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\u00c1 d\u00f6gunum rakst \u00e9g fyrir tilviljun \u00e1 vi\u00f0tal sem Morgunbla\u00f0i\u00f0 t\u00f3k vi\u00f0 mig fyrir r\u00famum 20 \u00e1rum (birt 16. apr\u00edl 1994). \u00c9g var \u00fe\u00e1 me\u00f0 st\u00f3ra einkas\u00fdningu \u00ed s\u00f6lum Hafnarborgar \u00ed heimab\u00e6 m\u00ednum Hafnarfir\u00f0i. \u00c9g r\u00e6\u00f0st \u00fearna me\u00f0 l\u00e1tum \u00e1 \u00fe\u00e1 r\u00f3tt\u00e6ku theor\u00edu sem framar \u00f6llu \u00f6\u00f0ru einkenndi veraldars\u00fdn myndlistarmanna \u00e1 20. \u00f6ldinni og gekk m.a.undir nafninu Tilraunin (The Experiment), en h\u00fan lag\u00f0ist til atl\u00f6gu vi\u00f0 mi\u00f0st\u00f6\u00f0 myndlistarinnar og snerist \u00a0me\u00f0 vitsmunalegum r\u00f6kum gegn hef\u00f0bundinni skynr\u00e6nni eftirtekt og fagurfr\u00e6\u00f0i. <\/strong><\/p>\n Hugmyndin var \u00f6\u00f0ru fremur s\u00fa a\u00f0 myndlistin \u00e6tti a\u00f0 yfirgefa listas\u00f6fnin og ver\u00f0a hluti af hinu daglega l\u00edfi. \u00cd vi\u00f0talinu tek \u00e9g sk\u00fdrt fram a\u00f0 \u00e9g s\u00e9 LISTm\u00e1lari og a\u00f0 g\u00e1fur, \u00feekking sem og snjallar hugmyndir hafi ekkert me\u00f0 myndlist a\u00f0 gera, ekki frekar en heimspeki og lestur b\u00f3ka. Hef\u00f0in er \u00fea\u00f0 sem gildir og listin er fyrst og fremst galdur (!). <\/span><\/p>\n \u00dea\u00f0 m\u00e1 vera a\u00f0 margir hafi hrist h\u00f6fu\u00f0i\u00f0 og \u00e1tt erfitt me\u00f0 a\u00f0 skilja a\u00f0 \u00e9g skyldi l\u00e1ta sl\u00edkar fullyr\u00f0ingar fr\u00e1 m\u00e9r fara og fundist a\u00f0 me\u00f0 \u00feessu m\u00f3ti v\u00e6ri \u00e9g a\u00f0 setja spurningarmerki vi\u00f0 vanda\u00f0ar hugmyndir og verk margra kollega minna \u00e1 \u00cdslandi sem og fj\u00f6lda al\u00fej\u00f3\u00f0legra myndlistarmanna samt\u00ed\u00f0arinnar. S\u00fa var aldrei raunin og vi\u00f0 n\u00e1nari sko\u00f0un er \u00fea\u00f0 reyndar \u00feannig, a\u00f0 \u00feessi \u201eframkoma\u201c er alls ekki svo \u00f3venjuleg og \u00e6tla m\u00e6tti \u00ed fyrstu. \u00dev\u00ed ef betur er a\u00f0 g\u00e1\u00f0 er h\u00e9r \u00ed grundvallaratri\u00f0um um \u00a0a\u00f0 r\u00e6\u00f0a heg\u00f0unara\u00f0fer\u00f0 sem \u00e1 r\u00e6tur s\u00ednar a\u00f0 rekja til hugsunarh\u00e1ttar hi\u00f0s svokalla\u00f0a \u201er\u00f3mant\u00edska t\u00edmabils\u201c og er \u00ed hnotskurn s\u00fa sama og r\u00f3tt\u00e6kir listamenn notu\u00f0u \u00e1 upphafs\u00e1rum Tilraunarinnar. <\/span><\/p>\n Ma\u00f0ur vinnur me\u00f0 tab\u00fai\u00f0. Segir allt sem m\u00e1 ekki segja, \u00ed \u00feeim tilgangi a\u00f0 koma (\u00ed fyrstu \u00f3sk\u00fdrum) n\u00fdjum vi\u00f0horfum og hugsanagangi \u00ed lofti\u00f0. \u00ddkir svo um munar me\u00f0 \u00f6fgafullum yfirl\u00fdsingum. Flokkar allt \u00ed svart og hv\u00edtt. Sn\u00fdr \u00f6lllu \u00e1 hvolf. \u00dea\u00f0 sem virkilega fyrir m\u00e9r vakti, var a\u00f0 vekja athygli \u00e1 \u00fev\u00ed a\u00f0 sitthva\u00f0 er var\u00f0ar hugarfari\u00f0 og theor\u00eduna \u00ed myndlistinni v\u00e6ri a\u00f0 breytast. A\u00f0 ef sko\u00f0a\u00f0 er listaverk, s\u00e9 t.d. or\u00f0i\u00f0 nau\u00f0synlegt a\u00f0 leggja aftur meiri \u00e1herslu \u00e1 hina sj\u00f3nr\u00e6nu eftirtekt, \u00ed sta\u00f0 \u00feess a\u00f0 einbl\u00edna svo til eing\u00f6ngu \u00e1 \u00fea\u00f0 vitsmunalega. \u00dea\u00f0 var vissulega aldrei \u00e6tlun m\u00edn a\u00f0 afneita tilvistarr\u00e9tti Tilraunarinnar, sem v\u00e6ri fjarst\u00e6\u00f0ukennt, en einmitt margt sem einkennir \u00feessa \u00e1berandi tv\u00edhyggjulegu myndlistarkenningu er d\u00e6migert fyrir heg\u00f0unarmunstur og hugsunarh\u00e1tt N\u00fat\u00edmalistarinnar (Modern Art). Tilefni \u00feessa uppistands m\u00edns var og er fyrst og fremst s\u00fa sta\u00f0reynd, a\u00f0 bili\u00f0 milli manns og n\u00e1tt\u00faru er alltaf a\u00f0 st\u00e6kka, sem veldur \u00fev\u00ed a\u00f0 skilin milli hugar og n\u00e1tt\u00farulegs l\u00edkama okkar ver\u00f0a me\u00f0 hverjum deginum skarpari. Vi\u00f0 upplifum \u00feetta \u00e1 mismunandi h\u00e1tt. T.d. me\u00f0 \u00fev\u00ed a\u00f0 hugsa um l\u00edkamann l\u00edkt og um v\u00e6ri a\u00f0 r\u00e6\u00f0a v\u00e9l, sem h\u00e6gt er a\u00f0 gera vi\u00f0 og skipta um varahluti, ef eitthva\u00f0 bilar. Aflei\u00f0ingarnar eru \u00fe\u00e6r, a\u00f0 s\u00fa \u00a0n\u00e1tt\u00fara, sem vi\u00f0 \u00ed rauninni erum, \u00fe.e.a.s. l\u00edkaminn, er or\u00f0in sj\u00e1lfsvitund okkar allt a\u00f0 \u00fev\u00ed framandi. Svipa\u00f0 er a\u00f0 segja um ytri n\u00e1tt\u00faruna, umhverfi okkar. Mengun \u00ed lofti sem vatni, loftslagsbreytingarnar og r\u00f6skun \u00e1 jafnv\u00e6gi vistkerfa munu hafa \u00f3fyrirsj\u00e1anlegar aflei\u00f0ingar fyrir allt l\u00edf h\u00e9r \u00e1 j\u00f6r\u00f0inni. \u00dear sem yfirgn\u00e6fandi D\u00faalismi og hlutr\u00e6n veruleikas\u00fdn Klass\u00edsku n\u00e1tt\u00faruv\u00edsindanna, bera framar \u00f6\u00f0ru \u00e1byrg\u00f0 \u00e1 \u00feessu brig\u00f0ula \u00e1standi, liggur \u00ed augum uppi a\u00f0 nau\u00f0synlegt er or\u00f0i\u00f0 a\u00f0 manneskjan leggji sig \u00ed auknum m\u00e6li fram um a\u00f0 lifa \u00ed samlyndi vi\u00f0 n\u00e1tt\u00faruna.<\/span><\/p>\n \u00a0\u00a0Um aldam\u00f3tin 1800 eru \u00fea\u00f0 \u00a0r\u00f3mant\u00edsk vi\u00f0horf, sem vildu stu\u00f0la a\u00f0 meiri sameiningu milli manns og n\u00e1tt\u00faru. Og studdu \u00fe\u00e1 sko\u00f0un a\u00f0 raunh\u00e6ft v\u00e6ri a\u00f0 sko\u00f0a fyrirbrig\u00f0i veraldarinnar sem heild og a\u00f0 minna m\u00e1li skipti, \u00fea\u00f0 sem Klass\u00edsku n\u00e1tt\u00faruv\u00edsindin ger\u00f0u, a\u00f0 vera st\u00f6\u00f0ugt a\u00f0 velta v\u00f6ngum yfir einingunum er halda \u00feeim saman. Auk \u00feess \u00e6tti a\u00f0 me\u00f0taka veruleikann skynr\u00e6nt (subjective) og millili\u00f0alaust fr\u00e1 n\u00e1tt\u00farunni sj\u00e1lfri, \u00ed sta\u00f0 \u00feess a\u00f0 vi\u00f0 s\u00e9um \u00a0hlutr\u00e6nt (objective) a\u00f0 fastsetja hva\u00f0 n\u00e1tt\u00faran \u00ed e\u00f0li s\u00ednu er og hvernig beri a\u00f0 umgangast hana. \u00dea\u00f0 er \u00fev\u00ed ekki \u00f3vitlaust a\u00f0 \u00e6tla a\u00f0 vi\u00f0 g\u00e6tum n\u00fa \u00ed dag haft m\u00f6gulegan \u00e1vinning af \u00fev\u00ed a\u00f0 sj\u00e1 hlutina fr\u00e1 hinu lj\u00f3\u00f0r\u00e6na sj\u00f3narhorni R\u00f3mant\u00edkarinnar. Og ekki bara \u00fea\u00f0, \u00fev\u00ed anna\u00f0 engu a\u00f0 s\u00ed\u00f0ur \u00e1hugavert er, a\u00f0 \u00fer\u00e1tt fyrir umhverfisv\u00e6n og algild n\u00e1tt\u00farutengsl, eru \u00fea\u00f0 ekki s\u00edst m\u00f3tsagnir, \u00f3st\u00f6\u00f0uleiki, \u00edr\u00f3n\u00eda, uppreisnarandi, a\u00f0 \u00f3gleymdri \u00f3st\u00f6\u00f0vandi \u00fer\u00e1 um a\u00f0 eitthva\u00f0 ver\u00f0i \u00a0a\u00f0 breytast, sem allra best endurspegla \u00edmynd r\u00f3mant\u00edskrar afst\u00f6\u00f0u. <\/span><\/p>\n \u00dear af lei\u00f0andi er mikilv\u00e6gt a\u00f0 minnast \u00feess a\u00f0 \u00e1n \u00feessa hugar\u00e1stands, sem allsherjandi var \u00ed upphafi 19. aldar; og \u00fe\u00e1 reyndar sama hvort var \u00ed myndlistinni, b\u00f3kmenntunum, n\u00e1tt\u00faruv\u00edsindunum e\u00f0a t\u00f3nlistinni, hef\u00f0um vi\u00f0, \u00feegar fram li\u00f0u stundir, aldrei fengi\u00f0 a\u00f0 upplifa listastefnur og listamenn \u00e1 bor\u00f0 vi\u00f0 Dada, Marcel Duchamp, S\u00farrealismann, Actionlistina, Joseph Beuys, Popplistina og Jeff Koons, svo eitthva\u00f0 s\u00e9 nefnt. \u00a0Frj\u00e1ls listsk\u00f6pun, sj\u00e1lfstj\u00f3rn (autonomy), pers\u00f3nuleg tj\u00e1ning og \u00fea\u00f0 a\u00f0 hunsa allar fastar reglur er var\u00f0a sk\u00f6pun myndverka, sem og s\u00fa m\u00f3dern\u00edska tilhneiging a\u00f0 hafa \u00fe\u00f6rf fyrir a\u00f0 r\u00e6\u00f0a um innihald listaverka, er r\u00f3mant\u00edskur hugsunarh\u00e1ttur.