SlideShare a Scribd company logo

Tēlniecības kvadriennāle, 2004

•
•
majaslapas
majaslapas

Tēlniecības kvadriennāle, katalogs, 2004.

Art & Photos
1 of 212
Download to read offline
Riga2004EuropeanSpaceSculptureQuadrennialRÈga2004EiropastelpaTélniecîbaskvadriennåle
3• RÈga 2 0 0 4 Eiropas telpa Télniecîbas kvadriennåle Rîga 2004 S/o Måkslas menedΩmenta un informåcijas centrs (MMIC) Centre for Art Management and Information
4• 0420
5• Télniecîbas kvadriennåle “Rîga 2004 – EIROPAS TELPA” PASÅKUMI EIROPAS TELPA 1950. gada télniecîbas darbu fotoreprodukciju izståde Rîgas pilsétvidé 2004. gada 1. maijs – 1. augusts Müsdienu télniecîbas darbu izståde 2004. gada 4. jünijs – 25. jülijs Valsts Måkslas muzeja izståΩu zåle “Arsenåls” Latvijas Dzelzce¬a véstures muzejs Rîgas pilsétvide KOLONIZ‰TÅ TELPA 2004. gada 5.–6. jünijs Starptautiska konference Rîgas Ekonomikas augstskola ATÍIRÈGÅS REALITÅTES I, II, III, IV, V Starptautiski seminåri Vi¬ña, Lietuva – 2004. gada 26.marts Helsinki, Somija – 2004. gada 24. aprîlis Tallina, Igaunija – 2004. gada 25. aprîlis Londona, Lielbritånija – 2004. gada 10. maijs Stokholma, Zviedrija – 2004. gada 24. maijs N TELPA 2004. gada 3. jünijs Starptautiska radoßa darbnîca Latvijas Måkslas akadémija sadarbîbå ar Vi¬ñas,Tallinas un Helsinku Måkslas akadémijåm Latvijas Måkslas akadémija TELPAS BALSS Koncerts izståΩu zålé Stîgu kvartets “Rîgas kamermüzi˚i“ 2004. gada 8. jülijs Latvijas Dzelzce¬a véstures muzejs ATÍIRÈGAS REALITÅTES Forums un web radio Re:Baltic 2004. gada 2.–26. jünijs Starptautiskås télniecîbas kvadriennåles “Rîga 2000” Galvenås balvas ieguvéja Nisi MASAAKI personålizståde Latvijas Måkslinieku savienîbas galerija Sculpture Quadrennial Riga 2004 “EUROPEAN SPACE” EVENTS: EUROPEAN SPACE Exhibition of photoreproductions of the sculptures from 1950 1 May –1 August 2004 Public spaces in Riga city centre Contemporary sculpture exhibition 4 June – 25 July 2004 Exhibition hall Arsenåls of the State Museum of Art The Latvian Railway History Museum Public spaces in Riga city centre COLONIZED SPACE 5–6 June 2004 International conference Stockholm School of Economics in Riga DIVERGENT REALITIES I, II, III, IV, V International seminars 26 March 2004 – Vilnius, Lithuania 24 April 2004 – Helsinki, Finland 25 April 2004 – Tallinn, Estonia 10 May 2004 – London, Great Britain 24 May 2004 – Stockholm, Sweden N SPACE 3 June 2004 International sculpture workshop Latvian Academy of Art in collaboration with Vilnius, Tallinn and Helsinki Art academies VOICES OF THE SPACE Concert at the exhibition halls String Quartet of the Riga Chamber Musicians, 8 July 2004 The Latvian Railway History Museum DIVERGENT REALITIES Forum and web radio Re:Baltic 2–26 June 2004 Nishi MASAAKI solo exhibition Grand Prix-winner of the International Sculpture Quadrennial Riga 2000 Gallery of the Artists’ Union of Latvia
6• Télniecîbas kvadriennåli “Rîga 2004 – EIROPAS TELPA” rîko Måkslas menedΩmenta un informåcijas centrs un Latvijas Kultüras ministrija sadarbîbå ar dalîbvalstu profesionålåm radoßåm organizåcijåm. Sculpture Quadrennial Riga 2004 “EUROPEAN SPACE” is organised by the Centre for Art Management and Information and the Latvian Ministry of Culture in collaboration with the professional creative organisations of the participating countries. Kuratori / Curators Aigars Bikße Kristaps Gulbis Projekta direktore / Project director Måra Ådiña Darba grupa / Workgroup Projekta starptautiskie koordinatori / International project coordinators Elîna Düce, Ilze Egle, Juha van Ingens (Somija / Finland) Sabiedrisko attiecîbu koordinatore / Public relations coordinator Ilze Ítåla Måkslinieks / Designer Artis Rutks Web måkslinieks / Web designer Andris Dinsbergs Tehniskais direktori / Technical directors Måris Grosbahs, Gatis Eglîtis Izstådes iekårtotåjs / Exhibition designer Holgers Elers Seminåru koordinatore / Seminars coordinator Iréna BuΩinska Konferences vadîtåjs / Conference moderator Anders Kreugers (Zviedrija / Sweden) Radoßås darbnîcas vadîtåji / Creative workshop coordinators Barbara Åbele, G¬ebs Pante¬ejevs, Bruno Strautiñß Lîdzorganizatori ES Kultüra 2000 ietvaros / Co-organizers within EU Culture 2000: British Council Latvia, Contemporary Art Information Center of the State Art Museum (CAIC), Estonian Sculptors Union, Riksutställningar, The Association of Finnish Sculptors Kataloga redaktore / Catalogue editor Gundega Cébere Måkslinieks / Designer Artis Rutks Tulkotåji / Translators No ang¬u valodas / From English Stella Pelße, Kristiåna Åbele, Eduards Liniñß, Viktors Freibergs No latvießu valodas / From Latvian Valdis Bérziñß, Kårlis Streips Korektores / Proof-readers Iveta Boiko (ang¬u val. / English), Måra ˆikitina (latvießu val. / Latvian) Izdevéjs / Publisher S/o MMIC – Måkslas menedΩmenta un informåcijas centrs mmic@latnet.lv © Autori, organizåcijas un måkslinieki, 2004 © Ilgvara Gradovska, Kristapa Gulbja un autoru foto, 2004 Iespiests / Printed McÅbols Våks iespiests uz Arctic Volume 300 g/m2 , iekßlapas uz Arctic Volume 150 g/m2 un Munken Print 115 g/m2 no Arctic Paper
7• Latvijas Kultüras ministrija Måkslas menedΩmenta un informåcijas centrs Sponsori un atbalstîtåji / Sponsors and support Culture 2000 Valsts Kultürkapitåla fonds Rîgas dome Valsts Måkslas muzejs Rautakesko Air Baltic Latnet Zieme¬u Ministru padomes informåcijas centrs Rîgå Trials Latvijas Måkslas akadémija SSE Rîga 3 M Objekts Pieci ezeri Valmieras stikla ß˚iedra Dai¬rade Expo Arctic Paper Casablanka DFDS Transport AFAA Centre Culturel Francais Riga Caloouste Gulbenkian Foundatin (Portugal) Luso-American Foundation (Portugal) Ministry of Culture of Portugal Institute of Arts (Portugal) Arts Council of Finland Department for Communication and Culture, Ministry for Foreign Affairs of Finland Kordelin Foundation Embassy of Finland in Latvia Nordic Cultural Fund FRAME Finnish Fund for Art Exchange Ministry of Culture of the Republic of Lithuania Fundation Culture and Sport (Lithuania) Embassy of the Republic of Lithuania to the Republic of Latvia Polijas Republikas véstniecîba Latvijå Prohelvetia Arts Council of Switzerland Nîderlandes Publiskås telpas måkslas fonds / The Dutch Foundation For Art and Public Space (SKOR) Informatîvais atbalsts / Information support Diena IB Media Radio III Divi