Helgi Hjaltaln & Ptur rn - Markmi XIV


Helgi Hjaltaln og Ptur rn sna Listasafninu undir yfirskriftinni Markmi XIV. essari sningu halda eir fram a gera tilraunir, sem skila engri afgerandi niurstu, feralagi sem hefur engan srstakan fangasta. Tilgangur flaganna er a setja saman mynd ar sem framkvmd og framsetning sningarinnar verur a sjnrnni upplifun. eir ta myndmlinu a rkrnum olmrkum snum, en bja um lei horfandanum upp dnmjkan gindaramma fyrir skilningarvitin.

Hugmyndaferalg essara tveggja myndlistamanna hafa leitt til samvinnuverkefna sem skrsett eru formi afritara athafna, meal annars me ljsmyndum, myndbndum, sklptrum og rum tjningarmilum myndlistarinnar. Sningin byggir samvinnuverkefninu Markmi, sem var til um sustu aldamt, og samanstendur af tveimur einkasningum.

Sningin stendur til 25. ma og er opin alla daga nema mnudaga kl. 12-17. Agangur er keypis.

Skpun, fli, skpunarfli

Skpun: Kv. 1 a a skapa, ba til: s. heimsins; lists. Skpunar-gfa. 2 hi skapaa: maurinn er s. gus, skpunar-verk.

Manneskjan er eli snu skapandi vera sem hefur sejandi rf til a ba til hluti. Skpun getur jafnvel veri kvein sn hennar heiminn, a hann s skapaur og a hn s skpu honum. egar endurreisnarlistamaurinn Michelangelo tlkai skpun mannsins vijafnanlegri freskumynd Sixtsku kapellunni lagi hann herslu hndina sem holdgerving skpunar. Gu birtist himnum sem grskeggjaur vitringur umkringdur berstrpuum englum, og rttir hndina tt til Adams sem situr mttlaus grasbletti og lyftir letilega upp vsifingri til a taka mti lfsgjfinni. Hendurnar eru mipunkturinn, lykilatrii essari tknmynd skpunar, en r snertast ekki. Vsifingur Gus og Adams eru rtt ann mund a gneista saman eins og til a sna okkur a ein og sr s hugmyndin um manninn lflaus, a a s gegnum hndina sem skpunarverki list lf.

fyrirbrafri Maurice Merleau-Pontys er fjalla um sjlfveru okkar sem lkamsveru ar sem lkaminn er aldrei hur heiminum kring. Samband hugar og lkama er annig a hver s sem sest upp blinn sinn a mnudagsmorgni, leggur hendur stri og ekur af sta vinnu ea skla, stkkar lkamlegt skynsvi sitt annig a hann hugsar blinn sem framlengingu sr sjlfum. Feralag kutkisins stjrnast af lkamlegum vitsmunum kumannsins, en n eirra mundi vikomandi vafalaust keyra fyrstu fyrirstu sem yri vegi hans.

Fyrirbrafri Merleau-Pontys gerir r fyrir v a lkaminn geymi sjlfur ekkingu og hafi jafnvel minni. Listamaur sem hefur til dmis mta mannslkama leir ea hggvi hann t marmara um rabil hefur last lkamlega ekkingu og minni um efni. Hann arf ekki a taka hugmyndalega kvrun um hvert smatrii vinnuferlinu. ekkingin og minningin er greipt lkama hans.

hld sem listamaur tekur sr hendur til a skapa listaverk eru, fyrirbrafrilegu samhengi, ekki einungis milliliur fr listamanni til listaverks heldur eru au framlenging honum sjlfum, hvort sem hann heggur, sagar, slpar, mlar ea teiknar me eim. Finnski arkitektinn Juhan Pallasmaa orar a annig: ?haldi er framlenging og srhfing handarinnar sem breytir nttrulegri getu og mguleikum hennar?. haldi leyfir hndunum a skapa form sem eim er ekki kleift upp eigin sptur. Sjlfveran sem lkami er beinni snertingu vi skpunarverki gegnum haldi og glir a lfi, lkt og hnd Gus er ann mund a gera vi Adam.