<\/span><\/p>\n Hlutverk R\u00f3mant\u00edkarinnar er og var alltaf \u00fea\u00f0 sama. A\u00f0 stokka spilin og gefa upp \u00e1 n\u00fdtt.<\/span><\/p>\n \u00c1 upphafs\u00e1rum s\u00ed\u00f0ustu aldar, \u00feegar franski avantgardelistama\u00f0urinn Marcel Duchamp l\u00e9t \u00feau afdrifamiklu or\u00f0 falla \u201eit has to change\u201c , \u00fe\u00e1 \u00e1tti hann a\u00f0allega vi\u00f0 \u00fea\u00f0 a\u00f0 myndlistin \u00e6tti a\u00f0 vera meira \u00fea\u00f0 sem vi\u00f0 hugsum og minna \u00fea\u00f0 sem vi\u00f0 sj\u00e1um. Hann vildi a\u00f0 myndlistin hef\u00f0i meira me\u00f0 hugviti\u00f0 a\u00f0 gera en skynf\u00e6rin. \u00dearna t\u00f6ldu margir a\u00f0 v\u00e6ri komi\u00f0 a\u00f0 upphafi \u00a0\u00feess sem \u00fe\u00fdski heimspekingurinn Hegel sp\u00e1\u00f0i a\u00f0 myndi gerast og kalla\u00f0i \u201eendalok myndlistarinnar\u201c. \u00cd rauninni var \u00fe\u00f3 fremur um a\u00f0 r\u00e6\u00f0a tilraun, er s\u00f3ttist vi\u00f0 a\u00f0 lyfta hinu eiginlega formi og innihaldi myndlistarhugtaksins upp \u00e1 \u201eh\u00e6rra\u201c plan, \u00fear sem hugurinn og or\u00f0in r\u00e1\u00f0a r\u00edkjum. Einskonar or\u00f0bundin, hlutr\u00e6n \u00fatv\u00edkkun \u00e1 hugtakinu \u00e1tti me\u00f0 \u00feessu m\u00f3ti a\u00f0 eiga s\u00e9r sta\u00f0. \u00deetta var n\u00e1tt\u00farulega st\u00f3rkostleg hugmynd, \u00fe\u00f3 svo h\u00fan v\u00e6ri samt\u00edmis alvarleg \u00a0\u00e1r\u00e1s \u00e1 mi\u00f0st\u00f6\u00f0 myndlistarinnar. En \u00fea\u00f0 var n\u00e1tt\u00farulega \u00fea\u00f0 sem Duchamp vildi. <\/span><\/p>\n Tilraunin hefur haft g\u00edfurleg \u00e1hrif \u00e1 fram\u00fer\u00f3unina og valdi\u00f0 straumhv\u00f6rfum hva\u00f0 skilning okkar \u00e1 myndlist var\u00f0ar. \u00der\u00e1tt fyrir \u00f6rv\u00e6ntingu og \u00f3tta margra um a\u00f0 \u00feessi a\u00f0ger\u00f0 myndi virkilega r\u00e1\u00f0a myndlistina af d\u00f6gum, er \u00feegar upp er sta\u00f0i\u00f0 ekkert nema gott um hana a\u00f0 segja. \u00cd dag er h\u00e6gt a\u00f0 n\u00e1lgast myndlist \u00e1 svo marga og mismunandi vegu. H\u00fan \u00fearf ekki endilega a\u00f0 vera myndr\u00e6n heild; h\u00fan getur l\u00edka veri\u00f0 ringulrei\u00f0,ferli e\u00f0a konsept. Og h\u00fan er ekki eing\u00f6ngu m\u00e1lverk, teikning, lj\u00f3smynd e\u00f0a h\u00f6ggmynd, heldur getur a\u00f0 sama skapi veri\u00f0 l\u00edfsform e\u00f0a kreat\u00edvur leikur, \u00fear sem \u00a0\u00e1horfendur ver\u00f0a \u00fe\u00e1tttakendur \u00ed sk\u00f6pun verksins. H\u00fan getur veri\u00f0 innsetning, v\u00edde\u00f3, sameining hlj\u00f3\u00f0s, forms, r\u00fdmis og t\u00edma e\u00f0a bara hversdagsleg, m\u00e1lefnaleg, v\u00edsindaleg, kappr\u00e6\u00f0ur, sj\u00e1lfssko\u00f0un, ranns\u00f3kn, l\u00edffr\u00e6\u00f0ilegt breytingarferli, heimspekilegur pr\u00f3satexti, sj\u00e1lfbirgingsleg \u00edr\u00f3n\u00eda, action, workshop, performance, happening, l\u00e6kningarme\u00f0fer\u00f0 og margt, margt fleira.<\/span><\/p>\n N\u00fa \u00e1 \u00e1tj\u00e1nda \u00e1ri tuttugustuogfyrstu aldarinnar hefur Tilraunin sta\u00f0i\u00f0 yfir \u00ed ein hundra\u00f0 \u00e1r. \u00c1 \u00feessum t\u00edma hefur h\u00fan n\u00e1\u00f0 a\u00f0 brj\u00f3ta svo til allar fagurfr\u00e6\u00f0ireglur klass\u00edska myndlistarhugtaksins sem og a\u00f0rar \u00f3\u00e6skilegar skynr\u00e6nar hindranir er st\u00f3\u00f0u \u00ed vegi fyrir henni. \u00a0Og undir nafninu \u201eArt in Public Space\u201c er myndlistin allavega a\u00f0 hluta til komin \u00fat fyrir veggi safnanna; auk \u00feess sem h\u00fan tengist n\u00fana meira en \u00e1\u00f0ur ger\u00f0ist daglegu l\u00edfi f\u00f3lks. \u00deannig \u00e1 liti\u00f0 er \u00fea\u00f0 sko\u00f0un margra a\u00f0 b\u00fai\u00f0 s\u00e9 a\u00f0 sefa brimi\u00f0 og sl\u00e9tta \u00f6ldurnar; a\u00f0 Tilraunin s\u00e9 or\u00f0in a\u00f0 \u201ehef\u00f0\u201c og \u00fear me\u00f0 b\u00fain a\u00f0 lj\u00faka s\u00ednu hlutverki. Reynist \u00feetta vera r\u00e9tt, st\u00f6ndum vi\u00f0 n\u00fana \u00e1 t\u00edmam\u00f3tum. \u00dea\u00f0 \u00fe\u00fd\u00f0ir \u00fe\u00f3 enganvegin a\u00f0 Tilraunin sem sl\u00edk haldi ekki \u00e1fram a\u00f0 vera til. Sj\u00e1lfsafneitunin sem og allar \u00fe\u00e6r frj\u00f3u hugmyndir, vi\u00f0horf, sko\u00f0anir og a\u00f0fer\u00f0ir sem \u00feessi n\u00fdst\u00e1rlega theor\u00eda hefur geti\u00f0 af s\u00e9r, munu lifa \u00f3hindra\u00f0ar \u00e1fram \u00ed me\u00f0vitund listamannanna; hafa \u00e1hrif \u00e1 hugsanir \u00feeirra og \u00a0verkin sem \u00feeir skapa. \u00de.a.l. er ekkert sem t\u00fdnist e\u00f0a glatast. Auk \u00feess sn\u00fdst \u00feetta ekki um \u00fea\u00f0, hva\u00f0 s\u00e9 r\u00e9tt og hva\u00f0 s\u00e9 rangt. \u00c1 \u00e1kve\u00f0num sta\u00f0 og t\u00edma er \u00fea\u00f0 sem gerist og ver\u00f0ur a\u00f0 veruleika, bundi\u00f0 s\u00e9rstakri nau\u00f0syn. \u00deannig s\u00e9\u00f0 m\u00e1 segja a\u00f0 \u00fe\u00e6r breytingar er eiga s\u00e9r sta\u00f0 hverju sinni, liggji \u00ed loftinu, gerist a\u00f0 sj\u00e1lfu s\u00e9r.