This is a two-year practical research-based programme exploring museums of all kinds and sizes. Museum studies is an interdisciplinary subject, since a museum can be about anything under the sun.
The programme includes professional training placements, which provide students with opportunities to gain experience and learn more about their specific areas of interest. Placements are organised in consultation with the student’s administrative supervisor at a museum either in Iceland or abroad.
The programme is 120 ECTS and is organised as two years of full-time study.
Course topics include:
This programme is taught in Icelandic but most textbooks are in English.
All teaching is through distance learning, except training placements. Students who already have experience of working in museums may have this evaluated for up to 20 ECTS, in consultation with the administrative supervisor.
A 30 ECTS micro-credential degree in museum studies is also available.
This programme aims to provide students with a greater understanding of the main aspects of museology and the integration of academic practices, research and theory. Students will have opportunities to explore museology in detail and keep up to date on international practice.
Completing the programme allows you to apply for doctoral studies.
BA, BS B.Ed. degree or equivalent with First Class grades.
120 ECTS credits have to be completed to attain their final qualification.The prerequisite for admission to the programme is a BA BS or B.Ed degree, or their equivalent. The line of study involves students take 40 ECTS units of required basic courses, 30 ECTS units of choice courses, 20 ECTS in the form of internship study and a final MA thesis (30 ECTS credits).
Further information on supporting documents can be found here
Check below to see how the programme is structured.
This programme does not offer specialisations.
The course will address questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural heritage museums will be examined in this context. The course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. It will consider how both practice and theory have shaped museum institutions and their activities. The course will cover, among other things, the practice and theory of collecting, preservation, classification and registration, exhibition design, visitors, marketing and the social impact of museums. The course is taught exclusively via distance learning and assessment is based on a variety of projects completed during the course. The course is taught at the beginning of the fall and ends at the end of September.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The course will address critical questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural museums will be examined in this context, and the course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. The history of museums will be examined with a critical mindset and attention will be paid to trends and policies in the profession at the beginning of the 21st century. Museums are particularly viewed as public institutions, but as such they have many and growing roles to play for communities, the quality of life of people and groups, education, research and transnational relations, to name a few. The course will cover questions like the application of theory in museum work, ethics, censorship, globalization, indigenous peoples, the impact of digital culture, religion, immigrants and inclusion, to name a few. The course is taught exclusively via distance learning and assessment is based on projects completed over the semester. The course is taught in the beginning of October and ends at the end of November.
The reading material be based on on essential theoretical works as well as recent research. The history of the field will be critically examined in light of trends at the beginning of the 21st century.
Work format
Teaching will take the form of lectures and discussions.
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: •
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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
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:
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 examines professionalism, using case studies from museum work in Iceland, from a broad, interdisciplinary theoretical perspectives and debates. This course should therefore appeal to students from a variety of disciplines, including museology, archaeology, art studies, cultural studies, anthropology and folklore. The case studies are related to the variable works of museums, including management, organisation, collection, conservation, research and communication.
Furthermore, methods of assessment will be considered, both from the angle of the museum visitor as well as self-appraisals of the museums themselves (approaches to - and processing of information). The subject of the case studies are variable, including administration, gender considerations, accessibility, conservation of archaeological artefacts, research into visual cultural heritage, freedom of expression, housing and building affairs, gifts to museums and more.
In this course, experts and specialists (from Iceland and abroad), working in museum sector will give talks, sharing their knowledge and their experience. Students will choose one day over the semester, for a one day career day at a museum in Reykjavík, where a member of staff will tell them about the museum‘s main activities and demonstrate basic entry input in their electronic database. Students will work with the staff for the remainder of the day.
The course is taught distance learning, with short, online lectures by teachers and guest-lecturers. It also includes three full day on-campus (or Zoom, should that be needed) lecture days, where students will visit museums around Reykjavík and listen to lectures from a variety of people. Attendance is required during the three day on-campus and Zoom days.
Final grade is based on completing written assignments during the semester, attendance for full-day on-campus/zoom days and the career day.
The societal role of museums will be discussed from several angles: economic, political, cultural, social and last but not least in an international context. Examples of topics that will be discussed in the course are the role of museums in building the concept of the nation; the legal environment of museums; how museums are run; the status and role of the main museums; museums owned and run by local authorities and other museums; the financing of museums, and the policies of authorities regarding museums. Both national and foreign examples will be taken.
Work format
Teaching will take the form of lectures and discussions.
