[et_pb_section fb_built=“1″ fullwidth=“on“ _builder_version=“4.8.2″ _module_preset=“default“][et_pb_fullwidth_image src=“https:\/\/artzine.is\/wp-content\/uploads\/2016\/06\/kih1.jpg“ title_text=“kih1″ _builder_version=“4.8.2″ _module_preset=“default“][\/et_pb_fullwidth_image][\/et_pb_section][et_pb_section fb_built=“1″ admin_label=“section“ _builder_version=“3.22″][et_pb_row admin_label=“row“ _builder_version=“3.25″ background_size=“initial“ background_position=“top_left“ background_repeat=“repeat“][et_pb_column type=“4_4″ _builder_version=“3.25″ custom_padding=“|||“ custom_padding__hover=“|||“][et_pb_post_title meta=“off“ featured_image=“off“ admin_label=“Post Title“ _builder_version=“3.0.87″ title_font=“Lato|on|||“ title_font_size=“35px“ title_all_caps=“on“ parallax=“on“ parallax_method=“off“ use_border_color=“off“ border_color=“#ffffff“ border_width=“1px“ border_style=“solid“ parallax_effect=“on“] [\/et_pb_post_title][et_pb_text admin_label=“Text“ _builder_version=“4.8.2″ background_size=“initial“ background_position=“top_left“ background_repeat=“repeat“ hover_enabled=“0″ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“ sticky_enabled=“0″]<\/p>\n
Mengi \u00e1 m\u00e1nudagskv\u00f6ldi. Tilefni\u00f0 eru gj\u00f6rningar. Listakonan Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir er s\u00ed\u00f0ust \u00e1 svi\u00f0 til a\u00f0 fremja gj\u00f6rninginn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum<\/em> \u00ed samstarfi vi\u00f0 Futuregrapher. Hlj\u00f3mflutningsgr\u00e6jum hefur veri\u00f0 komi\u00f0 fyrir \u00e1 eikarskenk aftast \u00ed hv\u00edtu s\u00fdningarr\u00fdminu. Fyrir mi\u00f0ju g\u00f3lfsins stendur l\u00edti\u00f0 tramp\u00f3l\u00edn og b\u00fai\u00f0 er a\u00f0 ra\u00f0a t\u00f3lf eggjum \u00e1 bl\u00e1tt efni\u00f0 \u00ed mi\u00f0ju \u00feess. Tveir hlj\u00f3\u00f0nemar standa sitthvoru megin vi\u00f0 tramp\u00f3l\u00edni\u00f0 og tveir st\u00f3rir svartir h\u00e1talarar standa \u00ed s\u00ednu hvoru horninu fyrir aftan. Katr\u00edn Inga gengur \u00ed salinn me\u00f0 l\u00edtinn rafmagnsg\u00edtar, gulan a\u00f0 lit. H\u00fan er kl\u00e6dd \u00ed bl\u00e1an hl\u00fdrabol og svartar bl\u00fandun\u00e6rbuxur og fyrir andliti hennar er hv\u00edt gr\u00edma. H\u00fan byrjar a\u00f0 hoppa \u00e1 tramp\u00f3l\u00edninu og \u00feenur g\u00edtarinn. Eggin taka a\u00f0 brotna eitt af \u00f6\u00f0ru og innihald \u00feeirra rennur \u00ed gegnum bl\u00e1an d\u00fakinn undir f\u00f3tum Katr\u00ednar og ni\u00f0ur \u00e1 g\u00f3lfi\u00f0. Futuregrapher stj\u00f3rnar gr\u00e6junum \u00e1 skenknum \u00ed bakrunni, kl\u00e6ddur appels\u00ednugulum regnstakk. Katr\u00edn Inga heldur \u00e1fram a\u00f0 hoppa og fer me\u00f0 frumsaminn texta sem hlj\u00f3\u00f0nemarnir nema sitthvoru megin vi\u00f0 hana. S\u00fdnin er eins og m\u00e1lverk, \u00fear sem listama\u00f0urinn hefur hugsa\u00f0 \u00fat \u00ed myndbyggingu og litaval, nema hva\u00f0 a\u00f0 m\u00e1lverki\u00f0 er \u00e1 hreyfingu.