<\/span><\/p>\n \u00dea\u00f0 hefur ekki fari\u00f0 fram hj\u00e1 neinum sem fylgjast me\u00f0 \u00ed myndlistinni a\u00f0 n\u00fa er \u00fea\u00f0 allra svalasta \u00ed bransanum a\u00f0 listamenn fari \u00ed f\u00f6t framkv\u00e6mdarstj\u00f3rans, stofni fyrirt\u00e6ki og l\u00e1ti allt upp \u00ed hundra\u00f0 manns vinna fyrir sig. Og eins og g\u00f3\u00f0u fyrirt\u00e6ki s\u00e6mir, taka \u00feeir a\u00f0 s\u00e9r verkefni fyrir \u00e1kve\u00f0na a\u00f0ila og eru \u00fe.a.l. byrja\u00f0ir a\u00f0 vinna eftir p\u00f6ntun. Flestir \u00feessara listamanna eru sannir og g\u00f3\u00f0ir fulltr\u00faar N\u00fat\u00edmalistarinnar, en \u00fea\u00f0 breytir \u00fev\u00ed ekki a\u00f0 \u00feessi framkoma gagnvart mi\u00f0linum er umhugsunarver\u00f0, \u00fear e\u00f0 h\u00fan minnir \u00a0\u00e1 efnahagsleg vi\u00f0horf og vinnubr\u00f6g\u00f0 \u00feeirra t\u00edma er voru og h\u00e9tu \u00e1\u00f0ur en n\u00fat\u00edmalistin kom til s\u00f6gunar, en \u00e1hrif k\u00fannans \u00e1 \u00feau listaverk sem \u00fearna ver\u00f0a til, eru st\u00f6\u00f0ugt a\u00f0 aukast. Einmitt \u00feetta atri\u00f0i og s\u00fa h\u00e6tta a\u00f0 fari\u00f0 ver\u00f0i \u00ed auknum m\u00e6li a\u00f0 vinna listaverk, l\u00edkt og si\u00f0ur var \u00e1 t\u00edmum Klassizismanns, \u00ed \u00e1kve\u00f0num st\u00edl og eftir f\u00f6stum reglum, g\u00e6ti me\u00f0 t\u00edmanum \u00f3gna\u00f0 hinu d\u00fdrm\u00e6ta sj\u00e1lfst\u00e6\u00f0i samt\u00edmalistamannsins. <\/span><\/p>\n A\u00f0aleinkenni N\u00fat\u00edmalistarinnar er frelsi\u00f0, frelsi listamannsins a\u00f0 \u00e1kve\u00f0a sj\u00e1lfur hva\u00f0 hann gerir, \u00e1n tillits til marka\u00f0sl\u00f6gm\u00e1la; og \u00a0sj\u00e1lfstj\u00e1ningin, sem krefst \u00feess a\u00f0 listama\u00f0urinn vinni, leiki, og\/e\u00f0a flytji verki\u00f0 sj\u00e1lfur. Au\u00f0vita\u00f0 er ekkert \u00fat \u00e1 \u00fea\u00f0 a\u00f0 setja a\u00f0 menn l\u00e1ti hinn verklega \u00fe\u00e1tt hugverka sinna \u00ed hendur annara. N\u00fat\u00edmalistin er og var alltaf sambland af hugmyndum og a\u00f0fer\u00f0um Klassizismanns og R\u00f3mant\u00edkarinnar. \u201eWhite Cube\u201c og hi\u00f0 hreina form Konstr\u00fakt\u00edvismanns og M\u00ednimalismanns eru t.d. d\u00e6miger\u00f0 fyrir klassizist\u00edska erf\u00f0; sem og rauns\u00e6r m\u00e1lunarst\u00edll S\u00farealismanns. H\u00e9r er eing\u00f6ngu veri\u00f0 a\u00f0 minna \u00e1 mikilv\u00e6gi sj\u00e1lfstj\u00f3rnarinnar og sj\u00e1lfstj\u00e1ningarinnar, sem eru svo einkennandi fyrir N\u00fat\u00edmalistina og mega \u00fe.a.l. ekki t\u00fdnast; ekki frekar en viljinn til a\u00f0 \u00f6gra og gera tilraunir. \u00c1n tilvistar \u00feessara \u00fe\u00e1tta er \u00f3hugsandi a\u00f0 Avantgarde-hreyfingin hef\u00f0i or\u00f0i\u00f0 a\u00f0 veruleika. Og \u00e1n hennar hef\u00f0i N\u00fat\u00edmalistin ekki geta\u00f0 brotist \u00fat \u00ed fullum bl\u00f3ma. Me\u00f0vitu\u00f0 um \u00feetta \u00e6ttum vi\u00f0 \u00ed \u00fea\u00f0 minnsta a\u00f0 vera \u00e1 var\u00f0bergi gagnvart allri upphafningu og d\u00e1s\u00f6mun ant\u00edm\u00f3dern\u00edskra vi\u00f0horfa og vinnubrag\u00f0a. <\/span><\/p>\n \u00dea\u00f0 er engin tilviljun a\u00f0 \u00e1 \u00f3vissut\u00edmum l\u00edkum \u00feeim er \u00e1ttu s\u00e9r sta\u00f0 \u00ed upphafi i\u00f0nv\u00e6\u00f0ingarinnar og \u00feeirra sem digitalv\u00e6\u00f0ing samt\u00edmans hefur leist \u00far l\u00e6\u00f0ingi, aukist \u00e1hrif r\u00f3mant\u00edskrar heg\u00f0unar og hugsunar til muna. \u00a0\u00c1st\u00e6\u00f0an er fyrst og fremst s\u00fa a\u00f0 r\u00f3mant\u00edska d\u00edalekt\u00edkin getur virka\u00f0 sem mi\u00f0ill e\u00f0a dipl\u00f3mat milli andst\u00e6\u00f0nanna og vinnur st\u00f6\u00f0ugt a\u00f0 \u00fev\u00ed a\u00f0 sameina e\u00f0a leysa upp m\u00f3tsagnirnar. R\u00f3mant\u00edkin er nefnilega enginn st\u00edll, h\u00fan er afsta\u00f0a, sem kemur m.a. fram \u00ed \u00fev\u00ed a\u00f0 h\u00fan er \u00e1valt opin fyrir b\u00e1\u00f0um hli\u00f0um m\u00e1lsins. \u00deessvegna er R\u00f3mant\u00edkin full af m\u00f3ts\u00f6gnum og getur veri\u00f0, ef \u00fev\u00ed er a\u00f0 skipta, allt \u00ed einu, heimspekileg, dj\u00faphugsandi, m\u00e1lefnaleg, hef\u00f0bundin og um lei\u00f0 \u00f3skyns\u00f6m, yfirbor\u00f0sleg, lj\u00f3\u00f0r\u00e6n og framfarasinnu\u00f0. Fyrir \u00a0myndlistina var og er \u00feessi \u00f3venjulega afsta\u00f0a mj\u00f6g \u00fe\u00fd\u00f0ingarmikil, en \u00f3h\u00e6tt er a\u00f0 segja a\u00f0 h\u00fan hafi \u00e1 s\u00ednum t\u00edma skipt sk\u00f6pum hva\u00f0 tilur\u00f0 N\u00fat\u00edmalistarinnar var\u00f0ar og g\u00e6ti n\u00fa \u00e1 okkar d\u00f6gum r\u00e1\u00f0i\u00f0 \u00farslitum um framgang og \u00fer\u00f3un samt\u00edmalistarinnar. <\/span><\/p>\n \u00dea\u00f0 hefur bori\u00f0 \u00e1 \u00fev\u00ed um nokkurt skei\u00f0 a\u00f0 mikill \u00feorri listamanna s\u00e6kji hugmyndir s\u00ednar \u00ed fagurfr\u00e6\u00f0i er minnir \u00e1 ver\u00f6ld neyslusamf\u00e9lagsins. Ein \u00e1st\u00e6\u00f0an fyrir \u00feessu er vissulega s\u00fa, a\u00f0 \u00e1n mikillar fyrirhafnar gefur okkur hversdagsleikinn (Banality) og skrumi\u00f0 \u00a0(Kitsch) t\u00e6kif\u00e6ri til a\u00f0 uppplifa myndir, hluti, innr\u00fdmi og umhverfi \u00e1 einfaldan og millili\u00f0alausan h\u00e1tt. Me\u00f0 \u00fev\u00ed t.d. a\u00f0 breyta leikfangi \u00ed list e\u00f0a \u00f6llu heldur a\u00f0 \u00e1kve\u00f0a a\u00f0 eitthvert leikfang s\u00e9 ekki bara hlutur heldur myndlist, \u00f6\u00f0last \u00fea\u00f0 n\u00fdtt gildi. Vi\u00f0 n\u00e1lgumst fyrirbrig\u00f0i\u00f0 \u00e1 annan h\u00e1tt, st\u00f6ldrum lengur vi\u00f0 og horfum lengur \u00e1 \u00fea\u00f0. \u00deannig gefst okkur t\u00e6kif\u00e6ri \u00e1 a\u00f0 l\u00e6ra \u00e1 n\u00fdjan leik a\u00f0 upplifa myndlistina sj\u00f3nr\u00e6nt. Hversdagsleikinn og skrumi\u00f0 takast h\u00e9r \u00e1 vi\u00f0 skynsemina og vinna sem m\u00f3tv\u00e6gi gegn andlegri menntun og \u00feekkingu. <\/span><\/p>\n Listamennirnir da\u00f0ra vi\u00f0 glitri\u00f0 og glansandi smekkleysuna og \u00f6gra \u00feannig \u00e1 \u00edr\u00f3n\u00edskan h\u00e1tt, l\u00edkt og Duchamp ger\u00f0i for\u00f0um me\u00f0 \u201ehentunum\u201c, hugtaki myndlistarinnar. Munurinn er hinsvegar s\u00e1 a\u00f0 \u00ed \u00feetta sinn er \u00fea\u00f0 ekki \u00fea\u00f0 vitsmunalega sem m\u00e1li\u00f0 sn\u00fdst um, heldur \u00fea\u00f0 skynr\u00e6na. Me\u00f0vita\u00f0ur e\u00f0a \u00f3me\u00f0vita\u00f0ur tilgangur \u00feessarar a\u00f0ger\u00f0ar er s\u00fa von a\u00f0 me\u00f0 \u00feessu m\u00f3ti takist a\u00f0 koma einhverskonar \u00a0metaphys\u00edsku ferli \u00ed gang. Skrumi\u00f0 er ekkert anna\u00f0, en \u00fea\u00f0-sem-eftir-er af gleymdum og gl\u00f6tu\u00f0um afur\u00f0um myndr\u00e6nnra svi\u00f0setninga og \u00feeirri skapandi vinnu sem \u00fe\u00e6r kr\u00f6f\u00f0ust. Og viti menn, takist \u00e1horfandanum a\u00f0 n\u00e1lgast glansandi yfirbor\u00f0 listskrumsins \u00e1 \u201er\u00e9ttan\u201c h\u00e1tt, m\u00e1 finna fyrir einhverju er minnir \u00e1 birtingarlj\u00f3ma \u00edhugunar (contemplation). Um er a\u00f0 r\u00e6\u00f0a l\u00edkamlega, sj\u00f3nr\u00e6na eftirtekt, ekki \u00f3l\u00edka millili\u00f0alausri upplifun barns \u00e1 umhverfi s\u00ednu, hlutunum og leikf\u00f6ngunum \u00ed kring um \u00fea\u00f0. <\/span><\/p>\n Leikfangi\u00f0 er \u00ed augum barnsins eitthva\u00f0 sem hefur eigi\u00f0 sj\u00e1lf. Sj\u00f3nr\u00e6n upplifun barnsins \u00e1 leikfanginu kemur \u00feannig fr\u00e1 hlutnum sj\u00e1lfum, \u00fear e\u00f0 vissir eiginleikar leikfangsins birtast \u00ed vitund \u00feess, \u00e1\u00f0ur en barni\u00f0 er byrja\u00f0 a\u00f0 hugsa um \u00fea\u00f0. \u00deessi a\u00f0fer\u00f0, \u00fear sem tilfinningarleg, l\u00edkamleg eftirtekt