects from ideation to product. Emphasis is placed on practical work on real-world issues where students apply user-centered methods, work with business models, and conduct diverse analyses and plans.

The first part of the course will introduce design thinking and the basics of project management. The second part will be taught in collaboration with industrial engineering and business administration.

The course is based on workshops and collaboration between students with different academic backgrounds. Emphasis is placed on critical analysis of opportunities for innovation and entrepreneurship, creative solution-seeking, and the development of ideas based on user needs. Students will be introduced to methods for testing and communicating ideas and solutions and will become familiar with the practical and societal impacts of innovation on a broad basis. The course is suitable for students who want to strengthen entrepreneurial thinking and learn to apply innovation methods, whether within organizations, operating companies, or as independent entrepreneurs.

The course is run in cooperation with the state radio station: RÚV - Rás 1. Discussion will take place into the presentation of radio/audio material, various examples being examined. Attention will be given to the nature of audio communication and the possibilities of audio communication in the present media environment. Attention is also paid to concept development, interview techniques, recording techniques, dramaturgy and editing, accentuating sustainability and self-reliance. All students will complete a final project involving the making of radio programmes.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

The course will focus on various cases from the nineteenth century onwards of cultural elements that have been considered adversary to culture and civilisation in Iceland. Ideas, behaviour and artefacts that have been seen to be threats to Icelandic culture or a menace to a sound and healthy cultural life (such as jazz, popular fiction, avant-garde art) will be reflected upon, and the nature of the assumed dangers explored. As part of the discussion, the interconnection between social power and culture will be taken into careful consideration and questions about who defines cultural menace, by what means and for what purpose will be asked. Do such threats have aspects in common and in what ways have definitions been influenced by interests, ideals and moral standards that are subject to change? To what extent have ideas about cultural menace played a role in fashioning and defining Icelandic culture?

To what extent has Icelandic culture been formed through normative ideas about cultivated behaviour and civilisation? To what extent has Icelandic culture been shaped through resistance to foreign mass culture that has been seen to present itself in the Icelandic community in the guise of, for example, Danish dress fashion and American soap-operas?

In the courses Communication channels I and Communication channels II, the basics of methods for the dissemination of cultural material in the humanities and social sciences are presented. Communication channels I is in the fall semester, while Communication channels II is in the spring semester. 

In Communication channels I, the students are working with a) text and images in the first half of the semester and b) short documentaries in the second half of the course. Each subject weighs 50% in the course. Concerning a) Students will receive training in article writing and discourse analysis on the one hand and use of images and image analysis on the other.  Concerning b) Students work on making short documentaries. It includes basic training in screenwriting, shooting and editing, and students work in groups on a documentary, according to a specific theme. 

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Analysis of texts and images
2. An article with an image on a specific theme for publication, about 800 words.
3. A group project where students work on a short documentary that is shown at the end of the course. Emphasis is placed on common themes and group work in the course. The course is not taught remotely.

Constant technological development and emphasis on digital solutions has brought about frequent and numerous changes in the role of the webmaster. In this course, Efforts will be made to provide students with good insight into the main aspects of the webmaster's work. The writings of experts and scholars will be examined, and students will be introduced to the necessary tools and equipment. Professionals in the field will visit and share their experience with students.

The job of a web editor is often integrated with general web management. Students get a good insight into web editing and writing for digital media. The main aspects that a webmaster / web editor needs to be able to master will be discussed, such as information architecture, writing for the web, presentation of images, fundamentals in web design, accessibility, usability, security, analytics, content management systems (CMS), and basic web interface technology.

Students set up their own websites and use a CMS of their choice, e.g., WordPress or Wix, which are both available in free versions, and some of the assignments are submitted on there. In this way, students gain training in setting up a simple website. Particular attention is drawn to the fact that instruction in the use of the CMS is not part of the course. Those who have no or limited experience, in the use of CMS, are advised that YouTube has numerous videos where you can learn about the systems, from the basics to much more complex aspects that are expected in this course.