putni Rîgas Laiks Una Studija Måksla Plus Müzikas Saule The Baltic Times Riga this Week Ças Subbota Pateicîba brîvpråtîgajiem palîgiem / We extend our thanks to volunteers Raivis Austriñß Jana Borisova Vita Breda Edgars Burtnieks Sanita Çevere Toms Çivlis Ivars Drulle Jana Duhovska Kaspars Endols Krißs Erdmanis Marts Erdmanis Eduards Feoktistovs Pauls Gailîtis Karîna Gluhova Liene Gréviña Zane Gromulsone Linda Igolniece Kristîne Ivanova Velga Jékabsone Elîna Kalniña Liene ikute Edgars K¬aviñß Sandis Kondråts Andris Konoßonoks Dina Konstantinova Marika Kozlovska Jånis Kudiñß Jana Kukaine Inese Kurzemniece Inga Låce Iveta Lapsiña Ieva Lauriña Zîle Liepiña Ieva Lindenbauma Ilze Litavniece Kristîna Lukjanska Sandra Madelåne Santa Mazika Anda Mendri˚e Iveta Ozoliña Kristîne Paeglîte Katrîna Pakalniete Marianna Piçula Ilze Prikaßa U©is Pucens Dace Resele Liene Rubane Elîna Ruka Roberts Salaks Ieva Saulîte Anita Sedliña Elîna Simsone Baiba Íime Dårta Íñi˚e Karîna Sîmane Kristaps Strauts Dairis Tiesnesis Karîna Timofejeva Ingmårs Usas Evita Vasi¬jeva Inese Valtere Ilze Va¬ka Gunta Vaska Anitra Velde Johanna Vîtanena Uldis Zariñß Zane Zilberte Evija Zujeva Starptautiskås télniecîbas kvadriennåles “Rîga 2004 – Eiropas telpa” Grand prix laureåti – ungåru måkslinieku Andråßa Gålika un Bålinta Havaßa radoßais tandéms Little Warsaw par darbu Marmora iela, kas eksponéts Dzelzce¬a véstures muzejå Sculpture Quadrennial Riga 2004 “European Space” Grand Prix Little Warsaw (Balint Havas, Andras Galik), Hungary, for the work “Marble Street” Kvadriennåles Ωürijas komisija / Jury of the Sculpture Quadrennial: Ûürijas priekßsédétåjs / Chairman of the Jury Gundars Bojårs, Rîgas Domes priekßsédétåjs / Chairman, Riga City Council Dainis Èvåns, Rîgas Domes Kultüras, måkslas un reli©ijas lietu komitejas priekßsédétåjs / Chairman of the Committee of Culture, Art and Religion of the Riga City Council Diåna Çivle, Rîgas Domes Kultüras pårvaldes priekßniece / Head of the Culture Department of the Riga City Council Ieva Kalniña, Rîgas Domes Kultüras pårvaldes Kultürpolitikas noda¬as vadîtåja, måkslas zinåtniece / Head of the Culture Policy Section, Culture Department of the Riga City Council, art historian Nishi Masaaki (Japåna / Japan), starptautiskås télniecîbas kvadriennåles “Rîga 2000” Grand prix ieguvéjs / Grand Prix winner of the Sculpture Quadrennial “Riga 2000” Aigars Bikße, Kristaps Gulbis, starptautiskås télniecîbas kvadriennåles “Rîga 2004 – Eiropas telpa” kuratori / curators of the Sculpture Quadrennial Riga 2004 “European Space”
0420 8• Eiropas telpas sarunu objekti Hanno Soansa saruna ar Rîgas Télniecîbas kvadriennåles Eiropas telpa kuratoriem Aigaru Bikßi un Kristapu Gulbi notika Tallinå 2004. gada 13. jünijå. Tå bija otrå divu Eiropas telpai veltîto interviju ciklå, un tås téma no vis- påréjiem jautåjumiem, kas tika aplükoti pirmajå intervijå, aizvirzîjås pie konkrétajiem kvadriennåles darbiem un to izraisîtås rezonanses sabiedrîbå. Hanno Soanss: Varbüt jüs gribétu aplükot konkré- tus darbus kå daΩådu izstådes izveides aspektu piemé- rus? Es îpaßi vélétos pievérsties 50. gadu darbu attélu izstådîßanai uz årtelpu stendiem un skulptüråm publiska- jå telpå. Vai jüs varétu nosaukt tos darbus, kuru izstå- dîßana, jüsupråt, bija seviß˚i izdevusies rezultåta vai interesanta procesa ziñå? Kristaps Gulbis: Man seviß˚i interesants ß˚iet tas, kas saistås ar årpus izståΩu telpåm izvietotajiem darbiem. To autoriem bija iespéja ierasties Rîgå jau iepriekß, lai iepazîtos ar izstådîßanås vietåm, tå ka viñi bija privile©étå situåcijå attiecîbå pret påréjiem. Publiskajå telpå ir izvieto- ti vairåki interesanti, ßeit pieminéßanas vérti darbi. Viens tåds ir ‰rika Samaha saules bateriju darbinåtais skañu objekts, kas nomaskéts parkå. Tad man vél bütu jåmin dåña Tomasa Poulsena veidotais darbs, kas izvietots vienå no Rîgas tirgiem. Abi darbi ir labs piemérs tam, kådu vietéjås publikas reakciju izraisa ßådi måkslas objekti. Jåsaka, Tomasa Poulsena darbs ¬audîm patîk. Darba pa- matå ir ideja par to, ka cilvéki ßajå pasaules da¬å ir ¬oti lieli individuålisti, kuri domå galvenokårt par savu mazo pasaulîti. Tad nu måkslinieks véléjås tos apvienot zem viena jumta, padarot viñu savstarpéjo komunikåciju aktîvåku. Viñß izgatavoja jaunu tirgus stendu ar kopéju jumtu un nokråsoja to koßåku salîdzinåjumå ar påréjo tir- gus iekårtu – létåm koka konstrukcijåm ar nelieliem plas- tikåta jumtiñiem. Un més vienojåmies ar zemniekiem, ka péc Poulsena darba pabeigßanas viñi ar savåm precém ievåksies viña stendå. Tomér jau nåkamajå dienå viñi paz- iñoja, ka pårcelßoties atpaka¬, jo pircéji såkußi pårmest, ka viñi izlikußi preci uz skulptüras. Redziet – pie darba ir maza plåksnîte ar autora vårdu un nosaukumu. Aigars Bikße: Nosaukums ir Lete diviem pårde- véjiem. KG: Tad nu pircéji pårmeta: kå nav kauna – tirgoties uz måkslas darba, uz skulptüras; vai tad jums nemaz nav cieñas pret måkslu? Pie tam izrådîjås, ka arî pati kon- strukcija nav seviß˚i izdevusies, jo, kå Ωélojås tirgotåji, tå neaizsargå dårzeñus no saules. Jumta konstrukcija bija tåda, ka lietus laikå üdens, ja arî nelija uz dårzeñiem, tad pircéjiem virsü gan. Més ar Aigaru apsvéråm – varbüt mums vajadzétu mé©inåt piedabüt tirgus direktoru samazinåt ßî stenda îres maksu. Tomér nolémåm, ka mums nevajadzétu mé©inåt iespaidot viñu lémumus. HS: Ja darbs pretendé veidot interaktîvus reålås dzîves procesus, vienojot cilvékus un iespaidojot viñu uz- vedîbu, tad vienmér ir jåbüt arî neveiksmes iespéjai. Ja tå