<\/strong><\/p>\n \u00cd texta Katr\u00ednar Ingu segir:<\/strong>\u00a0\u201e\u00de\u00fa veist alveg hvernig m\u00e9r l\u00ed\u00f0ur – \u00e9g hef alveg teki\u00f0 n\u00f3gu m\u00f6rg dramak\u00f6st \u00fear sem \u00fer\u00e1hyggjan m\u00edn hefur leiki\u00f0 a\u00f0alhlutverki\u00f0 – \u00e9g er bara a\u00f0 f\u00f3kusa \u00e1 sj\u00e1lfsaga – er me\u00f0 tilfinningarnar m\u00ednar \u00ed einskonar ritsko\u00f0un – en \u00e9g sakna t\u00edma okkar saman – \u00fea\u00f0 virkar ekki a\u00f0 \u00fer\u00f6ngva n\u00e6rveru manns inn \u00ed mengi \u2013 inn \u00ed mengi \u00fear sem n\u00e6rverunni er ekki \u00f3ska\u00f0 – en \u00e9g veit ekki hvernig \u00fe\u00e9r l\u00ed\u00f0ur.\u201c[1]<\/a><\/p>\n Gj\u00f6rningar eru lifandi atbur\u00f0ur e\u00f0a upp\u00e1koma sem \u00e1 s\u00e9r sta\u00f0 \u00ed raunt\u00edma, \u00fear sem listama\u00f0ur e\u00f0a listamenn koma fram \u00ed eigin pers\u00f3nu fyrir framan \u00e1horfendur.[2]<\/a> Gj\u00f6rningurinn er millili\u00f0alaus t\u00falkunarmi\u00f0ill sem \u00fearfnast a\u00f0eins vi\u00f0veru listamannsins og \u00e1horfenda. Hann b\u00fd\u00f0ur upp \u00e1 mismunandi tj\u00e1ningara\u00f0fer\u00f0ir og \u00e1horfandinn er \u00ed beinu sambandi vi\u00f0 listamanninn \u00e1 me\u00f0an \u00e1 gj\u00f6rningi stendur.[3]<\/a> \u00c1horfandinn ver\u00f0ur \u00fear af lei\u00f0andi hluti af gj\u00f6rningnum og upplifir hann \u00e1 lifandi h\u00e1tt, ekki \u00f3svipa\u00f0 svi\u00f0slistum. Gj\u00f6rningalistama\u00f0urinn, sem er allt \u00ed senn rith\u00f6fundur, framlei\u00f0andi, leikstj\u00f3ri og leikari, er \u00fe\u00f3 fyrst og fremst myndlistarma\u00f0ur sem hefur litla e\u00f0a enga reynslu af leiklist.[4]<\/a> \u00cd gj\u00f6rningum r\u00edkir frelsi til athafna, mi\u00f0illinn er a\u00f0gengilegur \u00e1horfendum og \u00fev\u00ed hentugur til a\u00f0 koma pers\u00f3nulegum og\/e\u00f0a p\u00f3lit\u00edskum hugmyndum til skila.<\/p>\n Halld\u00f3r Bj\u00f6rn Run\u00f3lfsson listfr\u00e6\u00f0ingur hefur eftir Magn\u00fasi P\u00e1lsyni \u00ed upphafi b\u00f3karinnar Icelandic Art Today<\/em> a\u00f0 gj\u00f6rningar s\u00e9u \u201ethe craziest of all artistic activity\u201c.[5]<\/a> Ja\u00f0arform voru \u00feeir vissulega og geta a\u00f0 sj\u00e1lfs\u00f6g\u00f0u veri\u00f0 brj\u00e1l\u00e6\u00f0ir og vissulega brj\u00e1l\u00e6\u00f0islegastir af \u00f6llum listr\u00e6num ath\u00f6fnum. Gj\u00f6rningar eru \u00fe\u00f3 einn angi margbreytileika myndlista og gj\u00f6rningurinn \u00e1 r\u00e6tur a\u00f0 rekja allt aftur til \u00feess a\u00f0 f\u00fat\u00faturistar notu\u00f0u l\u00edkamstj\u00e1ninguna til a\u00f0 koma hugmyndum s\u00ednum \u00e1 framf\u00e6ri \u00ed byrjun 20. aldar.