This is a 60 ECTS minor that can be taken alongside a 120 ECTS major in another subject to complete a 180 ECTS BA degree.
Museum studies is an interdisciplinary subject, incorporating various areas relevant to the work of museums.
Examples include history, archaeology, art history and theory, ethnology, anthropology, literature and linguistics. Museum studies also includes physical sciences such as natural history and others such as conservation, pedagogy and information technology, as well as subjects relating to management, computer science, marketing, economics, tourism, design and communication.
Museums and galleries are among the most important cultural institutions in any society. There are a huge number of museums in Iceland and abroad, exploring an extremely wide range of topics.
In brief, the four main areas of a museum’s mission are:
Museums may deal with a very broad range of subjects. Some museums focus on exhibitions or education, while others focus on conservation or research. Most museums share certain common attributes, though, and similarities in their nature and mission.
Museums operate in accordance with certain laws, regulations, ethics and conventions. In brief, the four main areas of a museum’s mission are: collection, conservation, research and sharing information.
The admission requirement for the major subject (120 ECTS) has to be fulfilled. After a year of studies students can register for the minor (60 ECTS).
60 ECTS credits have to be completed for the minor. The minor consists of: theories and fundamental approaches 40 ECTS credits and electives 20 ECTS credits.
Check below to see how the programme is structured.
This programme does not offer specialisations.
This course is an introduction to the study of the material culture of everyday life. Students will be get a good glimpse of this multidisciplinary field, with examples drawn from the past as well as the present, and with equal emphasis on the material culture of Iceland and that of other countries. The topics of study will range from clothes and fashion to foodways, from the objects in our daily surroundings to trash and hygiene, from crafts and consumer goods to houses, gardens and the home, and from urban landscapes to museums and exhibits. Along the way, students will gain familiarity with various theoretical concepts and approaches emphasizing for example the human body, gender, consumption, place and space.
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.
In this course, the key concepts of gendered culture; sex, gender, and sexual orientation will be contextualized through anthropological research and knowledge. The goal is for students to gain a solid understanding of these concepts, how they are continuously reshaped, and how they shape societies and cultures everywhere. The course will explore how anthropological research in the early 20th century was influenced by dominating gender norms and examine the impact of feminist movements over the past half-century on the emergence and evolution of diverse anthropological studies. Emphasis will be placed on analyzing the characteristics of contemporary feminist and queer research, and students will engage with these topics through selected ethnographies, field texts, and review articles on gendered culture.
The aim of this course is to show students the importance of critical thinking by introducing its main concepts and methods as well as different understandings of the notion. Furthermore, the aim is to train students in critical thinking and argumentation, both in a philosophical and an everyday context. Special emphasis will be placed on analysing arguments. The relationship between critical thinking and ethics will be thoroughly examined.
The teaching involves both lectures and discussion sessions. Assignments will primarily be aimed at practical tasks relevant to everyday experiences.
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.
Course Outline:
Course Format: Lectures, seminars and visits to local art museums.
The course gives a general introduction to artefact studies, typology and material analysis, as well as introducing the principal artefact types found in Iceland: pottery, stone vessels and utensils, jewellery and weapons, textiles, glass, clay pipes, etc.
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. Next, they will gain an insight into Vikings in films related to the image of Iceland. This raises the question: in which films do Vikings appear, and how are they portrayed? The aim is to provide a comprehensive overview of the history of Viking representations in Icelandic cinema, exploring how they have been depicted by Icelandic filmmakers as well as by international directors who have chosen to make films about and/or set in Iceland. Finally, Vikings in video games are explored, introducing how Old Norse literature migrates into gaming, and how the image of Vikings has altered and expanded within the gaming sphere.
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 practices 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.
This course involves the student in taking part in a realistic research project in a museum or gallery, the aim being for the student to increase her/ his skills in applying academic approaches to actual museum work. The first part of the study is academic, and concentrates on methodology, each student then giving a report on the reading to the supervisor. The research project itself involves the student in preparing a research plan under the guidance of the supervisor, and then carrying out this project while actually working in a museum. On completion of the project, the student has to present a report on the project, and presentation of her/his findings.