9• nav, tad darbs ir jau iepriekß nodroßinåts un nespéj pildît pats savus nosacîjumus. Tas padarîtu labu ieceri bezjé- dzîgu. Tad arî citos gadîjumos, kad tå ir noticis, jums diez vai ir tiesîbas vértét projekta panåkumus. Un jüsu tagad ståstîtais – par reakciju, kådu izraisîja tirgoßanås uz skulp- türas, – labi atklåj kontekstu. Dånijå ¬audis bütu zinåmå mérå sagatavotåki formåli uztvert müsdienu sociålås skulptüras nosacîjumus – tur tådéjådi risks bütu mazåks. Manupråt, tas ir interesants aspekts, kurå måkslinieks var risinåt domu tålåk. Es gribétu atgådinåt Kléras Bißopas sacîto Telpas kolonizåcijas konferencé. BieΩi ßis sociålås skulptüras veids, kas tießi strådå ar cilvékiem un viñu dzîves vidi, deklaré savu orientåciju uz aktîvu sabiedrîbas pårveidi. Tomér bieΩi diskurss ap ßådiem måkslas darbiem tiek veidots pårlieku sargåjoßs, cenßoties slépt, ka tas neiedarbojas visos aspektos un vienmér, par spîti labåm iecerém. Es domåju, jüsu lémums bija pareizs, jo kuratori nereti mé©ina slépt k¬üdas. Tålåkå perspektîvå tas tikai mazina ßådas måkslas patieso nozîmîbas potenciålu. KG: No vienas puses, tirgotåju attieksme bija ¬oti pozitîva. Viñi teica, ka viñiem objekts patîkot un viñi to izmantotu, ja vien sédekli varétu atvirzît drusku tålåk un jumtu nedaudz pårtaisît. Te proceså såk iejaukties daΩi lokåli noteikumi, lokåli paradumi. Årpusnieks tos neizprot. Arî latvießu måkslinieks varéja pie¬aut tås paßas k¬üdas – jo måkslinieki jau nepieder pie tiem ¬audîm, kas tirgojas ßajos tirgos, més arî neesam zemnieki. Zemnieki bütîbå apdzîvo ßo tirgu un ir izveidojußi paßi savu – viñu biznesam nozîmîgu lietu hierarhiju. Viñi var nedaudz atbalstît arî måkslu – nekådu problému! – tikai ja tas såk kaitét viñu noietam, tad tas vairs nav pieñemami. AB: Konkurencé starp ierastajåm vienkårßajåm kon- strukcijåm, uz kuråm viñi bija pieradußi tirgoties, un ßo jauno stendu standarta konstrukcijas uzvaréja arî tåpéc, ka, pircéjupråt, precei vecajos stendos jåbüt létåkai. Viñi bija nåkußi pirkt dabiskus, îstus lauku produktus un sprie- da, ka parastajos stendos ir vecå labå prece – îsti lauku raΩojumi. Savukårt måkslas darba estétika izrådîjås tuvå- ka prezentåciju letém, kådas ßeit tiek izmantotas tikai tirdzniecîbas centros. KG: Òaudis domåja – ja jau ir jauns stends, tad arî cenas droßi vien ir augståkas. Tå viñi ir ieradinåti. Tå ir parasta prakse – tirdzniecîbas vieta tiek labiekårtota un tad atkal atvérta jau ar augståkåm cenåm. HS: Tas ir saistîts arî ar tému, kuru més såkåm ap- spriest jau iepriekßéjå intervijå, – par elitårismu, måkslu måksliniekiem. Lai jüsu måkslas centieni iegütu nozîmi, jums vajadzîga publika. Ja jüs mé©inåt modificét rezultéjoßo måkslinieka iespaidu uz publiku, padarît to “efektîvåku”, såk zust tå sasaiste ar realitåti. Lai gan man patießåm patîk Tomasa Poulsena ideja, ßajå darbîbas fåzé man tås îstenojumå nebütu jåjaucas. Müsu pirmå saruna bija par “mums un viñiem” – un tas pats ß˚îrums darbo- jas ßeit. Misék¬i noråda uz tåm atß˚irîbåm, kas paståv starp måkslinieka iedomåto tirgu un to, kå tas funkcioné ikdienas realitåté. Jaucoties proceså, més varétu galu galå nonåkt pie naivås pårliecîbas, ka més varam radît ßiem tir- gotåjiem labåkus stendus, neko îsti nezinot par tir- goßanos – tå ir vél viena elitårås pieejas forma, labu gri- boßs, bet aprobeΩots elitårisms. AB: Viens no galvenajiem pretendentiem uz Ωürijas balvu bija Hårvija un Ekroidas darbs. Kad måkslinieki pir- moreiz ieradås Rîgå izpétes braucienå, viñi apsvéra daΩå- das iespéjas. Viens no iespéjamiem variantiem bija lielfor- måta attéli, kas tiktu veidoti, izmantojot fotosintézi. Viñi izvieto uz sienas tumßå telpå audzétu zåli un projicé uz tås fotogråfiju – milzîgu, lîdz 10 metriem augstumå. Pateicoties fotosintézei, divu nedé¬u laikå attéls atveidojas dabiskajå materiålå. Tad viñi zåli nomérdé, tå konservéjot darbu. Rezultåtå tiek iegüts milzîgs dabiskas izcelsmes gobeléns ar fotogråfijas negatîvu. Més viñiem atradåm trîs daΩådas potenciålås vietas, trîs arhitektoniskus objek- tus, kurus viñi varéja izmantot savai instalåciju sérijai – padarît tos za¬us, apaudzéjot ar zåli. Efekts, protams, ir fantastisks. Arhitektüra, éka zaudé savu materialitåti un it kå pazüd. Jo garåka aug zåle, jo nearhitektoniskåka k¬üst éka – tai züd visas deta¬as, un tå såk funkcionét vidé kå vienota za¬a masa. Rîgå måkslinieki to realizé graustå, postaΩå, un tur tas darbojas seviß˚i labi. KG: Tai vietå uz katra so¬a ir narkomånu izmétåtas ߬irces... AB: Måkslinieki strådåja påris dienas, kamér sakopa to vietu. Tad éku pårklåja ar måla maisîjumu, kam pie- jauktas zåles séklas. Kad tås såka dîgt, éka pamazåm pårvértås za¬å maså. Bija ¬oti interesanti vérot, kå tas maina müsu apkårtéjås vides uztveri. KG: Vizuåli, man ß˚iet, tas bija ¬oti spécîgi, ¬oti ie- spaidîgi. Bet més baΩîjåmies par to ¬auΩu iespéjamo rîcîbu, kuri tur ierodas, lai apreibinåtos ar narkotikåm vai alkoholu, un daΩkårt pavada nakti. Lîdzås ir cietums, tå ka vieta nav pati droßåkå. Més baidîjåmies, kas ßådos apståk¬os var notikt ar måkslas darbu. Såkumå uz pår- klåtås sienas tießåm kåds kaut ko uzrakstîja. Taçu, kad cil- véki ievéroja, ka dîgst zåle, kad viñi såka nojaust gaidåmo rezultåtu, attieksme k¬uva daudz saudzîgåka, nekå ierasts. HS: Tåtad jums izdevås sasniegt rezultåtu, kas lîdzi- nås Tomasa Hirßhorna îstenotajam ar viña Bataija pie- minekli (Bataille Monument) pédéjå Documenta, kad måkslinieks kaut kå iefiltréjås turku imigrantu kopienå un panåca savstarpéju uzticéßanos ar tås locek¬iem, tå ka varéja pat atståt tur dårgu televîzijas studijas aprîkojumu bez apsardzes. KG: Tas ir interesants fenomens. Més ar Aigaru ap- spriedåm iespéju veidot måkslas centru kådå no trü- cîgåkajiem rajoniem, jo tur dzîvojoßo cilvéku attieksme ir daudz pretimnåkoßåka. Es domåju, arî ‰riks Samahs uz- ñémås lielu risku, izvietojot ar saules ener©iju darbinåmås flautas. Vai jüs tås redzéjåt? HS: Jå, es biju paßa måkslinieka vadîtajå ekskursijå uz ßo objektu. Taisnîbu sakot – brîniß˚îgs darbs. Kad spîd saule, flautas såk spélét, bet, kad ir måkoñains, darbs – kas ir rüpîgi noslépts – apklust un k¬üst pilnîgi nepa- manåms! KG: Tas ir tas, kas man måkslinieka veikumå ¬oti pa- tîk – tas nav uzkrîtoßi nolikts pilsétas centrå, nav masîvs skulpturåls veidojums, kas sev pieprasa milzumu telpas. Man patîk ßî diskrétå saskarsme ar publiku. Viña darbs ir ¬oti delikåts, savukårt tå publiskoßanas metode – ne gluΩi. Uzturoties Rîgå, måkslinieks katru dienu pårvietojås pa pilsétu ar savu saules flautu rokå un ståstîja par to katram sastaptajam. HS: Ar instrumentu rokå viñß izskatîjås kå mags, kå Oza zemes burvis... Bija diezgan aizraujoßi uzzinåt, kå tas darbojas, uzskañojoties péc saules gaismas. KG: Vai zinåt, ka to skañu var arî ierakstît? Instru- mentå ir mikrofons. Íîs instalåcijas nav måkslinieka vienî- gais darbîbas virziens, taçu viens no tiem, ko viñß paståvî- gi attîsta. Bet, ja jüs salîdzinåtu viña darbu ar, pieméram, to, kuru veidoja Navaks, tås ir divas daΩådas pieejas. Un Rîgå tie izvietoti viens no otra kådus 300 metrus attålumå.