er \u00ed fyrirr\u00fami, gefur okkur \u00feannig m\u00f6guleika \u00e1 \u00fev\u00ed a\u00f0 n\u00e1lgast tilveruna \u00e1 n\u00fdjan h\u00e1tt. Vi\u00f0 st\u00f6ndum ekki lengur utan vi\u00f0 veruleikann heldur erum hluti af honum. \u00a0\u00cd Klass\u00edsku n\u00e1tt\u00faruv\u00edsindunum s\u00f6fnum vi\u00f0 reynslu me\u00f0 \u00fev\u00ed a\u00f0 sko\u00f0a og athuga hlutinn \u00far fjarl\u00e6g\u00f0. Vi\u00f0 n\u00e1lgumst hlutinn hlutr\u00e6nt. <\/span><\/p>\n Veltum v\u00f6ngum yfir honum \u00e1n \u00feess a\u00f0 l\u00e1ta hann hafa skynr\u00e6n \u00e1hrif \u00e1 okkur og \u00e1kve\u00f0um endanlega hlutr\u00e6nt, hva\u00f0a eiginleikar hluturinn hefur. \u00deetta er kalla\u00f0 ytri reynsla. Me\u00f0 hinni sj\u00f3nr\u00e6nu, skynr\u00e6nu a\u00f0fer\u00f0 er reynslan \u00fea\u00f0 sem sko\u00f0andin upplifir millili\u00f0alaust fr\u00e1 hlutnum sj\u00e1lfum. \u00dea\u00f0 hefur s\u00ed\u00f0an \u00e1hrif \u00e1 hugsun og endanlega sko\u00f0un hans \u00e1 \u00fev\u00ed hverjir s\u00e9u eiginleikar hlutarins. \u00deetta er kalla\u00f0 innri reynsla. B\u00e1\u00f0ar \u00feessar a\u00f0fer\u00f0ir eru hver a\u00f0 s\u00ednu leyti g\u00f3\u00f0ar og nau\u00f0synlegar, samt sem \u00e1\u00f0ur, s\u00e9 teki\u00f0 mi\u00f0 af \u00feeirri gj\u00e1 er myndast hefur \u00e1 s\u00ed\u00f0ustu \u00f6ldum milli manns og n\u00e1tt\u00faru, m\u00e1 segja a\u00f0 n\u00fa s\u00e9 \u00fe\u00f6rfin meiri fyrir \u00fe\u00e1 s\u00ed\u00f0arnefndu. Af \u00feessum s\u00f6kum munu margar \u00fe\u00e6r forsendur sem einkenna sem mest uppruna n\u00fat\u00edmalistarinnar, til a\u00f0 mynda \u00eddeal\u00edska og r\u00f3mant\u00edska myndlistarhugtaki\u00f0, f\u00e1 aftur aukna \u00fe\u00fd\u00f0ingu. Ekki \u00fea\u00f0 a\u00f0 eitthva\u00f0 komi til baka (\u00feessi grundvallaratri\u00f0i voru aldrei alveg \u00ed burtu), h\u00e9r er einfaldlega veri\u00f0 a\u00f0 minna okkur \u00e1 \u00fea\u00f0 a\u00f0 N\u00fat\u00edmalistin er bygg\u00f0 \u00e1 andst\u00e6\u00f0um (hef\u00f0 og framfarir) sem eru \u00ed st\u00f6\u00f0ugri gl\u00edmu vi\u00f0 hvort anna\u00f0, hafa \u00e1hrif \u00e1 hvort anna\u00f0 og taka \u00fev\u00ed me\u00f0 t\u00edmanum breytingum. <\/span><\/p>\n \u00dea\u00f0 m\u00e1 sk\u00fdra \u00feetta \u00feannig, a\u00f0 \u00a0s\u00e1 n\u00fdji skilningur sem vi\u00f0 h\u00f6fum \u00f6\u00f0last me\u00f0 framf\u00f6runum, er or\u00f0inn hluti af hugtaki myndlistarinnar, sem \u00fe\u00fd\u00f0ir a\u00f0 \u00feegar vi\u00f0 n\u00fana \u00ed dag, notum hinar upprunalegu hef\u00f0bundnu a\u00f0fer\u00f0ir, \u00fe\u00e1 eru \u00fe\u00e6r \u00f3hj\u00e1kv\u00e6milega undir st\u00f6\u00f0ugum \u00e1hrifum \u00feessa n\u00fdja skilnings og \u00fe.a.l. ekki lengnur \u00ed einu og \u00f6llu \u00fea\u00f0 sem \u00fe\u00e6r voru fyrir. Einmitt \u00feessi vitneskja gerir okkur kleift a\u00f0 nota, samhli\u00f0a \u00f6llum \u00feeim n\u00fdju vitsmunalegu n\u00e1lgunarm\u00f6guleikum sem okkur standa til bo\u00f0a, klass\u00edska myndlistarhugtaki\u00f0 vi\u00f0 sk\u00f6pun og sko\u00f0un samt\u00edmalistar; \u00e1n \u00feess a\u00f0 falla \u00ed gryfju endurtekningarinnar. En \u00feetta gildir ekki eing\u00f6ngu fyrir klass\u00edska mi\u00f0la l\u00edkt og m\u00e1lverki\u00f0, \u00fev\u00ed \u00feessi vistv\u00e6na theor\u00eda g\u00e6ti a\u00f0 sama skapi virka\u00f0 sem \u00e1skorun fyrir alla hina n\u00fdju mi\u00f0lunarm\u00f6guleika er b\u00e6\u00f0i Tilraunin og digitalv\u00e6\u00f0ingin hafa gefi\u00f0 af s\u00e9r. <\/span><\/p>\n \u00dear sem um er a\u00f0 r\u00e6\u00f0a sj\u00f3nr\u00e6na og tilfinningalega eftirtekt sem s\u00e6kist eftir \u00fev\u00ed a\u00f0 sameina formi\u00f0 innihaldinu (efninu), er l\u00edkt og teki\u00f0 hefur veri\u00f0 fram, mikilv\u00e6gt a\u00f0 \u00fea\u00f0 sem sko\u00f0andinn s\u00e9r, fari millili\u00f0alaust \u00ed gegnum l\u00edkamann. \u00deannig s\u00e9\u00f0 eru skynf\u00e6rin l\u00edkust m\u00f3tt\u00f6kust\u00f6\u00f0, inngangi, sem \u00e1 \u00feennan h\u00e1tt geta mi\u00f0la\u00f0 til sj\u00e1lfsvitundarinnar mikilv\u00e6gum uppl\u00fdsingum er var\u00f0a skilning okkar \u00e1 \u00fe\u00fd\u00f0ingu og gildi \u00feeirrar n\u00e1tt\u00faru sem manneskjan \u00ed rauninni er. \u00deegar \u00f6llu er \u00e1 botninn hvolft er \u00feetta ekkert anna\u00f0 en stefnum\u00f3t vi\u00f0 okkur sj\u00e1lf. Hi\u00f0 efnislega listaverk er bara mi\u00f0lun, svi\u00f0setning; hi\u00f0 eiginlega listaverk er andlegt og \u00e1 s\u00e9r sta\u00f0 innra me\u00f0 okkur sj\u00e1lfum.<\/span><\/p>\n Hva\u00f0 sem \u00feessu l\u00ed\u00f0ur, r\u00f3mant\u00edsk d\u00edalekt\u00edk er alltaf opin fyrir b\u00e1\u00f0um hli\u00f0um m\u00e1lsins, \u00fear sem h\u00fan leitast \u00ed s\u00edfellu vi\u00f0 a\u00f0 sameina og\/e\u00f0a leysa upp m\u00f3tsagnirnar (synthesis). \u00a0\u00deessi st\u00f6\u00f0ugi \u00f3r\u00f3leiki, \u00feessi st\u00f6\u00f0uga \u00fer\u00e1 um a\u00f0 eitthva\u00f0 ver\u00f0i a\u00f0 breytast er \u00fea\u00f0 sem einkennir r\u00f3mant\u00edkina; a\u00f0 halda listinni \u00e1 hreyfingu, koma \u00ed veg fyrir a\u00f0 h\u00fan sta\u00f0ni \u00ed einhverjum \u00fatv\u00f6ldum \u00fer\u00f6ngs\u00fdnum sannleika. \u00a0Og hva\u00f0 \u201eendalok myndlistarinnar\u201c var\u00f0ar, \u00fe\u00e1 er heimspeki Hegels engin bein l\u00edna, heldur hringur, sem \u00fe\u00fd\u00f0ir a\u00f0 endir og upphaf renna saman \u00ed eitt. H\u00e9r er \u00fev\u00ed ekki \u00e1tt vi\u00f0 virkileg endalok; frekar ber a\u00f0 skilja \u00feetta \u00feannig, a\u00f0 \u00ed s\u00e9rhvert sinn sem okkur finnst einhverju vera a\u00f0 lj\u00faka, er \u00a0l\u00edklegra a\u00f0 um s\u00e9 a\u00f0 r\u00e6\u00f0a n\u00fdtt upphaf me\u00f0 n\u00fdjum vi\u00f0horfum og \u00e1skorunum. \u00dea\u00f0 er \u00fev\u00ed ekki \u00f3l\u00edklegt a\u00f0 \u00feetta \u201enau\u00f0synlega n\u00fdja\u201c sem samt\u00edmalistin stendur frammi fyrir \u00ed dag og be\u00f0i\u00f0 er eftir me\u00f0 spenningi hva\u00f0 er, s\u00e9 fyrir l\u00f6ngu hafi\u00f0; og vi\u00f0 einfaldlega ekki b\u00fain a\u00f0 \u00e1tta okkur \u00e1 \u00fev\u00ed.<\/span><\/p>\n Eitt er v\u00edst, myndlistin er, var og ver\u00f0ur alltaf einst\u00e6\u00f0; \u00ed \u00f6llum s\u00ednum margbreytileika.<\/span><\/p>\n J\u00f3n Thor G\u00edslason myndlistarma\u00f0ur<\/span><\/em><\/p>\n Lj\u00f3smynd me\u00f0 grein er birt me\u00f0 leyfi h\u00f6fundar.