In this segment Kristinsson talks about the diary of Ólafur Davíðsson, a prominent folklore collector in the late 19th century. When Ólafur was a student at Menntaskólinn í Reykjavík, a prominent local upper secondary school, Þorvaldur says he developed a relationship with Geir Sæmundsson, another student. When the diaries of Ólafur were published in 1955, all the references to his relationship and love for Geir were omitted.
Kristinsson and Jez talk about Guðmundur Sigurjónsson Hofdal, who in 1924 became the first and only man to be convicted in Iceland for homosexual acts. Sigurjónsson, a renowned sportsman and wrestling champion, who had taken part in the 1908 Olympics, freely admitted in court to having had carnal relations with other men over the previous 15-18 years.
In this clip Kristinsson mentions that there is complete silence about homosexuality in Iceland until after the Second World War, when the media start talking about it in a very homophobic manner. Þorvaldur has also found that WWII provided unique opportunities for queer Icelanders due to the influx of foreign soldiers.
Kristinsson notes that very little has been mentioned about Queer life in Icelandic culture, he also talks about his history and involvement with Samtökin ’78. At this moment in time he is conducting research into AIDS in Iceland from the period of 1985-1996, and talks about how the illness and conscious arrived quite late in Iceland.
Kristinsson considers different forms of sexual presentation and consciousness, and how these relate to Icelandic folklore. There are traces in mythology and folklore, with regards to transgender expression, which can be interpreted through modern conceptions of sexuality.
Jez reflects on his artistic process, and how he can relate to Kristinsson’s concept of Queer people in Iceland being ‘a people without a history’, and is asks how this has manifested itself in the understanding of Queer culture in Iceland. Kristinsson points out that during the start of the movement in 70-80s they returned to International history for support and understanding.
In this segment Jez considers the statement of ‘a people without a history’ in terms of how it hinders the formation of a Queer identity, how this means that we become reliant on the story of our own origin to feed this identity, and why this is important. Kristinsson explains that he feels this is problematic in many cultures, not just in understanding Icelandic Queer history.
Jez and Kristinsson discuss how Queer identity and consciousness has formed for them personally, how it was shaped through early literature, and also personal relationships. Jez talks about his residency at the Schwules Museum in Berlin, how examining works by Edward Carpenter and Magnus Hirschfeld lead him to consider the catalyst behind the shift of ideals on sexuality and gender during the early 1900s. Kristinsson feels that his early Queer consciousness was mostly formed through relationships - friendships and love affairs. He stated to considering Icelandic Queer history when he was faced with the question of how things were in the past, and how he has gained a greater understanding by collection stories from individuals around the country.
Jez discusses the history of Polari, which dates back to the 11th century, and how he uses this in his artistic practice. What he finds interesting about Polari is how it could be used simultaneously as a form of disguise and identification between Queer individuals. He goes on to explain how it was the one frame of reference, an how it was a significant part of British Queer culture.
Kristinsson considers the connections between Iceland and UK in this respect, how a number of individuals fled to the UK and Scandinavia to escape oppression in Iceland. He believes that there were fewer people who moved to London perhaps due to the law and restrictions during the mid-twentieth century. He tells of his experience from the summer of ’85 in London, and other cities in Europe.