Fli: H 4 a a fla, streyma t, dreifast jafnt t anna efni.

Margir listamenn segja nautnina vi a skapa vera a a komast fli. Ungverski slfringurinn Mihaly Csikszentmihalyi, sem rum fremur hefur reynt a tskra etta eftirsknavera fli, segir a ekki vera skilyri skpunar en afar mikilvgan tt margbreytileika hennar vegna ess a flinu komist listamaurinn gegnum hindranir og yfir mrk. Fli reynist listamanninum senn rvandi og gefandi.

Samkvmt hugmyndum Csikszentmihalyi arf listamaur a gefa sr rjr forsendur skpun sinni svo hann komist fli. Hann arf a finna jafnvgi milli hfileika sinna og skorana, hann arf a setja sr markmi til a hafa yfirsn agerir snar og hann arf a f vibrg vi verkum snum, til dmis me v a sna au. essar rjr forsendur auvelda honum a komast fli.

Csikszentmihalyi heldur v fram a listamenn temji sr a nota hld sem ti undir fli, hld sem eru eim elileg framlenging handanna. Listamaur sem skapar fli er raun a nota lkamlega vitsmuni sna egar hann setur listaverki form. S sem skapar hndunum og er fli gleymir stund og sta og er bkstaflega skpuninni, ?skpunarfli?. Hann stjrnast ekki af rkhugsun um hverja hreyfingu handa sinna. Hann treystir ekkingu og minni eirra um lei og hann ntur augnabliksins undir stjrn flisins. ar liggur ngja hans listskpuninni, drifkraftur og sta til a stunda iju sna. Jafnvel tilgangur listskpunar hans. Fli verur honum eins og lfsorkan sem Adam skist eftir egar hann lyftir upp vsifingur mti trttri hnd Gus.

Skpunarfli: H Orasamsetning. Skpun, fli.

Helgi Hjaltaln Eyjlfsson (f. 1968) og Ptur rn Fririksson (f. 1967) eru listamenn sem skapa fli. Bir hafa unun a v a vinna hndunum og starfa vi miskonar smar og leikmunager samhlia listskpuninni. List eirra einkennist af uppfinningasemi, tilraunasemi og ?ngjunni a ba til?, svo g vitni or Helga.

Helgi er kunnur fyrir vandaa smaa hluti sem oft taka samflagslegum mlefnum, en fli tilokar ekki samflagslega gagnrna list ea hugmyndalega nlgun vi list. Listamaur getur veri bundinn kvenu verkefni, svo sem einhverju tilteknu rmi, ema ea a hann lti srtkri hugmyndafri um list og samt unni fli.

Helgi vakti fyrst athygli fyrir listaverk sem einnig voru vopn, og hgt a brka sem slk. Flest hans verk eru unnin trjvi, tt vissulega komi annar efniviur vi sgu, eins og jrn og plast. Undanfarin r hefur listamaurinn einnig teki stfstri vi vatnslitinn, en vatnslitamyndir hans virast vallt hugsaar sem hluti af ?objekt?, eins og snnum myndhggvara smir.

Ptur birtist fyrst sjnarsvii listarinnar me rafknin listaverk ar sem miskonar gangverk fengu hlutverk konstrktfum hggmyndum. Hverskyns snningur ea hlj jnar fagurfrilegum tilgangi fremur en a virkni hans s rkrnn partur af hlutnum. Hluturinn hefur sar fengi meira vgi list hans tt hann hafi ekki sagt skili vi gangverki og hlutir hans hafa t einhverskonar virkni tt a liggi ekki endilega fyrir hver hn er.

hefur Ptur einsett sr a endurgera listaverk sn endrum og eins. Hann gengur samt a endurgerinni sem vissufer. tkoman er aldrei fyrirfram gefin, jafnvel tt a frummyndin s egar til. Endurgerin verur allt anna og ntt listaverk egar fli fr a ra.