In this course we will examine three main areas in relation to literary tourism and writer's museums. First, we will examine how writers have used museums as sites for their storytelling. Second, we will examine the field of literary tourism in Iceland and in particular, the ways in which writer's museums are addressing the lives and times of literary authors like the Nobel Prize winner Halldór Laxness. And third, we will examine the wider social and cultural significance of literary tourism and writer's museums in Iceland. Attention will also be made to museums and exhibitions that represent Icelandic (oral) literary heritage. The course will in particular examine writer's museums like Gljúfrasteinn, Þórbergssetur, Davíðshús, Nonnahús, Reykholt and Skriðuklaustur.
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.
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 introduces students to the history of museums and to key debates within the fields of museology and museography. The course discusses contemporary practice in museums, like collecting, preservation and cataloguing, research and mediation in the twenty-first century. The course explores museums’ missions and their roles in a variety of museums including art, cultural history, and natural history.
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.
This course is an introduction to the study of the material culture of everyday life. Students will be get a good glimpse of this multidisciplinary field, with examples drawn from the past as well as the present, and with equal emphasis on the material culture of Iceland and that of other countries. The topics of study will range from clothes and fashion to foodways, from the objects in our daily surroundings to trash and hygiene, from crafts and consumer goods to houses, gardens and the home, and from urban landscapes to museums and exhibits. Along the way, students will gain familiarity with various theoretical concepts and approaches emphasizing for example the human body, gender, consumption, place and space.
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 focus on various cases from the nineteenth century onwards of cultural elements that have been considered adversary to culture and civilisation in Iceland. Ideas, behaviour and artefacts that have been seen to be threats to Icelandic culture or a menace to a sound and healthy cultural life (such as jazz, popular fiction, avant-garde art) will be reflected upon, and the nature of the assumed dangers explored. As part of the discussion, the interconnection between social power and culture will be taken into careful consideration and questions about who defines cultural menace, by what means and for what purpose will be asked. Do such threats have aspects in common and in what ways have definitions been influenced by interests, ideals and moral standards that are subject to change? To what extent have ideas about cultural menace played a role in fashioning and defining Icelandic culture?
To what extent has Icelandic culture been formed through normative ideas about cultivated behaviour and civilisation? To what extent has Icelandic culture been shaped through resistance to foreign mass culture that has been seen to present itself in the Icelandic community in the guise of, for example, Danish dress fashion and American soap-operas?
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 goal of the course is for students to get an insight into daily projects and professional museum work at the National Museum of Iceland. The main focus will be on the practical aspects of collection, recording and preservation. The course will be divided into two parts, the first part will be in the form of lectures by specialists from the National Museum, while the second part will be based upon a special project involving the museum collections that the students will work on independently under the guidance of the instructors. The first part of the course will focus on ICOM's international code of conduct, preventive conservation, artefact registration in Sarpur, photography of artefacts, condition assessments of new accessions (artifacts, samples, primary sources, etc.), packing/packaging, preservation, and the installation of exhibitions. Attendance is compulsory during practical hours.
There will be four smaller projects in the first part of the course. In the second part, the student will work on the special project connected to the museum collections in relation to the course subject. The students will select their projects according to their field of interest under the guidance of the instructors and will submit reports and presentations at the end of the course.
Note that students in the elective Visual Arts Education: Art programme have priority if the maximum number of participants is reached.
This course explores the relationship between visual arts, nature, and society with a focus on contemporary art, sustainability, and education for sustainable development. Students engage with ideas and practices of artists who work with nature and community, analyzing their methods within a theoretical framework. Emphasis is placed on experimentation, artistic processes, and the reuse of materials with environmental awareness in mind.
Objectives and content
Students will:
Teaching methods include lectures, discussions, field visits, and project-based learning. Independent work, creative processes, and collaboration are emphasized.
Students learn and are trained in the methods of archival research, finding and evaluating sources in archives. Practical exercises will be assigned.
This course is comprised solely of work experience connected to archaeology undertaken by the student. Work can include participation on an archaeological fieldschool, excavation (uppgröftur), survey project (fornleifaskráning), post-excavation analysis (urvinnsla) including finds or conservation work (forvarsla) and work at a museum or heritage agency. If you are in doubt about what might count, contact the chair of the department. The work must entail a minimum of 20 full-working days. At the end of the work, students must ask for a report form to be filled out by their employer/supervisor and this form must then be returned to the chair of department. Please contact the chair of department of archaeology for the form.