The aim of the course is to provide students with a more comprehensive and deeper insight into the different theoretical approaches within the humanities. In the course, the main theories that have influenced theoretical discussion in the humanities over the last decades will be presented and discussed, and the students are taught how to apply them in their own research.

The course reviews cultural studies on the whole and focuses on its value as a radical form of social and cultural criticism. Texts of key authors from the 19th Century and until recent years are discussed with the very concept of culture as a central issue and the question of its meaning for critical reflexion on society, history and contemporaneity. The interpellation of cultural criticism and the study of culture is scrutinized and the way in which this relationship is central for cultural studies. This conflict, which can be felt in older and recent texts has for the last decades been a fertile ground for the humanities in general and characterizes their connection to cultural politics. Concepts such as ideology, power, hegemony, gender and discourse play a central role in the discussion.

One of the main purposes of Icelandic museums is to preserve the country's cultural and natural heritage for future generations. Furthermore, to encourage increased knowledge of this heritage and understanding of its connections to the outside world. According to Icelandic museum laws, museums are expected to "enhance people's quality of life" by fostering an understanding of the development and status of culture, art, nature, and/or science. Therefore, museums and museum education can impact society, groups, and individuals. Museology plays a key role in this context and is the main subject of this course.

Students will be introduced to theoretical approaches aimed at supporting diverse and impactful educational practices related to archaeology, art, natural sciences, cultural heritage, and other museum subjects. Attention will be given to the different target audiences of museum education, the role of visitors within museums, spatial considerations, text production, multimedia, interactivity, and more.

This is a distance-learning course divided into three modules. Each module includes short lectures by the instructor reflecting on the course material, guest lectures (delivered digitally), and supplementary materials. Over the semester, three in-person and/or Zoom sessions will be held, where students will receive lectures from museum professionals and work on an educational project in collaboration with a museum in Reykjavík. The project will be developed based on students’ academic interests, under the supervision of the instructor and with support from museum staff.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course examines how contemporary artists respond to and reimagine futures shaped by white supremacy, the colonial legacy, and capitalist systems of power. Rather than treating the future as abstract or technological, we approach it as a site of struggle, a space where dominant power systems extend themselves, and where others imagine, rehearse, and refuse.  Drawing from Co-futurism, Radical Futurism and decolonial thought, students engage with artistic practices that break from linear time and extractive logics. These include speculative aesthetics, science-fictional imaginaries and counter-archives. The course also approaches future-making as a healing and collective act, a practice of care, resistance, and relation. We will ask questions such as what futures are being designed for us? What aesthetic and political gestures might help us diverge from those scripts?  Through readings, screenings, and studio practice, students will build their own research-based or practice-led projects. Emphasis will be placed on situated knowledge, unlearning, and creative experimentation.  Students will critically engage with theories of the colonial present, temporality, and futurity, situating their own perspectives within both local and global contexts. Through artistic research and speculative practice, students will explore alternative world-making and aesthetic strategies that resist and reimagine dominant power structures. Students will develop and articulate their own artistic positions with critical awareness, openness, and social responsibility. 

Interdisciplinary reseach on material culture has expanded considerably in the last decades. Although art historians have, in some sense, always studied materiality, material culture, collecting and provenance, art history as a field has had limited part in academic discourse within material culture studies on human relationships to objects. In this course students are afforded a valuable opportunity to consider deeply art objects and their „lives“ within and outside of institutions: their manufacture, use, exchange, exhibition, conservation, classification and definition, as well as the values and ideas attached to them. Each week students are presented with one object  of study and receive training in various methods of researching, analyzing and interpreting art, through visual analysis, analysis of the material and make of objects, their categorization within the classification systems of museums and examination of provenance and exhibition history. Alongside this students will be introduced to theories of material culture studies and their intersection with the subjects and theories art history, such as insititutional critique and provenance. The course is run in collaboration with museums in the capital region of Iceland and is suitable for students of art history, visual art, history, archaeology, folkloristics and museum studies.