Leiir Helga og Pturs lgu fyrst saman listnmi Myndlista og handasklanum og svo aftur framhaldsnmi AKI (Akademie Voor Beeldene Kunst) Hollandi. tt eir starfi sem sjlfstir listamenn starfa eir lka saman og sna undir nafninu Markmi. Sem tveyki nta eir hfileika hvors annars og tvinna saman srekkingu beggja. Vinnuferli eirra hefst me hugmynd sem eir velta sn milli, finna sr hlutverk framkvmdinni og byrja a forma hana. Stundum hugmyndin ekki erindi samstarf og annar eirra tekur hana upp sna arma. rum tilfellum rast hugmyndin vinnsluferlinu. ar tekur hn breytingum efni og formi eftir hlutverkaskiptingu listamannanna. A lokum hefur hn vaxi listaverk. Ftt rkrnt er essu feralagi hugmyndarinnar til listaverks hndum listamannanna og eflaust er listaverki ekki einu sinni rkrn tfrsla hugmyndinni. En annig er a flinu, rtt eins og freskumynd Michelangelos. Hn telst varla rkrn tfrsla skpun mannsins. En hn segir okkur sitthva um skpun og fli.

Jn B. K. Ransu



rni Bvarsson, slensk orabk, Bkatgfa Menningarsjs Reykjavk, 1983.

Maurice Merleau-Ponty, Phenomenology of Perception, Routlidge, 2004.

Juhani Pallasmaa, The Thinking Hand, John Wiley & Sons Ltd., 2009.

rni Bvarsson, slensk orabk, Bkatgfa Menningarsjs Reykjavk, 1983.

Mihaily Csikszentmihayi, Creativity. Flow and the Pshicology of Discovery and Invention, Harper Perennial, 1997.

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Creation, flow, creativity-flow

Creation: n. 1. The act of creating, making: creation of the world; art-creation; creativity. 2. That what is created: man is God?s creation.

Humans are by nature creative creatures that possess an insatiable need to create things. Creativity can even be what shapes their view of the world, that it was created and within it they were created. When the renaissance artist Michelangelo interpreted the creation of man in a unique fresco painting in the Sistine chapel, he emphasised the hand as the embodiment of creation. God appeared in heaven as a grey-bearded, wise man surrounded by stark naked angels, reaching out to Adam who sits on the grass rather weak and lazily holds up his thumb so he can receive the gift of life. The main focus is on the hands; the key element in this emblem of creation, but they do not touch. The thumbs of God and Adam are just about to spark, as if to show us that the idea of man on its own is lifeless; it is through the hand that creation comes to life.

Maurice Merleau-Ponty's phenomenology deals with our being as a physical being where the body is never independent from the world around us. The relationship between the mind and the body is such that whoever starts his car on a Monday morning, puts his hands on the steering wheel and drives off to work or school, broadens the range of his physical sensors in such a way that he perceives the car as an extension of himself. The vehicle is then controlled by the driver?s physical intellect, without which he would undoubtedly crash into the first obstacle he would face.

In Merleau-Ponty's phenomenology it is assumed that the body itself carries knowledge and even possesses memory. An artist, for instance, who has often modeled or sculpted the human body, has gathered physical knowledge as well as memory about the material. There?s no need for him to make a conscious decision on every single concept during the work process. The knowledge is etched into his body.

The tools that an artist uses to create are, in the phenomenological context, not only a link between the artist and the art, but also an extension of himself, whether his method be chopping, sawing, grinding, painting or drawing. In the words of the Finnish architect Juhan Pallasmaa: ?The tool is an extension and specialization of the hand, which changes its natural capability and potentialities.? The tool then allows the hands to create shapes which they are not able to do on their own. The self-being as a body is then in direct contact with the creation through the tool, giving the gift of life, like the hand of God is just about to give life to Adam.

Flow: n. 4. To flow, stream out, scatter evenly into a different material.

