{"id":16,"date":"2009-10-26T15:55:54","date_gmt":"2009-10-26T15:55:54","guid":{"rendered":"http:\/\/skrif.hi.is\/aesas\/?page_id=16"},"modified":"2025-06-30T19:43:32","modified_gmt":"2025-06-30T19:43:32","slug":"utgafur","status":"publish","type":"page","link":"https:\/\/uni.hi.is\/aesas\/utgafur\/","title":{"rendered":"Publications"},"content":{"rendered":"<div class=\"mceTemp\"><\/div>\n<p><span style=\"font-weight: 400\"><strong>Books, articles, curatorial publications and talks<\/strong><\/span><\/p>\n<p>My academic and curatorial writing is published mostly in English, French\u00a0 and Icelandic,\u00a0a few academic papers have been translated into Russian and Polish. Here are some exemples of academic publications, exhibition catalogues, and art criticism. A more complete bibliography is listed below.<\/p>\n<p><iframe loading=\"lazy\" title=\"Listamannaspjall Ange Leccia \/ Artist talk Ange Leccia\" width=\"474\" height=\"267\" src=\"https:\/\/www.youtube.com\/embed\/7rMR_HLTu4A?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<div id='gallery-1' class='gallery galleryid-16 gallery-columns-4 gallery-size-thumbnail'><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-193\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-193'>\n\t\t\t\t\u201cFashion that Came in from the Cold War&#8221;. In Faces of Colonialism in the Fashion Spread\u201d, in Fashioned in the North, Anna Dahlgren (ed.), Lund: Nordic Academic Press, 2020, pp. 31-48\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/09\/images.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/09\/images-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-300\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-300'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cCraft and Care in Period of Crises\u201d, Earth, Wind, Fire, Water, Randi Grov Berger and Tonje Kjellevold (eds.) Oslo: Arnoldsche, 2020, 116 &#8211; 119.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/415peTl1hlL._SX346_BO1204203200_.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/415peTl1hlL._SX346_BO1204203200_-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-234\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-234'>\n\t\t\t\t\u201cHot Spots in Cold War. Visual Agendas, and Relocated Narratives in Cold War Photography\u201d. In On Display: Visual Politics, Material Culture. Munster\/New York: Waxmann, 2016, pp. 145 &#8211; 167\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-02-at-22.36.48.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-02-at-22.36.48-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-202\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-202'>\n\t\t\t\tSTARA #12 \/ 2019\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/09\/Fegur\u00f0in-er-ekki-skraut-frontur-700x990-2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/09\/Fegur\u00f0in-er-ekki-skraut-frontur-700x990-2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-299\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-299'>\n\t\t\t\t\u00cd b\u00f3kinni Fegur\u00f0in er ekki skraut fjalla \u00e1tta listfr\u00e6\u00f0ingar, s\u00fdningastj\u00f3rar og a\u00f0rir fr\u00e6\u00f0imenn um \u00edslenska samt\u00edmalj\u00f3smyndum \u00fat fr\u00e1 \u00f3l\u00edkum sj\u00f3narhornum og setja \u00ed samhengi vi\u00f0 al\u00fej\u00f3\u00f0lega strauma \u00ed lj\u00f3smyndun, myndlist, heimspeki og listas\u00f6gu. \u00cd b\u00f3kinni er jafnframt a\u00f0 finna fj\u00f6lda lj\u00f3smynda eftir marga helstu lj\u00f3smyndara landsins.  \n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/images.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/images-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-200\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-200'>\n\t\t\t\t\u201cNew Maps for Networks: Reykjavik FLUXUS\u2013 A Case of Connections&#8221;. In Narratives Unfolding: National Art Histories in an Unfinished World, Montreal: McGill-Queens University Press, 2017, pp. 189 \u2013 208\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-02-at-22.15.46.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-02-at-22.15.46-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-201\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-201'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, Sigr\u00ed\u00f0ur Zo\u00ebga Studio Photographer in Reykjav\u00edk. Reykjav\u00edk: National Museum of Iceland, 2000\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-4.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-4-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-196\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-196'>\n\t\t\t\tDreams of the Sublime in Contemporary Icelandic Art, Reykjav\u00edk: Reykjav\u00edk Art Museum, 2008\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-259\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-1024x1024.jpg 1024w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-768x768.jpg 768w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-1536x1536.jpg 1536w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0369-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-259'>\n\t\t\t\tIslande en vue. Photographes fran\u00e7ais en Islande 1845-1900. Reykjav\u00edk: JPV publishers, 2000 \n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-03-at-12.48.40.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-03-at-12.48.40-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-208\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-208'>\n\t\t\t\t\u201c\u00d3l\u00f6f Nordal. Mus\u00e9e islandique\u201d, \u00d3l\u00f6f Nordal: Mus\u00e9e Islandique. Reykjav\u00edk: National Gallery of Iceland, 2012, pp. 4-16\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/61568481_302274820723688_2822859731584612432_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/61568481_302274820723688_2822859731584612432_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/transmettre-l-art_F.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/transmettre-l-art_F-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-205\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-205'>\n\t\t\t\t\u201cMagn\u00fas P\u00e1lsson et le d\u00e9partement New Art \u00e0 Reykjav\u00edk 1975-1984.  