Individual museum project: Fieldwork
Vikings are one of the most recognisable group of people from the past. Often seen as crazed berserker, with horned helmets, battle axes raised and ready, beautiful long hair billowing in the wind, they are thought of jumping out of longboats, running up the shore towards an unexpecting populace. This image crosses cultural barriers: Viking re-enactment societies exist in places with no actual Viking history. People proudly declare themselves Vikings as part of their identity and way of life. There is Viking metal, beers, foods, restaurants, and comic books. A further demonstration of the endurance of the Viking myth is the silver screen: The first Viking film came out in 1907 and are produced to this day. This, in turn, influences the use of Vikings in other areas, including the tourism sector, museum exhibitions, music industry, food and drink production and the video game industry.
This course introduces the various uses of Vikings in society, starting with tracing the history of the modern, popular culture Vikings back to Victorian times, all the way to Iceland during, and after the economic crash 2008-2011. Students will be shown the various uses of Vikings in the cultural sector, discussing the good, the bad and the ugly sides of the Viking imagery and its uses in the present and past. Learning Outcomes: Students – gain knowledge of the history of vikings as mediated through cultural artifacts and images – get a comprehensive overview of the mediation of the viking image in the 20th century – are able to analyze and discuss the most prominent mediation pracices and traditions in the 20th century – can analyze and situate historically the various mediated representations of vikings in contemporary culture.
"The struggle does not end today," was written on a banner held by one of the 25,000 women who rallied in downtown Reykjavík on the 24th of October 1975. The Women's Day Off, as the organizers ironically called it, was essentially a strike to protest gender-based discrimination and wage differentials. The banner mentioned above is only one example of many of how the women communicated their views and demands through different media such as music, print, public speeches, and mass media. The Women's Day Off was the result of a collective agency of Icelandic actors, but their initiative should still be regarded in an international context as the women were urged to unite under the theme of the International Women's Year: "EQUALITY - DEVELOPMENT - PEACE. "
The course is built around the Women's Day Off in 1975, but as teachers and students research its historical legacy in Icelandic and international context, they will explore and implement new ways of communicating history with younger generations. The course is organized in collaboration with Rúv and The Women's History Archives, which will celebrate its 50th anniversary with an exhibition at the National Library.
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 seminar aims to give the participants an insight into the different yet related currents of posthumanism and new materialism that have had a growing impact on theoretical discussions within the humanities and the social sciences in recent years. The seminar will explore how these currents deal with the heritage of the anthropocene and the central role of man in scientfic discourse, further aiming at the constructions new epistemic models that highlight nature and technology. The seminar will further explore how these currents fall back upon notions of extra-subjective consciousness and vital or vibrant matter that are rooted in older epistemic moments, from Plato´s cosmology to artificial intelligence.
Course Outline:
Course Format: Lectures, seminars and visits to local art museums.
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.
Conventional sociological or historical accounts tend to portray human life as if objects either are irrelevant or at best, passive and inert. This course follows the ‘material turn’ that has occurred in the social sciences and the humanities in the past 20 years and explores the importance of things for understanding human society and history. Drawing on examples from a wide range of disciplines from design history to archaeology, each week a different object is taken for study, illustrating the various disciplinary and theoretical approaches that have been taken to material culture in recent years. The course will be organized around weekly lectures, reading and discussion. The course will be taught in english.
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:
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area.
The course is taught on-site September 2nd-6th (9.00-16.00). Teaching takes place on University Main Campus and is not available for distance learning.
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 module looks at meanings and definitons of the concept of culture in cultural tourism especially regarding presentation and mediation of cultural heritage in museums as well as in other types of surroundings. Questions concerning political and ethical issues of collections and presentation of artefacts will be discussed and thoughts will be given to different ways in which people read and perceive of history and heritage, their own as well as others. The relations between cultural tourism and creative tourism will also be explored. Questions regarding appropriation of cultural heritage will be explored as well as who have the power to define cultural heritage. Emphasis will be put on Icelandic heritage and museums and a visit will be made to at least one museum.
The course’s objective is to introduce students to the diverse, academic criteria of qualitative research in social sciences and secondly that student’s gain experience in using qualitative methods. Furthermore, the course is practical in nature where each student works on an independent research assignment, which consists of designing and preparing a research project, collecting and analyzing data, and writing the main findings with guidance from the teacher. Research preparation, the creation of a research plan, data collection and analysis along with academic writing will be extensively covered during the course.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
This course provides an introduction at a master's level to the theory and practice of bussines. The aim is to prepare students for a variety of management tasks, both in the private and public sectors.
The course consists of five introductory modules:
Finance
Business law
Accounting
Macro economics
Micro economics
Organisation
The course is offered twice a year, in August and in January and students should complete the coure in the first year of their master studies. Students that start the programme in the autumn should sit the course in August, but can postpone doing so until January. Those beginning in January should preferably take the course in January, but may postpone doing so until August.
The course opens on the 1st of each month and closes on the 31st. All course material will be available on the course website on Canvas on the 1st.
The course cannot be used for credits in the master's programmes.
