Artists of the exhibition of 2021

Janine Hinrichs 



Fishing Machine 1

Fishing Machine 2

The installation Fishing Machine playfully alludes to the history of the Djúpavík herring factory and the everyday lives of the fishermen and fish-factory workers. The two hanging textile objects are lined by bright yellow and orange oilskin, the iconic material traditionally worn at sea as a protection against adverse conditions and rough weather. The viewer is invited to enter the objects by putting his or her head inside the structure to encounter moving, pattern-like paintings depicting a shoal of herring, water surfaces, and flying seagulls. In motion, the intense colors and the bold shapes of the natural forms create a dreamlike atmosphere—an invitation to connect to this place’s past in an emotional and physical way.




Janine Hinrichs is a visual artist based in Hamburg, Germany. With a background in illustration and sequential art, Janine has recently focused on free painting. Her works are characterized by intense colors and a strong graphic rhythm. Combining acrylic painting and expressive charcoal drawing, she often depicts mountain views and rock formations. The unique nature of Iceland has been a vital reference point and inspiration for her art. Extensive hikes through the Icelandic Highlands and the Westfjords have nurtured her aim to capture the vibrant, vivid character of Iceland’s land- and seascapes. Portraits—especially self-portraits—are another important subject matter for Hinrichs that she takes up repeatedly to explore moods and atmospheres.


Zoé Dubus



We will even devour the sun

We will even devour the sun, an installation mixing painting and sculpture, floats in the old oil tank of the herring factory in Djúpavík and highlights fables from Icelandic mythology. This installation features the various protagonists of the poem Odin’s Raven, which recounts the days before the end of the world. It immerses you in ancestral Icelandic culture and

investigates contemporary themes of human behavior: domination and destruction, forewarning and recklessness. The piece is one last space of light before the apocalypse, a moment of wavering between the sky and the waves.




 Born in Paris in 1986, Zoé Dubus lives and works between Paris and Rio de Janeiro. She trained in Brussels within the ENSAV la Cambre, a school of visual arts, where she developed a form that interweaves drawing, sculpture, and painting.

In 2011, she moved to Rio de Janeiro, Brazil, as part of the Programa Aprofondamento at the visual arts school EAV Parque Lage. Over six years, Dubus reinforced her festive, fantastic, and social universe through the Brazilian culture of carnival and the class divide. Her work has been represented in numerous exhibitions in Europe and Brazil. In 2017, the Artur Fidalgo gallery produced her first solo exhibition.

Back in France in 2019, she intensified her performance practice by creating tableaux vivants for the Vostock Performance Festival in Paris.

Helen Cova 



Bare hands 


Bare hands is a short story that connects Balinn in Þingeyri and The Factory in Djúpavík. It is written in the author’s unique style and aims to portray her experience in both places through a dark and magical narrative. 



Helen Cova is a published writer and the current president of Ós Pressan, a literary press based in Iceland. Her first children’s book, Snulli likes being alone, was published in 2019 in Icelandic, English, and Spanish. Her second book, Autosarcophagy – To Eat Oneself, a short story collection for adults, was published in 2020 in Icelandic and English. Her work has also appeared in the multilingual literary journal Ós and the Icelandic journal Tímarit, and she was published as part of Inclusive Public Spaces, a project of the Reykjavík Public Library. Helen is currently working on her third book.


Bare hands is exhibited at both locations, The Factory in Djúpavík and The Tub in Þingeyri.


Martin Cox

(United States)


Velocity of decline


Photographs taken in local fjords are displayed in the Factory, unprotected from the elements and in contact with the walls. Moisture and chemical leaching may interact with the prints during the exhibition. The artist is interested in a kind of vanishing whereby the environment of the Factory will change the images irreversibly. Over time, the architecture may gradually absorb the prints in an unpredictable way. This piece examines the irreversible direction of time by using the conditions of the building as a metaphor for the erosion, glaciation, and volcanism that have acted upon the local landscape. The artist hopes that the viewer will discover the prints as they explore the space, finding them much like they would find a crack in the wall.