Teaching: the Maddest Artform\u201d. In Transmettre l\u2019art \u2013 Figures et m\u00e9thodes \u2013 Quelle histoire. Paris: Les presses du r\u00e9el, 2013, pp. 129 \u2013151\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Tilgagnsogtilfegurdar_1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Tilgagnsogtilfegurdar_1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-203\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-203'>\n\t\t\t\tTil gagns og til fegur\u00f0ar: sj\u00e1lfsmyndir \u00ed lj\u00f3smyndum og kl\u00e6\u00f0na\u00f0i \u00e1 \u00cdslandi 1860-1960. Reykjav\u00edk: National Museum of Iceland, 2008\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/514NKfed8IL._SX258_BO1204203200_.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/514NKfed8IL._SX258_BO1204203200_-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-186\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-186'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, Michael Langkj\u00e6r(eds.), Images in Time: flashing forward, backward, in front and behind photography in fashion, advertising and the press, Bath: Wunderkammer Press\/Bath Spa University, 2011\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/61118601_2391136327574862_3818754086862323712_o.1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/61118601_2391136327574862_3818754086862323712_o.1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-191\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-191'>\n\t\t\t\tTalk to Me! Latvian Contemporary Art  in Akureyri Art Museum, 2019\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/unnamed.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/unnamed-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-206\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-206'>\n\t\t\t\t Ieva Epnere, Green School, 2017. Installation for Talk to Me! Listasafn Akureyrar 2019\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/eikon100_macwilliam_800x600px_g.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/eikon100_macwilliam_800x600px_g-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-199\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-199'>\n\t\t\t\t &#8220;Dissecting patriarchy in the intimacy of the archive through the work of RAMESCH DAHA, TATIANA LECOMTE, MIRANDA PENNELL&#8221;, EIKON &#8211; International Magazine for Photography and Media Art, # 100, 2018\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/eikon_107_400x300_g.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/eikon_107_400x300_g-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-198\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-198'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, &#8220;Sophie Calle. Where is the Truth? &#8220;, EIKON &#8211; International Magazine for Photography and Media Art (German \/English), # 107 \/ 2019\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-2.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-2-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-194\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-194'>\n\t\t\t\t\u201cWhen the Water Falls \u2013 Finding \u2018Nowhere\u2019 in the Precarious, Poetic and Political Waters of Iceland,\u201d FOAM \u2013 International Photography Magazine, Issue 50\/Water, Amsterdam 2018,  227 \u2013 232\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/31279495_172992423414089_3325435444618854400_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/31279495_172992423414089_3325435444618854400_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-240\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-240'>\n\t\t\t\t\u201cWhen the Water Falls \u2013 Finding \u2018Nowhere\u2019 in the Precarious, Poetic and Political Waters of Iceland,\u201d FOAM \u2013 International Photography Magazine, Issue 50\/Water, Amsterdam 2018,  227 \u2013 232\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/56517102_10157155413170789_1126528694349725696_o.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/56517102_10157155413170789_1126528694349725696_o-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-243\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-243'>\n\t\t\t\t \u201cThe New Nordic Cool\u201d. In Russian Fashion Theory. The Journal of Dress, Body and Culture, Taylor &amp; Francis:  Moscow, 2019\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22582549_313530932462034_7837686106786103296_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22582549_313530932462034_7837686106786103296_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-238\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-238'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cRethinking Sigurj\u00f3n \u00d3lafsson\u00b4s Place in the Danish Avant-Garde Through the Retrospective Exhibition Tracks in Sand\u201d. In Featuring Modernism in the Work of Sculptor Sigurj\u00f3n \u00d3lafsson, Reykjav\u00edk: H\u00e1sk\u00f3la\u00fatg\u00e1fan, 2017, pp. 67-75\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-04-at-16.40.34.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-04-at-16.40.34-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-258\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-04-at-16.40.34-150x150.png 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-04-at-16.40.34-300x300.png 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-04-at-16.40.34.png 692w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-258'>\n\t\t\t\tSpor \u00ed sandi  \/ Tracks in Sand. Retrospective Exhibition of Sigurj\u00f3n \u00d3lafsson&#8217;s works, Reykjav\u00edk: National Gallery of Iceland, 2014\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/2014-Spor-bak.