Individual museum project: Fieldwork
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area. The course is taught in on-site study, daily during the week of 19-23 February, with lectures, discussions and project classes. Teaching takes place on University Main Campus and is not available for distance learning.
We bend our knees, literally and figuratively speaking. How do children view the world? How can we communicate cultural content at their eye level? How can we actively listen to their point of view?
The course will discuss diverse cultural activities for children; ranging from exhibition design in museums
to interactive installations, creative workshops, interdisciplinary participatory projects and radio
programming. Teaching takes place through field trips, lectures, practical workshops and group work.
The course is led by the interdisciplinary design team ÞYKJÓ, winners of the Iceland Design Award 2024
for the project "Children and City Planning”, nominated in 2023 for the international YAM award for the
project “Golden Record - Let's send music into space!”. Speakers include a children's culture designer, a
game designer, a composer and an architect.
In this course the students will get an insight into the professional challenges that information professionals are faced with while managing information, documents and records due to GDPR. Important changes in the legislation relating to the protection of privacy and the General Data Protection Regulation that took effect in Iceland in July 2018 will be presented. The effects of the new legislation on Icelandic organizations is examined in relation to other acts. Terms and procedures related to GDPR are explained, such as the different responsibilities of data processors and data controllers, proportionality when organizing data, the right to be forgotten, informed consent, personal data and sensitive personal data, risk analysis and contracts with data processors. The role of a Data Protection Officer in organizations will be explained. The course sets focus on the role of information and records management in an environment of GDPR with the safeguarding of information, recent regulations, the use of social media, cloud computing and information and data strategies of organizations in mind. Students are expected to become familiar with the use of a processing register for personal data as well as a risk assessment for data processing. Practical assignments will be scheduled in close co-operation with various organizations.
Please note that the course is taught biannually. Next taught in spring semester of 2026, 2028, 2030 etc.
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:
The course is not taught remotely.
The objective of this course is to gain methodological knowledge, understanding and practical skills to analyze images and visual data (photographs, films, drawings, advertisements, online media, etc.). We will discuss various methods of analysis of the visual content, consider visual databases and how to work with them. Students receive practical training in visual methodological studies and how to evaluate them. The course is based on practical assignments, where students prepare and design research proposals, collect data and how to analyze. The course is interdisciplinary and is suitable for students of humanities and social sciences, and other related fields.
The course revolves around the main features and the development of globalization, with special emphasis on how it changes the surroundings of people in present times in a variety of ways.
The course is divided into three themed blocks focusing on mobilities, transnationalism and inequalities. Topics discussed within these themes revolve around how micro-level social practices connect to macrostructural processes and institutions. We will discuss how individuals, groups and organizations connect transnationally; how people, knowledge, ideas and things travel on a global scale; and how these new transnational social spaces, and mobilities within them, are changing the dynamics within the social order, including stratification and differentiation along racial, class, and gender lines. The course provides the opportunity to explore how these practises and processes impact on lived realities, including health and well-being, working lives and security. The course consists of lecturers and discussion lessons in which students will take an active role.
This course engages with museum and heritage ecologies and entanglements of nature and culture. The course draws on posthuman and new materialist theories to examine entanglements and human/non-human agencies in relation to heritage ecologies and museums in the present. Particular attention is payed to heritage as a dynamic human/non-human construct that encourages connections and change. To this end, the course draws on lcelandic cases and research led teaching.
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 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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
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.
Individual museum project: Fieldwork
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
Final Project
Final Project
Final Project
The course will address questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural heritage museums will be examined in this context. The course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. It will consider how both practice and theory have shaped museum institutions and their activities. The course will cover, among other things, the practice and theory of collecting, preservation, classification and registration, exhibition design, visitors, marketing and the social impact of museums. The course is taught exclusively via distance learning and assessment is based on a variety of projects completed during the course. The course is taught at the beginning of the fall and ends at the end of September.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The course will address critical questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural museums will be examined in this context, and the course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. The history of museums will be examined with a critical mindset and attention will be paid to trends and policies in the profession at the beginning of the 21st century. Museums are particularly viewed as public institutions, but as such they have many and growing roles to play for communities, the quality of life of people and groups, education, research and transnational relations, to name a few. The course will cover questions like the application of theory in museum work, ethics, censorship, globalization, indigenous peoples, the impact of digital culture, religion, immigrants and inclusion, to name a few. The course is taught exclusively via distance learning and assessment is based on projects completed over the semester. The course is taught in the beginning of October and ends at the end of November.
The reading material be based on on essential theoretical works as well as recent research. The history of the field will be critically examined in light of trends at the beginning of the 21st century.
Work format
Teaching will take the form of lectures and discussions.
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: •
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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
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:
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 examines professionalism, using case studies from museum work in Iceland, from a broad, interdisciplinary theoretical perspectives and debates. This course should therefore appeal to students from a variety of disciplines, including museology, archaeology, art studies, cultural studies, anthropology and folklore. The case studies are related to the variable works of museums, including management, organisation, collection, conservation, research and communication.
