Central to this reflection upon the interconnectedness between the destruction of a monument in Norway after the Second World War and iconoclasm will be work by Swiss art historian Dario Gamboni who, in The Destruction of Art (1997), argues that any understanding of modern and contemporary iconoclasm must be contextualized via the redefinition of art and its actual autonomy. In so doing, this article will open a twofold reflection concerning iconoclasm as an act of destruction, while also reflecting as to whether or not the very term ‘iconoclasm’ is perhaps best understood by what Dutch scholar Mieke Bal (2002) has called a ‘travelling concept’. The latter will hopefully allow for a consideration of iconoclasm through interdisciplinary cultural analysis, and, as such, enrich our understanding of the term and its practices in both historical and contemporary perspectives.

瑞士艺术史学家达里奥·甘博尼 (Dario Gamboni) 在《艺术的毁灭》一书中对第二次世界大战后挪威一座纪念碑的毁坏与偶像破坏之间的相互联系进行了反思，其核心是(1997) 认为，任何对现代和当代偶像破坏的理解都必须通过重新定义艺术及其实际自主性来进行语境化。这样做，本文将对偶像破坏作为一种破坏行为展开双重反思，同时也反思荷兰学者 Mieke Bal (2002) 所说的“偶像破坏”这个词是否最能理解“偶像破坏”旅游概念'。后者有望通过跨学科的文化分析来考虑偶像破坏，并因此从历史和当代的角度丰富我们对该术语及其实践的理解。