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/2014-Spor-bak-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/14350436_644459862380617_3208255727328034816_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/14350436_644459862380617_3208255727328034816_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-236\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/14350436_644459862380617_3208255727328034816_n-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/14350436_644459862380617_3208255727328034816_n-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/14350436_644459862380617_3208255727328034816_n.jpg 640w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-236'>\n\t\t\t\tCurated by_ Vienna 2017, Gallery Raum mit Licht\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-261\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-1024x1024.jpg 1024w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-768x768.jpg 768w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-1536x1536.jpg 1536w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0378-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-261'>\n\t\t\t\t&#8220;A Strange Place Called Nowhere&#8221;, iprn \u2013 European Research Network. Changing Faces \/Shifts: Archives in Dialogue and New Identities in Documentarism. Jyv\u00e4skyl\u00e4: Univeristy of Jyv\u00e4skyl\u00e4\/University of Sunderland\/iprn, 2006, 39-46\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22277813_117114615709603_819207691078467584_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22277813_117114615709603_819207691078467584_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-237\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22277813_117114615709603_819207691078467584_n-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22277813_117114615709603_819207691078467584_n-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/22277813_117114615709603_819207691078467584_n.jpg 454w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-237'>\n\t\t\t\tInterplay. Sigurj\u00f3n \u00d3lafsson &amp; Finn Juhl. Thinking across sculpture and design, Reykjav\u00edk: Listasafn Sigurj\u00f3ns \u00d3lafssonar, 2015\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-03-at-00.54.29.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/Screen-Shot-2020-05-03-at-00.54.29-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-245\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-245'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir and Karlis Verpe (introduction and eds.), (Re)Construction of Friendship. Riga European Capital of Culture. Riga: Art Space, 2014\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/46662408_343430519785518_1494391857857831846_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/46662408_343430519785518_1494391857857831846_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-242\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/46662408_343430519785518_1494391857857831846_n-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/46662408_343430519785518_1494391857857831846_n-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/46662408_343430519785518_1494391857857831846_n.jpg 640w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-242'>\n\t\t\t\tAnge Leccia, La Mer,  Akureyri Art Museum, 2018\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/23101176_1473492176102144_4722999106744614912_n.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/23101176_1473492176102144_4722999106744614912_n-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-239\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/23101176_1473492176102144_4722999106744614912_n-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/23101176_1473492176102144_4722999106744614912_n-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/23101176_1473492176102144_4722999106744614912_n.jpg 640w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-239'>\n\t\t\t\tAnge Leccia, La Mer,  National Gallery Iceland, 2017\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/111_72.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/111_72-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-233\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-233'>\n\t\t\t\t\u201cBl\u00e1kalt stefnum\u00f3t vi\u00f0 raunveruleikann \u00ed 111 Reykjav\u00edk&#8221;, Spessi. 111, Reykjav\u00edk: Forlagi\u00f0, 2018\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0375-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0375-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-260\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-260'>\n\t\t\t\tEn Thule froiduleuse with artists  Sigur\u00f0ur Gu\u00f0mundsson, Sigur\u00f0ur Gu\u00f0j\u00f3nsson, Kristleifur Bj\u00f6rnsson og \u00d3l\u00f6f Nordal. Cover design by Pierre Vanni\n\t\t\t\t<\/dd><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-4-1.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/download-4-1-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-283\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-283'>\n\t\t\t\tKjarval. \u00dat \u00e1 sp\u00e1ss\u00eduna &#8211; textar, skissur og p\u00e1r \u00ed list Kjarvals. Kjarvalssta\u00f0ir &#8211; Listasafn Reykjav\u00edkur 19.6 2015 &#8211; 3. jan\u00faar 2016.\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-scaled.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-262\" srcset=\"https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-150x150.jpg 150w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-300x300.jpg 300w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-1024x1024.jpg 1024w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-768x768.jpg 768w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-1536x1536.jpg 1536w, https:\/\/uni.hi.is\/aesas\/files\/2020\/05\/H14A0388-2048x2048.jpg 2048w\" sizes=\"auto, (max-width: 150px) 100vw, 150px\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-262'>\n\t\t\t\t\u201c \u00dej\u00f3\u00f0, n\u00e1tt\u00fara, raunveruleiki \/ Nation, Nature, Reality\u201d, The History of Art in Iceland from late 19th century to the beginning of the 21st century, Vol 2,  \u00d3lafur Kvaran (ed.), Reykjav\u00edk: National Museum of Iceland and Forlagi\u00f0, 2011, 8-84\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon landscape'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2010\/06\/KB.jpg'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2010\/06\/KB-150x150.jpg\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" aria-describedby=\"gallery-1-115\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-115'>\n\t\t\t\tKristleifur Bj\u00f6rnsson, &#8220;Every Other Day- Melab\u00fa\u00f0in&#8221;, Reality Check, Reykjav\u00edk Art Festival, 2010\n\t\t\t\t<\/dd><\/dl><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2025\/06\/Screenshot-2025-06-30-at-17.23.19.