Born in the U.K., Martin Cox attended art schools where photography became his primary medium. A desire to explore a specific landscape drew him to California, where he trained as a master printer before establishing himself as a fine art

photographer. Martin works on durational projects, often returning to the same location over a number of years. His works have been exhibited in galleries, art spaces, and museums in San Francisco, Los Angeles, London, and Iceland. In 2018 he founded an artist residency called GilsfjordurArts in the Westfjords of Iceland. He lives in Los Angeles.


Cymene Howe & Dominic Boyer 

(United States)


Not Ok: A Little Movie About a Small Glacier at the End of the World


Glaciers have been distinctive features of the Icelandic landscape ever since human settlement of the island 1,200 years ago. Yet, since the early 20th century, Iceland’s 400+ glaciers have been melting steadily, now losing roughly 11 billion tons of ice every year; scientists predict that all of Iceland’s glaciers will be gone in the next 200 years. One of Iceland’s smallest known glaciers was named Ok. Not Ok is its story. This is not a tale of spectacular, collapsing ice. Instead, it is a little film about a small glacier on a low mountain. In 2019, the filmmakers created a memorial for Okjökull—the world’s first commemoration of a glacier destroyed by climate change.



Cymene Howe is a cultural anthropologist and multimodal artist whose work centers on climatological precarity and collective responses to it. In her collaborative practice, she co-created The Wind House at Emmanuel Gallery and directed Not Ok: A Little Movie About a Small Glacier at the End of the World. Based on her anthropological research in Iceland, she and Dominic Boyer created the world’s first memorial to a glacier felled by climate change. Installed on top of the mountain where Okjökull (Ok glacier) once lived, the memorial is a testament to a world melting away and our shared obligation to the non-humans with whom we share our environment.


Dominic Boyer is a writer, media-maker and anthropologist. His scholarly and creative work concerns climate and energy issues and has focused most recently on Mexico’s Isthmus of Tehuantepec, Iceland, and Houston. He is interested in what ties us emotionally and infrastructurally to our current ecocidal trajectory and how art and design can disrupt the repetition compulsion of petroculture. A current  collaborative project with the Egyptian artist Ganzeer seeks to create utopian designs for a post-petrocultural Houston.


Jana Jano & Claudia Grevsmühl

(Czech Republic & Germany)


Message in the Bottle


The title of the project is inspired by stories of castaways who tried to contact others by putting a message into a bottle with the hope of being reached. People also used this method of communication in a romantic manner to contact a lover unknown. Perceiving the topic from another perspective, the bottles we find on shores today provide an environmental message. Something small can have a big effect, and what we think is worthy might have no value. The collection of lost materials found on the coastline shows that everything is as connected as a net. 

“Anything floated onto a beach is a kind of message, literally or metaphorically.” Jana Jano




Jana Jano is a Czech artist based in Reykjavik. She is a member of the International Association of Art. She exhibited in the Czech Republic, Austria, and Iceland. She studied ceramics at Traditional Crafts School in Brno and started her career in 2001 as a ceramist creating abstract, amorphous pieces. In 2006 she exhibited her artwork together with paintings. Today she combines different art fields, partnering with other visual artists, dancers, writers, or musicians. She works thematically, reacting to topics in her life or the space which she creates for. As a visual storyteller, her focus is to witness the essence of what she perceives, thus allowing for a new point of view.


Claudia Grevsmühl is a German artist. She studied performing arts in Vienna and performed and exhibited in the U.S., Austria, Sweden, and Iceland. She is involved in the theater scene as an actress and is the author of plays and satirical comedies related to social and environmental subjects. Since moving to Iceland, she has largely experimented with natural resources and collects items to create paintings, objects, photographs, and installations. Lately, she illustrated a book about circus art. In 2019 in the SIM Residency in Reykjavik she presented the project Out of the Blue, which relates to an awareness of footsteps we leave behind us. She is a vigilant observer of her surroundings, which she intertwined into her work. The topic is more important than the media she chooses.


Jaime Ekkens 

(United States)


Make your own northern lights


Make your own northern lights is an interactive installation in which participants use their cell phone flashlights pointed down to throw rainbow reflections up to the ceiling to mimic the northern lights. 



