Helgi Hjaltalín & Pétur Örn - Markmiđ XIV

 


Helgi Hjaltalín og Pétur Örn sýna í Listasafninu undir yfirskriftinni  Markmiđ XIV. Á ţessari sýningu halda ţeir áfram ađ gera tilraunir, sem skila engri afgerandi niđurstöđu, á ferđalagi sem hefur engan sérstakan áfangastađ. Tilgangur félaganna er ađ setja saman mynd ţar sem framkvćmd og framsetning sýningarinnar verđur ađ sjónrćnni upplifun. Ţeir ýta myndmálinu ađ rökrćnum ţolmörkum sínum, en bjóđa um leiđ áhorfandanum upp á dúnmjúkan ţćgindaramma fyrir skilningarvitin.

Hugmyndaferđalög ţessara tveggja myndlistamanna hafa leitt til samvinnuverkefna sem skrásett eru í formi afritađra athafna, međal annars međ ljósmyndum, myndböndum, skúlptúrum og öđrum tjáningarmiđlum myndlistarinnar. Sýningin byggir á samvinnuverkefninu Markmiđ, sem varđ til um síđustu aldamót, og samanstendur af tveimur einkasýningum.

Sýningin stendur til 25. maí og er opin alla daga nema mánudaga kl. 12-17. Ađgangur er ókeypis.

Sköpun, flćđi, sköpunarflćđi

Sköpun: Kv. 1 Ţađ ađ skapa, búa til: s. heimsins; lists. Sköpunar-gáfa. 2 hiđ skapađa: mađurinn er s. guđs, sköpunar-verk.

Manneskjan er í eđli sínu skapandi vera sem hefur óseđjandi ţörf til ađ búa til hluti. Sköpun getur jafnvel veriđ ákveđin sýn hennar á heiminn, ađ hann sé skapađur og ađ hún sé sköpuđ í honum. Ţegar endurreisnarlistamađurinn Michelangelo túlkađi sköpun mannsins í óviđjafnanlegri freskumynd í Sixtísku kapellunni lagđi hann áherslu á höndina sem holdgerving sköpunar. Guđ birtist á himnum sem gráskeggjađur vitringur umkringdur berstrípuđum englum, og réttir höndina í átt til Adams sem situr máttlaus á grasbletti og lyftir letilega upp vísifingri til ađ taka á móti lífsgjöfinni. Hendurnar eru miđpunkturinn, lykilatriđiđ í ţessari táknmynd sköpunar, en ţćr snertast ekki. Vísifingur Guđs og Adams eru rétt í ţann mund ađ gneista saman eins og til ađ sýna okkur ađ ein og sér sé hugmyndin um manninn líflaus, ađ ţađ sé í gegnum höndina sem sköpunarverkiđ öđlist líf.

Í fyrirbćrafrćđi Maurice Merleau-Pontys er fjallađ um sjálfveru okkar sem líkamsveru ţar sem líkaminn er aldrei óháđur heiminum í kring.  Samband hugar og líkama er ţannig ađ hver sá sem sest upp í bílinn sinn ađ mánudagsmorgni, leggur hendur á stýriđ og ekur af stađ í vinnu eđa skóla, stćkkar líkamlegt skynsviđ sitt ţannig ađ hann hugsar bílinn sem framlengingu á sér sjálfum. Ferđalag ökutćkisins stjórnast ţá af líkamlegum vitsmunum ökumannsins, en án ţeirra mundi viđkomandi vafalaust keyra á fyrstu fyrirstöđu sem yrđi á vegi hans.

Fyrirbćrafrćđi Merleau-Pontys gerir ráđ fyrir ţví ađ líkaminn geymi sjálfur ţekkingu og hafi jafnvel minni.  Listamađur sem hefur til dćmis mótađ mannslíkama í leir eđa höggviđ hann út í marmara um árabil hefur öđlast líkamlega ţekkingu og minni um efniđ.  Hann ţarf ekki ađ taka hugmyndalega ákvörđun um hvert smáatriđi í vinnuferlinu. Ţekkingin og minningin er greipt í líkama hans.

