1991 - 94 - Icelandic College of Art & Crafts Reykjavik, Iceland.
1992 - 93 - Fachhochschule Kiel, Germany.
1994 - 95 - Staatliche Hochschule fur Bildende Kunste Frankfurt am Main, Germany.
1995 - 97 - Nova Scotia College of Art & Design, MFA Degree Halifax, Nova Scotia, Canada.

1993 Prima Kunst Gallery, Kiel, Germany.
1994 The Living Art Museum, "Utlit arsins / The Look of the Year" Reykjavik, Iceland.
1995 Ballroom Gallery, Khyber Art Centre, "Artists", Halifax, Canada.
1997 Anna Leonowens Gallery, "Natural Born Artist", Halifax, Canada
1998 The Living Art Museum, "Artists on the Verge of Something" Reykjavik, Iceland.
1999 Gallery Hlemmur, "Minnimattar - Meirihattar", "Inferiority complex - Major fantastic", Reykjavik, Iceland.

1994 Cultural Centre Gerduberg, "The Male Image", Reykjavik, Iceland.
1994 Borgarkringlan, Parking garage, "The P-Group", International exhibition, Reykjavik, Iceland.
1995 Städelschule, "Rundgang", Frankfurt am Main, Germany.
1995 Hallormstadaskogur, "Forest Flora", exhibition in a forest in east-Iceland.
1995 Mokka, "The Big Brother" joint installation of four Icelandic Artists.
1996 Anna Leonowens Gallery, "Fondu", Halifax, Canada.
1997 Eyelevel Gallery, "Membership Exhibition" Halifax, Canada.
1997 Anna Leonowens Gallery, "Cold - Collegiate", Halifax, Canada.
1997 Halifax Metro Centre, "8 Canadian Artists", exhibition took place on an Ice hockey rink, Halifax, Canada.
1997 Gallery J.G. Wolfstaedter, Exhibition of Icelandic, Canadian Artists, Offenbach am Main, Germany.
1998 The Living Art Museum, "Artists on the Verge of Something" with Asmundur Asmundsson, Magnus Sigurdarson, David Diviney, Justin Blaustein, Bruce Conkle and Roman Signer. Reykjavik, Iceland.
1998 Kjarvalsstadir, Art Museum of Reykjavik, "-30 / 60+", group exhibition of two generations of Artists, Reykjavik, Iceland.
1998 OFKunstraum, "Riesenalk-oholiker", group exhibition of Icelandic and Danish Artists, Offenbach am Main, Germany.
1998 Villa Minimo, "The Igloo has landed", with Asmundur Asmundsson, Magnus Sigurdarson, Morten Tillitz and Roman Signer, Hannover, Germany.
1999 Gallery 54, "Icelandic Bone in a Swedish Sock", Nine Icelandic Artists, Gothenburg, Sweden.
1999 Kulturbahnhof Eller, "Hot Spot", Eight Icelandic Artists, Dusseldorf, Germany.
1999 Glashuset, "Breathe", International Exhibition, Gothenburg, Sweden.
1999 Safnahusid Egilsstodum, "Pictures on a Show", Egilstadir, Iceland.
2000 Gallery Mauri Knuti, "Garden and beyond", Save and Gothenburg, Sweden.
2000 Eyelevel Gallery, "They came as Quickly as They Left", Video screening, Halifax, Canada.
2000 Cultural Centre Gerduberg, "Instead of going to my Studio..." Reykjavik, Iceland.
2000 Workspace, "Reykjavik, the oasis" Toronto, Canada.
2001 Ringsted Gallery, "The head is round so our thoughts can change directions" Ringsted, Denmark

