• Hreinn Friðfinnsson, Pair, 2004–2005, shoe, mirror with frame, dimensions variable.

    Hreinn Friðfinnsson

    Centre d'Art Contemporain Genève

    When the reformation came to Iceland, it confronted a Catholicism whose roots were old, but whose day-to-day practice was flexible. Before the last bishop, Jón Arason, was decapitated along with his two sons for leading an armed resistance, a priest attempting to comfort him reminded him that there would be a next life. “That I know, little Sveinn!” he replied. Arason’s last words have entered the Icelandic vernacular, and the latent ambiguity in the condemned bishop’s statement corresponds to the ambivalence in Hreinn Friðfinnsson’s work. Friðfinnsson’s faith in art is the bridge that carried

    Read more