Áhöld sem listamađur tekur sér í hendur til ađ skapa listaverk eru, í fyrirbćrafrćđilegu samhengi, ekki einungis milliliđur frá listamanni til listaverks heldur eru ţau framlenging á honum sjálfum,  hvort sem hann heggur, sagar, slípar, málar eđa teiknar međ ţeim.  Finnski arkitektinn Juhan Pallasmaa orđar ţađ ţannig: ?Áhaldiđ er framlenging og sérhćfing handarinnar sem breytir náttúrulegri getu og möguleikum hennar?.  Áhaldiđ leyfir ţá höndunum ađ skapa form sem ţeim er ekki kleift upp á eigin spýtur. Sjálfveran sem líkami er ţá í beinni snertingu viđ sköpunarverkiđ gegnum áhaldiđ og glćđir ţađ lífi, líkt og hönd Guđs er í ţann mund ađ gera viđ Adam.

 

Flćđi: H 4 Ţađ ađ flćđa, streyma út, dreifast jafnt út í annađ efni.

Margir listamenn segja nautnina viđ ađ skapa vera ţađ ađ komast í flćđi. Ungverski sálfrćđingurinn Mihaly Csikszentmihalyi, sem öđrum fremur hefur reynt ađ útskýra ţetta eftirsóknaverđa flćđi, segir ţađ ekki vera skilyrđi sköpunar en afar mikilvćgan ţátt í margbreytileika hennar vegna ţess ađ í flćđinu komist listamađurinn gegnum hindranir og yfir mörk. Flćđiđ reynist listamanninum í senn örvandi og gefandi.

Samkvćmt hugmyndum Csikszentmihalyi ţarf listamađur ađ gefa sér ţrjár forsendur í sköpun sinni svo hann komist í flćđi. Hann ţarf ađ finna jafnvćgi á milli hćfileika sinna og áskorana, hann ţarf ađ setja sér markmiđ til ađ hafa yfirsýn á ađgerđir sínar og hann ţarf ađ fá viđbrögđ viđ verkum sínum, til dćmis međ ţví ađ sýna ţau. Ţessar ţrjár forsendur auđvelda honum ađ komast í flćđi.

Csikszentmihalyi heldur ţví fram ađ listamenn temji sér ađ nota áhöld sem ýti undir flćđiđ, áhöld sem eru ţeim eđlileg framlenging handanna. Listamađur sem skapar í flćđi er í raun ađ nota líkamlega vitsmuni sína ţegar hann setur listaverkiđ í form. Sá sem skapar í höndunum og er í flćđi gleymir stund og stađ og er bókstaflega í sköpuninni, í ?sköpunarflćđi?. Hann stjórnast ekki af rökhugsun um hverja hreyfingu handa sinna.  Hann treystir á ţekkingu og minni ţeirra um leiđ og hann nýtur augnabliksins undir stjórn flćđisins. Ţar liggur ánćgja hans í listsköpuninni, drifkraftur og ástćđa til ađ stunda iđju sína. Jafnvel tilgangur listsköpunar hans. Flćđiđ verđur honum eins og lífsorkan sem Adam sćkist eftir ţegar hann lyftir upp vísifingur á móti útréttri hönd Guđs.

 

Sköpunarflćđi: H Orđasamsetning. Sköpun, flćđi.

Helgi Hjaltalín Eyjólfsson (f. 1968) og Pétur Örn Friđriksson (f. 1967) eru listamenn sem skapa í flćđi.  Báđir hafa unun ađ ţví ađ vinna í höndunum og starfa viđ ýmiskonar smíđar og leikmunagerđ samhliđa listsköpuninni. List ţeirra einkennist af uppfinningasemi, tilraunasemi og ?ánćgjunni ađ búa til?, svo ég vitni í orđ Helga.

