List of participants is organised in the same alphabetical order as the Icelandic telephone registry or according to the first letter of the birth name, not surname.


Albert Guðmundsson (IS) is a dock worker in Reykjavik and Hafnafjörður, Iceland.


Aldís Snorradóttir (IS) is director of Hverfisgalleri, Reykjavik. Earlier she founded and directed the renowned projects space Þoka, also in Reykjavík. Her background is in art theory and history but she graduated with an MA from Concordia University in Montreal. In mid 2000s she had graduated with a degree in business from the University of Iceland. 


Andrea Ágústa Aðalsteinsdóttir (IS) graduated in spring 2015 with a BA in visual art from Iceland Academy of the Arts. Her internship/assistant role in studio management at Studio Hulda Rós Guðnadóttir is her first professional assignment after graduation.

Anne Hofmann (DE) studied from 2007 to 2013 Media Art at the Leipzig Academy of Visual Arts. Her works (installation, video, photography, graphic design and sound) were presented in various exhibtions in Budapest, Leipzig, Montréal and Prague. Since 2010, she is part of Outside the box Magazine for feminist social criticism. She lives and works in Leipzig.


Berglind Jóna Hlynsdóttir (IS) is an visual artist that holds a MA from Valand School of Fine Arts since 2010. She is currently very active and has a solo show at Reykjavik Art Museum and is a collaborative partner in Politics of Emotion 2015-2016, together with a group of artists from Lithuania and Iceland, which consists of series of group exhibitions and events in Lithuania, Reykjavik and Oslo. In fall 2016 she is planning an exhibition and research project at Gerdasafn Museum in Iceland. Past projects include 'Gagnverkið' a public space sound installation and the old city clock. More here.


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Berit Schuck (DE) is a theorist with a background in comparative literature and theaters studies, who works as independent curator for exhibitions, sound art and performance projects in Germany and North-Africa. She was a guest curator at Ashkal Alwan in Beirut (2011) and art director of the Arab-German publishing initiative 'West-Östlicher Diwan' (2008-2010). Her most recent curatorial projects are  'Alexandria Streets Project' (Cairo, Alexandria, Berlin, 2012); 'Speaking of Beirut and the City is Missing' at Beirut Art Center (2013), 'Trading Urban Stories' that was an official parallel project of the 5th Marrakech Biennale in 2014 and 'Trading Zones' (Marrakesh, Morocco, since 2014).


Bryndis Björnsdóttir (IS, DE) is a visual artist and writer. Her works can be seen here. In 2010 Bryndís initiated an international research project at a former NATO base in Iceland, the Occupational Hazard project, that was presented at the Keep Frozen symposium in Leipzig. She also collaborates with District, Berlin, in the Many Headed Hydra project. Currently she is enrolled in the MA program Raumstrategien, at Weissensee Kunsthochschule Berlin.


Candace Goodrich (DE/USA) is the art director of Kunstkraftwerk, Leipzig. She is a painter and a freelance curator. Her projects include being a concept designer and initiator of the ongoing 'inter city switch city', a collaborative project between KKW and Pogon, Zagreb,  and 'One Sided Story' artists residency project which she founded and directed in Leipzig Spinnerei with the sponsorship of Halle 14. Goodrich is also concept designer and organiser of ART/SCI NEXUS, an independent platform that enables curiosity within and between the humanities, arts, and sciences. 


Dafna Maimon (FI/IL) is an artist that is currently a resident at Kunstlerhaus Bethanien, Berlin. Previous residencies include Iaspis Stockholm, Lower Manhattan Cultural Council New York and Skowhegan School of Painting and Sculpture Maine. She has BA from the Gerrit Rietveld Academy and an MFA from The Sandberg Institute and has shown her work internationally in venues such as PS1 Moma New York, Kunst-Werke Berlin and Moscow Museum of Modern Art. She works with video, performance, texts and interventions exploring the unclear boarders of identity and the way the self and the other are assembled and projected through and on human bodies. Artist website.


Davíð Páll Svavarsson (IS) is born in to a family of dock workers and therefore there was no other option than to start working with landing at a young age, 13 years old.