<\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" \u00c1 d\u00f6gunum rakst \u00e9g fyrir tilviljun \u00e1 vi\u00f0tal sem Morgunbla\u00f0i\u00f0 t\u00f3k vi\u00f0 mig fyrir r\u00famum 20 \u00e1rum (birt 16. apr\u00edl 1994). \u00c9g var \u00fe\u00e1 me\u00f0 st\u00f3ra einkas\u00fdningu \u00ed s\u00f6lum Hafnarborgar \u00ed heimab\u00e6 m\u00ednum Hafnarfir\u00f0i. \u00c9g r\u00e6\u00f0st \u00fearna me\u00f0 l\u00e1tum \u00e1 \u00fe\u00e1 r\u00f3tt\u00e6ku theor\u00edu sem framar \u00f6llu \u00f6\u00f0ru einkenndi veraldars\u00fdn myndlistarmanna \u00e1 20. \u00f6ldinni og gekk […]<\/p>\n","protected":false},"author":1,"featured_media":6311,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_et_pb_use_builder":"on","_et_pb_old_content":" \u00c1 d\u00f6gunum rakst \u00e9g fyrir tilviljun \u00e1 vi\u00f0tal sem Morgunbla\u00f0i\u00f0 t\u00f3k vi\u00f0 mig fyrir r\u00famum 20 \u00e1rum (birt 16. apr\u00edl 1994). \u00c9g var \u00fe\u00e1 me\u00f0 st\u00f3ra einkas\u00fdningu \u00ed s\u00f6lum Hafnarborgar \u00ed heimab\u00e6 m\u00ednum Hafnarfir\u00f0i. \u00c9g r\u00e6\u00f0st \u00fearna me\u00f0 l\u00e1tum \u00e1 \u00fe\u00e1 r\u00f3tt\u00e6ku theor\u00edu sem framar \u00f6llu \u00f6\u00f0ru einkenndi veraldars\u00fdn myndlistarmanna \u00e1 20. \u00f6ldinni og gekk m.a.undir nafninu Tilraunin (The Experiment), en h\u00fan lag\u00f0ist til atl\u00f6gu vi\u00f0 mi\u00f0st\u00f6\u00f0 myndlistarinnar og snerist \u00a0me\u00f0 vitsmunalegum r\u00f6kum gegn hef\u00f0bundinni skynr\u00e6nni eftirtekt og fagurfr\u00e6\u00f0i. <\/strong><\/p> Hugmyndin var \u00f6\u00f0ru fremur s\u00fa a\u00f0 myndlistin \u00e6tti a\u00f0 yfirgefa listas\u00f6fnin og ver\u00f0a hluti af hinu daglega l\u00edfi. \u00cd vi\u00f0talinu tek \u00e9g sk\u00fdrt fram a\u00f0 \u00e9g s\u00e9 LISTm\u00e1lari og a\u00f0 g\u00e1fur, \u00feekking sem og snjallar hugmyndir hafi ekkert me\u00f0 myndlist a\u00f0 gera, ekki frekar en heimspeki og lestur b\u00f3ka. Hef\u00f0in er \u00fea\u00f0 sem gildir og listin er fyrst og fremst galdur (!). <\/span><\/p> \u00dea\u00f0 m\u00e1 vera a\u00f0 margir hafi hrist h\u00f6fu\u00f0i\u00f0 og \u00e1tt erfitt me\u00f0 a\u00f0 skilja a\u00f0 \u00e9g skyldi l\u00e1ta sl\u00edkar fullyr\u00f0ingar fr\u00e1 m\u00e9r fara og fundist a\u00f0 me\u00f0 \u00feessu m\u00f3ti v\u00e6ri \u00e9g a\u00f0 setja spurningarmerki vi\u00f0 vanda\u00f0ar hugmyndir og verk margra kollega minna \u00e1 \u00cdslandi sem og fj\u00f6lda al\u00fej\u00f3\u00f0legra myndlistarmanna samt\u00ed\u00f0arinnar. S\u00fa var aldrei raunin og vi\u00f0 n\u00e1nari sko\u00f0un er \u00fea\u00f0 reyndar \u00feannig, a\u00f0 \u00feessi \u201eframkoma\u201c er alls ekki svo \u00f3venjuleg og \u00e6tla m\u00e6tti \u00ed fyrstu. \u00dev\u00ed ef betur er a\u00f0 g\u00e1\u00f0 er h\u00e9r \u00ed grundvallaratri\u00f0um um \u00a0a\u00f0 r\u00e6\u00f0a heg\u00f0unara\u00f0fer\u00f0 sem \u00e1 r\u00e6tur s\u00ednar a\u00f0 rekja til hugsunarh\u00e1ttar hi\u00f0s svokalla\u00f0a \u201er\u00f3mant\u00edska t\u00edmabils\u201c og er \u00ed hnotskurn s\u00fa sama og r\u00f3tt\u00e6kir listamenn notu\u00f0u \u00e1 upphafs\u00e1rum Tilraunarinnar. <\/span><\/p> Ma\u00f0ur vinnur me\u00f0 tab\u00fai\u00f0. Segir allt sem m\u00e1 ekki segja, \u00ed \u00feeim tilgangi a\u00f0 koma (\u00ed fyrstu \u00f3sk\u00fdrum) n\u00fdjum vi\u00f0horfum og hugsanagangi \u00ed lofti\u00f0. \u00ddkir svo um munar me\u00f0 \u00f6fgafullum yfirl\u00fdsingum. Flokkar allt \u00ed svart og hv\u00edtt. Sn\u00fdr \u00f6lllu \u00e1 hvolf. \u00dea\u00f0 sem virkilega fyrir m\u00e9r vakti, var a\u00f0 vekja athygli \u00e1 \u00fev\u00ed a\u00f0 sitthva\u00f0 er var\u00f0ar hugarfari\u00f0 og theor\u00eduna \u00ed myndlistinni v\u00e6ri a\u00f0 breytast. A\u00f0 ef sko\u00f0a\u00f0 er listaverk, s\u00e9 t.d. or\u00f0i\u00f0 nau\u00f0synlegt a\u00f0 leggja aftur meiri \u00e1herslu \u00e1 hina sj\u00f3nr\u00e6nu eftirtekt, \u00ed sta\u00f0 \u00feess a\u00f0 einbl\u00edna svo til eing\u00f6ngu \u00e1 \u00fea\u00f0 vitsmunalega. \u00dea\u00f0 var vissulega aldrei \u00e6tlun m\u00edn a\u00f0 afneita tilvistarr\u00e9tti Tilraunarinnar, sem v\u00e6ri fjarst\u00e6\u00f0ukennt, en einmitt margt sem einkennir \u00feessa \u00e1berandi tv\u00edhyggjulegu myndlistarkenningu er d\u00e6migert fyrir heg\u00f0unarmunstur og hugsunarh\u00e1tt N\u00fat\u00edmalistarinnar (Modern Art). Tilefni \u00feessa uppistands m\u00edns var og er fyrst og fremst s\u00fa sta\u00f0reynd, a\u00f0 bili\u00f0 milli manns og n\u00e1tt\u00faru er alltaf a\u00f0 st\u00e6kka, sem veldur \u00fev\u00ed a\u00f0 skilin milli hugar og n\u00e1tt\u00farulegs l\u00edkama okkar ver\u00f0a me\u00f0 hverjum deginum skarpari. Vi\u00f0 upplifum \u00feetta \u00e1 mismunandi h\u00e1tt. T.d. me\u00f0 \u00fev\u00ed a\u00f0 hugsa um l\u00edkamann l\u00edkt og um v\u00e6ri a\u00f0 r\u00e6\u00f0a v\u00e9l, sem h\u00e6gt er a\u00f0 gera vi\u00f0 og skipta um varahluti, ef eitthva\u00f0 bilar. Aflei\u00f0ingarnar eru \u00fe\u00e6r, a\u00f0 s\u00fa \u00a0n\u00e1tt\u00fara, sem vi\u00f0 \u00ed rauninni erum, \u00fe.e.a.s. l\u00edkaminn, er or\u00f0in sj\u00e1lfsvitund okkar allt a\u00f0 \u00fev\u00ed framandi. Svipa\u00f0 er a\u00f0 segja um ytri n\u00e1tt\u00faruna, umhverfi okkar. Mengun \u00ed lofti sem vatni, loftslagsbreytingarnar og r\u00f6skun \u00e1 jafnv\u00e6gi vistkerfa munu hafa \u00f3fyrirsj\u00e1anlegar aflei\u00f0ingar fyrir allt l\u00edf h\u00e9r \u00e1 j\u00f6r\u00f0inni. \u00dear sem yfirgn\u00e6fandi D\u00faalismi og hlutr\u00e6n veruleikas\u00fdn Klass\u00edsku n\u00e1tt\u00faruv\u00edsindanna, bera framar \u00f6\u00f0ru \u00e1byrg\u00f0 \u00e1 \u00feessu brig\u00f0ula \u00e1standi, liggur \u00ed augum uppi a\u00f0 nau\u00f0synlegt er or\u00f0i\u00f0 a\u00f0 manneskjan leggji sig \u00ed auknum m\u00e6li fram um a\u00f0 lifa \u00ed samlyndi vi\u00f0 n\u00e1tt\u00faruna.<\/span><\/p> \u00a0\u00a0Um aldam\u00f3tin 1800 eru \u00fea\u00f0 \u00a0r\u00f3mant\u00edsk vi\u00f0horf, sem vildu stu\u00f0la a\u00f0 meiri sameiningu milli manns og n\u00e1tt\u00faru. Og studdu \u00fe\u00e1 sko\u00f0un a\u00f0 raunh\u00e6ft v\u00e6ri a\u00f0 sko\u00f0a fyrirbrig\u00f0i veraldarinnar sem heild og a\u00f0 minna m\u00e1li skipti, \u00fea\u00f0 sem Klass\u00edsku n\u00e1tt\u00faruv\u00edsindin ger\u00f0u, a\u00f0 vera st\u00f6\u00f0ugt a\u00f0 velta v\u00f6ngum yfir einingunum er halda \u00feeim saman. Auk \u00feess \u00e6tti a\u00f0 me\u00f0taka veruleikann skynr\u00e6nt (subjective) og millili\u00f0alaust fr\u00e1 n\u00e1tt\u00farunni sj\u00e1lfri, \u00ed sta\u00f0 \u00feess a\u00f0 vi\u00f0 s\u00e9um \u00a0hlutr\u00e6nt (objective) a\u00f0 fastsetja hva\u00f0 n\u00e1tt\u00faran \u00ed e\u00f0li s\u00ednu er og hvernig beri a\u00f0 umgangast hana. \u00dea\u00f0 er \u00fev\u00ed ekki \u00f3vitlaust a\u00f0 \u00e6tla a\u00f0 vi\u00f0 g\u00e6tum n\u00fa \u00ed dag haft m\u00f6gulegan \u00e1vinning af \u00fev\u00ed a\u00f0 sj\u00e1 hlutina fr\u00e1 hinu lj\u00f3\u00f0r\u00e6na sj\u00f3narhorni R\u00f3mant\u00edkarinnar. Og ekki bara \u00fea\u00f0, \u00fev\u00ed anna\u00f0 engu a\u00f0 s\u00ed\u00f0ur \u00e1hugavert er, a\u00f0 \u00fer\u00e1tt fyrir umhverfisv\u00e6n og algild n\u00e1tt\u00farutengsl, eru \u00fea\u00f0 ekki s\u00edst m\u00f3tsagnir, \u00f3st\u00f6\u00f0uleiki, \u00edr\u00f3n\u00eda, uppreisnarandi, a\u00f0 \u00f3gleymdri \u00f3st\u00f6\u00f0vandi \u00fer\u00e1 um a\u00f0 eitthva\u00f0 ver\u00f0i \u00a0a\u00f0 breytast, sem allra best endurspegla \u00edmynd r\u00f3mant\u00edskrar afst\u00f6\u00f0u. <\/span><\/p> \u00dear af lei\u00f0andi er mikilv\u00e6gt a\u00f0 minnast \u00feess a\u00f0 \u00e1n \u00feessa hugar\u00e1stands, sem allsherjandi var \u00ed upphafi 19. aldar; og \u00fe\u00e1 reyndar sama hvort var \u00ed myndlistinni, b\u00f3kmenntunum, n\u00e1tt\u00faruv\u00edsindunum e\u00f0a t\u00f3nlistinni, hef\u00f0um vi\u00f0, \u00feegar fram li\u00f0u stundir, aldrei fengi\u00f0 a\u00f0 upplifa listastefnur og listamenn \u00e1 bor\u00f0 vi\u00f0 Dada, Marcel Duchamp, S\u00farrealismann, Actionlistina, Joseph Beuys, Popplistina og Jeff Koons, svo eitthva\u00f0 s\u00e9 nefnt. \u00a0Frj\u00e1ls listsk\u00f6pun, sj\u00e1lfstj\u00f3rn (autonomy), pers\u00f3nuleg tj\u00e1ning og \u00fea\u00f0 a\u00f0 hunsa allar fastar reglur er var\u00f0a sk\u00f6pun myndverka, sem og s\u00fa m\u00f3dern\u00edska tilhneiging a\u00f0 hafa \u00fe\u00f6rf fyrir a\u00f0 r\u00e6\u00f0a um innihald listaverka, er r\u00f3mant\u00edskur hugsunarh\u00e1ttur.<\/span><\/p> Hlutverk R\u00f3mant\u00edkarinnar er og var alltaf \u00fea\u00f0 sama. A\u00f0 stokka spilin og gefa upp \u00e1 n\u00fdtt.<\/span><\/p> \u00c1 upphafs\u00e1rum s\u00ed\u00f0ustu aldar, \u00feegar franski avantgardelistama\u00f0urinn Marcel Duchamp l\u00e9t \u00feau afdrifamiklu or\u00f0 falla \u201eit has to change\u201c , \u00fe\u00e1 \u00e1tti hann a\u00f0allega vi\u00f0 \u00fea\u00f0 a\u00f0 myndlistin \u00e6tti a\u00f0 vera meira \u00fea\u00f0 sem vi\u00f0 hugsum og minna \u00fea\u00f0 sem vi\u00f0 sj\u00e1um. Hann vildi a\u00f0 myndlistin hef\u00f0i meira me\u00f0 hugviti\u00f0 a\u00f0 gera en skynf\u00e6rin. \u00dearna t\u00f6ldu margir a\u00f0 v\u00e6ri komi\u00f0 a\u00f0 upphafi \u00a0\u00feess sem \u00fe\u00fdski heimspekingurinn Hegel sp\u00e1\u00f0i a\u00f0 myndi gerast og kalla\u00f0i \u201eendalok myndlistarinnar\u201c. \u00cd rauninni var \u00fe\u00f3 fremur um a\u00f0 r\u00e6\u00f0a tilraun, er s\u00f3ttist vi\u00f0 a\u00f0 lyfta hinu eiginlega formi og innihaldi myndlistarhugtaksins upp \u00e1 \u201eh\u00e6rra\u201c plan, \u00fear sem hugurinn og or\u00f0in r\u00e1\u00f0a r\u00edkjum. Einskonar or\u00f0bundin, hlutr\u00e6n \u00fatv\u00edkkun \u00e1 hugtakinu \u00e1tti me\u00f0 \u00feessu m\u00f3ti a\u00f0 eiga s\u00e9r sta\u00f0. \u00deetta var n\u00e1tt\u00farulega st\u00f3rkostleg hugmynd, \u00fe\u00f3 svo h\u00fan v\u00e6ri samt\u00edmis alvarleg \u00a0\u00e1r\u00e1s \u00e1 mi\u00f0st\u00f6\u00f0 myndlistarinnar. En \u00fea\u00f0 var n\u00e1tt\u00farulega \u00fea\u00f0 sem Duchamp vildi. <\/span><\/p> Tilraunin hefur haft g\u00edfurleg \u00e1hrif \u00e1 fram\u00fer\u00f3unina og valdi\u00f0 straumhv\u00f6rfum hva\u00f0 skilning okkar \u00e1 myndlist var\u00f0ar. \u00der\u00e1tt fyrir \u00f6rv\u00e6ntingu og \u00f3tta margra um a\u00f0 \u00feessi a\u00f0ger\u00f0 myndi virkilega r\u00e1\u00f0a myndlistina af d\u00f6gum, er \u00feegar upp er sta\u00f0i\u00f0 ekkert nema gott um hana a\u00f0 segja. \u00cd dag er h\u00e6gt a\u00f0 n\u00e1lgast myndlist \u00e1 svo marga og mismunandi vegu. H\u00fan \u00fearf ekki endilega a\u00f0 vera myndr\u00e6n heild; h\u00fan getur l\u00edka veri\u00f0 ringulrei\u00f0,ferli e\u00f0a konsept. Og h\u00fan er ekki eing\u00f6ngu m\u00e1lverk, teikning, lj\u00f3smynd e\u00f0a h\u00f6ggmynd, heldur getur a\u00f0 sama skapi veri\u00f0 l\u00edfsform e\u00f0a kreat\u00edvur leikur, \u00fear sem \u00a0\u00e1horfendur ver\u00f0a \u00fe\u00e1tttakendur \u00ed sk\u00f6pun verksins. H\u00fan getur veri\u00f0 innsetning, v\u00edde\u00f3, sameining hlj\u00f3\u00f0s, forms, r\u00fdmis og t\u00edma e\u00f0a bara hversdagsleg, m\u00e1lefnaleg, v\u00edsindaleg, kappr\u00e6\u00f0ur, sj\u00e1lfssko\u00f0un, ranns\u00f3kn, l\u00edffr\u00e6\u00f0ilegt breytingarferli, heimspekilegur pr\u00f3satexti, sj\u00e1lfbirgingsleg \u00edr\u00f3n\u00eda, action, workshop, performance, happening, l\u00e6kningarme\u00f0fer\u00f0 og margt, margt fleira.<\/span><\/p> N\u00fa \u00e1 \u00e1tj\u00e1nda \u00e1ri tuttugustuogfyrstu aldarinnar hefur Tilraunin sta\u00f0i\u00f0 yfir \u00ed ein hundra\u00f0 \u00e1r. \u00c1 \u00feessum t\u00edma hefur h\u00fan n\u00e1\u00f0 a\u00f0 brj\u00f3ta svo til allar fagurfr\u00e6\u00f0ireglur klass\u00edska myndlistarhugtaksins sem og a\u00f0rar \u00f3\u00e6skilegar skynr\u00e6nar hindranir er st\u00f3\u00f0u \u00ed vegi fyrir henni. \u00a0Og undir nafninu \u201eArt in Public Space\u201c er myndlistin allavega a\u00f0 hluta til komin \u00fat fyrir veggi safnanna; auk \u00feess sem h\u00fan tengist n\u00fana meira en \u00e1\u00f0ur ger\u00f0ist daglegu l\u00edfi f\u00f3lks. \u00deannig \u00e1 liti\u00f0 er \u00fea\u00f0 sko\u00f0un margra a\u00f0 b\u00fai\u00f0 s\u00e9 a\u00f0 sefa brimi\u00f0 og sl\u00e9tta \u00f6ldurnar; a\u00f0 Tilraunin s\u00e9 or\u00f0in a\u00f0 \u201ehef\u00f0\u201c og \u00fear me\u00f0 b\u00fain a\u00f0 lj\u00faka s\u00ednu hlutverki. Reynist \u00feetta vera r\u00e9tt, st\u00f6ndum vi\u00f0 n\u00fana \u00e1 t\u00edmam\u00f3tum. \u00dea\u00f0 \u00fe\u00fd\u00f0ir \u00fe\u00f3 enganvegin a\u00f0 Tilraunin sem sl\u00edk haldi ekki \u00e1fram a\u00f0 vera til. Sj\u00e1lfsafneitunin sem og allar \u00fe\u00e6r frj\u00f3u hugmyndir, vi\u00f0horf, sko\u00f0anir og a\u00f0fer\u00f0ir sem \u00feessi n\u00fdst\u00e1rlega theor\u00eda hefur geti\u00f0 af s\u00e9r, munu lifa \u00f3hindra\u00f0ar \u00e1fram \u00ed me\u00f0vitund listamannanna; hafa \u00e1hrif \u00e1 hugsanir \u00feeirra og \u00a0verkin sem \u00feeir skapa. \u00de.a.l. er ekkert sem t\u00fdnist e\u00f0a glatast. Auk \u00feess sn\u00fdst \u00feetta ekki um \u00fea\u00f0, hva\u00f0 s\u00e9 r\u00e9tt og hva\u00f0 s\u00e9 rangt. \u00c1 \u00e1kve\u00f0num sta\u00f0 og t\u00edma er \u00fea\u00f0 sem gerist og ver\u00f0ur a\u00f0 veruleika, bundi\u00f0 s\u00e9rstakri nau\u00f0syn. \u00deannig s\u00e9\u00f0 m\u00e1 segja a\u00f0 \u00fe\u00e6r breytingar er eiga s\u00e9r sta\u00f0 hverju sinni, liggji \u00ed loftinu, gerist a\u00f0 sj\u00e1lfu s\u00e9r.