[6]<\/a> Hugmyndafr\u00e6\u00f0i Dadahreyfingarinnar \u00ed byrjun aldarinnar og s\u00ed\u00f0ar Fluxus og hugmyndalista upp \u00far 1960 \u00e1ttu sinn \u00fe\u00e1tt \u00ed a\u00f0 \u00fer\u00f3a gj\u00f6rningalistformi\u00f0. Hugmyndalistin kveikti \u00e1 sinn h\u00e1tt \u00ed gj\u00f6rningnum en inntak hugmyndalista er s\u00fa a\u00f0 hugmyndin er \u00e6\u00f0ri listaverkinu sj\u00e1lfu.[7]<\/a> Gj\u00f6rningar ur\u00f0u \u00e1 \u00fev\u00ed t\u00edmabili eins konar leikin a\u00f0ger\u00f0 \u00e1 \u00feeim hugmyndum. Gj\u00f6rningarnir g\u00e1fu hugmyndinni l\u00edf og ger\u00f0u hana raunverulega.[8]<\/a> Gj\u00f6rningar ur\u00f0u \u00fe\u00f3 fyrst til sem sj\u00e1lfst\u00e6tt myndlistarform \u00ed eiginlegri merkingu or\u00f0sins \u00e1 \u00e1ttunda \u00e1ratug s\u00ed\u00f0astu aldar.[9]<\/a><\/p>\n Gj\u00f6rningur Katr\u00ednar Ingu er dramat\u00edskur og afar pers\u00f3nulegur eins og oft \u00e1 vi\u00f0 um gj\u00f6rninga kvenna. Af textanum m\u00e1 \u00e1lykta a\u00f0 Katr\u00edn s\u00e9 a\u00f0 takast \u00e1 vi\u00f0 eigin tilfinningar eftir sambandsslit. H\u00fan leggur \u00fe\u00e6r \u00e1 bor\u00f0 fyrir almenning og berskjaldar sig. \u00dea\u00f0 er a\u00f0d\u00e1unarvert og meira en margur g\u00e6ti hugsa\u00f0 s\u00e9r. \u00derautsegja hefur einkennt Katr\u00ednu Ingu og verk hennar \u00ed gegnum \u00e1rin. H\u00fan heldur \u00f3trau\u00f0 \u00e1fram og er \u00f3hr\u00e6dd vi\u00f0 a\u00f0 reyna \u00e1 \u00feolm\u00f6rk listarinnar sem og s\u00edn eigin m\u00f6rk, l\u00edkamleg og andleg. Gj\u00f6rningurinn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum<\/em> er l\u00edkamlega og andlega erfi\u00f0ur. T\u00f3narnir \u00ed g\u00edtarnum eru \u00ed takt vi\u00f0 endurteki\u00f0 hopp listakonunnar. Gj\u00f6rningurinn dregst \u00e1 langinn og s\u00ed\u00f0ustu metrarnir eru teyg\u00f0ir eins og oft \u00e1 vi\u00f0 um samb\u00f6nd sem komin eru \u00e1 endast\u00f6\u00f0. A\u00f0 endingu sn\u00fdr h\u00fan baki \u00ed \u00e1horfendur og sl\u00e6r einn og einn t\u00f3n en er h\u00e6tt a\u00f0 tala. \u00de\u00f6gnin, hoppi\u00f0 og einstaka t\u00f3nn er \u00fea\u00f0 sem stendur eftir. Katr\u00edn n\u00e6r me\u00f0 einl\u00e6gni sinni og h\u00e6fileikum a\u00f0 fanga \u00e1horfandann \u00ed fr\u00e1b\u00e6rum og m\u00f6gnu\u00f0um gj\u00f6rningi.<\/p>\n Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir \u00fatskrifa\u00f0ist af myndlistardeild Listah\u00e1sk\u00f3la \u00cdslands \u00e1ri\u00f0 2008. \u00c1ri\u00f0 2012 \u00fatskrifa\u00f0ist h\u00fan me\u00f0 BA pr\u00f3f \u00ed listfr\u00e6\u00f0i og listas\u00f6gu fr\u00e1 H\u00e1sk\u00f3la \u00cdslands. \u00dev\u00ed n\u00e6st h\u00e9lt h\u00fan til New York og lag\u00f0i stund \u00e1 meistaran\u00e1m \u00ed myndlist vi\u00f0 School of Visual Arts og \u00fatskrif\u00f0ist \u00fea\u00f0an me\u00f0 MFA \u00e1ri\u00f0 2014.