10• HS: Tomér, es domåju, abas metodes ir vitåli svarîgas müsdienu skulptürai. Joprojåm ir daudz darbu, kuri operé ar masu un materialitåti, un arî darbi, kuri ir jau gluΩi vai pie nepamanåmîbas robeΩas, bet arî ¬oti iedarbîgi, vérotåju aktîvi iesaistoßi. Tie bieΩi pårsteidz cilvékus ne- sagatavotus. Labåkais rezultåts tiek sasniegts, kad ¬audis, kas katru dienu dodas cauri ßim parkam, pékßñi pamana kådas ¬oti smalkas pårmaiñas. KG: Navaks man ståstîja, ka darba uzstådîßanas laikå garåm gåjis kåds vecs krievs un noprasîjis: “A ti kto takoi?”1 Navaks kådu laiku vilcinåjies ar atbildi un tad paziñojis: “Ja ñemec.”2 Tad vecis arî kådu brîdi kluséjis, apsverot dzirdéto. Galu galå viñß atteicis: “ˆemec – eto vsjo taki luçße çem latiß.”3 HS: Un arî to var paveikt tikai publiskås telpas skulp- türa. Tå var atklåt problému samezglojumus publikas apziñå, kuri tur ir paståvîgi un iespaido lémumus, bet reti tiek formuléti vårdos. BieΩi vien tiem ir sakars ar nacionå- lo piederîbu un sociålo statusu. No vecåka krievu stråd- nieka visnota¬ var sagaidît låstu “jüs – faßisti tådi”, un viñam tas izskan apméram tåpat kå “jüs – våcießi tådi”, kaut arî tas jau ne tuvu nav viens un tas pats. Un tad viñß pauΩ: “Våcießi tomér ir labåki nekå jüs – latvießi tådi.” KG: Un ko jüs domåjat par Hansa Houvelingena darbu? HS: Varbüt man nedaudz apßaubåmas ß˚iet viña ide- jas Eiropas telpas importa sakarå – it kå Latvija lîdz ßim nebütu bijusi Eiropas da¬a, un viñß tagad ir atvedis ßurp kaut ko no holandießu modernisma, lai ßo telpu ßeit iedi- binåtu. Tomér man patîk, ka modernisma vésture tiek uzskatîta par vértîbu, par kaut ko vispåreiropeisku. Kåpéc lai holandießu modernisma darbu nepårbaudîtu, ievieto- jot citå kontekstå un laika ietvarå? Ja to varétu turpinåt, uzce¬ot îstu éku – iespéjams, pirmo vadoßa holandießu müsdienu arhitekta projektétu celtni Austrumeiropå –, tas bütu patießåm lieliski. KG: No vienas puses – ir interesanti sekot arhitekta domai par to, vai ßeit ir vai nav Eiropas telpa. No ßåda viedok¬a tas jau atkal ir jautåjums par “mums un viñiem”. No otras puses – bütu interesanti vérot rîdzinieku attieks- mi. AB: Manupråt, tas büs viens no darbiem, kas nedaudz provocés. Såkotnéji ß˚ita, ka arî Ekroidas un Hårvija darbs provocés cilvékus. Bija ¬oti grüti sañemt at¬auju, jo instalåcijas vieta bija kådreizéjås kapsétas teri- torijå, un kapela ir arhitektüras piemineklis. Tomér atbil- dîgås institücijas direktors ir diezgan müsdienîgi domå- joßs – viñß labi saprot, ka ir svarîgi veidot saikni ar ßodie- nas aktuålo kultüru. Ja nedarbojas nekas aktuåls, bet tikai atmiñas, tad nekas nepaliek no ßodienas, no müsu laikam atbilstoßiem simboliem. Rîgå joprojåm smagi jåcînås pret ¬audîm, kuri uzskata, ka visam nozîmîgajam pagåtnes mantojumam jåtiek iebalzamétam vai butaforiski atdari- nåtam – kå Melngalvju nama gadîjumå. HS: Bet kå måkslinieki iedomåjås savu darbu kåd- reizéjås kapsétas kontekstå? Tå kå identisku darbu viñi veidojußi arî citå vidé, tad tas k¬üst par atß˚irîgu konteks- tu testu arî viñiem paßiem... AB: Savu instalåciju viñi veidoja pamestå baznîcå un tådéjådi it kå atgrieza dzîvîbu ßajå vietå. Pirms tam éka netika izmantota un bija pak¬auta izpostîßanai. Viñu måk- sla rosinåja tås nozîmîbas atjaunoßanos. Tå arî atklåja ßajå apkårtné dzîvojoßajiem, tiem, kas ir pie ßîs ékas pieradußi, jaunu pieeju vecajai baznîcai. Pamestå vietå neviens vairs nerüpéjas par vides ståvokli – ßis måkslas darbs orientéjas tießi uz ßo rüpju rosinåßanu. Kaut vai tikai tas, ka viena celtne ßajå vietå tiek iztîrîta, palîdz citådi uztvert apkårtni, tas izsaka citådas esamîbas iespéjamîbu. HS: Íî nolaistå vietå esoßås ékas iztîrîßana un måkslas darba veidoßana tajå ir visai interesants piemérs, kå ¬oti poétisks darbs, klasiska instalåcija, var reizém radît spécî- gåku sociålo efektu nekå tießi sociåli vérsts, programma- tiski sociåls darbs. KG: Bet ir vél kåds interesants aspekts – ja to darîtu jüs vai kåds cits no vietéjiem måksliniekiem, reakcija bütu atß˚irîga. Manupråt, Latvijas sabiedrîbå kopumå ir ¬oti po- zitîva attieksme pret årzemniekiem. Ja årzemju måkslinie- ki ierodas Rîgå un pievérß uzmanîbu ßai vietai, tad te jåbüt kaut kam patießåm vértîgam. AB: Tas gan attiecas uz ¬audîm, kam ir kåda såkot- néjå informåcija, bet ßî rajona iemîtnieki... Més baidîjå- mies no vanda¬u postîjumiem. Tomér ¬audis, kuriem par måkslu nav nekåda priekßstata, nepavisam nebija agresîvi noskañoti pret ßo darbu. KG: Nepavisam. Viñi visi gribéja ar tur strådåjoßajiem måksliniekiem aprunåties. AB: Tå kå tas nav pilsétas centrs, tad tur uzturas vieni un tie paßi cilvéki. Viñi sazinås savå starpå. Ja viens pazi- ño, ka, redziet, ßis puisis no Anglijas te taisa kaut ko forßu, tas darbojas kå bezdråts telegråfs un piesaista uzmanîbu. Izrådîjås, ka vietéjais informåcijas lauks iedar- bojas ¬oti labvélîgi. HS: Kå ir ar vidusméra auditorijas interesi – vai tå vairåk fokuséta uz darbiem publiskajå telpå vai uz izstå- di? KG: Praktisku apsvérumu dé¬ vairåk cilvéku ir ap- skatîjußi darbus izståΩu zålé – nav jåpårvietojas pa visu pil- sétu ar karti rokå. Més jau visi esam slinki un domåjam, ka to taçu var paspét rît vai nåkamnedé¬, kamér ir jau par vélu. Bet kåda ir Latvijas måkslas profesionå¬u attieksme pret ßo notikumu – kå tev ß˚iet, Aigar? AB: Kad Ωurnålisti izråda véléßanos ar mums ap- runåties, tad man ß˚iet, ka viñus vairåk interesé publiskås telpas måksla. HS: Bet varbüt tas tå ir tießi tåpéc, ka vairåk nekå desmit gadus ir bijis vérojams tåds müsdienu måkslas deficîts publiskajå telpå? Tagad viñi var arî novértét starpîbu. KG: Òoti bieΩi uzdots jautåjums ir – kå ßie darbi mijiedarbojas ar to publiskås telpas måkslu, kas Rîgå ir, ar pieminek¬iem? Tomér es nekad agråk neesmu Latvijå vérojis tådu kultüras jomå nespecializéto mediju interesi. Kad més izsütîjåm preses relîzes un uzaicinåjåm viñus uz akreditåciju, sañémåm atbildi, ka viñus tas neinteresé. Tagad viñi müs uzmeklé un paziño, ka ir mainîjußi savu viedokli un vélas rakstît par ßo notikumu. Viñu skatîjums uz ßo notikumu un tas, kå viñi izsakås par måkslu, ir visai interesanti. Tas nepårprotami atß˚iras no müsu redzéju- ma, taçu iesåkumam, protams, nav slikti. AB: Kas attiecas uz atsauksmém medijos, 50. gadu måkslas darbi funkcioné ¬oti sekmîgi un skulptüras pub- liskajå telpå arî. Savukårt par ekspozîcijåm izståΩu zålés – kaut arî tas ir müsu svarîgåkais elements – publikas interese ir ierobeΩota, lielåko tiesu intereséjas profe- sionå¬i. KG: Í˚iet, ar vienu darbu mums ir izdevies pievérst gluΩi neceréta publikas segmenta uzmanîbu – ar Dena Íipsaidsa darbu. Man piezvanîja no alpînisma biedrîbas un lüdza, vai nevarot izmé©inåt to veidojumu Arsenålå, kas taisîts no alpînisma treniñiem domåta materiåla. Vispirms viñi ieradås skulptüru apskatît, péc tam tajå uzråpties. Tas ir paradoksåli – tirgü pircéjus mulsinåja tas,
ka zemnieki tirgo savu preci uz skulptü- ras, kas taçu bija domåta tirgoßanai, bet ßie puißi ieradås paßi, lai izmé©inåtu sa- vas spéjas izståΩu zålé! Viñi nepavisam nemulsa. Protams, es teicu, ka man prieks par viñu lémumu. Viñi savukårt mums pateicås par alpînisma propagan- déßanu. AB: Tåda jau arî bija ßî darba ori©i- nålå iecere – såkotnéji més plånojåm to izvietot lielveikalå, taçu nevaréjåm vieno- ties ar veikalu par deta¬u pienåcîgu nos- tiprinåßanu. Bet visinteresantåkais ir tas, ka alpînisti paßi ievéroja ßo darbu izståΩu zålé un nekautréjås palügt at¬auju tajå uzkåpt. BieΩi vien tießi ßådas mazas sa- biedrîbas grupas atklåj måkslas darbus kådå patießåm interesantå aspektå, iedzîvina tos kontekstå un sniedz intere- santu vielu vélåkai apsprießanai. Tå ir ma- zo nißu publika, kas padara skulptüras par sarunu objektu, veidojot sociålo diskursu. KG: Runåjot par izstådi kopumå mums ar Aigaru daudzi pårmetußi “vés- tîjuma” neesamîbu. Måkslas profe- sionå¬u aprindås ir pierasts ßåds “kura- toru véstîjums tautai”. Més abi esam måkslinieki un ßo izstådi esam büvéjußi uz citiem, mums interesantiem princi- piem: uz situåcijas fikséßanu, uz to, kas konkrétå laikå – 1950. un 2004. gadå – daΩådås kultürtelpås tiek uzskatîts par vértîbu. Un atkal esam nonåkußi pie “més un jüs”. Tießi ßî robeΩlînija man arî ß˚iet tå interesantåkå – tas, kådé¬ vispår bija vérts pasåkumu “Eiropas telpa” orga- nizét. Tådé¬ atbilde, ko sañémåm no Rî- gas Galvenås policijas pårvaldes ar attei- kumu ierosinåt kriminållietu par Lielajos kapos izvietotå måkslas darba uz- turéßanai nepiecießamå tehniskå inven- tåra zådzîbu, ir pårliecinoßa liecîba, ka måkslas, måkslas profesionå¬u un sa- biedrîbas attiecîbås vél daudz daråms, lai més kaut vai såktu mé©inåt sarunåties, ja ne vienå, tad vismaz lîdzîgå, visiem saprotamå valodå. 1, 2, 3 Krievu val. •11
12• The Conversation Pieces of “European Space” The interview with the curators of Riga Sculpture Quadrennial, “European Space”, Aigars Bikße and Kristaps Gulbis, took place in Tallinn, on 13 th June 2004. As it was the second one from the set of two interviews relating to “European Space”, the focus was shifted from the general issues addressed in the first interview to concrete artworks at the Sculpture Quadrennial and the resonance they provoke in public. Hanno Soans: Maybe you would like to choose some works as examples of different aspects building up the exhibition. I would particularly like to mention the works from the 1950s installed on billboards and the sculptures in public space. Could you address the works, which in your opinion have been a particular success or interesting as a process? Kristaps Gulbis: I found very interesting the issues concerning the works exhibited outside the exhibition halls. These artists could come to Riga beforehand for the research visits, so they were in a privileged position com- pared to the others. In public space there are some works particularly interesting to address here. One is by Erik Samakh, a sound piece feeding on solar energy and dis- creetly situated in a park. Then I should mention the work by FOS, Thomas Poulsen from Denmark, whose work is situated in one of Riga’s marketplaces. These are both good examples of how local people can react to the artwork. Actually people like Thomas Poulsen’s work. His initial idea about people in this part of the world was that they are very individual, thinking mostly about their own small worlds. So he wanted to connect them under one roof, making communication between them more active. He made a new stand with a common roof and painted it to look nice if you compare it with the existing struc- tures in the market, which are cheap wooden things with some plastic for the roof. We agreed with the farmers who are selling there, that after Poulsen’s work is fin- ished, they will move