This course is comprised solely of work experience connected to archaeology undertaken by the student. Work can include participation on an archaeological fieldschool, excavation (uppgröftur), survey project (fornleifaskráning), post-excavation analysis (urvinnsla) including finds or conservation work (forvarsla) and work at a museum or heritage agency. If you are in doubt about what might count, contact the chair of the department. The work must entail a minimum of 40 full-working days. At the end of the work, students must ask for a report form to be filled out by their employer/supervisor and this form must then be returned to the chair of department. Please contact the chair of department of archaeology for the form.
This course is an introduction to the study of the material culture of everyday life. Students will be get a good glimpse of this multidisciplinary field, with examples drawn from the past as well as the present, and with equal emphasis on the material culture of Iceland and that of other countries. The topics of study will range from clothes and fashion to foodways, from the objects in our daily surroundings to trash and hygiene, from crafts and consumer goods to houses, gardens and the home, and from urban landscapes to museums and exhibits. Along the way, students will gain familiarity with various theoretical concepts and approaches emphasizing for example the human body, gender, consumption, place and space.
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.
In this course, the key concepts of gendered culture; sex, gender, and sexual orientation will be contextualized through anthropological research and knowledge. The goal is for students to gain a solid understanding of these concepts, how they are continuously reshaped, and how they shape societies and cultures everywhere. The course will explore how anthropological research in the early 20th century was influenced by dominating gender norms and examine the impact of feminist movements over the past half-century on the emergence and evolution of diverse anthropological studies. Emphasis will be placed on analyzing the characteristics of contemporary feminist and queer research, and students will engage with these topics through selected ethnographies, field texts, and review articles on gendered culture.
The aim of this course is to show students the importance of critical thinking by introducing its main concepts and methods as well as different understandings of the notion. Furthermore, the aim is to train students in critical thinking and argumentation, both in a philosophical and an everyday context. Special emphasis will be placed on analysing arguments. The relationship between critical thinking and ethics will be thoroughly examined.
The teaching involves both lectures and discussion sessions. Assignments will primarily be aimed at practical tasks relevant to everyday experiences.
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.
Course Outline:
Course Format: Lectures, seminars and visits to local art museums.
The course gives a general introduction to artefact studies, typology and material analysis, as well as introducing the principal artefact types found in Iceland: pottery, stone vessels and utensils, jewellery and weapons, textiles, glass, clay pipes, etc.
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. Next, they will gain an insight into Vikings in films related to the image of Iceland. This raises the question: in which films do Vikings appear, and how are they portrayed? The aim is to provide a comprehensive overview of the history of Viking representations in Icelandic cinema, exploring how they have been depicted by Icelandic filmmakers as well as by international directors who have chosen to make films about and/or set in Iceland. Finally, Vikings in video games are explored, introducing how Old Norse literature migrates into gaming, and how the image of Vikings has altered and expanded within the gaming sphere.
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 practices 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.
This course involves the student in taking part in a realistic research project in a museum or gallery, the aim being for the student to increase her/ his skills in applying academic approaches to actual museum work. The first part of the study is academic, and concentrates on methodology, each student then giving a report on the reading to the supervisor. The research project itself involves the student in preparing a research plan under the guidance of the supervisor, and then carrying out this project while actually working in a museum. On completion of the project, the student has to present a report on the project, and presentation of her/his findings.
In this course we will examine three main areas in relation to literary tourism and writer's museums. First, we will examine how writers have used museums as sites for their storytelling. Second, we will examine the field of literary tourism in Iceland and in particular, the ways in which writer's museums are addressing the lives and times of literary authors like the Nobel Prize winner Halldór Laxness. And third, we will examine the wider social and cultural significance of literary tourism and writer's museums in Iceland. Attention will also be made to museums and exhibitions that represent Icelandic (oral) literary heritage. The course will in particular examine writer's museums like Gljúfrasteinn, Þórbergssetur, Davíðshús, Nonnahús, Reykholt and Skriðuklaustur.
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.
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 introduces students to the history of museums and to key debates within the fields of museology and museography. The course discusses contemporary practice in museums, like collecting, preservation and cataloguing, research and mediation in the twenty-first century. The course explores museums’ missions and their roles in a variety of museums including art, cultural history, and natural history.
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.