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2025\/06\/Screenshot-2025-06-30-at-17.23.19-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"\" \/><\/a>\n\t\t\t<\/dt><\/dl><br style=\"clear: both\" \/><dl class='gallery-item'>\n\t\t\t<dt class='gallery-icon portrait'>\n\t\t\t\t<a href='https:\/\/uni.hi.is\/aesas\/files\/2025\/06\/Screenshot-2025-06-30-at-17.23.19-1.png'><img loading=\"lazy\" decoding=\"async\" width=\"150\" height=\"150\" src=\"https:\/\/uni.hi.is\/aesas\/files\/2025\/06\/Screenshot-2025-06-30-at-17.23.19-1-150x150.png\" class=\"attachment-thumbnail size-thumbnail\" alt=\"Ger\u00f0ur\u2019s artistic career is particularly fascinating when viewed against this backdrop. In her early years in Paris, she laid the foundations for her art in a transcultural group of artists that she met in galleries and art studios. My discussion will focus on this context and the ways in which Simone de Beauvoir\u2019s (1908\u00ad 1986) feminist analysis of women\u2019s roles in post\u00adwar France can be seen as reflected in Ger\u00f0ur\u2019s experiences. Beauvoir famously analyzed the societal tensions in France through a feminist lens. She examined the historical context of women\u2019s social status and persuasively argued that gender inequality was deeply embedded in culture and social hierarchy. Her groundbreaking work, Le deuxi\u00e8me sexe (The Second Sex), published in 1949, coincided with Ger\u00f0ur\u2019s arrival in Paris that autumn. Although Ger\u00f0ur never mentions Beauvoir\u2019s theories in her letters, her message of female empowerment and resistance against patriarchal norms resonates with Ger\u00f0ur, who struggled to establish herself as an artist in a male\u00addominated field.\" aria-describedby=\"gallery-1-330\" \/><\/a>\n\t\t\t<\/dt>\n\t\t\t\t<dd class='wp-caption-text gallery-caption' id='gallery-1-330'>\n\t\t\t\t\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201eKona \u00e1 ja\u00f0rinum: Ger\u00f0ur Helgad\u00f3ttir \u00ed hringi\u00f0u eftirstr\u00ed\u00f0s\u00e1ranna \u00ed Par\u00eds,\u201c \u00ed Leita\u00f0 \u00ed t\u00f3mi\u00f0: Listsk\u00f6pun Ger\u00f0ar Helgad\u00f3ttur (K\u00f3pavogur: Ger\u00f0arsafn -Listasafns K\u00f3pavogs, 2024). \n\t\t\t\t<\/dd><\/dl>\n\t\t\t<br style='clear: both' \/>\n\t\t<\/div>\n\n<p>&nbsp;<\/p>\n<p><strong>LIST OF PUBLICATIONS<\/strong><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cTopplings and Other Radical Actions in Contemporary Art in Iceland\u201d, in <em>Transformative Feminism<\/em>s: <em>Nordic Art in the Global Present<\/em>, eds. Kerry Greaves and Birgitte Thorsen Vilslev (Berlin: De Gruyter, 2025).<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cSigr\u00ed\u00f0ur Zo\u00ebga and the Gendered Space of the Photo Studio\u201d, in <em>Striving for Independence. Women Pioneers in Nordic Studio Culture, 1860-1920, <\/em>eds. Mette Sandby and Sigrid Lien (Berlin: De Gruyter, 2025)<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cThe artist August Meyer in Paul Gaimard\u00b4s Voyage en Islande et en Gr\u00f6enland\u201d, in <em>Inter-Nord<\/em><em>. Revue internationale d'\u00e9tudes arctiques | International Journal of Arctic Studies<\/em> 23 \/ 2024. Malaurie Institute <u><a href=\"https:\/\/miarctic.org\/inter-nord\">https:\/\/miarctic.org\/inter-nord<\/a><\/u><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201e\u00cdslensk myndlist \u00ed erlendri gagnr\u00fdni. Fr\u00e1 Georg Gretor til Gregorys Volk\u201c, Riti\u00f0 3\/ 2023.<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cFrom National Identity to Post-Industrial Crises. Two Faces of the National Photobook\u201d, in <em>Photography Bound<\/em> (Silvana Editoriale and Fotogaleriet Oslo, 2023).<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201e\u00cdslensk myndlist \u00ed erlendri gagnr\u00fdni. Fr\u00e1 Georg Gretor til Gregorys Volk\u201c, Riti\u00f0 3\/ 2023.<\/p>\n<p><strong>\u00a0<\/strong>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cThe\u00a0Guerrilla Paradigm or \u201cFeminist Avant-Garde\u201d \u2013 Towards an Alternative Feminist Canon\u201c, in <em>A Cultural History of the Avant-Garde in the Nordic Countries Since 1975<\/em><em>, <\/em>Vol. 41. Editors:\u00a0<a href=\"https:\/\/brill.com\/search?f_0=author&amp;q_0=Benedikt+Hjartarson\">Benedikt Hjartarson<\/a>,\u00a0<a href=\"https:\/\/brill.com\/search?f_0=author&amp;q_0=Tania+%C3%98rum\">Tania \u00d8rum<\/a>,\u00a0<a href=\"https:\/\/brill.com\/search?f_0=author&amp;q_0=Camilla+Skovbjerg+Paldam\">Camilla Skovbjerg Paldam<\/a>, and\u00a0<a href=\"https:\/\/brill.com\/search?f_0=author&amp;q_0=Laura+Luise+Schultz\">Laura Luise Schultz<\/a> (Leiden: Brill, 2022), 447<em>\u2013<\/em>474.<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201eSj\u00f3narspil tegundanna: Hvalurinn \u00ed \u00f6llum s\u00ednum (l\u00edf) myndum\", <em>Riti\u00f0<\/em> 1\/2020. <a href=\"https:\/\/ritid.hi.is\/index.php\/ritid\/article\/view\/91\">https:\/\/ritid.hi.is\/index.php\/ritid\/article\/view\/91<\/a><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir and \u00d3l\u00f6f K. Sigur\u00f0ard\u00f3ttir (eds.), <em>A\u00f0g\u00e1t. Borghildur \u00d3skarsd\u00f3ttir <\/em>(Reykjav\u00edk: Listasafn Reykjav\u00edkur, 2024.<\/p>\n<p><strong>\u00a0<\/strong>\u00c6sa Sigurj\u00f3nsd\u00f3ttir and \u00d3l\u00f6f K. Sigur\u00f0ard\u00f3ttir (eds.), <em>Rau\u00f0ir \u00fer\u00e6\u00f0ir\/Read Threads. Hildur H\u00e1konard\u00f3ttir. <\/em>Reykjav\u00edk: Listasafn Reykjav\u00edkur, 2023.<\/p>\n<p><strong>\u00a0<\/strong>\u00c6sa Sigurj\u00f3nsd\u00f3ttir (ed..), <em>\u00d3r\u00e6\u00f0 l\u00f6nd: Samt\u00f6l \u00ed sameiginlegum v\u00edddum<\/em><em>. <\/em>Sn\u00e6bj\u00f6rnsd\u00f3ttir \/ Wilson. <em>Debatable Lands. Dialogs From Shared Worlds<\/em>, K\u00f3pavogur: Ger\u00f0arsafn, 2021.