<\/span><\/p> \u00dea\u00f0 hefur ekki fari\u00f0 fram hj\u00e1 neinum sem fylgjast me\u00f0 \u00ed myndlistinni a\u00f0 n\u00fa er \u00fea\u00f0 allra svalasta \u00ed bransanum a\u00f0 listamenn fari \u00ed f\u00f6t framkv\u00e6mdarstj\u00f3rans, stofni fyrirt\u00e6ki og l\u00e1ti allt upp \u00ed hundra\u00f0 manns vinna fyrir sig. Og eins og g\u00f3\u00f0u fyrirt\u00e6ki s\u00e6mir, taka \u00feeir a\u00f0 s\u00e9r verkefni fyrir \u00e1kve\u00f0na a\u00f0ila og eru \u00fe.a.l. byrja\u00f0ir a\u00f0 vinna eftir p\u00f6ntun. Flestir \u00feessara listamanna eru sannir og g\u00f3\u00f0ir fulltr\u00faar N\u00fat\u00edmalistarinnar, en \u00fea\u00f0 breytir \u00fev\u00ed ekki a\u00f0 \u00feessi framkoma gagnvart mi\u00f0linum er umhugsunarver\u00f0, \u00fear e\u00f0 h\u00fan minnir \u00a0\u00e1 efnahagsleg vi\u00f0horf og vinnubr\u00f6g\u00f0 \u00feeirra t\u00edma er voru og h\u00e9tu \u00e1\u00f0ur en n\u00fat\u00edmalistin kom til s\u00f6gunar, en \u00e1hrif k\u00fannans \u00e1 \u00feau listaverk sem \u00fearna ver\u00f0a til, eru st\u00f6\u00f0ugt a\u00f0 aukast. Einmitt \u00feetta atri\u00f0i og s\u00fa h\u00e6tta a\u00f0 fari\u00f0 ver\u00f0i \u00ed auknum m\u00e6li a\u00f0 vinna listaverk, l\u00edkt og si\u00f0ur var \u00e1 t\u00edmum Klassizismanns, \u00ed \u00e1kve\u00f0num st\u00edl og eftir f\u00f6stum reglum, g\u00e6ti me\u00f0 t\u00edmanum \u00f3gna\u00f0 hinu d\u00fdrm\u00e6ta sj\u00e1lfst\u00e6\u00f0i samt\u00edmalistamannsins. <\/span><\/p> A\u00f0aleinkenni N\u00fat\u00edmalistarinnar er frelsi\u00f0, frelsi listamannsins a\u00f0 \u00e1kve\u00f0a sj\u00e1lfur hva\u00f0 hann gerir, \u00e1n tillits til marka\u00f0sl\u00f6gm\u00e1la; og \u00a0sj\u00e1lfstj\u00e1ningin, sem krefst \u00feess a\u00f0 listama\u00f0urinn vinni, leiki, og\/e\u00f0a flytji verki\u00f0 sj\u00e1lfur. Au\u00f0vita\u00f0 er ekkert \u00fat \u00e1 \u00fea\u00f0 a\u00f0 setja a\u00f0 menn l\u00e1ti hinn verklega \u00fe\u00e1tt hugverka sinna \u00ed hendur annara. N\u00fat\u00edmalistin er og var alltaf sambland af hugmyndum og a\u00f0fer\u00f0um Klassizismanns og R\u00f3mant\u00edkarinnar. \u201eWhite Cube\u201c og hi\u00f0 hreina form Konstr\u00fakt\u00edvismanns og M\u00ednimalismanns eru t.d. d\u00e6miger\u00f0 fyrir klassizist\u00edska erf\u00f0; sem og rauns\u00e6r m\u00e1lunarst\u00edll S\u00farealismanns. H\u00e9r er eing\u00f6ngu veri\u00f0 a\u00f0 minna \u00e1 mikilv\u00e6gi sj\u00e1lfstj\u00f3rnarinnar og sj\u00e1lfstj\u00e1ningarinnar, sem eru svo einkennandi fyrir N\u00fat\u00edmalistina og mega \u00fe.a.l. ekki t\u00fdnast; ekki frekar en viljinn til a\u00f0 \u00f6gra og gera tilraunir. \u00c1n tilvistar \u00feessara \u00fe\u00e1tta er \u00f3hugsandi a\u00f0 Avantgarde-hreyfingin hef\u00f0i or\u00f0i\u00f0 a\u00f0 veruleika. Og \u00e1n hennar hef\u00f0i N\u00fat\u00edmalistin ekki geta\u00f0 brotist \u00fat \u00ed fullum bl\u00f3ma. Me\u00f0vitu\u00f0 um \u00feetta \u00e6ttum vi\u00f0 \u00ed \u00fea\u00f0 minnsta a\u00f0 vera \u00e1 var\u00f0bergi gagnvart allri upphafningu og d\u00e1s\u00f6mun ant\u00edm\u00f3dern\u00edskra vi\u00f0horfa og vinnubrag\u00f0a. <\/span><\/p> \u00dea\u00f0 er engin tilviljun a\u00f0 \u00e1 \u00f3vissut\u00edmum l\u00edkum \u00feeim er \u00e1ttu s\u00e9r sta\u00f0 \u00ed upphafi i\u00f0nv\u00e6\u00f0ingarinnar og \u00feeirra sem digitalv\u00e6\u00f0ing samt\u00edmans hefur leist \u00far l\u00e6\u00f0ingi, aukist \u00e1hrif r\u00f3mant\u00edskrar heg\u00f0unar og hugsunar til muna. \u00a0\u00c1st\u00e6\u00f0an er fyrst og fremst s\u00fa a\u00f0 r\u00f3mant\u00edska d\u00edalekt\u00edkin getur virka\u00f0 sem mi\u00f0ill e\u00f0a dipl\u00f3mat milli andst\u00e6\u00f0nanna og vinnur st\u00f6\u00f0ugt a\u00f0 \u00fev\u00ed a\u00f0 sameina e\u00f0a leysa upp m\u00f3tsagnirnar. R\u00f3mant\u00edkin er nefnilega enginn st\u00edll, h\u00fan er afsta\u00f0a, sem kemur m.a. fram \u00ed \u00fev\u00ed a\u00f0 h\u00fan er \u00e1valt opin fyrir b\u00e1\u00f0um hli\u00f0um m\u00e1lsins. \u00deessvegna er R\u00f3mant\u00edkin full af m\u00f3ts\u00f6gnum og getur veri\u00f0, ef \u00fev\u00ed er a\u00f0 skipta, allt \u00ed einu, heimspekileg, dj\u00faphugsandi, m\u00e1lefnaleg, hef\u00f0bundin og um lei\u00f0 \u00f3skyns\u00f6m, yfirbor\u00f0sleg, lj\u00f3\u00f0r\u00e6n og framfarasinnu\u00f0. Fyrir \u00a0myndlistina var og er \u00feessi \u00f3venjulega afsta\u00f0a mj\u00f6g \u00fe\u00fd\u00f0ingarmikil, en \u00f3h\u00e6tt er a\u00f0 segja a\u00f0 h\u00fan hafi \u00e1 s\u00ednum t\u00edma skipt sk\u00f6pum hva\u00f0 tilur\u00f0 N\u00fat\u00edmalistarinnar var\u00f0ar og g\u00e6ti n\u00fa \u00e1 okkar d\u00f6gum r\u00e1\u00f0i\u00f0 \u00farslitum um framgang og \u00fer\u00f3un samt\u00edmalistarinnar. <\/span><\/p> \u00dea\u00f0 hefur bori\u00f0 \u00e1 \u00fev\u00ed um nokkurt skei\u00f0 a\u00f0 mikill \u00feorri listamanna s\u00e6kji hugmyndir s\u00ednar \u00ed fagurfr\u00e6\u00f0i er minnir \u00e1 ver\u00f6ld neyslusamf\u00e9lagsins. Ein \u00e1st\u00e6\u00f0an fyrir \u00feessu er vissulega s\u00fa, a\u00f0 \u00e1n mikillar fyrirhafnar gefur okkur hversdagsleikinn (Banality) og skrumi\u00f0 \u00a0(Kitsch) t\u00e6kif\u00e6ri til a\u00f0 uppplifa myndir, hluti, innr\u00fdmi og umhverfi \u00e1 einfaldan og millili\u00f0alausan h\u00e1tt. Me\u00f0 \u00fev\u00ed t.d. a\u00f0 breyta leikfangi \u00ed list e\u00f0a \u00f6llu heldur a\u00f0 \u00e1kve\u00f0a a\u00f0 eitthvert leikfang s\u00e9 ekki bara hlutur heldur myndlist, \u00f6\u00f0last \u00fea\u00f0 n\u00fdtt gildi. Vi\u00f0 n\u00e1lgumst fyrirbrig\u00f0i\u00f0 \u00e1 annan h\u00e1tt, st\u00f6ldrum lengur vi\u00f0 og horfum lengur \u00e1 \u00fea\u00f0. \u00deannig gefst okkur t\u00e6kif\u00e6ri \u00e1 a\u00f0 l\u00e6ra \u00e1 n\u00fdjan leik a\u00f0 upplifa myndlistina sj\u00f3nr\u00e6nt. Hversdagsleikinn og skrumi\u00f0 takast h\u00e9r \u00e1 vi\u00f0 skynsemina og vinna sem m\u00f3tv\u00e6gi gegn andlegri menntun og \u00feekkingu. <\/span><\/p> Listamennirnir da\u00f0ra vi\u00f0 glitri\u00f0 og glansandi smekkleysuna og \u00f6gra \u00feannig \u00e1 \u00edr\u00f3n\u00edskan h\u00e1tt, l\u00edkt og Duchamp ger\u00f0i for\u00f0um me\u00f0 \u201ehentunum\u201c, hugtaki myndlistarinnar. Munurinn er hinsvegar s\u00e1 a\u00f0 \u00ed \u00feetta sinn er \u00fea\u00f0 ekki \u00fea\u00f0 vitsmunalega sem m\u00e1li\u00f0 sn\u00fdst um, heldur \u00fea\u00f0 skynr\u00e6na. Me\u00f0vita\u00f0ur e\u00f0a \u00f3me\u00f0vita\u00f0ur tilgangur \u00feessarar a\u00f0ger\u00f0ar er s\u00fa von a\u00f0 me\u00f0 \u00feessu m\u00f3ti takist a\u00f0 koma einhverskonar \u00a0metaphys\u00edsku ferli \u00ed gang. Skrumi\u00f0 er ekkert anna\u00f0, en \u00fea\u00f0-sem-eftir-er af gleymdum og gl\u00f6tu\u00f0um afur\u00f0um myndr\u00e6nnra svi\u00f0setninga og \u00feeirri skapandi vinnu sem \u00fe\u00e6r kr\u00f6f\u00f0ust. Og viti menn, takist \u00e1horfandanum a\u00f0 n\u00e1lgast glansandi yfirbor\u00f0 listskrumsins \u00e1 \u201er\u00e9ttan\u201c h\u00e1tt, m\u00e1 finna fyrir einhverju er minnir \u00e1 birtingarlj\u00f3ma \u00edhugunar (contemplation). Um er a\u00f0 r\u00e6\u00f0a l\u00edkamlega, sj\u00f3nr\u00e6na eftirtekt, ekki \u00f3l\u00edka millili\u00f0alausri upplifun barns \u00e1 umhverfi s\u00ednu, hlutunum og leikf\u00f6ngunum \u00ed kring um \u00fea\u00f0. <\/span><\/p> Leikfangi\u00f0 er \u00ed augum barnsins eitthva\u00f0 sem hefur eigi\u00f0 sj\u00e1lf. Sj\u00f3nr\u00e6n upplifun barnsins \u00e1 leikfanginu kemur \u00feannig fr\u00e1 hlutnum sj\u00e1lfum, \u00fear e\u00f0 vissir eiginleikar