Furthermore, methods of assessment will be considered, both from the angle of the museum visitor as well as self-appraisals of the museums themselves (approaches to - and processing of information). The subject of the case studies are variable, including administration, gender considerations, accessibility, conservation of archaeological artefacts, research into visual cultural heritage, freedom of expression, housing and building affairs, gifts to museums and more.
In this course, experts and specialists (from Iceland and abroad), working in museum sector will give talks, sharing their knowledge and their experience. Students will choose one day over the semester, for a one day career day at a museum in Reykjavík, where a member of staff will tell them about the museum‘s main activities and demonstrate basic entry input in their electronic database. Students will work with the staff for the remainder of the day.
The course is taught distance learning, with short, online lectures by teachers and guest-lecturers. It also includes three full day on-campus (or Zoom, should that be needed) lecture days, where students will visit museums around Reykjavík and listen to lectures from a variety of people. Attendance is required during the three day on-campus and Zoom days.
Final grade is based on completing written assignments during the semester, attendance for full-day on-campus/zoom days and the career day.
The societal role of museums will be discussed from several angles: economic, political, cultural, social and last but not least in an international context. Examples of topics that will be discussed in the course are the role of museums in building the concept of the nation; the legal environment of museums; how museums are run; the status and role of the main museums; museums owned and run by local authorities and other museums; the financing of museums, and the policies of authorities regarding museums. Both national and foreign examples will be taken.
Work format
Teaching will take the form of lectures and discussions.
Individual museum project: Fieldwork
Vikings are one of the most recognisable group of people from the past. Often seen as crazed berserker, with horned helmets, battle axes raised and ready, beautiful long hair billowing in the wind, they are thought of jumping out of longboats, running up the shore towards an unexpecting populace. This image crosses cultural barriers: Viking re-enactment societies exist in places with no actual Viking history. People proudly declare themselves Vikings as part of their identity and way of life. There is Viking metal, beers, foods, restaurants, and comic books. A further demonstration of the endurance of the Viking myth is the silver screen: The first Viking film came out in 1907 and are produced to this day. This, in turn, influences the use of Vikings in other areas, including the tourism sector, museum exhibitions, music industry, food and drink production and the video game industry.
This course introduces the various uses of Vikings in society, starting with tracing the history of the modern, popular culture Vikings back to Victorian times, all the way to Iceland during, and after the economic crash 2008-2011. Students will be shown the various uses of Vikings in the cultural sector, discussing the good, the bad and the ugly sides of the Viking imagery and its uses in the present and past. Learning Outcomes: Students – gain knowledge of the history of vikings as mediated through cultural artifacts and images – get a comprehensive overview of the mediation of the viking image in the 20th century – are able to analyze and discuss the most prominent mediation pracices and traditions in the 20th century – can analyze and situate historically the various mediated representations of vikings in contemporary culture.
"The struggle does not end today," was written on a banner held by one of the 25,000 women who rallied in downtown Reykjavík on the 24th of October 1975. The Women's Day Off, as the organizers ironically called it, was essentially a strike to protest gender-based discrimination and wage differentials. The banner mentioned above is only one example of many of how the women communicated their views and demands through different media such as music, print, public speeches, and mass media. The Women's Day Off was the result of a collective agency of Icelandic actors, but their initiative should still be regarded in an international context as the women were urged to unite under the theme of the International Women's Year: "EQUALITY - DEVELOPMENT - PEACE. "
The course is built around the Women's Day Off in 1975, but as teachers and students research its historical legacy in Icelandic and international context, they will explore and implement new ways of communicating history with younger generations. The course is organized in collaboration with Rúv and The Women's History Archives, which will celebrate its 50th anniversary with an exhibition at the National Library.
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 seminar aims to give the participants an insight into the different yet related currents of posthumanism and new materialism that have had a growing impact on theoretical discussions within the humanities and the social sciences in recent years. The seminar will explore how these currents deal with the heritage of the anthropocene and the central role of man in scientfic discourse, further aiming at the constructions new epistemic models that highlight nature and technology. The seminar will further explore how these currents fall back upon notions of extra-subjective consciousness and vital or vibrant matter that are rooted in older epistemic moments, from Plato´s cosmology to artificial intelligence.
Course Outline:
Course Format: Lectures, seminars and visits to local art museums.
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.
Conventional sociological or historical accounts tend to portray human life as if objects either are irrelevant or at best, passive and inert. This course follows the ‘material turn’ that has occurred in the social sciences and the humanities in the past 20 years and explores the importance of things for understanding human society and history. Drawing on examples from a wide range of disciplines from design history to archaeology, each week a different object is taken for study, illustrating the various disciplinary and theoretical approaches that have been taken to material culture in recent years. The course will be organized around weekly lectures, reading and discussion. The course will be taught in english.