1. "Big Brother", SIKSI Magazine, written Halldor B. Runolfsson.
2. "Artists on the Rocks", C-Magazine, written by Moritz Gaede.
3. "Icelandic Bone in a Swedish Sock". Essay by Halldor B. Runolfsson.
4. "Hot Spot". Essay by Gerolf Schulke.
5. "The 90's-What was it all about?", NU magazine, written by Gunnar Arnason.
6. "They Left as Quickly as They Came", written by David Diviney.
7. "They came as Quickly as They Left", Coast, written by Craig Ferguson.
8. Various articles in Icelandic, Swedish, Danish, Canadian and German newspapers and magazines./

1. Shakespeare's Summer Festivals (Sarah Bonnemaison). Halifax, Canada. 1996
2. Recognizing the Existence of Kitsch (David Howard). Halifax, Canada. 1996
3. Born under Champagne Thesis - NSCAD. Halifax, Canada. 1997
4. Icelandic Art, 1960 and after (Bruce Barber), Halifax, Canada and Reykjavik, Iceland. 1997
5. Scandals in Scandinavian Art (Denmark), Morgunbladid, Reykjavik, Iceland. 2000

1. The Difference of studying in Germany and Iceland, Experience / result. Icelandic College of Art and Crafts. 1993
2. The Image of the Artist, from artisan to Artist, (In relation to own practice). NSCAD, Halifax, Canada. 1996

The Art Museum Hafnarborg, Hafnarfjordur, Iceland. OFKunstraum, Offenbach am Main, Germany. Gallery 54, Gothenburg, Sweden. Gallerie fur Landschaftskunst, Hamburg, Germany. Kulturbahnhof Eller, Dusseldorf, Germany. Trapholt Museum, Kolding, Denmark.

1. Fall 1995 Nova Scotia College of Art and Design Foundation, Mixed media classes
2. Spring 1996 NSCAD Intermediate Sculpture classes
3. Fall 1996 NSCAD Intermedia / Mixed media classes
4. Fall 1995 NSCAD Course in plaster techniques and mould making Foundation
5. 1997 - 98 Brekkubaejarskoli, Akranes, Iceland. Elementary and High-school, Art making classes.
6. 1998 - 99 Dalbrautarskoli, Reykjavik, Iceland. School for children with various psychological problems. Art making classes.

1. Assistant to the German artist Karin Sander, in the making and Installing her work at Gallery Second Floor, Reykjavik, Iceland. -1993
2. Organizing and assisting exhibition exchange between Ireland and Iceland. -1995
3. Assistant for the Canadian Artist David Askevold during the the making of his videos in Iceland. -1996
4. Organizing the participation of Canadian lecturer and students at the Seminar on Art (ON Iceland), Reykjavik, Iceland. -1997
5. Consultant and assistant of David Askevold at the Art Museum of Reykjavik, Iceland. -1997
6. Assisting and introducing Robin Peck the Canadian Artist and Writer to Icelandic History, Artists and Curators. -1998
7. Contact person for Susan Gibson Garvey for the planning of HX International exhibitions, including Icelandic artists, Halifax, Canada. -2000

1. Assistant Curator for the exchange exhibition "Icelandic Bone In a Swedish Sock", Gothenburg, Sweden/Reykjavik, Iceland. 1998
2. Assistant to Michael Kvium, Christian Lemmerz and Marco Evaristti in the making of their work and assisting Curator for the exhibition EYEGOBLACK., Trapholt Museum, Kolding, Denmark. 2000
3. Assistant Curator at Trapholt Museum, Kolding, Denmark. 1999-00
4. Exhibition Architect at Trapholt Museum, Kolding, Denmark. 2000

1. Design competition, "Design and Craftwork", In collaboration with S. Ingi Bjarnason Goldsmith. 1998
2. Jet Black Joe, designing various CD covers for the Rock band Jet Black Joe. 1998
3. SnowSculptureFestival, Nuuk, Greenland. 1st prize selected by jury and 1st prize selected by other participants. 1998
4. Smirnoff International TV advertising. Designing and building a Film set for Smirnoff Co. advertising. Assisting the filming at the location Jokulsarlon, south-Iceland. 1998
5. Hermodur and Hadvor Theater, Virus. Designing the stage and building the set for the play Virus, Hafnarfjordur, Iceland. 1998
6 The Restaurant / Bar Tres Locos. Interior design, sculpting, decorative painting and Building the interior for the Mexican Restaurant / Bar Tres Locos. 1998