[10]<\/a> Katr\u00edn Inga hefur veri\u00f0 i\u00f0in vi\u00f0 s\u00fdningarhald s\u00ed\u00f0an h\u00fan \u00fatskrifa\u00f0ist \u00far LH\u00cd. H\u00fan \u00e1tta\u00f0i sig \u00e1 \u00fev\u00ed hva\u00f0 gj\u00f6rningaformi\u00f0 er \u00f6flugt myndlistarform \u00feegar h\u00fan stunda\u00f0i n\u00e1m \u00ed Listah\u00e1sk\u00f3la \u00cdslands og hefur veri\u00f0 i\u00f0in vi\u00f0 a\u00f0 fremja gj\u00f6rninga s\u00ed\u00f0an \u00e1samt \u00fev\u00ed a\u00f0 vinna \u00ed a\u00f0ra mi\u00f0la.<\/p>\n Gj\u00f6rningurinn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum<\/i> var fluttur \u00ed t\u00f3nlistarh\u00fasinu Mengi \u00feann 7. mars 2016.<\/span><\/p>\n \u00c1str\u00ed\u00f0ur Magn\u00fasd\u00f3ttir<\/em><\/p>\n Listfr\u00e6\u00f0ingur og myndlistarma\u00f0ur<\/em><\/p>\n [\/et_pb_text][et_pb_text admin_label=“Text“ _builder_version=“4.8.2″ background_color=“#ededed“ background_size=“initial“ background_position=“top_left“ background_repeat=“repeat“ custom_padding=“20px||20px|50px“ hover_enabled=“0″ use_border_color=“off“ border_color=“#ffffff“ border_style=“solid“ sticky_enabled=“0″]<\/p>\n [1]<\/span> Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir. Gj\u00f6rningur \u00ed Mengi. 7. mars 2016.<\/span><\/p>\n [2]<\/span> Michael Bird, 100 Ideas that changed Art<\/i>, 183.<\/span><\/p>\n [3]<\/span> Harpa \u00de\u00f3rds\u00f3ttir, \u201eGj\u00f6rningar, t\u00edmatengd verk og myndbandalist\u201c, 147.<\/span><\/p>\n [4]<\/span> Withers, \u201eFeminist Performance Art: Performing, Discovering, Transforming Ourselves\u201c, 158.<\/span><\/p>\n [5]<\/span> Magn\u00fas P\u00e1lsson \u00ed Icelandic Art Today<\/i>, 21.<\/span><\/p>\n [6]<\/span> Goldberg, Performance Art: From Futurism to the Present, 11-13<\/i>.<\/span><\/p>\n [7]<\/span> Sama, 7-8.<\/i><\/span><\/p>\n [8]<\/span> Harpa \u00de\u00f3rds\u00f3ttir, \u201eGj\u00f6rningar, t\u00edmatengd verk og myndbandalist\u201c, 145.<\/span><\/p>\n [9]<\/span> Goldberg, Performance Art: From Futurism to the Present, 7.<\/i><\/span><\/p>\n [10]<\/span> Heimas\u00ed\u00f0a Katr\u00ednar Ingu Hj\u00f6rd\u00edsard\u00f3ttur, s\u00f3tt 21. ma\u00ed 2016, http:\/\/dottir.info<\/span><\/p>\n Heimildir:<\/span><\/strong><\/p>\n Bird, Michael. 100 Ideas that changed Art<\/i>, London, Laurence King Pubishing, 2012.<\/span><\/p>\n Goldberg, Rosalee. Performance Art: From Futurism to the Present<\/i>, London: Thames \u00a0and Hudson, 2011.<\/span><\/p>\n Harpa \u00de\u00f3rsd\u00f3ttir. \u201eGj\u00f6rningar, t\u00edmatengd verk og myndbandalist\u201c, \u00cdslensk Listasaga: \u00a0fr\u00e1 s\u00ed\u00f0ari hluta 19. aldar til upphafs 21. aldar, V bindi: N\u00fdtt m\u00e1lverk, \u00a0gj\u00f6rningar og innsetningar<\/i>, 143-213, Reykjav\u00edk: Forlagi\u00f0 og Listasafn \u00a0\u00cdslands, 2011.