Helgi er kunnur fyrir vandađa smíđađa hluti sem oft taka á samfélagslegum málefnum, en flćđiđ útilokar ekki samfélagslega gagnrýna list eđa hugmyndalega nálgun viđ list. Listamađur getur veriđ bundinn ákveđnu verkefni, svo sem einhverju tilteknu  rými, ţema eđa ađ hann lúti sértćkri hugmyndafrćđi um list og samt unniđ í flćđi.

Helgi vakti fyrst athygli fyrir listaverk sem einnig voru vopn, og hćgt ađ brúka sem slík. Flest hans verk eru unnin í trjáviđ, ţótt vissulega komi annar efniviđur viđ sögu, eins og járn og  plast. Undanfarin ár hefur listamađurinn einnig tekiđ ástfóstri viđ vatnslitinn, en vatnslitamyndir hans virđast ţó ávallt hugsađar sem hluti af ?objekt?, eins og sönnum myndhöggvara sćmir.

Pétur birtist fyrst á sjónarsviđi listarinnar međ rafknúin listaverk ţar sem ýmiskonar gangverk fengu hlutverk í konstrúktífum höggmyndum. Hverskyns snúningur eđa hljóđ ţjónar ţá fagurfrćđilegum tilgangi fremur en ađ virkni hans sé rökrćnn partur af hlutnum.  Hluturinn hefur síđar fengiđ meira vćgi í list hans ţótt hann hafi ekki sagt skiliđ viđ gangverkiđ og hlutir hans hafa ćtíđ einhverskonar virkni ţótt ţađ liggi ekki endilega fyrir hver hún er.

Ţá hefur Pétur einsett sér ađ endurgera listaverk sín endrum og eins. Hann gengur samt ađ endurgerđinni sem óvissuferđ. Útkoman er aldrei fyrirfram gefin, jafnvel ţótt ađ frummyndin sé ţegar til. Endurgerđin verđur allt annađ og nýtt listaverk ţegar flćđiđ fćr ađ ráđa.

Leiđir Helga og Péturs lágu fyrst saman í listnámi í Myndlista og handíđaskólanum og svo aftur í framhaldsnámi í AKI (Akademie Voor Beeldene Kunst) í Hollandi. Ţótt ţeir starfi sem sjálfstćđir listamenn starfa ţeir líka saman og sýna ţá undir nafninu Markmiđ. Sem tvíeyki nýta ţeir hćfileika hvors annars og tvinna saman sérţekkingu beggja. Vinnuferli ţeirra hefst međ hugmynd sem ţeir velta sín á milli, finna sér hlutverk í framkvćmdinni og byrja ađ forma hana. Stundum á hugmyndin ekki erindi í samstarf og annar ţeirra tekur hana upp á sína arma. Í öđrum tilfellum ţróast hugmyndin í vinnsluferlinu. Ţar tekur hún breytingum í efni og formi eftir hlutverkaskiptingu listamannanna. Ađ lokum hefur hún vaxiđ í listaverk. Fátt rökrćnt er í ţessu ferđalagi hugmyndarinnar til listaverks í höndum listamannanna og eflaust er listaverkiđ ekki einu sinni rökrćn útfćrsla á hugmyndinni. En ţannig er ţađ í flćđinu, rétt eins og í freskumynd Michelangelos. Hún telst varla rökrćn útfćrsla á sköpun mannsins. En hún segir okkur sitthvađ um sköpun og flćđi.

Jón B. K. Ransu



Árni Böđvarsson, Íslensk orđabók, Bókaútgáfa Menningarsjóđs Reykjavík, 1983.

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

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

Árni Böđvarsson, Íslensk orđabók, Bókaútgáfa Menningarsjóđs Reykjavík, 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 Hjaltalín Eyjólfsson (born 1968) and Pétur Örn Friđriksson (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?.

Pétur 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.

Pétur 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 Pétur?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.

Jón B. K. Ransu



Árni Böđvarsson, Íslensk orđabók, Bókaútgáfa Menningarsjóđs, 1983.

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

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

Árni Böđvarsson, Íslensk orđabók, Bókaútgáfa Menningarsjóđs, 1983.

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