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:
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area.
The course is taught on-site September 2nd-6th (9.00-16.00). Teaching takes place on University Main Campus and is not available for distance learning.
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 module looks at meanings and definitons of the concept of culture in cultural tourism especially regarding presentation and mediation of cultural heritage in museums as well as in other types of surroundings. Questions concerning political and ethical issues of collections and presentation of artefacts will be discussed and thoughts will be given to different ways in which people read and perceive of history and heritage, their own as well as others. The relations between cultural tourism and creative tourism will also be explored. Questions regarding appropriation of cultural heritage will be explored as well as who have the power to define cultural heritage. Emphasis will be put on Icelandic heritage and museums and a visit will be made to at least one museum.
The course’s objective is to introduce students to the diverse, academic criteria of qualitative research in social sciences and secondly that student’s gain experience in using qualitative methods. Furthermore, the course is practical in nature where each student works on an independent research assignment, which consists of designing and preparing a research project, collecting and analyzing data, and writing the main findings with guidance from the teacher. Research preparation, the creation of a research plan, data collection and analysis along with academic writing will be extensively covered during the course.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
This course provides an introduction at a master's level to the theory and practice of bussines. The aim is to prepare students for a variety of management tasks, both in the private and public sectors.
The course consists of five introductory modules:
Finance
Business law
Accounting
Macro economics
Micro economics
Organisation
The course is offered twice a year, in August and in January and students should complete the coure in the first year of their master studies. Students that start the programme in the autumn should sit the course in August, but can postpone doing so until January. Those beginning in January should preferably take the course in January, but may postpone doing so until August.
The course opens on the 1st of each month and closes on the 31st. All course material will be available on the course website on Canvas on the 1st.
The course cannot be used for credits in the master's programmes.
Individual museum project: Fieldwork
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area. The course is taught in on-site study, daily during the week of 19-23 February, with lectures, discussions and project classes. Teaching takes place on University Main Campus and is not available for distance learning.
We bend our knees, literally and figuratively speaking. How do children view the world? How can we communicate cultural content at their eye level? How can we actively listen to their point of view?
The course will discuss diverse cultural activities for children; ranging from exhibition design in museums
to interactive installations, creative workshops, interdisciplinary participatory projects and radio
programming. Teaching takes place through field trips, lectures, practical workshops and group work.
The course is led by the interdisciplinary design team ÞYKJÓ, winners of the Iceland Design Award 2024
for the project "Children and City Planning”, nominated in 2023 for the international YAM award for the
project “Golden Record - Let's send music into space!”. Speakers include a children's culture designer, a
game designer, a composer and an architect.
In this course the students will get an insight into the professional challenges that information professionals are faced with while managing information, documents and records due to GDPR. Important changes in the legislation relating to the protection of privacy and the General Data Protection Regulation that took effect in Iceland in July 2018 will be presented. The effects of the new legislation on Icelandic organizations is examined in relation to other acts. Terms and procedures related to GDPR are explained, such as the different responsibilities of data processors and data controllers, proportionality when organizing data, the right to be forgotten, informed consent, personal data and sensitive personal data, risk analysis and contracts with data processors. The role of a Data Protection Officer in organizations will be explained. The course sets focus on the role of information and records management in an environment of GDPR with the safeguarding of information, recent regulations, the use of social media, cloud computing and information and data strategies of organizations in mind. Students are expected to become familiar with the use of a processing register for personal data as well as a risk assessment for data processing. Practical assignments will be scheduled in close co-operation with various organizations.
Please note that the course is taught biannually. Next taught in spring semester of 2026, 2028, 2030 etc.
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:
The course is not taught remotely.
The objective of this course is to gain methodological knowledge, understanding and practical skills to analyze images and visual data (photographs, films, drawings, advertisements, online media, etc.). We will discuss various methods of analysis of the visual content, consider visual databases and how to work with them. Students receive practical training in visual methodological studies and how to evaluate them. The course is based on practical assignments, where students prepare and design research proposals, collect data and how to analyze. The course is interdisciplinary and is suitable for students of humanities and social sciences, and other related fields.
The course revolves around the main features and the development of globalization, with special emphasis on how it changes the surroundings of people in present times in a variety of ways.
The course is divided into three themed blocks focusing on mobilities, transnationalism and inequalities. Topics discussed within these themes revolve around how micro-level social practices connect to macrostructural processes and institutions. We will discuss how individuals, groups and organizations connect transnationally; how people, knowledge, ideas and things travel on a global scale; and how these new transnational social spaces, and mobilities within them, are changing the dynamics within the social order, including stratification and differentiation along racial, class, and gender lines. The course provides the opportunity to explore how these practises and processes impact on lived realities, including health and well-being, working lives and security. The course consists of lecturers and discussion lessons in which students will take an active role.