<\/span><\/p>\n Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir. Gj\u00f6rningur \u00ed Mengi. 7. mars 2016.<\/span><\/p>\n Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir. Heimas\u00ed\u00f0a<\/i>. http:\/\/dottir.info S\u00f3tt 21. ma\u00ed 2016.<\/span><\/p>\n Withers, Josephine. \u201eFeminist Performance Art: Performing, Discovering, Transforming Ourselves\u201c, The Power of Feminist Art<\/i>, Norma Broude og Mary \u00a0D. Garrard ritstj., 158-173, New York: Harry N. Abrams, 1994.<\/span><\/p>\n Halld\u00f3r Bj\u00f6rn Run\u00f3lfsson. \u201eTimes of Continuous Transition: Icelandic Art from the \u00a01960s to Today\u201c, Icelandic Art Today<\/i>, Christian Schoen og Halld\u00f3r Bj\u00f6rn Run\u00f3lfsson ritstj., 10-27, Ostfildern: Hatje Cantz, 2009.<\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" Mengi \u00e1 m\u00e1nudagskv\u00f6ldi. Tilefni\u00f0 eru gj\u00f6rningar. Listakonan Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir er s\u00ed\u00f0ust \u00e1 svi\u00f0 til a\u00f0 fremja gj\u00f6rninginn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum \u00ed samstarfi vi\u00f0 Futuregrapher. Hlj\u00f3mflutningsgr\u00e6jum hefur veri\u00f0 komi\u00f0 fyrir \u00e1 eikarskenk aftast \u00ed hv\u00edtu s\u00fdningarr\u00fdminu. Fyrir mi\u00f0ju g\u00f3lfsins stendur l\u00edti\u00f0 tramp\u00f3l\u00edn og b\u00fai\u00f0 er a\u00f0 ra\u00f0a t\u00f3lf eggjum \u00e1 bl\u00e1tt efni\u00f0 \u00ed […]<\/p>\n","protected":false},"author":14,"featured_media":1867,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" Mengi \u00e1 m\u00e1nudagskv\u00f6ldi. Tilefni\u00f0 eru gj\u00f6rningar. Listakonan Katr\u00edn Inga Hj\u00f6rd\u00edsard\u00f3ttir er s\u00ed\u00f0ust \u00e1 svi\u00f0 til a\u00f0 fremja gj\u00f6rninginn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum<\/em> \u00ed samstarfi vi\u00f0 Futuregrapher. Hlj\u00f3mflutningsgr\u00e6jum hefur veri\u00f0 komi\u00f0 fyrir \u00e1 eikarskenk aftast \u00ed hv\u00edtu s\u00fdningarr\u00fdminu. Fyrir mi\u00f0ju g\u00f3lfsins stendur l\u00edti\u00f0 tramp\u00f3l\u00edn og b\u00fai\u00f0 er a\u00f0 ra\u00f0a t\u00f3lf eggjum \u00e1 bl\u00e1tt efni\u00f0 \u00ed mi\u00f0ju \u00feess. Tveir hlj\u00f3\u00f0nemar standa sitthvoru megin vi\u00f0 tramp\u00f3l\u00edni\u00f0 og tveir st\u00f3rir svartir h\u00e1talarar standa \u00ed s\u00ednu hvoru horninu fyrir aftan. Katr\u00edn Inga gengur \u00ed salinn me\u00f0 l\u00edtinn rafmagnsg\u00edtar, gulan a\u00f0 lit. H\u00fan er kl\u00e6dd \u00ed bl\u00e1an hl\u00fdrabol og svartar bl\u00fandun\u00e6rbuxur og fyrir andliti hennar er hv\u00edt gr\u00edma. H\u00fan byrjar a\u00f0 hoppa \u00e1 tramp\u00f3l\u00edninu og \u00feenur g\u00edtarinn. Eggin