Sigurdur Gudjónsson (b. 1975) exploits the potential of time-based media to produce pieces that rhythmically engage the viewer in a synaesthetic experience, linking vision and hearing in ways that seem to extend one’s perceptual field. 

Gudjónsson studied in Copenhagen, Reykjavík and Vienna. He started his exhibition career at the turn of the century on the vibrant artist-run experimental scene in Reykjavík that has fostered new art in temporary venues all over the old city. His dark and hypnotically moody videos immediately set him apart and attracted attention not only in Iceland but also in Berlin, New York, London, Beijing, Seoul, and wherever they were exhibited. With more than twenty solo exhibitions and dozens of groups shows and festival screenings, his works have found appreciative audiences around the world and been exhibited in such institutions as The National Gallery of Iceland, Kennedy Center DC, Scandinavia House NYC, The Royal Society of British Sculptors and Hamburger Bahnhof in Berlin. He has participated in biennales such as the Liverpool Biennale, Vienna Biennale and Njord Biennale in Copenhagen.

The artist was awarded the 2018 Icelandic Art Prize as VisualArtist of the Year for his 2017 exhibition Inlight, which featured video installations set within the defunct St. Joseph’s Hospital in Hafnarfjörður, Iceland. A platen that moves and serves as a mechanical arabesque carpet of sorts, a moving scanner bar illuminating an abandoned morgue and a recording of a glass plate found in an overhead projector are just some of the ambiguous technical relics that Gudjónsson puts on display in his awarded exhibition, evoking feelings of holism and time diversion, set within the Romanesque chapel.  

Indeed one of the main characteristics of his works is the interplay of man-made infrastructure, machinery and natural objects and their soundscape, meanwhile offering a complex conceptuality and distinct aesthetic qualities.

Often collaborating with musical composers, Guðjónsson’s newest work, Enigma (2019), is produced in partnership with Anna Thorvaldsdóttir, and comprises of a string quartet and a video. The piece, lately on tour with four time Grammy nominees The SpektralQuartet, is inspired by the conception of the in-between. Fragment of coal captured through an electron microscope that uses a beam of accelerated electrons as its source of illumination, a materialized projection of a layered moment in time, that mirrors itself through texture.

The piece has been shown to critical acclaim in various institutions and is due to be presented at Carnegie Hall, Kennedy Center, DC, The Reykjavík Arts Festival and The Adler Planeterium, among other exhibition places in 2020.

In 2019, it was announced that Gudjónsson has been selected to represent Iceland at the 59th Venice Bienniale, to be held in 2021.