<\/p>\n<p><strong>\u00a0<\/strong>\u00c6sa Sigurj\u00f3nsd\u00f3ttir og Sigr\u00fan Alba Sigur\u00f0ard\u00f3ttir (ritstj.), <em>Fegur\u00f0in er ekki skraut. \u00cdsensk samt\u00edmalj\u00f3smyndun<\/em>, Reykjav\u00edk: Fagurskinna\/Bjartur, 2020.<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir og Astrida Rogule (eds.), <em>Tala\u00f0u vi\u00f0 mig!<\/em>\/ Run\u0101 ar mani! \/ <em>Talk to Me!<\/em> S\u00fdningarskr\u00e1 gefin \u00fat \u00ed samvinnu vi\u00f0 Latvian National Museum of Art \u00ed Riga, \u00ed tengslum vi\u00f0 samnefnda s\u00fdningu \u00ed Listasafninu \u00e1 Akureyri 1.6. - 22.9. 2019, Riga: Apgads, 2019.<\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Imigrants in Olso\", <a href=\"https:\/\/www.oslobiennalen.no\/participant\/hlynur-hallson\/\">Oslo Biennalen<\/a> 2019-2024. https:\/\/www.oslobiennalen.no\/participant\/hlynur-hallson\/<\/span><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cCraft and Care in Period of Crises\u201d, <i><span style=\"font-weight: 400\">Earth, Wind, Fire<\/span><\/i><span style=\"font-weight: 400\">, <\/span><i><span style=\"font-weight: 400\">Water, <\/span><\/i><span style=\"font-weight: 400\">Oslo: Arnoldsche, 2020, 110-119. <\/span><a href=\"https:\/\/www.norwegiancrafts.no\/projects\/earth-wind-fire-water\"><span style=\"font-weight: 400\">https:\/\/www.norwegiancrafts.no\/projects\/earth-wind-fire-water<\/span><\/a><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, in <em>A World History of Women Photographers<\/em>, eds. Luce Lebart og Marie Robert. London: Thames &amp; Hudson, 2022.<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, in <em>Une histoire mondiale des femmes photographes<\/em>, Luce Lebart et Marie Robert (eds.), Paris: Textuel, 2020, p. 54, 129, 351. https:\/\/www.editionstextuel.com\/livre\/une-histoire-mondiale-des-femmes-photographes<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Agonistic Interventions and Political Discourse in the City\", in <em>Sculpture. Anti-Monument: Non-Traditional Forms of Commemoration<\/em>, Or\u00f3nsko: Centre of Polish Sculpture and UAP (University of the Arts in Poznan, 2020, 317-328. https:\/\/www.ahice.net\/publications\/detail\/project\/sculpture-today-4-anti-monument-non-traditional-forms-of-commemoration-2019\/<\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Sj\u00f3narspil tegundanna: Hvalurinn \u00ed \u00f6llum s\u00ednum (l\u00edf) myndum\" Riti\u00f0 1\/2020 https:\/\/ritid.hi.is\/index.php\/ritid\/article\/view\/91<\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cFashion that Came in from the Cold War. Faces of Colonialism in the Fashion Spread\u201d, <\/span><i><span style=\"font-weight: 400\">Fashioned in the North<\/span><\/i><span style=\"font-weight: 400\">, Anna Dahlgren (ed.), Lund: Nordic Academic Press, 2020,\u00a0 31- 48.<\/span><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"\u201eLand mitt! \u00de\u00fa ert sem \u00f3r\u00e6ttur draumur. \u00d3r\u00e1\u00f0in g\u00e1ta. Fyrirheit!\u201c Um \u00f3dau\u00f0leika \u00e6gifegur\u00f0arinnar \u00ed \u00cdslandsmyndab\u00f3kum\", \u00ed <em>Fegur\u00f0in er ekki skraut,<\/em>\u00a0\u00c6sa Sigurj\u00f3nsd\u00f3ttir and Sigr\u00fan Alba Sigur\u00f0ard\u00f3ttir (eds.), Reykjav\u00edk: Bjartur, 2020, 11-48.<\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c\u00dar fem\u00edniskum fa\u00f0mi Hrafnhildar Arnard\u00f3ttur \u00ed (kolefnis) f\u00f3tspor <\/span><i><span style=\"font-weight: 400\">Chromo Sapiens<\/span><\/i><span style=\"font-weight: 400\"> \u00e1 Feneyjatv\u00ed\u00e6ringnum vori\u00f0 2019 \/\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u201cFrom the Feminist Embrace of Hrafnhildur Arnard\u00f3ttir To the (Carbon)Footprint Of <\/span><i><span style=\"font-weight: 400\">Chromo Sapiens <\/span><\/i><span style=\"font-weight: 400\">At the Venice Biennial In Spring 2019\u201d,\u00a0 STARA 12 \/2019,\u00a0 47 - 59.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cFundnir hlutir og t\u00fdndur t\u00edmi \u00ed <\/span><i><span style=\"font-weight: 400\">Lei\u00f0r\u00e9ttingum<\/span><\/i><span style=\"font-weight: 400\"> Sigur\u00f0ar\u00c1rna Sigur\u00f0ssonar \/ <\/span><span style=\"font-weight: 400\">Found Objects and Lost Time in Sigur\u00f0ur \u00c1rni Sigur\u00f0sson\u2019s <\/span><i><span style=\"font-weight: 400\">Corrections\u201d, Sigur\u00f0ur \u00c1rni Sigur\u00f0sson. Lei\u00f0r\u00e9ttingar, <\/span><\/i><span style=\"font-weight: 400\">Reykjav\u00edk: Hverfisgaller\u00ed, 2019.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"A\u00f0dr\u00e1ttarafl upprunans\", <\/span><i><span style=\"font-weight: 400\">\u00d3l\u00f6f Nordal. \u00dangl<\/span><\/i><span style=\"font-weight: 400\">, Reykjav\u00edk: Listasafn Reykjav\u00edkur, 2019,\u00a0 135-163.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cThe New Nordic Cool\u201d,\u00a0 <\/span><i><span style=\"font-weight: 400\">Russian Fashion Theory. The Journal of Dress, Body and Culture<\/span><\/i><span style=\"font-weight: 400\">, Taylor &amp; Francis:\u00a0 Moscow, 2019, 35 - 59. <\/span><a href=\"http:\/\/eng.nlobooks.ru\/node\/29\"><span style=\"font-weight: 400\">http:\/\/eng.nlobooks.ru\/node\/29<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \" Genvurdering af Sigurj\u00f3n \u00d3lafssons placering i dansk avantgardes kunsthistorie\", <\/span><i><span style=\"font-weight: 400\">Sigurj\u00f3n \u00d3lafsson<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">Mangfoldig modernism<\/span><\/i><span style=\"font-weight: 400\">e, Anne Blond og \u00c6sa Sigurj\u00f3nsd\u00f3ttir (eds.), T\u00f8nder: MSJ. Kunstmuseet i T\u00f8nder, 2019,\u00a0 105 - 119.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Sophie Calle. Where is the Truth? \", <a href=\"https:\/\/www.eikon.at\/content\/en\/zeitschrift_detail.php?zeitschrift_id=134\">EIKON<\/a> - International Magazine for Photography and Media Art (German \/English), # 107 \/ 2019, 32-39. https:\/\/www.eikon.at\/content\/en\/zeitschrift_detail.php?zeitschrift_id=134<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cAvons-nous encore besoin de h\u00e9ros nordiques ?