to this new stand. But as they moved there for one day they told us they are going to move back because some customers started to complain that they sell their stuff on a sculpture. There is a tiny sign with the artist’s name and the title attached to the stand, you know. Aigars Bikße: The title is “Stand for Two Venders”. KG: So their question was, how dare you trade on an artwork, on a sculptural object, don’t you have any respect for art? It also came out that the construction itself was not too good as the guys selling complained that it doesn’t protect vegetables from the sun. The roof was constructed in a way that even if the water doesn’t get on vegetables, it drops on customers, when it is rain- ing. We discussed with Aigars weather we have to influ- ence the director of the market, make him to reduce the rent for this stand? But we came to the conclusion that we shouldn’t try to influence their decisions. HS: If there is a work, intended at building up real- life interactive processes connecting people and influenc- ing their behaviour, there must always be the possibility to fail. If it is not there the work is pre-protected and can- not fulfill its own preconditions. It makes good effort meaningless. You can then hardly claim to measure the success of another occasion, when it might have hap- pened. And what you told me now is revealing a lot about the context, this reaction to trading on a piece of sculpture. In Denmark people would have been pre- pared, to a certain extent, to formally accept the condi- tions of contemporary social sculpture – thus there would have been less risk. I think this is an interesting aspect for the artist to consider further. I wanted to recall here what Claire Bishop addressed in “Colonising Space” confer- ence. Often this kind of social sculpture, working direct- ly with people and their environment, claims to be orien- tated to actively changing society. But often discourse around this kind of work is overprotective trying to hide that it might not work in every aspect every time, despite good intentions. I think you made the right decision, because often curators are trying to mask failures. In longer terms that is reducing the actual potential of the importance of that type of work. KG: From one hand there was very positive attitude from the guys selling in the market. They told us that they like the stand and that they would use it, only if this seat could be moved a little bit further and this roof re- done a bit. There are some local rules, local habits step- ping in. They cannot be understood by someone who is from outside. The artist from Latvia might have made the same mistake. Because artists don’t belong to this group of people who are trading goods in markets, we are not farmers. They basically inhabit the market and they have developed their own hierarchy of things important for their business. They can support artwork a little, no prob- lem, but if their sales are deteriorating, they cannot accept it. AB: In the competition between the traditional rough structures they were used to be trading on and the new stand, the rough basic structures won also because customers expected that the price on the old stands would be cheaper. As they came there for authentic raw peasant food they believed that rough stands mean the good old thing and the product will really be from the countryside. The aesthetics of this artwork thus was clos- er to the aesthetics of presentation, which here is used only in the shopping malls. KG: People thought that if you buy from new stands the price probably is also higher. That is how they have been trained. It is a usual prac- tice to refurbish a place to open up with higher prices. HS: This is related to the topic we started to discuss in the previous interview, concerning elitism, art for art- ists only. You need public to make your effort meaning- ful. If you try to modify the result of artists’ impact on public, to make it more “efficient”, it looses its touch with reality. Although I really like the idea of Thomas Poulsen I shouldn’t interfere with it in this phase. Our first conversation was about Us and Them – the same distinc- tion works here. The drawbacks are addressing these dif- ferences, which exist between artists’ imagination of a market place and the very practicalities of it operating. By interfering we might end up in a naïve conclusion that
we might do better stands for people trading there with- out any experience about trading, which is another form of an elitist approach, benevolent but narrow minded elitism. AB: Harvey and Ackroyd’s piece was one of the favourites of the Jury. When the artists came first time to Riga, for a research trip, they were thinking of various possibilities. They also make huge pictures using photo- synthesis as a process. So that was one possible variant. They take a dark room, grow grass on the wall there and project a huge photography on it, up to 10 meters. And with the help of photosynthesis taking place within 2 weeks the picture is transformed on the natural material. And they then kill the grass, conserving the picture. The result is a big naturally grown tapestry with an image in negative. We found for them three different places as potential sites for the series of installations they do with architectural objects, which they turn green by growing grass on them. The effect, of course, is fabulous. The architecture, the building loses its materiality and sort of disappears. The more the grass grows the less architec- tural the building seems, all details are reduced and it starts to work in the environment as a green mass. The place they are doing it in Riga is a desolate area, a rough place, and this works particularly well there. KG: It was a place with a lot of needles left behind by junkies... AB: The artists cleaned the place, working for a cou- ple of days. The building was covered with the mixture of clay containing seeds of grass. When it started to grow the building turned into a green mass. It is very interest- ing how our perception of environment around it changes. KG: Visually, I think it is very powerful, very impres- sive. But we were worried about the attitude of those people who go there and use drugs or drink there and sometimes stay overnight. It is close to jail, so this neigh- borhood is not very safe. We were concerned what will happen to the work in these circumstances. Something was indeed written on the building in the beginning. But when people started to notice the grass growing and anticipated the result, the attitude became more caring than it is usually. HS: So you could get the same result like Thomas Hirschhorn got at the last Documenta with his “Bataille Monument”, that he could somehow enter a Turkish emigrant community and establish a trust relationship between himself and the community so that he even could leave there expensive TV studio equipment without guard. KG: This is an interesting phenomenon. We were dis- cussing with Aigars the possibility of establishing an art center in some kind of depressed area, because the atti- tude of people living there is more generous. Erik Samakh, I think, also did take big risk with his flutes oper- ating on the solar energy. Did you see that one? HS: Yeah, I was at the excursion the artist gave about the piece. It is marvelous, actually. When it is sunshine the flutes start to play and when it is cloudy the piece, which is sort of invisible anyway, turns silent and disap- pears completely. KG: That is something that I very much like in his work – it is not something rudely put in the city center as a massive piece of sculpture claiming a lot of space for itself. I like his discreet way of dealing with the public. His work is very sensitive, but at the same time the way he is promoting his work is quite different. When he was here, he was every day walking through Riga with his solar flute in his hand talking about it to everyone. HS: He looked like a magician, the Wizard of Oz, with that thing... It was quite impressive to get to know how his instruments work, making a tune out of light. KG: Did you know that you could also record that sound? There is a microphone inside. He is not working only with this type of installations all the time, but this is one branch of his activities he is developing constantly. But if you for example compare his work with the work of Navakas, these are two different approaches. And in Riga they are exhibited maybe 300 meters from each other. HS: But I think both methods are vital for contem- porary sculpture. You still see a lot of work dealing with mass and materiality and also pieces, which are on the border of hardly being noticeable but work very strong- ly, engaging the viewer actively. They often get the peo- ple unprepared. So best of all the result is realized by people who pass this park every day and suddenly notice that something very subtle has changed. KG: Navakas told me that when he was installing his piece there was an old Russian guy passing by and ask- ing: ‘A ti kto takoi?’* Navakas took some time and then answering back he claimed: ‘Ja nemets.’** The old man was also silent for a while, taking his time for thinking. Finally he responded: ‘Nemets eto vsjotaki lutshe tshem latish.’*** HS: And this is also one thing that only public sculp- ture can do. It can bring up problematic knots in public consciousness always there to influence our decisions, but seldom verbalized. Often these are things to do with national identity or social status. You could expect an older worker guy of Russian origin to curse “you fas- cists”, which equals to him with something like “you Germans”, but which of course is not the same thing at all. And then you get a thing like “Germans are still bet- ter than “Latvians”. KG: So what do you think of Hans van Houwelingen’s work. HS: Maybe I have some doubts about his ideas con- cerning importing European space, as if Latvia were not a part of European Space and he is bringing a bit of Dutch modernism over to establish it. But I like how his- tory of modernism is considered as something valuable and trans-European. Why not to put a legendary piece of Dutch modernism in another context and time frame to test it? If this can be continued into carrying out the actu- al building, probably the first building of a leading Dutch modern architect in Eastern Europe, it would be great. KG: On the one hand it is interesting to follow the artist considering if this is European space here or not. It is once again the question of Us and Them from his point of view. And on the other side it would be interesting to see the attitude of people in Riga. AB: I think this will be one of the works, which is a bit provocative. At first it seemed that also the piece by Ackroyd and Harvey provokes people. It was very hard to get the permission for the work, as the installation site was a former cemetery. And also as this chapel is part of architectural heritage. But the director of this institution is quite an advanced in his attitudes. He well understands the importance of creating links with living culture of our days. If there is no present involved but only reminis- cences, nothing remains from the present day, no sym- 13•