Emma Haugh (DE, IE) is a visual artist living & working in Dublin & Berlin. In her work she applies a combination of visual arts & theater practices, employing a questioning approach towards photographic documentation & representation. Current projects include The Re-appropriation of Sensuality a body of work in development since 2013. The work is investigative & about re-formulating representations of desire & the politics of architecture, the relationship between body knowledge, imagination & the anatomy of space. The work is developed & realised via collaborative knowledge production, through conversations, workshops, performance, photography, publication, installation & critical display. Her works can bee seen here.


Gísli Pálsson (IS, UK) is as an archaeologist a staff member of Archaeologia Islandica  and has been digging into the Reykjavik harbor and contemporary life together with his collaborator Oscar Aldred. Palsson received his BA degree from Harvard before finishing his MA in archaeology from the University of Iceland and landscape architecture from the University of Bath. His main focus is on landscape archaeology. For Palsson digging into the past is shaping the history which on we build our contemporary thought and our future.

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Hinrik Þór Svavarsson (IS, DE) is a theatermaker/poet/musician and an ex dock-worker. He has been a part of the Keep Frozen documentary making from the beginning. He co-wrote the initial script for the documentary and has been involved in other phases of the project. His poetry performance the offloader poems was performed at the opening of Hulda´s exhibition of Keep Frozen part two at the Reykjavik Arts festival in 2014.


Hulda Stefánsdóttir (IS) is an artist, a professor and a programme director for the MA fine art at the Iceland Academy of the Arts. Hulda received her MFA from the School of Visual Arts in New York, she has written and lectured extensively on the arts as well as having experience as a curator. Her works have been exhibited at Exit Art and Scandinavia House in New York, Boston Centre for the Arts and The Reykjavík Art Museum. Hulda ́s art practice and research consider the relationship of painting with photography and film and the intricate element of theory as a supportive tool of visual processes.


Hulda Ros Gudnadottir (IS, DE) is a visual artist, filmmaker and the initiator of the Keep Frozen Projects. She has a MA degree in interactive design from Middlesex University (2001) and BA in visual art from Iceland Academy of the Arts (2007) and BA in cultural anthropology from the Unversity of Iceland (1997). She has taken part in numerous solo-/group exhibitions and screenings internationally. Guðnadottir has won many awards for her filmmaking, including Academy Awards ('Edda') for best documentary in her native country Iceland. Gudnadottir works with video, film, mixed-media installation, sculpture, performance and intervention in works that touch upon socio-economic issues from a personal perspective. Her website.


Jens Pétur Kjærnested (S) has ca. 18 years of work experience at the dock, he takes on all work that is related to the field of landing. He started as a summer worker but soon dropped out of school and worked on the docks for over a decade. His father was the harbour master in Hafnafjörður. Currently Kjærnested works part-time while studying Icelandic at the University of Iceland. He is a keen collector of rare electronic music.

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Jonatan Habib Engqvist (SE) is a philosopher, independent curator and was most recently a member of the curatorial team of the 8th Nordic Biennial MOMENTUM in Norway. From 2009-2014 he was a project manager for visual art at Iaspis. Previously he was curator of the Reykjavík Arts Festival 2012 and worked at Moderna Museet in Stockholm. Recent books include: "Studio Talks: 'Thinking Through Painting'“ (2014), „In Dependence – Collaboration and Artists´ Initiatives“ (2013), „Work, Work, Work – A Reader on Art and Labour“(2012). Together with the Nordic Art Association (NKF), Engqvist initiated CRIS Curatorial Residency In Stockholm.



Maria Lind (SE) is director of Tensta Konsthalle in Stockholm and also a freelance curator and author. She is currently curating the 11th Gwangju Biennale in September 2016. She was the director of Centre for Curatorial Studies at Bard College (2008-10) and the director of Iaspis in Stockholm (2005-07), curator at the Moderna Museet in Stockholm in 1997 – 2001 and in 1998 she co-curated Manifesta 2. Lind is interested in format and institutions in contemporary art. A collection of her essays was published by Sternberg Press in 2010, Selected Maria Lind Writing.



Mika Hannula (FI) is a writer, curator, teacher and a art critic based in Berlin. He was a professor for artistic research at the faculty if fine, applied and performing art at The University of Gothenburg, Sweden and the director of the Academy of Fine Arts in Helsinki. Mika holds a PhD in Political Science and is the author of numerous articles and of several books on contemporary art. He was the curator for the Estonian Pavilion at Venice Biennial 2007 and curated the show 'Situated Self' with Branko Dimitrijevic in Belgrade and in Helsinki 2005.