Many artists claim that the flow in creating is in fact what gives them the biggest pleasure. The Hungarian psychologist Mihaly Csikszentmihalyi, who has put a lot of effort into explaining this much desired flow, says that even though it is not a requirement for creation, it is nonetheless an integral part of its diversity as it is when the artist is in a state of flow that he is able to cross boundaries. Flow is thus both stimulating and rewarding for the artist.

According to Csikszentmihalyi?s ideas the artist needs to consider three different premises whilst creating in order to get into a flow. He needs to find balance between his talent and his challenges; he needs to set a goal for himself in order to have an overview of his actions; and he needs to get feedback, for instance by exhibiting his work. These three things will make it easier for him to get into the flow.

Csikszentmihalyi claims that artists are likely to adopt tools that will stimulate the flow; tools they feel are natural extensions of their hands. An artist who creates in a flow is in fact using his physical intellect as he shapes the art-piece. Anyone who creates with his hands and is in a flow will forget both time and place and literally immerse himself in the creation; the ?creation flow?. Logic is not what controls every movement of his hands. He trusts in their knowledge and memory while enjoying the moment that is under the direction of the flow. This is where his pleasure in creating lies, his drive and reason for doing what he does ? even the whole purpose behind his artistic creations. For the artist, the flow becomes similar to the vitality that Adam seeks when he lifts his thumb toward God?s extended hand.

Creativity-flow: n. Compound word. Creation, flow.

Helgi Hjaltaln Eyjlfsson (born 1968) and Ptur rn Fririksson (born 1967) are artists who create in a flow. Inventions, experiments and ?the joy of making things? are characteristicsof their art.

Helgi is known for elaborately constructed things that often take a stand regarding social issues, as the flow does not eliminate art that criticises society or a conceptual approach in art. The artist can be tied to a certain project, such as a particular space or theme, or abide to a certain ideology regarding art, yet work in a flow.

Helgi first got attention for his art-pieces that were also made as weapons and could in fact be used as such. Most of his work is done in wood although he also uses other materials such as iron and plastic. In resent years the artist has taken to using watercolours; however, his watercolour-pictures always seem to be, in a sculptorly fashion, a part of the ?object?.

Ptur first appeared on the art scene when he presented electric artwork where various clockworks played a part within constructive sculptures. Any type of rotation or sound then has an aesthetical purpose rather than being a logical part of the piece. The object has since played a bigger role in his art although he has not abandoned the clockwork.

Ptur has resolved to reconstruct his work every now and then. A certain undetermination is always involved since the outcome is never predetermined even though the original still exists. The remake is a new and different art piece, when created in a flow.

Helgi and Ptur?s paths first crossed when they both studied at the Icelandic College of Art and Crafts and later during their graduate studies at AKI (Akademie Voor Beeldene Kunst) in Holland. They both work as independent artists but also collaborate and exhibit under the title Aim, where theyutilise each other?s talents and expertise. The work process begins with an idea, which they throw back and forth, find an executive role and start forming the concept. At times the idea doesn?t work in the collaboration and one of them takes it under his wing, so to speak. In other cases the idea evolves during the work process; a different material and form is used according to the role of each artist. In the end it has grown into a work of art. This journey from an idea to a work of art does not follow the road of logic ? that?s how it is in a flow ? just like in Michelangelo?s fresco which can hardly count as a logical representation of the creation of man. It tells us, however, a few things about creation and flow.

Jn B. K. Ransu



rni Bvarsson, slensk orabk, Bkatgfa Menningarsjs, 1983.

Maurice Merleau-Ponty, Phenomenology of Perception, Routledge, 2004.

Juhani Pallasmaa, The Thinking Hand, John Wiley & Sons, 2009.

rni Bvarsson, slensk orabk, Bkatgfa Menningarsjs, 1983.

Mihaily Csikszentmihayi, Creativity. Flow and the Pshicology of Discovery and Invention, Harper Perennial, 1997.