0420 14• bolism adequate to our age. There is a big battle in Riga between people who have an attitude that everything important from the past has to be mummified or pre- sented as a fake show, like the House of Blackheads, for example. HS: But how did the artists think of working in the context of a former cemetery? As they have done similar work in another context the piece is like a test for differ- ent contexts for them too... AB: They did an installation in a former church, which sort of woke up the place. Earlier it was planned to demolish the church, as it was not a functioning space. Their art gave a new push to the meaning of the place. It also showed another way of drawing nearer the old edifice to people who live there, who are accustomed to that building. In a desolate place nobody pays atten- tion to the environment any more. Their work focuses on getting this attention. Just cleaning up one building in this area helps to think of all the surrounding houses dif- ferently, it makes difference as a potentiality articulated. HS: To clean one building in a desolate environment and make a work there is quite an interesting lesson of how a very poetic piece, a classical installation work can sometimes carry a stronger social effect than a directly social work, a programmatically social piece. KG: But there is also another interesting aspect – if you would have done it or someone from the local artists the reaction would have been different. I think in Latvia in general we have a very positive attitude towards for- eigners. If foreign artists are coming to Riga and paying attention to this place there must be something really valuable there. AB: This mainly goes for people who have some background information, but the inhabitants of this area... We were afraid of the possible damage by van- dals. But the people who are coming without knowing anything about art were not aggressive about the work. KG: No. They were all very eager to talk with the artists working and so on... AB: As it is not a central area the local people are used to communicate between each other. If one of them says this is a guy from England doing something nice there, it works like post without letters drawing attention. The local field of information has luckily turned out to be favourable. HS: What about the interest of the popular audi- ence, is it more focused on the public artworks or the exhibition. KG: If you look at it from the practical point of view more spectators have seen indoor works: people in gen- eral are lazy to walk around through the whole city with a map in one’s hand. We think we can do it next day or next week until it is too late. But what is the attitude of art professionals in Latvia towards the event, what do you think, Aigars? AB: Journalists who are willing to speak with us, seem to have more interest in public art. HS: But maybe it is exactly because there has been such a deficit of public contemporary art for more than a decade. And now they also can recognize the difference. KG: A very usual question is how these works inter- act with public art we have in the city of Riga, like mon- uments? But at the same time I have never noticed in Latvia such an interest from media not specialized in cul- ture. When we sent press releases and invited them for accreditation for the event they told us that they are not interested. And now they approach us and say that they have changed their mind and want to make an article on the event. Their perspective on the event and how they talk about art is interesting. It obviously differs from our point of view, but that’s a good start indeed. AB: Judging from the media resonance the works from the 1950s work very good and also the public sculpture. But the exhibition halls, although they are the central ones, have a limited number of public with most- ly professional interest. KG: There is one example showing that we managed to rouse interest of an unexpected section of public – this is the piece by Dan Shipsides. I got a call from a moun- tain climbing society as they wanted to test out this piece in the Arsenåls Hall, which was built from the props of mountain climbing. They first came to look at the sculp- ture and then to try it out. It is a paradox as in the mar- ket place the customers were insulted by the fact the farmers are trading on a piece of sculpture, which really was made for trading, but these guys came to us to test out their skills in the exhibition hall. They were not afraid to take initiative. Of course I told them that it is very good that they made the decision to try it. They thanked us for popularizing the mountain climbing. AB: That was the original idea when we planned to install it in a supermarket initially. But we couldn’t reach an agreement on security measures. The most interesting is that they did find this work at the exhibition and were not shy to ask permission. It is often these small communities, which sort of open the works up in a really interesting way, make them live in context and give something really interesting to talk about later. It is the niche audiences, which turn the sculptures into conversation pieces, molding the social discourse. KG: With regard to the exhibition as a whole, many have accused Aigars and me of the absence of any “mes- sage”. Among art professionals, a “message to the peo- ple from the curator” is customary. We are both artists and have built this exhibition around other principles, which interest us: to record the situation and show what was regarded as valuable in different cultural milieus in the particular time period: 1950. un 2004. And again, we have reached a situation of “us and them”. This boundary line in particular seems the most inter- esting to me: it was the reason why it was worth organ- ising the “European Space” event at all. Thus, the answer we received from the Riga Main Administration of Police regarding its refusal to initiate a criminal case concerning the theft of technical equipment necessary for maintain- ing a work of art placed in the Great Cemetery repre- sents clear evidence that there is still a great deal to do in the realm of relations between art professionals and soci- ety before we can even begin to try to communicate, if not in the same language then at least in a mutually intel- ligible fashion. * Who are you? ** I am German. *** German is still better than Latvian.
15• Decision No 90. On refusal to initiate a criminal case In accordance with Article 109 of the Criminal Process Code, I, A. Íurko, District Inspector of Riga City Main Police Administration, reviewed material ENÛ-1524 of 09.07.2004, and in the course my investigation established that: On 09.07.2004, the Chairperson of the Board of the public organisation Art Management and Information Centre Måra Ådiña made a submission to the 28th Police Department of the Riga City Main Police Administration, regarding the fact of the disappearance of a plastic water container. In her submission, M. Ådiña explained that the public organisation Art Management Centre had been undertaking activities in the Riga Great Cemetery. For the purpose of these activities, a water container of 2000 l in volume had been procured, left in the territory of the Great Cemetery from 21.05.2004. Intensive work was conducted on preparing the art object up to 19.06.2004. On 09.07.2004, it was found that the water container had disappeared. In view of the above, it is concluded that the water container, left unattended, may have been regarded by some unknown person as abandoned, ownerless property, and, without knowledge of the ownership of the container, someone may have collected it as a chance find. Thus, the action of this unknown person may not be regarded as a criminal act, as envisaged by Section 1, Article 175 of the Criminal Law of Latvia, and so, in accordance with Article 5, Section 2 of the Criminal Process Code of Latvia and Article 112 of the Criminal Process Code, I decided: 1. To refuse to initiate a criminal case. 2. To send a copy of this decision to the Prosecutor’s Office of Vidzeme District of the City of Riga. District Inspector A.Íurko
kastas par gluku
17• ValstsMåkslasmuzejaizståΩuzåle“Arsenåls” ExhibitionhallArsenålsoftheStateMuseumofArt
0420 18• Leonora Antunesa / Leonor Antunes Portugåle / Portugal Mußu sitamais ir koka siena, gatavota no Rîgas rajonå cirsta kokmateriåla. Sienå ir caurums (caur to var redzét) un durvis. Caurums tiks no vienas puses aizklåts ar samîcîtu cepuri. Durvju augßgalå ir garß koka délis, piestiprinåts astoñ- stürainam stienim, kas karåjas virs durvîm. Délis svårstås katru reizi, kad kåds iet cauri durvîm. Ja kåds atver durvis, délis aizkrît aiz ienåcéja muguras. Mußu sitamais ir aizguvums no Bastera Kîtona 1921. gadå uzñemtås filmas Kaimiñi. Íajå filmå Basters Kîtons ir iemîléjies kaimiñu meitené. Abas ©imenes ienîst viena otru, tåpéc tås ir uzcélußas augstu sienu starp savåm teritorijåm. Basters sazinås ar savu iemî¬oto pa caurumu, kamér abas ©imenes to atklåj. Tad Basters uzkonstrué durvju mehånismu, lai izåzétu meitenes tévu, kurß nav ¬åvis viñiem apprecéties. The Fly Swatter is a wooden wall made of timber from the Riga district. In the wall there is a hole (one can look through) and a door. The hole is going to be covered from one of its sides with a smashed hat. On the top of the door there is a long piece of wood fixed in the middle to an octagonal stick that is hanging on the door. The long piece of wood is balancing every time someone is going through the door. If someone is opening the door the piece of wood falls over the person’s back. The Fly Swatter is based on Buster Keaton’s film, “The Neighbours” from 1921. In this film Buster Keaton is in love with the neighbouring girl. Both families hate each other therefore they have constructed a big wall between their spaces. Buster communicates with his loved one through a hole until both families discover it. Buster then constructs a mechanism on the door to tease the girl’s father, because he hasn’t allowed them to get married.