This course engages with museum and heritage ecologies and entanglements of nature and culture. The course draws on posthuman and new materialist theories to examine entanglements and human/non-human agencies in relation to heritage ecologies and museums in the present. Particular attention is payed to heritage as a dynamic human/non-human construct that encourages connections and change. To this end, the course draws on lcelandic cases and research led teaching.
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 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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
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.
Individual museum project: Fieldwork
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
Final Project
Final Project
Final Project
The course will address questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural heritage museums will be examined in this context. The course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. It will consider how both practice and theory have shaped museum institutions and their activities. The course will cover, among other things, the practice and theory of collecting, preservation, classification and registration, exhibition design, visitors, marketing and the social impact of museums. The course is taught exclusively via distance learning and assessment is based on a variety of projects completed during the course. The course is taught at the beginning of the fall and ends at the end of September.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The course will address critical questions related to the interaction between practice and theory in museum work. Numerous examples from the practical work of art museums, natural history museums and cultural museums will be examined in this context, and the course is therefore suitable for students from more disciplines than museology, such as archaeology, art history, cultural studies, disability studies, anthropology, ethnography, sociology and other disciplines. The history of museums will be examined with a critical mindset and attention will be paid to trends and policies in the profession at the beginning of the 21st century. Museums are particularly viewed as public institutions, but as such they have many and growing roles to play for communities, the quality of life of people and groups, education, research and transnational relations, to name a few. The course will cover questions like the application of theory in museum work, ethics, censorship, globalization, indigenous peoples, the impact of digital culture, religion, immigrants and inclusion, to name a few. The course is taught exclusively via distance learning and assessment is based on projects completed over the semester. The course is taught in the beginning of October and ends at the end of November.
The reading material be based on on essential theoretical works as well as recent research. The history of the field will be critically examined in light of trends at the beginning of the 21st century.
Work format
Teaching will take the form of lectures and discussions.
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: •
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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
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:
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 examines professionalism, using case studies from museum work in Iceland, from a broad, interdisciplinary theoretical perspectives and debates. This course should therefore appeal to students from a variety of disciplines, including museology, archaeology, art studies, cultural studies, anthropology and folklore. The case studies are related to the variable works of museums, including management, organisation, collection, conservation, research and communication.
Furthermore, methods of assessment will be considered, both from the angle of the museum visitor as well as self-appraisals of the museums themselves (approaches to - and processing of information). The subject of the case studies are variable, including administration, gender considerations, accessibility, conservation of archaeological artefacts, research into visual cultural heritage, freedom of expression, housing and building affairs, gifts to museums and more.
In this course, experts and specialists (from Iceland and abroad), working in museum sector will give talks, sharing their knowledge and their experience. Students will choose one day over the semester, for a one day career day at a museum in Reykjavík, where a member of staff will tell them about the museum‘s main activities and demonstrate basic entry input in their electronic database. Students will work with the staff for the remainder of the day.
The course is taught distance learning, with short, online lectures by teachers and guest-lecturers. It also includes three full day on-campus (or Zoom, should that be needed) lecture days, where students will visit museums around Reykjavík and listen to lectures from a variety of people. Attendance is required during the three day on-campus and Zoom days.
Final grade is based on completing written assignments during the semester, attendance for full-day on-campus/zoom days and the career day.
The societal role of museums will be discussed from several angles: economic, political, cultural, social and last but not least in an international context. Examples of topics that will be discussed in the course are the role of museums in building the concept of the nation; the legal environment of museums; how museums are run; the status and role of the main museums; museums owned and run by local authorities and other museums; the financing of museums, and the policies of authorities regarding museums. Both national and foreign examples will be taken.
Work format
Teaching will take the form of lectures and discussions.
Individual museum project: Fieldwork
Vikings are one of the most recognisable group of people from the past. Often seen as crazed berserker, with horned helmets, battle axes raised and ready, beautiful long hair billowing in the wind, they are thought of jumping out of longboats, running up the shore towards an unexpecting populace. This image crosses cultural barriers: Viking re-enactment societies exist in places with no actual Viking history. People proudly declare themselves Vikings as part of their identity and way of life. There is Viking metal, beers, foods, restaurants, and comic books. A further demonstration of the endurance of the Viking myth is the silver screen: The first Viking film came out in 1907 and are produced to this day. This, in turn, influences the use of Vikings in other areas, including the tourism sector, museum exhibitions, music industry, food and drink production and the video game industry.