taka a\u00f0 brotna eitt af \u00f6\u00f0ru og innihald \u00feeirra rennur \u00ed gegnum bl\u00e1an d\u00fakinn undir f\u00f3tum Katr\u00ednar og ni\u00f0ur \u00e1 g\u00f3lfi\u00f0. Futuregrapher stj\u00f3rnar gr\u00e6junum \u00e1 skenknum \u00ed bakrunni, kl\u00e6ddur appels\u00ednugulum regnstakk. Katr\u00edn Inga heldur \u00e1fram a\u00f0 hoppa og fer me\u00f0 frumsaminn texta sem hlj\u00f3\u00f0nemarnir nema sitthvoru megin vi\u00f0 hana. S\u00fdnin er eins og m\u00e1lverk, \u00fear sem listama\u00f0urinn hefur hugsa\u00f0 \u00fat \u00ed myndbyggingu og litaval, nema hva\u00f0 a\u00f0 m\u00e1lverki\u00f0 er \u00e1 hreyfingu.<\/p> \u00cd texta Katr\u00ednar Ingu segir:<\/strong>\u00a0\u201e\u00de\u00fa veist alveg hvernig m\u00e9r l\u00ed\u00f0ur - \u00e9g hef alveg teki\u00f0 n\u00f3gu m\u00f6rg dramak\u00f6st \u00fear sem \u00fer\u00e1hyggjan m\u00edn hefur leiki\u00f0 a\u00f0alhlutverki\u00f0 - \u00e9g er bara a\u00f0 f\u00f3kusa \u00e1 sj\u00e1lfsaga - er me\u00f0 tilfinningarnar m\u00ednar \u00ed einskonar ritsko\u00f0un - en \u00e9g sakna t\u00edma okkar saman - \u00fea\u00f0 virkar ekki a\u00f0 \u00fer\u00f6ngva n\u00e6rveru manns inn \u00ed mengi \u2013 inn \u00ed mengi \u00fear sem n\u00e6rverunni er ekki \u00f3ska\u00f0 - en \u00e9g veit ekki hvernig \u00fe\u00e9r l\u00ed\u00f0ur.\u201c[1]<\/a><\/em><\/p> Gj\u00f6rningar eru lifandi atbur\u00f0ur e\u00f0a upp\u00e1koma sem \u00e1 s\u00e9r sta\u00f0 \u00ed raunt\u00edma, \u00fear sem listama\u00f0ur e\u00f0a listamenn koma fram \u00ed eigin pers\u00f3nu fyrir framan \u00e1horfendur.[2]<\/a> Gj\u00f6rningurinn er millili\u00f0alaus t\u00falkunarmi\u00f0ill sem \u00fearfnast a\u00f0eins vi\u00f0veru listamannsins og \u00e1horfenda. Hann b\u00fd\u00f0ur upp \u00e1 mismunandi tj\u00e1ningara\u00f0fer\u00f0ir og \u00e1horfandinn er \u00ed beinu sambandi vi\u00f0 listamanninn \u00e1 me\u00f0an \u00e1 gj\u00f6rningi stendur.[3]<\/a> \u00c1horfandinn ver\u00f0ur \u00fear af lei\u00f0andi hluti af gj\u00f6rningnum og upplifir hann \u00e1 lifandi h\u00e1tt, ekki \u00f3svipa\u00f0 svi\u00f0slistum. Gj\u00f6rningalistama\u00f0urinn, sem er allt \u00ed senn rith\u00f6fundur, framlei\u00f0andi, leikstj\u00f3ri og leikari, er \u00fe\u00f3 fyrst og fremst myndlistarma\u00f0ur sem hefur litla e\u00f0a enga reynslu af leiklist.[4]<\/a> \u00cd gj\u00f6rningum r\u00edkir frelsi til athafna, mi\u00f0illinn er a\u00f0gengilegur \u00e1horfendum og \u00fev\u00ed hentugur til a\u00f0 koma pers\u00f3nulegum og\/e\u00f0a p\u00f3lit\u00edskum hugmyndum til skila.<\/p> Halld\u00f3r Bj\u00f6rn Run\u00f3lfsson listfr\u00e6\u00f0ingur hefur eftir Magn\u00fasi P\u00e1lsyni \u00ed upphafi b\u00f3karinnar Icelandic Art Today<\/em> a\u00f0 gj\u00f6rningar s\u00e9u \u201ethe craziest of all artistic activity\u201c.