19• Mußu sitamais. 2004 Priede The Fly Swatter. 2004 Pine wood
0420 20• Helgi Hjaltalins Ejolfsdorfs / Helgi Hjaltalin Eyolfsdorf Islande / Iceland Darbu koncepcija man vienmér sagådå galvassåpes. Es neesmu rakstnieks, un mani darbi tapßanas proceså ß˚iet nesaprotami. Viena vienîga pårpratumu virkne. Tåpéc nåkas nozagt vai aizñemties tekstu no gråmatas Çaklås rokas, kas pirmoreiz publicéta 1903. gadå. Teksts ir no noda¬as par meΩizstrådi. “BAÒU KOKU CIRÍANA” “Labåkais laiks koku cirßanai ir tad, kad tie sasniegußi briedumu un satur vismazåk sulas. MeΩsargs parasti novérté koka vecumu péc lapotnes izskata, koka apmériem un citåm åréjåm pazîmém. Ja cirßana ir novélota, kokmateriåls bojå- jas, k¬üst trausls un nelokåms, bet, ja kokus nocért ¬oti jaunus, lielåko da¬u veido gremzdi, kas nepavisam nav izturîgi. Periodi, kuros katra ba¬˚u koku suga sasniedz briedumu, ir visai atß˚irîgi; tå ozols var büt lielisks jebkurå laikå starp seßdesmit un simt gadu vecumu, bet egles un priedes parasti tiek cirstas starp septiñdesmit un astoñdesmit gadiem. DiemΩél notiek tå, ka kokus cért, tiklîdz tie sasniegußi viduvéjus izmérus, ñemot vérå vecumu; ßis trükums piemît lielåka- jai da¬ai ba¬˚u, kas tagad sasniedz Anglijas ostas. Gremzdi vispår ir viegli atpazîstami – priedes gadîjumå tå bieΩi ir zila kråsa, bet ozola – netîri balta.” (151. lpp.) “Kad koks ir nocirsts, to atbrîvo no zariem un citiem traucék¬iem. Ar tesli tiek notésta miza, lîdz stumbra ß˚érs- griezums no aptuvena ap¬a pårvérßas kvadråtå, k¬üstot par ba¬˚i.” (152. lpp. ) Statement of my works is always a headache. I am not a writer and my works in process seem to be incompre- hensible. A winding line of misunderstanding. So I am forced to steal or borrow a text from a book named “The Handyman’s Book”. First published in 1903. The text is from the chapter about harvesting the forest. “FELLING TIMBER TREES. The best time for felling trees is when maturity is reached, and when they contain the least sap. The forester generally judges whether the tree is mature by the appearance of the foliage, the size of the tree, and other outward indications. If felling is delayed beyond the stage of maturity, the material deteriorates, becoming brittle and unyielding, whilst if the trees are cut very young the greater part is sapwood, and thus not at all durable as timber. The period at which each kind of timber tree attains maturity differs considerably; thus the oak may be perfect at any time between sixty and a hundred years, whilst the spruce and pine are generally cut between seventy and eighty years. It unfortunately happens, however, that the trees are cut as soon as they are a moderate size, without regard to age; this is the fault of most timber that now reaches the English ports. The sapwood, generally speaking, is very easily detected; in the case of deal it is often a blue colour, whilst that of oak is dirty white.” Page No. 151. “After the tree has been felled it is stripped of its branches and other appendages. By means of an adze the bark is chipped off until the trunk is converted roughly from acircular form to one square in cross-section, when it becomes a log.” Page No. 152.
21• Rakt lejå, rakt augßå. 2004 DaΩådi materiåli Dig down Dig up. 2004 Mixed media
0420 22• Rißårs Fogé / Richard Fauguet Francija / France Kopß 2000. gada un izstådes La beauté du geste qui associait Vasivjérå, péc aizraußanås sportu un müsdienu måkslu, Fogé ˚éries pie pingponga galdiem. Izskatås, ka pédéjos apsédußas izbadéjußåm molekulåm lîdzîgas trakas bumbiñas. Galdi ir kå îsti kaujas lauki ar vietu manevriem un sadursmém, kå virtuålas ainavas ar izteiktu reljefu. Tie ir gatavi jebkuram scenårijam: tå bumbiñas, kuras saliedétas savå trajektorijå ar liektu metåla stiebru palîdzîbu, atsauc atmiñå fotogråfu, pirmåm kårtåm Marija un MaibridΩa, iemüΩinåtos mirk¬us. Tas ir kå drudΩainas, burleskai lîdzîgas dienas steigas apstådinåßana. Rißåram Fogé pingponga galds atjauno saikni ar skulptüras pamatprincipiem, t.i., måkslas akadémijas pirmå kursa studentiem måcîto samazinoßo un saskaitåmo metodi. Gludajå, neitrålajå telpå (zilie naftas kråsas panno) iezîméjas méms posts (katastrofa, nelaime), nepårliecinoßs, nedroßs îslaicîgums. (Citéts no kataloga: Decron Benoæt, Richard Fauguet. Mus‚e de l’Abbaye Sainte-Croix, Les Sables d’Olonnes, 23 juin – 22 septembre 2002.) Since 2000 and the exhibition “La beaut‚ du geste qui associait” at Vassivière, following on his earlier fasci- nation with sport and contemporary art, Fauguet has turned to ping pong tables. The latter appear beset with crazy lit- tle balls resembling hungry molecules. The tables are like real battlefields, a scene of manoeuvres and clashes, like vir- tual landscapes with marked relief. They are ready for any scenario: balls whose trajectories are connected by means of curved metal rods, recalling the moments captured by photographers such as Marey and Muybridge. The freezing of a feverish, burlesque daily rush. For Richard Fauguet, the ping pong table restores a link with the basic principles of sculpture, i.e., the method of reduction and counting taught to first-year art students. The smooth, neutral space (pan- els in crude-oil blue) becomes a setting for mute destruction (catastrophe, calamity), with an unpersuasive, insecure impermanence. Quoted from the catalogue “Decron Benoæt, Richard Fauguet (Mus‚e de l’Abbaye Sainte-Croix, Les Sables d’Olonnes, 23 juin – 22 septembre 2002)”
23• Pingponga galds. 2001 Pingponga galds, pingponga raketes, pingponga bumbiñas Piedåvå: Art:concept, Paris Ping-Pong Table. 2001 Ping-pong table, ping-pong rackets, ping-pong balls Courtesy of Art:concept, Paris
0420 24• Gints Gabråns / Gint Gabran Latvija / Latvia Izstådé gu¬oßais cilvéks ir "atslédzies" paßå notikumu centrå, kur attiecîbas ir aktuålo vértîbu priekßnosacîtas. Skulptüra ir uz robeΩas, kur beidzas jégpilnå måkslîgi radîtå kultüras telpa un såkas daba, ko nevar reducét lîdz mani- pulåcijåm ar vårdiem un koncepcijåm. Iemidzinåtie cilvéki ir brîvpråtîgie, kas atsaukußies uz sludinåjumu. A man sleeping at the exhibition has "switched off" in the very epicentre of activity where relations are precon- ditioned by the actual values. The sculpture is on the boundary between the meaningful, artificially created cultural space, and nature that cannot be reduced to manipulations with words and conceptions. Persons put to sleep are volunteers who have answered the announcement.
25• Implozijas priesteri. 2004 DaΩådi materiåli Imploding Priests. 2004 Mixed media
0420 26• Íarlote Gillenhammare / Charlotte Gyllenhammar Zviedrija / Sweden 2003. gada pavasarî Stokholmas Modernås måkslas muzejå Íarlote Gillenhammare pirmo reizi savå video un skulp- turålajå instalåcijå Novérotåji izmantoja dokumentålo filmu, kurå attélota ˚îlnieku sagråbßana. Ío tému måksliniece turpina arî instalåcijå Í˚é®ßli un maldi, kur skatåms fragments no televîzijas ziñu materiåla par ˚îlnieku sagråbßanu Olimpisko spé¬u laikå Minhené 1972 gadå. Més redzam, kå toreizéjå Rietumvåcijas policija cenßas atbrîvot ˚îlniekus un ar kådu interesi publika véro notiekoßo. Izstådé redzama divu notikuma gaita: bérna atmiñas un zemapziñå pårdzîvotais. When Gyllenhammar exibited at the Moderna Museet in Stockholm in the spring of 2003, she used documentary film footage for the first time in her sculpture and video installation”Betraktarna” (The Observers) to portray a hostage taking. Gyllenhammar continues with this subject in “Obstacles and Disguises”, which includes a clip from a news broadcast from the hostage crisis at the 1972 Olympics in Munich. We see the attempts of the West German police to free the hostages and the interest of the public in the operation. The exhibition portrays two courses of events: the memories of a child and subconscious experience.