This course introduces the various uses of Vikings in society, starting with tracing the history of the modern, popular culture Vikings back to Victorian times, all the way to Iceland during, and after the economic crash 2008-2011. Students will be shown the various uses of Vikings in the cultural sector, discussing the good, the bad and the ugly sides of the Viking imagery and its uses in the present and past. Learning Outcomes: Students – gain knowledge of the history of vikings as mediated through cultural artifacts and images – get a comprehensive overview of the mediation of the viking image in the 20th century – are able to analyze and discuss the most prominent mediation pracices and traditions in the 20th century – can analyze and situate historically the various mediated representations of vikings in contemporary culture.
"The struggle does not end today," was written on a banner held by one of the 25,000 women who rallied in downtown Reykjavík on the 24th of October 1975. The Women's Day Off, as the organizers ironically called it, was essentially a strike to protest gender-based discrimination and wage differentials. The banner mentioned above is only one example of many of how the women communicated their views and demands through different media such as music, print, public speeches, and mass media. The Women's Day Off was the result of a collective agency of Icelandic actors, but their initiative should still be regarded in an international context as the women were urged to unite under the theme of the International Women's Year: "EQUALITY - DEVELOPMENT - PEACE. "
The course is built around the Women's Day Off in 1975, but as teachers and students research its historical legacy in Icelandic and international context, they will explore and implement new ways of communicating history with younger generations. The course is organized in collaboration with Rúv and The Women's History Archives, which will celebrate its 50th anniversary with an exhibition at the National Library.
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 seminar aims to give the participants an insight into the different yet related currents of posthumanism and new materialism that have had a growing impact on theoretical discussions within the humanities and the social sciences in recent years. The seminar will explore how these currents deal with the heritage of the anthropocene and the central role of man in scientfic discourse, further aiming at the constructions new epistemic models that highlight nature and technology. The seminar will further explore how these currents fall back upon notions of extra-subjective consciousness and vital or vibrant matter that are rooted in older epistemic moments, from Plato´s cosmology to artificial intelligence.
Course Outline:
Course Format: Lectures, seminars and visits to local art museums.
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.
Conventional sociological or historical accounts tend to portray human life as if objects either are irrelevant or at best, passive and inert. This course follows the ‘material turn’ that has occurred in the social sciences and the humanities in the past 20 years and explores the importance of things for understanding human society and history. Drawing on examples from a wide range of disciplines from design history to archaeology, each week a different object is taken for study, illustrating the various disciplinary and theoretical approaches that have been taken to material culture in recent years. The course will be organized around weekly lectures, reading and discussion. The course will be taught in english.
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:
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area.
The course is taught on-site September 2nd-6th (9.00-16.00). Teaching takes place on University Main Campus and is not available for distance learning.
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 module looks at meanings and definitons of the concept of culture in cultural tourism especially regarding presentation and mediation of cultural heritage in museums as well as in other types of surroundings. Questions concerning political and ethical issues of collections and presentation of artefacts will be discussed and thoughts will be given to different ways in which people read and perceive of history and heritage, their own as well as others. The relations between cultural tourism and creative tourism will also be explored. Questions regarding appropriation of cultural heritage will be explored as well as who have the power to define cultural heritage. Emphasis will be put on Icelandic heritage and museums and a visit will be made to at least one museum.
The course’s objective is to introduce students to the diverse, academic criteria of qualitative research in social sciences and secondly that student’s gain experience in using qualitative methods. Furthermore, the course is practical in nature where each student works on an independent research assignment, which consists of designing and preparing a research project, collecting and analyzing data, and writing the main findings with guidance from the teacher. Research preparation, the creation of a research plan, data collection and analysis along with academic writing will be extensively covered during the course.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
This course provides an introduction at a master's level to the theory and practice of bussines. The aim is to prepare students for a variety of management tasks, both in the private and public sectors.
The course consists of five introductory modules:
Finance
Business law
Accounting
Macro economics
Micro economics
Organisation
The course is offered twice a year, in August and in January and students should complete the coure in the first year of their master studies. Students that start the programme in the autumn should sit the course in August, but can postpone doing so until January. Those beginning in January should preferably take the course in January, but may postpone doing so until August.
The course opens on the 1st of each month and closes on the 31st. All course material will be available on the course website on Canvas on the 1st.
The course cannot be used for credits in the master's programmes.
Individual museum project: Fieldwork
Conservation and preventive care of museum artifacts is the subject of this course. Theories and practices of conservation and preventive care will be explored, with emphasis on practical exercises in making evaluations of the material state of artifacts and the environment that they are either stored in and/or exhibited. Course exercises are made in collaboration with the museums in the capital area. The course is taught in on-site study, daily during the week of 19-23 February, with lectures, discussions and project classes. Teaching takes place on University Main Campus and is not available for distance learning.
We bend our knees, literally and figuratively speaking. How do children view the world? How can we communicate cultural content at their eye level? How can we actively listen to their point of view?