Jaime Ekkens has worked for some of the biggest names in television and media in New York, including Hearst, CBS News, Nickelodeon, ABC News, and NBC Sports. Having received a BFA from Kendall College of Art and Design in 2007, she moved to New York City and earned an MFA in Computer Arts at The School of Visual Arts. After 10+ years, she moved to China to pursue her art career. She has been an artist in residence in Iceland, Beijing, Shanghai, and Chengdu. She is currently a full-time filmmaking, animation, and media art teacher at the American Lee Academy International School in Shanghai.


Ragnheiður Harpa Leifsdóttir 



The light caught up with me and made time depart


The silk is a delicate contrast to its surroundings. It is reminiscent of the light that fluctuates with the seasons, of impermanence and air, of the silkworm that creates the thread.

The work was first shown at a joint exhibition in Hafnarborg, Allra veðra von, in the autumn of 2018. The artist has further developed the work for the exhibition in The Factory and created another sculpture silk dyed blue. They call upon a conversation between materials, colors and movement as constant moving currents.


“What is more mundane than the weather? What is more stable than the weather? We always sit up with the weather, just as we sit up with ourselves. The weather and us, this is the world’s biggest love story and it stretches far back in our world’s history.”

– Ragnheiður Harpa Leifsdóttir




Ragnheiður Harpa Leifsdóttir is an author and artist. Her multidisciplinary practice spans the fields of performance, visual arts, and writing. Her acclaimed poetry book Sítrónur og náttmyrkur (Lemons and Nightfall) was published in 2019. She is the co-author of three poetry collections by Svikaskáld (Imposter Poets) and has been shortlisted for the Icelandic Performing Arts Award for her piece Song of Cranes. Her work attempts to transform the way we see things, be it through space, objects, or poetry. She works across media, allowing the material or idea to lead the way. Her work has been published in Turkey and staged in Reykjavík and in various festivals throughout Europe. Ragnheiður holds degrees in creative writing and performance making.


Jasa Baka



Creatures From An Ethereal Realm

Portals holding light and shadow


Inspired by Icelandic folklore and forces of nature, this piece manifests creatures of new mythologies—plucked from the ether, surfaced on the page, then formed in clay. Individually each sculpture is a spirit object, a creature from an ethereal realm, that gives comfort to a companion during their process of rebirth and contains a narrative of its own mystery. They create an energetic vortex between them, a powerful formation. Visitors are invited to sit with the sculptures to focus their intentions, make wishes, and receive divinations.




Jasa Baka (b. 1981) is a multidisciplinary artist and Canadian West Icelander who has lived in Reykjavík since 2017. She is currently pursuing an MA in Fine Art at LHÍ. In Tiohtiá:ke (a.k.a. Montréal) she obtained her BFA at Concordia University in Theater Design (2008). Her work has always held space for esoteric playfulness with otherworldly characters, natural magic, and portals to invented mythologies. She has exhibited and performed internationally, including in New York City, across Canada, and in Iceland and Athens, Greece. Director Catherine Legault made a feature-length documentary about the art, lives, and Icelandic ancestry of Jasa and her sister Týr Jami called “Sisters: Dream and Variations” which has played in film festivals around the world.


Sébastien Nouat



Morning wander


Morning Wander was born on a winter morning, when the sun hit the frozen dew at Elliðaárdalur, in Reykjavík.


This work includes the low drones of Icelandic long nights, the crisp sound of water, and the playful breeze that is always joining at some point.




Sébastien Nouat has been established in Iceland for 4 years now, and the infinite and raw power of nature here directed his sound research towards the layers of ambient work.


Unusual sounds come from unusual techniques, and finding and honing them has been the consistent goal of Sébastien’s sonic explorations, mostly in his project Wazy Lizard.


Lilý Erla Adamsdóttir



Crystal seeds


Crystal seeds is a series of works that symbolize softness, warmth, beauty, growth and hope. The spirit of spring in the middle of winter. The title is a reference to a line from the poem Ljómi, or Glow, from Lilý’s first poetry book ‘Rooster of Evening sun’: The glow flashes seeds away. That I saw. Saw. Saw. Sowed then. Crystal seeds. Done, plow. Sheared, slow.