Icelandic Bone in a Swedish Sock (Summary)
PORTRAIT OF THE ARTIST AS OUR SPITTING IMAGE By Halldor Bjorn Runolfsson
Let's look at the gravitational shift from the artwork to the artist: "What is art?", Andy Warhol was asked when he first came to Sweden. "I think art is the shortening of the term artist", was the answer he gave. Already then it was obvious how far the artist's image had outgrown the artwork. Salvador Dali's narcissistic appearance ornate with the sumptuous moustache was much better known than any of his paintings, and Pollock in full action, splotching and splashing, gave his work the authenticity, which it lacked after it, had been "tamed" by the stretcher and the frame.

It is impossible to pin down when exactly the change from representation to performance took place. Apparently it started late in the last century and isn't over yet. Van Gogh's art would look different if it were contemplated heedless of his life, and so would Strindberg's literary achievement. A lot of their contemporaries could however dispense with all biographical account for seemingly their lives didn't affect their art in any obvious way. The question arises whether a certain kind of life - or lifestyle - is less or better suited for art, or as a background to it, or whether there is art which needs biographical emphasizing in order to shine adequately. We may never know because we cannot eliminate the knowledge we already have of the lives of the artists whose works we know.
There is nevertheless a category which may be the typical contemporary category of artists. These are the artists who use their lives, or lifestyle, as basis for their art regardless of any intimate record or personal biography. Although time and again Marcel Duchamp exhibited his own person as if it were an objective part of his oeuvre, his private life was so wreathed in mystery that his largest and most complicated work passed unnoticed during the twenty years which he spent on it. As the art world was finally informed of the existence of his enigmatic 'Etant donnes it also discovered much to its surprise that he had been the father of an illegitimate daughter for about fifty-five years. A master of revelation, Duchamp was also the most scrupulous guardian of secrets.

(……) The preservationist position is equally persistent in Erling T.V. Klingenberg's perverted handling of the artist's identity. Caught between the romanticized myth of the eccentric genius and the impossibility of rectifying it, Klingenberg opts for the sole remedy; a burlesque account of the ever-inspired artist as he fights his intoxicated, dionysiac battle with his materials. The title of the video - He Exhibits Nothing in a New Context - shows how carefully his works must be read despite their virtual absurdity. The degree of emphasis in the pronounciation of the title changes its meaning immediately. So does the context, as the other day when the work was directly related to the painter Kjarval, the most revered of all Icelandic masters, when it ran in the Art Museum of Reykjavik, which is also named after the aforementioned painter.

What is the artist? What is his role? What should it be? What does he want? How does he envisage himself? These are among the pressing questions which crop up in the diverse works of Klingenberg. But their critical relevance doesn't stop at the nature of the artist; the whole cultural stratum is targeted. This is denoted by the trophies, the champagne and the platform, our endless need to calibrate art, compare it and measure quantitatively as sport. Beneath such overt criticism lies the sad fact that visual arts, more than any other kind of collective expression, are the virtual barometer of power and economical domination. As Lyotard once pointed out; art doesn't tell us anything about life anymore, only what is pertinent for the market.

The abjective attitude is an attempt to gather meaning, at least from the remains - relics and ruins, as Benjamin would have put it - of the celebration. When art has become meaningless, the entire signification is concentrated in the opening - the vernissage, as the French called the last task of the artist, as he lacquered his works in front of the purchasers in order to commodify his product. This is the portrait of the artist as a young rat who has been trained to avoid the electrodes of his maze. This bleak vision is still full of exciting intrigues and surprises as a carnival, where death always lurks behind the merry celebrants. (…..)

Erling T.V. Klingenberg

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