Narve Hovdenakk (NO) is a video artist based in Oslo. His research and work focuses on an existential transformative masculinity. In recent years one can say that going through the research process has become his art work. He has his own Wikipedia page written in the Norwegian language. His works are part of the collection of the Norwegian National Museum of Art, Architecture and Design (Nasjonalmuseet for kunst, arkitektur og design) in Oslo which is the main museum for art in Norway.


Nina Möntmann (DE/SE) Nina Möntmann has researched and written on the changing role of art institutions in response to global economic changes, art as social space, definitions of ‘communities’ as social units in public space, and the potential of political and social structures as conceived in art production, education and curation. Lately her focused has turned towards the ubiquity of images of violence and humiliation in visual culture as seen in Scandalous: A Reader on Art and Ethics (2013). Another recent publication work is the role as editor of  the reader “Brave New Work” (2014) on Harun Farocki’s film “A New Product”, which she commissioned. Möntmann is currently a professor at the Royal Institute of Art in Stockholm and has worked as a curator at the Nordic Institute for Contemporary Art, a correspondent for Artform, and a curatorial advisor for Manifesta 7.



Nine Eglantine Yamamoto-Masson (FR, JP, DE) is a French-Japanese artist, curator and PhD candidate at ASCA (Amsterdam School for Cultural Analysis). Previously she studied cultural studies, literature, history of art, film and philosophy at the universities of Paris Sorbonne, Berlin Humboldt, NYU, London Goldsmiths and Tokyo Waseda. In academic research and artistic practice, her work examines historical memory, ideology, resistance and counter-narratives at the site of their encounter with socially engaged art as a critical forum.


Olof Olsson (DK) is a product of the charter tourism of the 1960s – his Dutch mother and Swedish father met in Mallorca. In his youth Olof made more or less successful attempts in journalism, documentary photography, and as a radio disc jockey. After having studied languages, philosophy and translation theory, Olof studied art at the Royal Academy of Fine Arts in Copenhagen. Olof started to make exhibitions in the early 90s, often in the form of office environments where Olof would offer semi-fictitious services. Since 2007 Olof is working mainly with spoken performances, like lectures, speeches, comedy, talk-shows, and question-and-answer sessions. His website.


Oscar Aldred (UK) research interests are related to landscape archaeology, aerial archaeology and archaeological theory with a prime interest in British and North Atlantic landscapes with specialism in later landscapes, including the contemporary. He works at Historic Environments Scotland and is a visiting fellow at Newcastle University. Recently he has been collaborating with Gisli Palsson on Reykjavík Harbour front excavations phase 1 and 2  for Institute of Archaeology, Iceland. In 2014 the University of Iceland published his PhD thesis An Archaeology of Movement: A Methodological Study. In 2015 his article I Wish I was where I was when I was wishing I was here: Mentalities and Materialities in Contemporary and Historical Iceland was published in volume 49 of the Journal Historical Archaeology published by Society for Historical Archaeology.


Sigurður Gáki Árnason (IS) started working at the docks at the age of 17 up north, but soon went to work on the sea on a freezer trawler over the summermonths while finishing college. After graduation he reached the goal of becoming full time first mate doing 2 trips and one off in between. At the end of last century he decided to try computer science, moved south to Reykjavik did that for about couple of years before he ended up at the docks in Reykjavik. Ironic twist in Árnason carrier is that his main task at sea was loading the goods down the hatches to the freezer hold at the bottom of the ship but then on land switching to loading the same goods back up again onto the docks.


Sigurþór Sigurþórsson (IS) has worked as a dock worker throughout his working life and the last decade as a foreman.

