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Unstable Systems
Instability can be a creative force in art, design, and architecture. Artists, designers, and scholars work both with and against systems that are ever-changing, fragile, or unpredictable. Whether dealing with technological systems, ecosystems, social structures, or sensory experiences, instability is often a prerequisite for creation.
Instability opens pathways for new ideas and processes, reshaping how we approach and redesign the systems that shape our lives. It can also refer to the creative act itself—one that does not follow predetermined trajectories or established norms. Art, design, and architecture serve as tools to disrupt stable systems and/or shed new light on systems that appear stable but in reality, they are not. No system is truly stable, and when we resist that instability, it becomes a problem. Instability is perhaps the only certainty we can rely on.
Hugarflug 2025, the annual conference on artistic research, will take place on September 11–12. It will serve as a platform for research that engages with instability across various systems—from technological advancements such as AI and interactive systems to issues related to politics, society, and the environment. We will explore how instability functions as a tool for generating new possibilities while also fueling unrest and transformation within society and academia. The Iceland University of the Arts invites proposals of all kinds, including presentations of ongoing or completed research by our faculty, students, and collaborators.
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Unstable Systems
Instability can be a creative force in art, design, and architecture. Artists, designers, and scholars work both with and against systems that are ever-changing, fragile, or unpredictable. Whether dealing with technological systems, ecosystems, social structures, or sensory experiences, instability is often a prerequisite for creation.
Instability opens pathways for new ideas and processes, reshaping how we approach and redesign the systems that shape our lives. It can also refer to the creative act itself—one that does not follow predetermined trajectories or established norms. Art, design, and architecture serve as tools to disrupt stable systems and/or shed new light on systems that appear stable but in reality, they are not. No system is truly stable, and when we resist that instability, it becomes a problem. Instability is perhaps the only certainty we can rely on.
Hugarflug 2025, the annual conference on artistic research, will take place on September 11–12. It will serve as a platform for research that engages with instability across various systems—from technological advancements such as AI and interactive systems to issues related to politics, society, and the environment. We will explore how instability functions as a tool for generating new possibilities while also fueling unrest and transformation within society and academia. The Iceland University of the Arts invites proposals of all kinds, including presentations of ongoing or completed research by our faculty, students, and collaborators.
In an article on systems aesthetics, Jack Burnham argued that the transformations occurring in visual art at the close of the 1960s could be likened to what Thomas Kuhn described as a “paradigm shift” in the sciences. Such paradigm shifts, according to Kuhn, lead to scientific revolutions, and Burnham maintained that the developments in art around 1970 constituted nothing less than a revolution. When one examines the subsequent changes in art education in Iceland and across the Western world in the following decades, it may be argued that this revolution precipitated significant structural changes in art education at all levels of the educational system. In Iceland, this was reflected in the establishment of comprehensive primary schools, the introduction of dedicated art programs at the upper secondary level, and ultimately, the founding of the Iceland University of the Arts, which consolidated higher education in all artistic disciplines under a single institutional framework. This presentation will examine these developments, with particular emphasis on their impact on the field of visual art.
Margrét Elísabet Ólafsdóttir Professor of Fine Art Theory and Head of Theory at the Fine Art Department of the Iceland University of the Arts.