\u201d, <\/span><a href=\"https:\/\/journals.openedition.org\/perspective\/13554\"><i><span style=\"font-weight: 400\">Perspective<\/span><\/i><\/a><span style=\"font-weight: 400\"> [Online], 1 | 2019\u00a0 <\/span><span style=\"font-weight: 400\">https:\/\/journals.openedition.org\/perspective\/13554<\/span><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Avons-nous encore besoin de h\u00e9ros nordiques ? Une analyse des g\u00e9n\u00e9alogies artistiques et des filiations masculines entre Dieter Roth et Ragnar Kjartansson,\" <em>Perspective<\/em> 2019\/1 https:\/\/journals.openedition.org\/perspective\/13554 https:\/\/journals.openedition.org\/perspective\/13606<\/p>\n<p><span style=\"font-weight: 400\">\u00a0\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><span style=\"font-weight: 400\">\"\u00d3r\u00e6\u00f0 inngrip og p\u00f3lit\u00edsk or\u00f0r\u00e6\u00f0a \u00ed borginni. Listaverki\u00f0 \u00ed almannar\u00fdmi og \u00e1hrif \u00fatis\u00fdninga \u00ed Reykjav\u00edk.\" <\/span><a href=\"https:\/\/opinvisindi.is\/handle\/20.500.11815\/838\"><i><span style=\"font-weight: 400\">Riti\u00f0<\/span><\/i><\/a><span style=\"font-weight: 400\"> 2\/2018, 75 - 103.<\/span><\/p>\n<p><iframe loading=\"lazy\" title=\"\u00c6sa Sigurj\u00f3nsd\u00f3ttir - Sta\u00f0ur, lj\u00f3s og minni. List \u00ed\u00ad almannar\u00fdmi \u00ed\u00ad reykv\u00ed\u00adsku samhengi.\" width=\"474\" height=\"267\" src=\"https:\/\/www.youtube.com\/embed\/3kLyKEZ3u8U?feature=oembed\" frameborder=\"0\" allow=\"accelerometer; autoplay; clipboard-write; encrypted-media; gyroscope; picture-in-picture; web-share\" referrerpolicy=\"strict-origin-when-cross-origin\" allowfullscreen><\/iframe><\/p>\n<p>&nbsp;<\/p>\n<p><b>\u00a0<\/b><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cWhen the Water Falls \u2013 Finding \u2018Nowhere\u2019 in the Precarious, Poetic and Political Waters of Iceland,\u201d <\/span><i><span style=\"font-weight: 400\">FOAM \u2013 International Photography Magazine<\/span><\/i><span style=\"font-weight: 400\">, Issue 50\/Water, Amsterdam 2018,\u00a0 227 \u2013 232. <\/span><a href=\"https:\/\/issuu.com\/foam-magazine\/docs\/fm__50\"><span style=\"font-weight: 400\">https:\/\/issuu.com\/foam-magazine\/docs\/fm__50<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><span style=\"font-weight: 400\">\"Dissecting patriarchy in the intimacy of the archive through the work of RAMESCH DAHA, TATIANA LECOMTE, MIRANDA PENNELL\", <\/span><i><span style=\"font-weight: 400\"><a href=\"https:\/\/www.eikon.at\/content\/en\/zeitschrift_detail.php?zeitschrift_id=126\">EIKON<\/a> - International Magazine for Photography and Media Art<\/span><\/i><span style=\"font-weight: 400\">, # 100, 2018, 57 \u2013 67.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cNew Maps for Networks: Reykjavik FLUXUS\u2013 A Case of Connections.\u201d<\/span>\u00a0I<span style=\"font-weight: 400\">n <\/span><i><span style=\"font-weight: 400\">Narratives Unfolding: National Art Histories in an Unfinished World,<\/span><\/i><span style=\"font-weight: 400\"> edited by LANGFORD MARTHA, 189-208. Montreal;London; Chicago: McGill-Queen's University Press, 2017. Accessed May 26, 2020. www.jstor.org\/stable\/j.ctt1q1xtdj.14.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cBl\u00e1kalt stefnum\u00f3t vi\u00f0 raunveruleikann \u00ed 111 Reykjav\u00edk\", <\/span><i><span style=\"font-weight: 400\">Spessi. 111<\/span><\/i><span style=\"font-weight: 400\">, Reykjav\u00edk, Forlagi\u00f0, 2018.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, ,,<\/span><span style=\"font-weight: 400\">Vatn \u00e1 landi. \u00c1 fer\u00f0 um \u00dej\u00f3rs\u00e1rbakka me\u00f0 Borghildi \u00d3skarsd\u00f3ttur\",. <\/span><i><span style=\"font-weight: 400\">Borghildur \u00d3skarsd\u00f3ttir, \u00dej\u00f3rs\u00e1<\/span><\/i><span style=\"font-weight: 400\">, Listasafn \u00c1rnesinga, 2018,\u00a0 2-7.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cRethinking Sigurj\u00f3n \u00d3lafsson\u00b4s Place in the Danish Avant-Garde Through the Retrospective Exhibition <\/span><i><span style=\"font-weight: 400\">Tracks in Sand\u201d, Featuring Modernism in the Work of Sculptor Sigurj\u00f3n \u00d3lafsson<\/span><\/i><span style=\"font-weight: 400\">, Reykjav\u00edk: H\u00e1sk\u00f3la\u00fatg\u00e1fan, 2017, 67-74.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cHot Spots in Cold War. Visual Agendas, and Relocated Narratives in Cold War Photography\u201d, <\/span><i><span style=\"font-weight: 400\"><a href=\"http:\/\/waxmann.ciando.com\/img\/books\/extract\/3830984693_lp.pdf\">On Display: Visual Politics<\/a>, Material Culture<\/span><\/i><span style=\"font-weight: 400\">. Munster\/New York: Waxmann, 2016, 145 - 167.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir og Abigail Solomon-Godeau, \u201cWell, What is Photography? <\/span><a href=\"http:\/\/correspondencias.fotocolectania.org\/en\/2016-en\/#when-photography\"><span style=\"font-weight: 400\">http:\/\/correspondencias.fotocolectania.org\/en\/2016-en\/#when-photography<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cIceland.\u201d <\/span><i><span style=\"font-weight: 400\">European History of Photography vol. I, II and III<\/span><\/i><span style=\"font-weight: 400\">, Bratislava: Central European House of Photography, 2010 - 2016.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir,<\/span> <span style=\"font-weight: 400\">\u201cOutsides and insides of the exhibition <\/span><i><span style=\"font-weight: 400\">Trout Fishing in America and Other stories<\/span><\/i><span style=\"font-weight: 400\">\u201d, Sn\u00e6bj\u00f6rnsd\u00f3ttir\/Wilson,<\/span><i><span style=\"font-weight: 400\"><a href=\"https:\/\/snaebjornsdottirwilson.com\/product\/you-must-carry-me-now-the-cultural-lives-of-endangered-species\/\"> You Must Carry Me Now<\/a>- The Cultural Lives of Endangered Species<\/span><\/i><span style=\"font-weight: 400\">, G\u00f6teborg: F\u00f6rlaget 284, 2015.<\/span><\/p>\n<p>\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \"Manetic Memories\", <em>STARA<\/em> 7 \/ 2016, 60-61.