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Stefanie Hessler (SE, DE) is an independent curator and writer and co-founder of the art space Andquestionmark in Stockholm (with Carsten Höller). She was most recently a member of the curatorial team of the 8th Nordic Biennial MOMENTUM in Norway. Recent curated projects include the exhibition “Speed” at the Mamam – Museu de Arte Moderna Aloísio Magalhães in Recife, the exhibition “Outside” at Index – The Swedish Contemporary Art Foundation with a film screening at Moderna Museet in Stockholm; “Klara Lidén: The Myth of Progress (Moonwalk)” at Lugar a Dudas in Cali; “The Return of the Object” at Invaliden1 in Berlin; “Marjetica Potrč. Caracas: Dry Toilet” at Die Ecke Arte Contemporáneo in Santiago de Chile and the festival and symposium “Performing Recalcitrance” at the Royal Institute of Art Stockholm. Hessler regularly writes for art magazines and has published articles in several exhibition catalogs, for instance for the Museum of Contemporary Art in Santiago de Chile and Museum DKM in Duisburg, and co-edited books such as “Máquina de Escrever / Typewriter” published by Capacete São Paulo and “Katja Aglert: Winter Event – antifreeze” published by Art & Theory Stockholm. 


Suza Husse (DE) works as artistic director for District Kunst- und Kulturförderung in Berlin. She is also a curator, cultural researcher and author. She has actively fought for Berlin Zeitstipendien for artists and art workers in Berlin. Since 2011 she co-defines the program of NOTE ON with a focus on experimental curatorial practice and public spaces as sphere of artistic activity. Her curatorial undertakings include recently 'Transformellae ikeae' )(2015) showing artist Johannes Paul Raether,  'dissident desire' (2013, with L. Sandoval), '(Dis)playing paper, hours and constellations' (2013), 'News About The Apocalypse' (2012, with U. Gerhardt and F. Hamann) and 'SAY IT LOUD. on words and actions' (2012, with B.S.B. Ndikung und M.M. Stein man). She collaborated with Ute Meta Bauer on the exhibition 'The Future Archive' (2012, n.b.k.) and as editor with Monica Bonvicini on her artist book This Hammer Means Business (2009, Biennale di Venezia). In 2012 she was awarded with the research grant of the Goethe Institut in South Korea and taught at the Art Academy Berlin Weißensee/ Master course Space Strategies.


Svavar Ásmundsson (IS) founded the company Löndun together with his partner Stefan in 1987. The company is a subtractor to fishing companies in Reykjavik and Hafnafjörður. Löndun has been subtractor unloading the freezer trawler Vigri since 1988. 


Søren Kjørup (DK) is a philosopher that currently is in an adjunct at Sint-Lucas Academy in Brussels. Until 2009 he was a Professor at Roskilde University and from then until 2013 a Research Professor the Art Academy in Bergen, Norway. Kjørup is an author of influential books and articles. His article 'Pleading for Plurality: Artistic and other Kinds of Research' that he contributed to the key collection of articles on research in the creative and performing arts 'The Routledge Companion to Research in the Arts' (ed. Michael Biggs and Henrik Karlsson), 2012, was a major influence on Guðnadóttir and inspiration for the Keep Frozen Projects.


Tejal Shah (IN) graduated with a BA in photography from RMIT, Melbourne, spent a year as an exchange student at The Art Institute of Chicago and another summer trying to get an MFA from Bard College in upstate New York. Their practice incorporates everything and anything, including video, photography, performance, food, drawing, sound, installation, and modes of sustainable living. Queerying everything, they often unselfconsciously manifest “the inappropriate/d other”–one whom you cannot appropriate and one who is inappropriate. Experiencing their works entails entering alter-curious worlds riddled with fact, fiction, poetry and mythology, that compel us to engage with layered propositions on the relationships between interspecies, ecology, gender, post-porn, sexuality and consciousness. Having recently come out as an ecosexual, they think of themselves as ‘some kind of artist working on some kind of nature’. Works.


Valur Antonsson (IS) is a philosopher and a poet. Currently he is freelancing. Previously he has been an adjunct at the Icelandic Academy of the Arts and a copy editor for prestigious Icelandic fiction writers including the award winning Gudrun Eva Minervudottir. Antonsson is one of the founding members of alternative publishing group Nyhil in the 90s that had a profound impact on Icelandic literature with many of its authors being established and awarded today. Antonsson continues to be an important commenter of contemporary art and literature in Iceland.


Valur Ísak Áðalsteinsson (IS) had his first dock experience was when he was 6 years old when he had a family moment at the docks with his father and three brothers who all worked at the docks. Valur started working for Eimskip shipping company before moving to Löndun that manly focuses on unloading freezer trawlers.