The course will discuss diverse cultural activities for children; ranging from exhibition design in museums
to interactive installations, creative workshops, interdisciplinary participatory projects and radio
programming. Teaching takes place through field trips, lectures, practical workshops and group work.
The course is led by the interdisciplinary design team ÞYKJÓ, winners of the Iceland Design Award 2024
for the project "Children and City Planning”, nominated in 2023 for the international YAM award for the
project “Golden Record - Let's send music into space!”. Speakers include a children's culture designer, a
game designer, a composer and an architect.
In this course the students will get an insight into the professional challenges that information professionals are faced with while managing information, documents and records due to GDPR. Important changes in the legislation relating to the protection of privacy and the General Data Protection Regulation that took effect in Iceland in July 2018 will be presented. The effects of the new legislation on Icelandic organizations is examined in relation to other acts. Terms and procedures related to GDPR are explained, such as the different responsibilities of data processors and data controllers, proportionality when organizing data, the right to be forgotten, informed consent, personal data and sensitive personal data, risk analysis and contracts with data processors. The role of a Data Protection Officer in organizations will be explained. The course sets focus on the role of information and records management in an environment of GDPR with the safeguarding of information, recent regulations, the use of social media, cloud computing and information and data strategies of organizations in mind. Students are expected to become familiar with the use of a processing register for personal data as well as a risk assessment for data processing. Practical assignments will be scheduled in close co-operation with various organizations.
Please note that the course is taught biannually. Next taught in spring semester of 2026, 2028, 2030 etc.
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:
The course is not taught remotely.
The objective of this course is to gain methodological knowledge, understanding and practical skills to analyze images and visual data (photographs, films, drawings, advertisements, online media, etc.). We will discuss various methods of analysis of the visual content, consider visual databases and how to work with them. Students receive practical training in visual methodological studies and how to evaluate them. The course is based on practical assignments, where students prepare and design research proposals, collect data and how to analyze. The course is interdisciplinary and is suitable for students of humanities and social sciences, and other related fields.
The course revolves around the main features and the development of globalization, with special emphasis on how it changes the surroundings of people in present times in a variety of ways.
The course is divided into three themed blocks focusing on mobilities, transnationalism and inequalities. Topics discussed within these themes revolve around how micro-level social practices connect to macrostructural processes and institutions. We will discuss how individuals, groups and organizations connect transnationally; how people, knowledge, ideas and things travel on a global scale; and how these new transnational social spaces, and mobilities within them, are changing the dynamics within the social order, including stratification and differentiation along racial, class, and gender lines. The course provides the opportunity to explore how these practises and processes impact on lived realities, including health and well-being, working lives and security. The course consists of lecturers and discussion lessons in which students will take an active role.
This course engages with museum and heritage ecologies and entanglements of nature and culture. The course draws on posthuman and new materialist theories to examine entanglements and human/non-human agencies in relation to heritage ecologies and museums in the present. Particular attention is payed to heritage as a dynamic human/non-human construct that encourages connections and change. To this end, the course draws on lcelandic cases and research led teaching.
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 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.
What is cultural heritage and what purpose does it serve? Why does it always seem to be endangered? How does it tie together the past and the present? What's it got to do with the nation and the state? Historical consciousness? Globalization? Capitalism? Politics? The course will seek to answer these questions with reference to new research in folklore, ethnology, anthropology, art history, sociology, museology, history and archaeology and with a view to understanding what is going on in this expanding field of study.
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
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.
Individual museum project: Fieldwork
The student contacts the supervising teacher of the course and requests guidance in an independent project.
The goal of the reading course is for students to have the possibility to gain more specific knowledge of several fields in museum studies. The teacher decides the reading material with the students and the students give in a written description of the knowledge they have gained at the end of the course.
Final Project
Final Project
Final Project
The timetable shown below is for the current academic year and is FOR REFERENCE ONLY.
Changes may occur for the autumn semester in August and September and for the spring semester in December and January. You will find your final timetable in Ugla when the studies start. Note! This timetable is not suitable for planning your work schedule if you are a part-time employee.
The University of Iceland collaborates with over 400 universities worldwide. This provides a unique opportunity to pursue part of your studies at an international university thus gaining added experience and fresh insight into your field of study.
Students generally have the opportunity to join an exchange programme, internship, or summer courses. However, exchanges are always subject to faculty approval.
Students have the opportunity to have courses evaluated as part of their studies at the University of Iceland, so their stay does not have to affect the duration of their studies.
An education in this area can open up opportunities in:
This list is not exhaustive
There is no specific student organisation for this programme, but students meet frequently in the Student Cellar.
What interests you?
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If you still have questions, feel free to contact us.
The School office offers support to students and lecturers, providing guidance, counselling, and assistance with various matters.
You are welcome to drop by at the office in Gimli or you can book an online meeting in Teams with the staff.