<\/p>\n<div data-url=\"https:\/\/issuu.com\/stara-sim\/docs\/stara-7-net\/60\" style=\"width: 474px; height: 335px;\" class=\"issuuembed\"><\/div>\n<p><script type=\"text\/javascript\" src=\"\/\/e.issuu.com\/embed.js\" async=\"true\"><\/script><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><i><span style=\"font-weight: 400\">Interplay<\/span><\/i><span style=\"font-weight: 400\">. <\/span><i><span style=\"font-weight: 400\">Sigurj\u00f3n \u00d3lafsson &amp; Finn Juhl. Thinking across sculpture and design, <\/span><\/i><span style=\"font-weight: 400\">Reykjav\u00edk: Listasafn Sigurj\u00f3ns \u00d3lafssonar, 2015.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir og Karlis Verpe (introduction and \u00e9ditors), <a href=\"https:\/\/artspacereconstruction.wordpress.com\/reconstruction-of-friendship\/\">(<\/a><\/span><i><span style=\"font-weight: 400\">Re)Construction of Friendship<\/span><\/i><span style=\"font-weight: 400\">. Riga European Capital of Culture. Riga: Art Space, 2014. <\/span><a href=\"https:\/\/artspacereconstruction.wordpress.com\/reconstruction-of-friendship\/\"><span style=\"font-weight: 400\">https:\/\/artspacereconstruction.wordpress.com\/reconstruction-of-friendship\/<\/span><\/a><\/p>\n<p><a href=\"http:\/\/echogonewrong.com\/dubious-friendships-on-the-reconstruction-of-friendship-exhibition-in-riga\/\"><span style=\"font-weight: 400\">http:\/\/echogonewrong.com\/dubious-friendships-on-the-reconstruction-of-friendship-exhibition-in-riga\/<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><\/p>\n<table>\n<tbody>\n<tr>\n<td><\/td>\n<td><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><i><span style=\"font-weight: 400\">Spor \u00ed sandi <\/span><\/i><span style=\"font-weight: 400\">\u00a0\/ <\/span><i><span style=\"font-weight: 400\">Tracks in Sand. Retrospective Exhibition of Sigurj\u00f3n \u00d3lafsson's works<\/span><\/i><span style=\"font-weight: 400\">, Reykjav\u00edk: National Gallery of Iceland, 2014. <\/span><a href=\"https:\/\/www.listasafn.is\/syningar\/nr\/315\"><span style=\"font-weight: 400\">https:\/\/www.listasafn.is\/syningar\/nr\/315<\/span><\/a><\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<p><b>\u00a0<\/b><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cMagn\u00fas P\u00e1lsson et le d\u00e9partement New Art \u00e0 Reykjav\u00edk 1975-1984.\u00a0 Teaching: the Maddest Artform\u201d,<\/span><i><span style=\"font-weight: 400\"> Transmettre l\u2019art \u2013 Figures et m\u00e9thodes \u2013 Quelle histoire. <\/span><\/i><span style=\"font-weight: 400\">Paris: <a href=\"http:\/\/ssesdureel.com\/ouvrage.php?id=2708\">Les presses <\/a>du<a href=\"https:\/\/www.lespressesdureel.com\/ouvrage.php?id=2708\"> r\u00e9el<\/a>, 2013, 129 <\/span><i><span style=\"font-weight: 400\">\u2013<\/span><\/i><span style=\"font-weight: 400\">151.<\/span><\/p>\n<p><a href=\"https:\/\/www.lespressesdureel.com\/ouvrage.php?id=2708\"><span style=\"font-weight: 400\">https:\/\/www.lespressesdureel.com\/ouvrage.php?id=2708<\/span><\/a><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c<a href=\"https:\/\/www.listasafn.is\/syningar\/nr\/283\">\u00d3l\u00f6f Nordal. Mus\u00e9e islandique<\/a>\u201d, <\/span><i><span style=\"font-weight: 400\">\u00d3l\u00f6f Nordal: Mus\u00e9e Islandique<\/span><\/i><span style=\"font-weight: 400\">. Reykjav\u00edk: National Gallery of Iceland, 2012, 4-16.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, Michael Langkj\u00e6r (eds.)<\/span><i><span style=\"font-weight: 400\">, <a href=\"https:\/\/curis.ku.dk\/portal\/en\/publications\/images-in-tme(dc7aa1c0-eaa7-410d-908b-0588fb25a382).html\">Images in Time<\/a><\/span><\/i><span style=\"font-weight: 400\">: <\/span><i><span style=\"font-weight: 400\">flashing forward, backward, in front and behind photography in fashion, advertising and the press<\/span><\/i><span style=\"font-weight: 400\">, Bath: Wunderkammer Press\/Bath Spa University, 2011.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cThe <a href=\"https:\/\/www.tandfonline.com\/doi\/abs\/10.2752\/175174111X12954359478807\">New Nordic Cool<\/a>: Bj\u00f6rk, Icelandic Fashion and Art Today.\u201d <\/span><i><span style=\"font-weight: 400\">Fashion Theory<\/span><\/i><span style=\"font-weight: 400\">, 2011:15:2, pp. 239-258.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c \u00dej\u00f3\u00f0, n\u00e1tt\u00fara, raunveruleiki \/ Nation, Nature, Reality\u201d<\/span><i><span style=\"font-weight: 400\">, The History of Art in Iceland from late 19<\/span><\/i><i><span style=\"font-weight: 400\">th<\/span><\/i><i><span style=\"font-weight: 400\"> century to the beginning of the 21<\/span><\/i><i><span style=\"font-weight: 400\">st<\/span><\/i><i><span style=\"font-weight: 400\"> century, Vol 2, <\/span><\/i><span style=\"font-weight: 400\">\u00a0\u00d3lafur Kvaran (ed.), Reykjav\u00edk: National Museum of Iceland and Forlagi\u00f0, 2011, 8-84.<\/span><\/p>\n<p><b>\u00a0<\/b><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir<\/span><i><span style=\"font-weight: 400\">, <a href=\"https:\/\/www.bloomsbury.com\/uk\/berg-encyclopedia-of-world-dress-and-fashion-vol-8-9781847883971\/\">Berg Encyclopedia<\/a> of World Dress and Fashion<\/span><\/i><span style=\"font-weight: 400\">. Vol. 8.<\/span><\/p>\n<p><span style=\"font-weight: 400\">Berg Publishers, London, 2010, 356 \u2013 362.\u00a0<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir (et. al), <\/span><a href=\"https:\/\/www.hatjecantz.de\/icelandic-art-today-3054-1.html\"><i><span style=\"font-weight: 400\">Icelandic Art Today<\/span><\/i><\/a><span style=\"font-weight: 400\">. Ostfildern: Hatje Cantz 2009.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><a href=\"https:\/\/artmuseum.is\/exhibitions\/dreams-sublime-and-nowhere-contemporary-icelandic-art\"><i><span style=\"font-weight: 400\">Dreams of the Sublime in Contemporary Icelandic Art<\/span><\/i><\/a><span style=\"font-weight: 400\">. Reykjav\u00edk Art Museum, and Bozar Brussels, 2008.<\/span><\/p>\n<p>https:\/\/listasafnreykjavikur.is\/sites\/default\/files\/syningarskra\/2008draumarumaegifegurdiislenskrisamtimalistbok.pdf<\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, <\/span><a href=\"https:\/\/katrinelvarsdottir.com\/texts\/\"><i><span style=\"font-weight: 400\">Without Trace: Photography by<\/span><\/i> <i><span style=\"font-weight: 400\">Katr\u00edn Elvarsd\u00f3ttir<\/span><\/i><\/a><span style=\"font-weight: 400\">. Reykjav\u00edk: National Museum Iceland, 2007.