The the aim of the individual practice based research work is to become familiar with reserch and mediation in a museum, a gallery or other art institution, such as the University of Iceland Art Collection. It can also be carried out within an art institution abroad.

This course explores artworks in the context of gender and discusses the theoretical basis of gender studies and its trans-disciplinary nature. It seeks to explore how ideas on gender influence artistic practice and discussion and writing on the fine arts. The representations and meanings of gender in language, society and culture are also analyzed with an emphasis on stereotypes and/or their deconstruction in the positions artists take in their work. The approach taken by feminists and queer theory is used to explore the role of gender in the works of artists who bend stereotypical images of femininity and masculinity and create upheaval in the dominant discourse and gender systems of the Western world. Studies on gender inequality and its diverse representations in the contemporary art world are introduced and discussed.

This course delves into the multifaceted relationship between museums and the societies they serve. It aims to explore how museums are not only custodians of cultural heritage but also active participants in shaping cultural narratives and communal identities. By examining historical contexts, theoretical frameworks, and practical case studies, students will gain insight into the influential role that museums play in reflecting and sometimes challenging societal values. The course will cover topics such as museums as agents of social change, the importance of inclusivity and accessibility, and the impact of digital technology on community engagement. Through discussions, case studies, and hands-on projects, students will explore how museums can effectively engage with diverse audiences and contribute to a more equitable society. By the end of the course, students will have developed a nuanced understanding of how museums can evolve in response to the dynamic needs and values of the communities they serve.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include:

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning.

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from late February to April, the course introduces students to the professional challenges of object preservation—including issues such as poor storage conditions and contemporary collecting—collection documentation, and museum research. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

This course critically examines the impact of contemporary social issues on museums and their practices. It seeks to provide students with a comprehensive understanding of how museums are confronted with, and often strive to address, various societal challenges, including diversity, equity, inclusion, social justice, and sustainability. Throughout the course, students will explore social issues within the museum context and analyze real-world examples of museums that actively engage with these topics. Key themes will include the role of museums as advocates for marginalized communities, the importance of community collaboration and co-creation, and strategies for addressing climate change within museum practices. The course is taught from the end of February to the end of March.

This course offers students an introduction to the professional challenges involved in the daily operations of a museum, specifically at the Museum of Design and Applied Art in Iceland. The goal is to familiarize students with public expectations, museum administration (including museum councils), and museum owners, and how institutions strive to meet these demands. Students will gain insight into the professional responsibilities of museum staff in general and the role and purpose of design museums in this context. The course aims to provide practical knowledge of museum work, analysed through academic readings, professional regulations, museum work practices, and the ethical guidelines of ICOM. The course begins with online lectures, followed by an in-person half-day seminar at the Museum of Design and Applied Art in late January (attendance is mandatory). Additionally, each student will select one day during the semester (during a period set by the teacher and the museum) to participate in a hands-on workday at the museum, working in pairs alongside a museum staff member for a full day. Assessment is based on attendance at the in-person seminar and workday, as well as a written assignment that reflects on their experience at the Museum of Design and Applied Art in relation to academic reading materials.

According to Icelandic Museum Law No. 141/2011, museums have a diverse and essential role: they are responsible for preserving the nation’s cultural and natural heritage and ensuring its unaltered transmission to future generations. The core responsibilities of museums include: •

• Collection Management – Acquiring and building collections, proper handling, and care of museum objects
• Preservation and Documentation – Conservation efforts, facility management, security measures, and collection registration
• Public Engagement – Exploring and developing methods for presenting collections, as well as conducting research to enhance understanding and interpretation of museum objects
• Evaluation of Museum Operations – Assessing museums both from the visitor’s perspective and through internal self-evaluation, including management practices and strategic planning

To fulfil their mission effectively and professionally, museums must adhere to clear professional standards, regulations, and government oversight. This course will analyse case studies from Icelandic museum practice, examining professional best practices, theoretical foundations, museum legislation, ICOM ethical guidelines, and real-world examples shared by experts from diverse museum institutions in Iceland.

