In 1997, The Icelandic Love Corporation—Sigrún Hrólfsdóttir, Dóra Ísleifsdóttir, Jóní Jónsdóttir, and Eirún Sigurðardóttir—presented a solo exhibition of new works at Gerðuberg Cultural Center in Breiðholt, Reykjavík. The exhibition, titled Freedom - Beauty - Freetime, (Icelandic: Frelsi - Frítími - Fegurð) marked a significant early articulation of the collective’s feminist and performative strategies.

At the opening members of the girl scouts ceremonially raised the ILC flag while fanfare music was performed by DJ Árni Sveinsson. With megaphones, the artists broadcast their slogans—“The World is Good,” “The Future is Beautiful,” and “Love conquers all—without a doubt”—into the neighborhood of Breiðholt, a modernist residential district in Reykjavík, often associated with social and geographic peripherality.

The works on display combined ready-made objects, installation, and performative staging. Oversized cosmetic objects, including monumental lipsticks presented on pedestals, referenced consumer culture and the aesthetics of femininity. A picnic installation with inflatable dolls and S/M easy chairs further complicated notions of leisure, intimacy, and power, juxtaposing domestic comfort with erotic subcultural references.

During the exhibition period, Sigrún and Jóní of the ILC were invited to an interview with the legendary television personality Vala Matt on Stöð 2 (Channel 2). Appearing in the channels news broadcast set, the artists transformed the interview into a performative intervention, repeating their slogans on air and concluding the segment by applying lipstick, thereby extending the exhibition’s exploration of femininity, spectacle, and media representation into a mass-media context.

The works in the exhibition were subsequently vandalized, an event that introduced an unforeseen shift in the project’s reception and afterlife. With the help of a lawyer, the artists were evantually compensated by an insurance company, adding an unintended institutional and economic dimension to the exhibition—one that echoed the collective’s ongoing interest in systems of value, visibility, and exchange.

Freedom - Beauty - Freetime, curated by Hannes Sigurðsson, articulated a critical engagement, employing humor, excess, and collective authorship, The Icelandic Love Corporation positioned their practice within broader feminist and relational discourses of the 1990s.