This course is an introduction to the study of the material culture of everyday life. Students will be get a good glimpse of this multidisciplinary field, with examples drawn from the past as well as the present, and with equal emphasis on the material culture of Iceland and that of other countries. The topics of study will range from clothes and fashion to foodways, from the objects in our daily surroundings to trash and hygiene, from crafts and consumer goods to houses, gardens and the home, and from urban landscapes to museums and exhibits. Along the way, students will gain familiarity with various theoretical concepts and approaches emphasizing for example the human body, gender, consumption, place and space.
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 focus on various cases from the nineteenth century onwards of cultural elements that have been considered adversary to culture and civilisation in Iceland. Ideas, behaviour and artefacts that have been seen to be threats to Icelandic culture or a menace to a sound and healthy cultural life (such as jazz, popular fiction, avant-garde art) will be reflected upon, and the nature of the assumed dangers explored. As part of the discussion, the interconnection between social power and culture will be taken into careful consideration and questions about who defines cultural menace, by what means and for what purpose will be asked. Do such threats have aspects in common and in what ways have definitions been influenced by interests, ideals and moral standards that are subject to change? To what extent have ideas about cultural menace played a role in fashioning and defining Icelandic culture?
To what extent has Icelandic culture been formed through normative ideas about cultivated behaviour and civilisation? To what extent has Icelandic culture been shaped through resistance to foreign mass culture that has been seen to present itself in the Icelandic community in the guise of, for example, Danish dress fashion and American soap-operas?
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 goal of the course is for students to get an insight into daily projects and professional museum work at the National Museum of Iceland. The main focus will be on the practical aspects of collection, recording and preservation. The course will be divided into two parts, the first part will be in the form of lectures by specialists from the National Museum, while the second part will be based upon a special project involving the museum collections that the students will work on independently under the guidance of the instructors. The first part of the course will focus on ICOM's international code of conduct, preventive conservation, artefact registration in Sarpur, photography of artefacts, condition assessments of new accessions (artifacts, samples, primary sources, etc.), packing/packaging, preservation, and the installation of exhibitions. Attendance is compulsory during practical hours.
There will be four smaller projects in the first part of the course. In the second part, the student will work on the special project connected to the museum collections in relation to the course subject. The students will select their projects according to their field of interest under the guidance of the instructors and will submit reports and presentations at the end of the course.
Note that students in the elective Visual Arts Education: Art programme have priority if the maximum number of participants is reached.
This course explores the relationship between visual arts, nature, and society with a focus on contemporary art, sustainability, and education for sustainable development. Students engage with ideas and practices of artists who work with nature and community, analyzing their methods within a theoretical framework. Emphasis is placed on experimentation, artistic processes, and the reuse of materials with environmental awareness in mind.
Objectives and content
Students will:
Teaching methods include lectures, discussions, field visits, and project-based learning. Independent work, creative processes, and collaboration are emphasized.
Students learn and are trained in the methods of archival research, finding and evaluating sources in archives. Practical exercises will be assigned.
This course is comprised solely of work experience connected to archaeology undertaken by the student. Work can include participation on an archaeological fieldschool, excavation (uppgröftur), survey project (fornleifaskráning), post-excavation analysis (urvinnsla) including finds or conservation work (forvarsla) and work at a museum or heritage agency. If you are in doubt about what might count, contact the chair of the department. The work must entail a minimum of 20 full-working days. At the end of the work, students must ask for a report form to be filled out by their employer/supervisor and this form must then be returned to the chair of department. Please contact the chair of department of archaeology for the form.
This course is comprised solely of work experience connected to archaeology undertaken by the student. Work can include participation on an archaeological fieldschool, excavation (uppgröftur), survey project (fornleifaskráning), post-excavation analysis (urvinnsla) including finds or conservation work (forvarsla) and work at a museum or heritage agency. If you are in doubt about what might count, contact the chair of the department. The work must entail a minimum of 40 full-working days. At the end of the work, students must ask for a report form to be filled out by their employer/supervisor and this form must then be returned to the chair of department. Please contact the chair of department of archaeology for the form.
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.
Graduates may work in management positions in any area of the public and private sector that is relevant to collections, conservation, research, teaching, and sharing cultural heritage.
Also project management in education or the cultural sector and cultural tourism.
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?
Follow the path
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.