The course is ideal for students planning careers in the cultural sector or those pursuing studies in fields such as archaeology, art history, cultural studies, disability studies, anthropology, folklore, sociology, and other related disciplines. Running from mid-January to February, the course covers museum governance (including museum councils, legislation, and ICOM ethics), collection acquisition, and methods of public engagement. The course consists of online lectures based on the textbook Professional Museum Work: Case Study Analysis (2018) and one mandatory in-person seminar (one full day in Week 6). This seminar includes museum site visits and guest lectures from experienced museum professionals. Assessment is based on coursework (papers) handed in throughout the semester, attendance at the in-person seminar, and a short, written assignment where the seminar topics are analysed considering academic readings.

Curating is a fast growing discipline within various types of museums, like art museums, natural history museums and cultural history museums. In this course different approches to curating, exhibition making and exhibition design in such museums will be examined from critical perspectives, with emphasis on management, different narrative strategies, scripting and mediation. Past and present exhibitions of art museums, natural history museums and cultural history museums, in Iceland and abroad, will be critically addressed and analyzed.

By focusing on folk tales, literature and other relevant sources, the course discusses the manifestations of nature and the supernatural in Icelandic narrative culture throughout the centuries. Students will learn about the significance, interface, and unclear boundaries of these phenomena and how they have shaped society and the environment as well. Students will thus get to know different ideas about the position of people and (other) animals within, above or "outside" of nature. Through diverse lectures and assignments, topics such as humanity vs. animality, the known world vs. other worlds, and materiality vs. the supernatural, will be discussed from critical points of view. The roles and forms of landscape, organisms, bodies, weather, and natural phenomena in the narrative culture will be explored. The latest research in this broad field will be presented, such as on the representation of earthquakes and celestial bodies, bears, whales, seals, and domestic animals, and on the supernatural creatures of nature and other mythological creatures such as fairies, ghosts, trolls, and berserks. Students will learn how story worlds and folklore have left their mark on the perception of nature, folk traditions, folk customs, and social spaces such as enchanted spots, sacred places and hunted places. We also ask how these narratives appear in folk art and visual art, from previous centuries to the present. Finally, we will explore the significance of nature narratives and the supernatural in the context of the Anthropocene, human perspectives, climate change, and the different statuses of social groups and species

The course explores diverse manifestations of cultural innovation within the fields of culture and mediation, with a special emphasis on the impact and potential of digital technologies. Attention is given to the management and operation of organizations working in the cultural and creative sectors, and to how innovation can support cultural value, sustainability, and the development of new modes of mediation.

Students are introduced to key theories and methods related to cultural management, creative thinking, and entrepreneurship in cultural contexts. The course examines the interrelations between culture, economy, and technology, and how cultural innovation can foster participation, new business models, and emerging forms of cultural communication and experience.

The course discusses the philosophical and theoretical foundations of gender studies, and the critical and interdisciplinary content of the field. The representation and meaning of sex and gender in language, culture, history, science, and society is explored. The analytical perspective of the field is presented, as is its relationship with methodology. Students are trained in applying theoretical concepts and methods independently and critically.

The course deals with interconnections between political radicalism, culture, tradition and power. We will focus on contemporary representations of dissent in particular, look at the discourse of democracy and cultural difference, reactions to and criticism of protest in the Western political tradition and dissent in more repressive political systems. The role of intellectuals and writers will be explored as well as the function of artistic expression and design in transforming cultural and social environments. We will also discuss media and social media discourse in connection with an attempt to understand the various and sometimes contradictory objectives of public institutions. A few points of conflict will be discussed that to some extent expose fundamental conflicts in liberal democratic societies such as questions about the wisdom and ignorance of publics, reactions to climate change, inequality and extreme poverty. Finally corruption and power will be discussed as well as social and cultural expression, the possibilities and limitations of freedom of speech, the use and abuse of information, disinformation, secrecy, fake and “fake news”.