leikfangsins birtast \u00ed vitund \u00feess, \u00e1\u00f0ur en barni\u00f0 er byrja\u00f0 a\u00f0 hugsa um \u00fea\u00f0. \u00deessi a\u00f0fer\u00f0, \u00fear sem tilfinningarleg, l\u00edkamleg eftirtekt er \u00ed fyrirr\u00fami, gefur okkur \u00feannig m\u00f6guleika \u00e1 \u00fev\u00ed a\u00f0 n\u00e1lgast tilveruna \u00e1 n\u00fdjan h\u00e1tt. Vi\u00f0 st\u00f6ndum ekki lengur utan vi\u00f0 veruleikann heldur erum hluti af honum. \u00a0\u00cd Klass\u00edsku n\u00e1tt\u00faruv\u00edsindunum s\u00f6fnum vi\u00f0 reynslu me\u00f0 \u00fev\u00ed a\u00f0 sko\u00f0a og athuga hlutinn \u00far fjarl\u00e6g\u00f0. Vi\u00f0 n\u00e1lgumst hlutinn hlutr\u00e6nt. <\/span><\/p> Veltum v\u00f6ngum yfir honum \u00e1n \u00feess a\u00f0 l\u00e1ta hann hafa skynr\u00e6n \u00e1hrif \u00e1 okkur og \u00e1kve\u00f0um endanlega hlutr\u00e6nt, hva\u00f0a eiginleikar hluturinn hefur. \u00deetta er kalla\u00f0 ytri reynsla. Me\u00f0 hinni sj\u00f3nr\u00e6nu, skynr\u00e6nu a\u00f0fer\u00f0 er reynslan \u00fea\u00f0 sem sko\u00f0andin upplifir millili\u00f0alaust fr\u00e1 hlutnum sj\u00e1lfum. \u00dea\u00f0 hefur s\u00ed\u00f0an \u00e1hrif \u00e1 hugsun og endanlega sko\u00f0un hans \u00e1 \u00fev\u00ed hverjir s\u00e9u eiginleikar hlutarins. \u00deetta er kalla\u00f0 innri reynsla. B\u00e1\u00f0ar \u00feessar a\u00f0fer\u00f0ir eru hver a\u00f0 s\u00ednu leyti g\u00f3\u00f0ar og nau\u00f0synlegar, samt sem \u00e1\u00f0ur, s\u00e9 teki\u00f0 mi\u00f0 af \u00feeirri gj\u00e1 er myndast hefur \u00e1 s\u00ed\u00f0ustu \u00f6ldum milli manns og n\u00e1tt\u00faru, m\u00e1 segja a\u00f0 n\u00fa s\u00e9 \u00fe\u00f6rfin meiri fyrir \u00fe\u00e1 s\u00ed\u00f0arnefndu. Af \u00feessum s\u00f6kum munu margar \u00fe\u00e6r forsendur sem einkenna sem mest uppruna n\u00fat\u00edmalistarinnar, til a\u00f0 mynda \u00eddeal\u00edska og r\u00f3mant\u00edska myndlistarhugtaki\u00f0, f\u00e1 aftur aukna \u00fe\u00fd\u00f0ingu. Ekki \u00fea\u00f0 a\u00f0 eitthva\u00f0 komi til baka (\u00feessi grundvallaratri\u00f0i voru aldrei alveg \u00ed burtu), h\u00e9r er einfaldlega veri\u00f0 a\u00f0 minna okkur \u00e1 \u00fea\u00f0 a\u00f0 N\u00fat\u00edmalistin er bygg\u00f0 \u00e1 andst\u00e6\u00f0um (hef\u00f0 og framfarir) sem eru \u00ed st\u00f6\u00f0ugri gl\u00edmu vi\u00f0 hvort anna\u00f0, hafa \u00e1hrif \u00e1 hvort anna\u00f0 og taka \u00fev\u00ed me\u00f0 t\u00edmanum breytingum. <\/span><\/p> \u00dea\u00f0 m\u00e1 sk\u00fdra \u00feetta \u00feannig, a\u00f0 \u00a0s\u00e1 n\u00fdji skilningur sem vi\u00f0 h\u00f6fum \u00f6\u00f0last me\u00f0 framf\u00f6runum, er or\u00f0inn hluti af hugtaki myndlistarinnar, sem \u00fe\u00fd\u00f0ir a\u00f0 \u00feegar vi\u00f0 n\u00fana \u00ed dag, notum hinar upprunalegu hef\u00f0bundnu a\u00f0fer\u00f0ir, \u00fe\u00e1 eru \u00fe\u00e6r \u00f3hj\u00e1kv\u00e6milega undir st\u00f6\u00f0ugum \u00e1hrifum \u00feessa n\u00fdja skilnings og \u00fe.a.l. ekki lengnur \u00ed einu og \u00f6llu \u00fea\u00f0 sem \u00fe\u00e6r voru fyrir. Einmitt \u00feessi vitneskja gerir okkur kleift a\u00f0 nota, samhli\u00f0a \u00f6llum \u00feeim n\u00fdju vitsmunalegu n\u00e1lgunarm\u00f6guleikum sem okkur standa til bo\u00f0a, klass\u00edska myndlistarhugtaki\u00f0 vi\u00f0 sk\u00f6pun og sko\u00f0un samt\u00edmalistar; \u00e1n \u00feess a\u00f0 falla \u00ed gryfju endurtekningarinnar. En \u00feetta gildir ekki eing\u00f6ngu fyrir klass\u00edska mi\u00f0la l\u00edkt og m\u00e1lverki\u00f0, \u00fev\u00ed \u00feessi vistv\u00e6na theor\u00eda g\u00e6ti a\u00f0 sama skapi virka\u00f0 sem \u00e1skorun fyrir alla hina n\u00fdju mi\u00f0lunarm\u00f6guleika er b\u00e6\u00f0i Tilraunin og digitalv\u00e6\u00f0ingin hafa gefi\u00f0 af s\u00e9r. <\/span><\/p> \u00dear sem um er a\u00f0 r\u00e6\u00f0a sj\u00f3nr\u00e6na og tilfinningalega eftirtekt sem s\u00e6kist eftir \u00fev\u00ed a\u00f0 sameina formi\u00f0 innihaldinu (efninu), er l\u00edkt og teki\u00f0 hefur veri\u00f0 fram, mikilv\u00e6gt a\u00f0 \u00fea\u00f0 sem sko\u00f0andinn s\u00e9r, fari millili\u00f0alaust \u00ed gegnum l\u00edkamann. \u00deannig s\u00e9\u00f0 eru skynf\u00e6rin l\u00edkust m\u00f3tt\u00f6kust\u00f6\u00f0, inngangi, sem \u00e1 \u00feennan h\u00e1tt geta mi\u00f0la\u00f0 til sj\u00e1lfsvitundarinnar mikilv\u00e6gum uppl\u00fdsingum er var\u00f0a skilning okkar \u00e1 \u00fe\u00fd\u00f0ingu og gildi \u00feeirrar n\u00e1tt\u00faru sem manneskjan \u00ed rauninni er. \u00deegar \u00f6llu er \u00e1 botninn hvolft er \u00feetta ekkert anna\u00f0 en stefnum\u00f3t vi\u00f0 okkur sj\u00e1lf. Hi\u00f0 efnislega listaverk er bara mi\u00f0lun, svi\u00f0setning; hi\u00f0 eiginlega listaverk er andlegt og \u00e1 s\u00e9r sta\u00f0 innra me\u00f0 okkur sj\u00e1lfum.<\/span><\/p> Hva\u00f0 sem \u00feessu l\u00ed\u00f0ur, r\u00f3mant\u00edsk d\u00edalekt\u00edk er alltaf opin fyrir b\u00e1\u00f0um hli\u00f0um m\u00e1lsins, \u00fear sem h\u00fan leitast \u00ed s\u00edfellu vi\u00f0 a\u00f0 sameina og\/e\u00f0a leysa upp m\u00f3tsagnirnar (synthesis). \u00a0\u00deessi st\u00f6\u00f0ugi \u00f3r\u00f3leiki, \u00feessi st\u00f6\u00f0uga \u00fer\u00e1 um a\u00f0 eitthva\u00f0 ver\u00f0i a\u00f0 breytast er \u00fea\u00f0 sem einkennir r\u00f3mant\u00edkina; a\u00f0 halda listinni \u00e1 hreyfingu, koma \u00ed veg fyrir a\u00f0 h\u00fan sta\u00f0ni \u00ed einhverjum \u00fatv\u00f6ldum \u00fer\u00f6ngs\u00fdnum sannleika. \u00a0Og hva\u00f0 \u201eendalok myndlistarinnar\u201c var\u00f0ar, \u00fe\u00e1 er heimspeki Hegels engin bein l\u00edna, heldur hringur, sem \u00fe\u00fd\u00f0ir a\u00f0 endir og upphaf renna saman \u00ed eitt. H\u00e9r er \u00fev\u00ed ekki \u00e1tt vi\u00f0 virkileg endalok; frekar ber a\u00f0 skilja \u00feetta \u00feannig, a\u00f0 \u00ed s\u00e9rhvert sinn sem okkur finnst einhverju vera a\u00f0 lj\u00faka, er \u00a0l\u00edklegra a\u00f0 um s\u00e9 a\u00f0 r\u00e6\u00f0a n\u00fdtt upphaf me\u00f0 n\u00fdjum vi\u00f0horfum og \u00e1skorunum. \u00dea\u00f0 er \u00fev\u00ed ekki \u00f3l\u00edklegt a\u00f0 \u00feetta \u201enau\u00f0synlega n\u00fdja\u201c sem samt\u00edmalistin stendur frammi fyrir \u00ed dag og be\u00f0i\u00f0 er eftir me\u00f0 spenningi hva\u00f0 er, s\u00e9 fyrir l\u00f6ngu hafi\u00f0; og vi\u00f0 einfaldlega ekki b\u00fain a\u00f0 \u00e1tta okkur \u00e1 \u00fev\u00ed.<\/span><\/p> Eitt er v\u00edst, myndlistin er, var og ver\u00f0ur alltaf einst\u00e6\u00f0; \u00ed \u00f6llum s\u00ednum margbreytileika.<\/span><\/p> \u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0J\u00f3n Thor G\u00edslason myndlistarma\u00f0ur<\/span><\/p>","_et_gb_content_width":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[37],"tags":[400,401],"class_list":["post-6309","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-innsent-efni","tag-jon-thor-gislason","tag-tilraunin"],"yoast_head":"\n
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