Lilý Erla Adamsdóttir‘s works border on visual art, design and artistic craft. She is very fond of surfaces, whether it is the surface of nature or humans. The subject matter in her works is manual repetition, both its potential and limits. How the unique is picked up by the multitude at the same time as the multitude creates a unique harmony. Adamsdóttir‘s work-process is characterized by a constant communication with the matter – where one thing leads to the next. Lilý Erla Adamsdóttir (born 1985) graduated with a BA degree from Iceland University of the Arts 2011 and with an MA degree in Artistic Textile, from the Swedish School of Textiles in Borås, Sweden 2017. She lives and works in Reykjavík.



PastLab Remote Location Students

Led by Erika Lindsay, Assistant Professor School of Architecture and Community Development at University of Detroit Mercy

(Canada and United States) 


In this project, architecture students from the University of Detroit Mercy explored how remnants of collapsed industry can take on a new life through community-based, place-centric, context-sensitive uses. Just as the city of Detroit continues to reinvent itself despite economic difficulties and racial descrimination, so also can other struggling places maintain their identity while protecting their heritage. These students spent the past semester examining the old herring factory of Djúpavík from 2800 miles (4,500 km) away, creating a complete model of the building in the design program CAD and proposing various new uses of the space, from research centers to memorials to artist retreats—each one a unique take on the future of the Westfjords.


Guðbjörg Lind Jónsdóttir, Jean Larson and Ásthildur B. Jónsdóttir

(Iceland & United States)

Art Exhibition in The Tub Art Space – Brekkugata 8, 470 Þingeyri


Genius Loci


The artists Guðbjörg Lind Jónsdóttir, Jean Larson, and Ásthildur B. Jónsdóttir approach the house Balinn / The Tub from their encounters with it. They focus on the prevailing character of the place, referring to stories they’ve heard about the house, its inhabitants, days gone by in Þingeyri, and the place’s relationship with nature—both the ocean and the land.

The Latin term “genius loci” is rooted in Roman mythology. Ancient writings indicate which phenomena carry their own genius, which in this context could be translated as “protector.” This spirit empowers people and places, attends them from birth to death, and determines their nature or essence. 


The installation is a conclusion of the artists’ investigation of the psychic implications of the house Balinn / The Tub and its surroundings.




Guðbjörg Lind Jónsdóttir


The artist, Guðbjörg Lind Jónsdóttir, has long been concerned with water: first with waterfalls, then the sea on which islands and boats float, and mountain slopes and spits stretch into the ocean. This obsession with water involves a fascination with its transience and transparency, as well as her fear of it. Her works tell the tale of a journey out into the world, where the sublime may be sensed in simplicity itself. Her art can be found in numerous collections, including museums and many public and private institutions.


Jean Larson


Jean Larson is a native of Northern Michigan. She worked in a small studio on the shores of Lake Michigan until 1984, whereupon she moved to Boston. Within five years Jean’s work gained enormous recognition both at home and abroad, and her paintings can now be found in a number of private collections around the world. She is represented by galleries across the United States. In 1992 Jean settled in a small village in Southern France where the natural environment provided further inspiration for her art. In 2010, she spent time in Iceland where she began to use photography to deepen her expression of the places where the natural world and humans interconnect and collide. She now expects to spend her time between Iceland, France, and northern Michigan.


Ásthildur B. Jónsdóttir


Ásthildur Jónsdóttir is an artist, curator, and independent scholar living in Geneva, 

Switzerland. She has studied artistic efforts that promote sustainability, as well as participatory art practices that balance well-being and the integrity of nature. For a number of years she has been involved with ecological issues. Her work concerns places/environment, memories, and recollection and identity through authorship and collaboration. It also questions individuality and explores both what’s unique and what’s common. In recent years, participation has played an essential role in her work. She often works with installations in a contemporary context and with voices of participants from a selected place.