In the course Communication channels II during the spring semester the students work with the following communication methods: a) oral presentation and b) exhibitions of cultural and historical material. Digital communication will be integrated into both aspects.

The students will work with the basics of oral presentation and practice in smaller and larger groups. Basic issues regarding the organization of conferences and seminars and their management will also be reviewed and a conference is held where all students present their projects. Digital communication will also be integrated into this section. Following is a section about exhibitions with connection to digital communication. The basics of exhibitions and different ways of presentation will be discussed.  The basics of digital communication will be covered, what are the main channels, advantages and disadvantages, and what rules apply to the presentation of texts on the web.

There are no exams in the course. Instead, students work on projects, individual and group projects. They are the following:

1. Lecture at a conference and other projects in that context
2. Exhibition analysis and a practical project in connection with exhibitions organized by the City History Museum (Borgarsögusafn)
3. Digital communication will be integrated into both aspects. Emphasis is placed on common themes and group work in the course.

The course is not taught remotely.

An introduction to the collaboration and division of work between an editor and a graphic designer in the creation of printed work with emphasis on the importance of typography. Students will gain insight into the basis of typography and preparation for print as well as learning about the graphic designer's tools in context with principal kinds of print. The course will include readings and discourse on the influence of graphic design on legibility and understanding, as well as discourse on quality, usefulness, aesthetics and practicality in graphic design.

The student will present and hand in a written analysis on a printed good of their own choice and are also encouraged to actively participate in discussions in class. The final project consists of creating your own publishing project and communicating ideas on its editing graphically and in writing.

The basic types of documentaries will be discussed as well as methods of documentary making, editing and cinematography. Emphasis will be put on practical projects and students will be required to make at least one documentary during the course.

The course critically engages with the concept of culture, addressing predominant conceptualizations while simultaneously exploring the role, conditions and influence of culture in the present. The objective is to generate a disciplined discussion on cultural heritage, cultural politics and policy, and cultural sustainability in conjunction with questions on the practicality of presenting and communicating expressions of culture. Attention is paid to the relationship between the cultural field and other social, political and economic aspects of society and how these enable and limit the communication and dissemination of cultural resources. Questions on how cultural heritage, traditions, collective memory, ideas on authenticity and identity generate the formation and reproduction of cultural constellations are dealt with as well as how conceptualizations such as ‘cultural capital’, ‘cultural hegemony’ and ‘authorized discourse on heritage’ can be employed to understand and analyze manifestations of culture.

Recent years have seen an increased focus on data collection and statistical analysis within the humanities. This is particularly apparent in growing branches such as psycholinguistics, cognitive literary studies and experimental philosophy, to name a few. The push towards quantitative methods occurs at a time where the validity and reliability of well-established statistical methods are called into question in other fields, with increased demands of replicability and open access as well as data protection and responsibility. In this course, students explore the value of quantitative methods in their field while getting training in the collection and analysis of data. A diverse set of research methods will be introduced, ranging from surveys to corpus analysis and experiments in which participants’ response to stimuli (such as words, texts or audio-visual materials) is quantified. Basic concepts in statistics will be reviewed, enabling students to know the difference between descriptive and inferential statistics, understand statistical significance and interpret visual representations of data in graphs. The course will be largely practical and students are expected to apply their knowledge of data collection and analysis under the instructor’s guidance. Students will work on a project within their own discipline but will also explore the possibility of cross-disciplinary work. Open source tools such as R Studio will be used for all assignments but no prior knowledge of the software or statistics in general is required. The course is suitable for all students within the humanities who want to collect quantitative data to answer interesting questions and could therefore be a useful preparation for a BA or MA project.

Students learn and are trained in the methods of archival research, finding and evaluating sources in archives.  Practical exercises will be assigned.

The goal of this course is to give students an opportunity to present their theoretical knowledge and research to listeners of the Icelandic Public Broadcasting Service (Ríkisútvarpið). Students will be introduced to public radio as a medium and trained in radio programming and in presenting theoretical material in simple manners suitable for broadcasting in public radio.