[5]<\/a> Ja\u00f0arform voru \u00feeir vissulega og geta a\u00f0 sj\u00e1lfs\u00f6g\u00f0u veri\u00f0 brj\u00e1l\u00e6\u00f0ir og vissulega brj\u00e1l\u00e6\u00f0islegastir af \u00f6llum listr\u00e6num ath\u00f6fnum. Gj\u00f6rningar eru \u00fe\u00f3 einn angi margbreytileika myndlista og gj\u00f6rningurinn \u00e1 r\u00e6tur a\u00f0 rekja allt aftur til \u00feess a\u00f0 f\u00fat\u00faturistar notu\u00f0u l\u00edkamstj\u00e1ninguna til a\u00f0 koma hugmyndum s\u00ednum \u00e1 framf\u00e6ri \u00ed byrjun 20. aldar.[6]<\/a> Hugmyndafr\u00e6\u00f0i Dadahreyfingarinnar \u00ed byrjun aldarinnar og s\u00ed\u00f0ar Fluxus og hugmyndalista upp \u00far 1960 \u00e1ttu sinn \u00fe\u00e1tt \u00ed a\u00f0 \u00fer\u00f3a gj\u00f6rningalistformi\u00f0. Hugmyndalistin kveikti \u00e1 sinn h\u00e1tt \u00ed gj\u00f6rningnum en inntak hugmyndalista er s\u00fa a\u00f0 hugmyndin er \u00e6\u00f0ri listaverkinu sj\u00e1lfu.[7]<\/a> Gj\u00f6rningar ur\u00f0u \u00e1 \u00fev\u00ed t\u00edmabili eins konar leikin a\u00f0ger\u00f0 \u00e1 \u00feeim hugmyndum. Gj\u00f6rningarnir g\u00e1fu hugmyndinni l\u00edf og ger\u00f0u hana raunverulega.[8]<\/a> Gj\u00f6rningar ur\u00f0u \u00fe\u00f3 fyrst til sem sj\u00e1lfst\u00e6tt myndlistarform \u00ed eiginlegri merkingu or\u00f0sins \u00e1 \u00e1ttunda \u00e1ratug s\u00ed\u00f0astu aldar.[9]<\/a><\/p> Gj\u00f6rningur Katr\u00ednar Ingu er dramat\u00edskur og afar pers\u00f3nulegur eins og oft \u00e1 vi\u00f0 um gj\u00f6rninga kvenna. Af textanum m\u00e1 \u00e1lykta a\u00f0 Katr\u00edn s\u00e9 a\u00f0 takast \u00e1 vi\u00f0 eigin tilfinningar eftir sambandsslit. H\u00fan leggur \u00fe\u00e6r \u00e1 bor\u00f0 fyrir almenning og berskjaldar sig. \u00dea\u00f0 er a\u00f0d\u00e1unarvert og meira en margur g\u00e6ti hugsa\u00f0 s\u00e9r. \u00derautsegja hefur einkennt Katr\u00ednu Ingu og verk hennar \u00ed gegnum \u00e1rin. H\u00fan heldur \u00f3trau\u00f0 \u00e1fram og er \u00f3hr\u00e6dd vi\u00f0 a\u00f0 reyna \u00e1 \u00feolm\u00f6rk listarinnar sem og s\u00edn eigin m\u00f6rk, l\u00edkamleg og andleg. Gj\u00f6rningurinn H\u00d6FNUN \u2013 Ofar mannlegum hv\u00f6tum<\/em> er l\u00edkamlega og andlega erfi\u00f0ur. T\u00f3narnir \u00ed g\u00edtarnum eru \u00ed takt vi\u00f0 endurteki\u00f0 hopp listakonunnar. Gj\u00f6rningurinn dregst \u00e1 langinn og s\u00ed\u00f0ustu metrarnir eru teyg\u00f0ir eins og oft \u00e1 vi\u00f0 um samb\u00f6nd sem komin eru \u00e1 endast\u00f6\u00f0. A\u00f0 endingu sn\u00fdr h\u00fan baki \u00ed \u00e1horfendur og sl\u00e6r einn og einn t\u00f3n en er h\u00e6tt a\u00f0 tala. \u00de\u00f6gnin, hoppi\u00f0 og einstaka t\u00f3nn er \u00fea\u00f0 sem stendur eftir. Katr\u00edn n\u00e6r me\u00f0 einl\u00e6gni sinni og h\u00e6fileikum a\u00f0 fanga \u00e1horfandann \u00ed fr\u00e1b\u00e6rum og m\u00f6gnu\u00f0um gj\u00f6rningi.<\/p>