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cWalking the line\u201d, <\/span><i><span style=\"font-weight: 400\">Locations \u2013 Spessi. <\/span><\/i><span style=\"font-weight: 400\">New York: D.A.P.\/Distributed Art Publishers, 2007.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, iprn<\/span><i><span style=\"font-weight: 400\"> \u2013 European Research Network. Changing Faces \/<a href=\"http:\/\/www.photography-at-sunderland.co.uk\/Conferences2.html\">Shifts<\/a>: Archives in Dialogue and New Identities in Documentarism. <\/span><\/i><span style=\"font-weight: 400\">Jyv\u00e4skyl\u00e4: Univeristy of Jyv\u00e4skyl\u00e4\/University of Sunderland\/iprn, 2006, 39-46.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir and \u00d3lafur P\u00e1ll J\u00f3nsson (introduction and eds.), <\/span><i><span style=\"font-weight: 400\">Art, Ethics and Environment: <a href=\"https:\/\/www.cambridgescholars.com\/download\/sample\/57878\">A Free Inquiry Into the Vulgarly Received Notion of Nature<\/a>.<\/span><\/i><span style=\"font-weight: 400\"> Newcastle: Cambridge Scholars Press, 2006.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201cA Strange Place called \u201cNowhere.\u201d\u201d <\/span><i><span style=\"font-weight: 400\">Sense in Place. Site-ations International. <\/span><\/i><span style=\"font-weight: 400\">Cardiff<\/span><i><span style=\"font-weight: 400\">: <\/span><\/i><span style=\"font-weight: 400\">University of Wales\/UWIC, 2006.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c<\/span><a href=\"https:\/\/www.robhornstra.com\/stories\/roots-of-the-runtur#content\"><i><span style=\"font-weight: 400\">Roots of the R\u00fantur\u201d<\/span><\/i><\/a><span style=\"font-weight: 400\"> by Rob Honstra. <\/span><i><span style=\"font-weight: 400\">Camera Austria<\/span><\/i><span style=\"font-weight: 400\"> 5\/2006.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c<\/span><i><span style=\"font-weight: 400\">Story-lines<\/span><\/i><span style=\"font-weight: 400\">\u201d by Robert Frank. <\/span><i><span style=\"font-weight: 400\">Camera Austria<\/span><\/i><span style=\"font-weight: 400\"> 90\/2005.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir<\/span><i><span style=\"font-weight: 400\">, <a href=\"https:\/\/www.mbl.is\/greinasafn\/grein\/1394228\/\">Til gagns og til fegur\u00f0ar<\/a>: sj\u00e1lfsmyndir \u00ed lj\u00f3smyndum og kl\u00e6\u00f0na\u00f0i \u00e1 \u00cdslandi 1860-1960. <\/span><\/i><span style=\"font-weight: 400\">Reykjav\u00edk: National Museum of Iceland, 2008.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir<\/span><i><span style=\"font-weight: 400\">, Islande en vue. Photographes fran\u00e7ais en Islande 1845-1900.<\/span><\/i><span style=\"font-weight: 400\"> Reykjav\u00edk: JPV publishers, 2000 (French-Icelandic bi-lingual edition)<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir<\/span><i><span style=\"font-weight: 400\">, <a href=\"https:\/\/www.mbl.is\/greinasafn\/grein\/515820\/\">Sigr\u00ed\u00f0ur Zo\u00ebga<\/a> Studio <a href=\"http:\/\/fototapeta.art.pl\/2001\/zoe.php\">Photographer in Reykjav\u00edk<\/a>. <\/span><\/i><span style=\"font-weight: 400\">Reykjav\u00edk: National Museum of Iceland, 2000.<\/span><\/p>\n<p><i><span style=\"font-weight: 400\"><a href=\"http:\/\/blessblessproductions.com\/throughthelens.html\">Through the Lens.<\/a> Documentary film: Sigr\u00ed\u00f0ur Zoega and August Sander. <\/span><\/i><span style=\"font-weight: 400\">Directors: Gr\u00e9ta \u00d3lafsd\u00f3ttir and Susan Muska. Producer N\u00fdja B\u00ed\u00f3\/RUV, 2000.<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00a0<\/span><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c<a href=\"https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/03087298.1999.10443792\">French Photography<\/a> in Nineteenth-century Iceland.\u201d <\/span><i><span style=\"font-weight: 400\">History of Photography<\/span><\/i><span style=\"font-weight: 400\">, Vol 23. 1. Spring 1999. Taylor &amp; Francis Ldt., London, Washington DC, pp. 10-17. https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/03087298.1999.10443792<\/span><\/p>\n<p><span style=\"font-weight: 400\">\u00c6sa Sigurj\u00f3nsd\u00f3ttir, \u201c<a href=\"https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/03087298.1999.10443794\">Sigr\u00ed\u00f0ur Zo\u00ebga<\/a>: Icelandic Studio Photographer.\u201d <\/span><i><span style=\"font-weight: 400\">History of Photography<\/span><\/i><span style=\"font-weight: 400\">, Vol 23. 1.Spring 1999. Taylor &amp; Francis Ldt., London, Washington DC, pp. 28-35. https:\/\/www.tandfonline.com\/doi\/abs\/10.1080\/03087298.1999.10443794<\/span><\/p>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Books, articles, curatorial publications and talks My academic and curatorial writing is published mostly in English, French\u00a0 and Icelandic,\u00a0a few academic papers have been translated into Russian and Polish. Here are some exemples of academic publications, exhibition catalogues, and art &hellip; <a href=\"https:\/\/uni.hi.is\/aesas\/utgafur\/\">Continue reading <span class=\"meta-nav\">&rarr;<\/span><\/a><\/p>\n","protected":false},"author":154,"featured_media":0,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-16","page","type-page","status-publish","hentry"],"_links":{"self":[{"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/pages\/16","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/users\/154"}],"replies":[{"embeddable":true,"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/comments?post=16"}],"version-history":[{"count":40,"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/pages\/16\/revisions"}],"predecessor-version":[{"id":311,"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/pages\/16\/revisions\/311"}],"wp:attachment":[{"href":"https:\/\/uni.hi.is\/aesas\/wp-json\/wp\/v2\/media?parent=16"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}