27• Í˚ér߬i un maldi. 2003 Skaña, poliesters, matracis, zviedru siena, DVD projekcijas, 16 mm filma Obstacles and Disguises. 2003 Sound, polyester, matrass, wall bar, DVD projections, 16 mm film
0420 28• Jons Gundersens / Jon Gundersen Norvé©ija / Norway Kolekcija, kurå ietilpst akmens cirvji (ar un bez caurumiem) un akmens mobilie telefoni ar antenåm. Es lasîju norvé©u arheologu V.C. Brogera (1854 - 1940) un viña déla A.V. Brogera darbus, kad es pirmo reizi atk- låju reti sastopamo akmens ß˚irni, ko sauc par grorudîtu. Akmens laikmeta cilvéki, kas dzîvoja tagadéjå Oslo apkaimé, to izmantoja cirvju asmeñiem. Izpétot ßos grorudîta veidojumus, es iepazinu Maridalenas, Lilomarkas un Grorudas apvidus, kå arî Oslo apgabala zieme¬us un zieme¬austrumus. Es izpratu, kå klints îpaßîbas noteica ainavas ©eomeorfolo©iju. Tås cietîba rada izvirzîju- mus un paugurus, bet tendence ß˚elties – mazas ielejas un ståvas klintis. Grorudîts kå materiåls un retums var mums ko paståstît par tagadnes kontekstu. Grorudîts ir îpaßi piemérots, lai veidotu asas ß˚autnes un garus, plånus asmeñus. Cértot, urbjot un slîpéjot es esmu pårveidojis ßo akmeni tauståmos objektos: cirvjos un mobilajos telefonos. Liels pretstatå mazam, viens elements vai forma, kas sasaucas ar citu gandrîz hronolo©iskås un tipolo©iskås asociåcijås, kå arî nejaußås konstelåcijås. Cirvji un mobilie telefoni pårståv augstås tehnolo©ijas produktus katrå no daΩådajiem véstures laikmetiem. Pagåtne un nåkotne. Pirms mums ßeit ir bijußi cilvéki, un nåkotne ir pårdomas raisoßs projekts. Jons Gundersens, 1999. gada aprîlis A Stone’s Throw from Reality A Collection of Rock Axes with and without Holes and Rock Mobile Phones with Antennae I was reading the works of Norwegian archaeologists W. C. Brogger (1854–1940) and his son A. W. Brogger when I first discovered a rare rock type called Grorudite. This rock was used by the Stone Age man living in the Oslo area to make axe heads. I got to know the terrain of Maridalen, Lillomark and Grorud in the north/north-east of the Oslo district by tracing these Grorudite formations. I became aware of how the rock`s characteristics made the basis of the landscape`s geo- morphology. Its hardness creates extrusions and hills. Its tendency to fissure creating fault lines has formed small val- leys and steep cliffs. Grorudite as a material and a rarity can tell us something of the site- specifics in the present tense. Grorudite is especially well suited for making sharp edges and long thin blades. By cutting, drilling and grinding, I have formed this rock into tangibe objects: axes and mobile phones. Big in contrast to small, one element of form to resound from another in almost chronological and typological associations, as well as incidental constellations. Axes and mobile phones represent the products of high technology in each of its own different historical epochs. Past and future. There have been people here before us, and the future is a thought provoking project. Jon Gundersen, April 1999 Akmens metiens no realitåtes. 2004 Saplåksnis, akmens, metåls A Stone’s Throw From Reality. 2004 Plywood, stone, steal
29•
0420 30• Aksels Lîbers / Axel Lieber Våcija / Germany Aksela Lîbera darbi ir saistîti ar daΩådiem mérogu palielinåßanas un samazinåßanas veidiem, mérîßanu un jaunu izvi- etojumu radîßanu. Viñß péta attiecîbas starp ˚ermeni un atmiñu. Jaunajå izståΩu zålé, kas pårsniedz jebkurus sapråtîgus izmérus, viñß uzstådîja savu télniecisko mérogu. Skulptüras Die ErfŸllung såkumpunkts bija ideja par ß˚autñainu T kreklu. Lîbers pårvérta T kreklu no bezformîga ap©érba gabala par paßpietiekamu minimålistisku torsu. Viñß palielinåja tå mérogus un pagrieza to augßpédus. Moder- nisma arhitektüra un cilvéka ˚ermenis apvienoti hibrîdå formå. Såkotnéjais ˚ermeniskais apjoms pårcelts nelielas, vie- nai personai domåtas ékas mérogå. Måjas årpusi un iekßpusi veido sienas, kas klåtas ar divkårßu celtniecîbas putu slåni, radot siltuma, viegluma un gaisîguma iespaidu. Måjå var ieiet; tajå müs sagaida objekti, kas saistås ar iedzîvi un ap©ér- bu. Télnieciskås pårveides proceså tie ir fragmentéti, samazinåti, palielinåti, radikåli izmainîti vai ieguvußi jaunu bütîbu. Måjas mérogi un izcelsme kopå ar “elpojoßajåm” sienåm maina müsu sajütas. Dzîvîbas acumirklîgais potenciåls ir pårveidots telpisko attiecîbu sistémå, jütîgå materiåla izpratné un cilvéciskajå atmiñå. Ar skices palîdzîbu jüs varat stådîties priekßå skulptüru izvietojumu. Attéli var sniegt aptuvenu priekßstatu par sareΩ©îto saspéli starp årpusi un iekßpusi. Axel Lieber’s work is concerned with different modes of up- and down-scaling, taking measurings and creating new positionings. He explores the relations between living, body and memory. In the new fair hall of a size beyond any reasonable dimension he set up his own sculptural scale. The starting point of the sculpture “Die ErfŸllung” has been the idea about an angular T-shirt. Lieber transformed the T-shirt from a shapeless body-covering into an independent minimalist torso. He has scaled it up and turned it on its back. Modernist architecture and the human body are combined to create a hybrid form. The original volume of the body is transposed to the size of a small one-person house. The outside and the inside of the house is covered with walls of double layered styrofoam which create a feeling of warmth, lightness and breathing. The house can be entered for a journey inwards, where objects with reference to the world of living and clothing await us. In the process of their sculptural creation they have been fragmented, compressed, enlarged, de-cored or formed into new substancies. With relation to the scale and the origin of the house together with the “breathing” walls they transform to organs of feeling. The immediate potential of life is turned into a system of spatial relations, sensitive materiality and human memory.
31• Pieminek¬i (Rîga). 2004 Segas, lîme Memorials (Riga). 2004 Blankets, glue
0420 32• DeAnna Maganiasa / DeAnna Maganias Grie˚ija / Greece Manos darbos atkårtojas ideja par pazîstamu lietu uztveri no sånskata, kad objekta interpretåcija svårstås kaut kur starp kaut ko tauståmu un kaut ko abstraktu. Daudzi téli rodas no nemiera sajütas, ko raisa draudîgi notikumi, kuri tiek uztverti kå neizbégami un nekontroléja- mi. Citi atveido iztélotu interjeru fragmentus, vietas, kur nav iespéjams pårvietoties vai elpot un kas varétu bütu uz sabrukuma robeΩas. Daudzos darbos es izmantoju mérogu mode¬us, lai manipulétu ar mikrokosmu, kas grauj ß˚ietami paredzamo real- itåti. Íî “realitåte” samazinåtå mérogå sniedz skatîtåjam neiespéjamu skatpunktu, kas atrodas årpus un virs ierastås arhitektoniskås pozîcijas. Aténas–Rîga ir trîsdimensionåla karte, kas konstruéta péc atmiñas, un atveido salu, kurå es nekad neesmu bijusi. Tå ir vieta, ko es zinu péc skata, vidü ir jüra, un attålums ir mazliet par lielu, lai varétu aizpeldét. Reiz, lidojot virs Peloponésas, es redzéju salu no gaisa un ilgojos péc ßîs vietas, kas ir vienlaikus pazîstama un nezinåma. Darbs ir par ainavu, kas ir påråk tålu, lai bütu sasniedzama, par attålumu, kas ir pietiekami liels, lai apgrütinåtu nok¬üßanu. A recurring idea in my work is about the oblique perception of familiar things, where the interpretation of an object falters somewhere between something tangible and something abstract. Many images arise out of a sense of unrest towards events which are imminent, which are felt to be inescapable and beyond one’s control. Others depict fragments of dreamscape interiors, places that are impossible to move around, breathe in and which may be on the brink of collapse. In many works I use scale models to manipulate a microcosm that undermines an ostensibly predictable reality. This ‘reality’ in small scale gives the spectator an impossible point of view outside and above a familiar architectural situation. “Athens–Riga” is a 3 dimensional map, constructed from memory, of an island I have never been to. It is a place that I know in a view, separated by the sea from a distance that would be barely too far to swim. Once, flying over the Peloponnesus, I saw the island from the air and I longed for this place that is at the same time familiar and unknown. The piece is about a landscape that is too far to access, about a distance that is just great enough to frustrate your passage.
33• Aténas–Rîga. 2004 DaΩådi materiåli 500 x 700 x 300 cm 210 x 100 x 75 cm Athens–Riga. 2004 Mixed media 500 x 700 x 300 cm 210 x 100 x 75 cm
0420 34• Marija Mîsenbergere / Maria Miesenberger Zviedrija / Sweden Savå instalåcijå Rotéjoßås smadzenes Marija Mîsenbergere rota¬îgi un pårsteidzoßi apvieno jautåjumus par cilvéka personisko identitåti ar visspécîgåko cilvéka pråta simbolu – smadzeném. Kå cilvéciskas bütnes més uzticamies savåm sajütåm, ticot, ka tås atspogu¬o realitåti. Mariju Mîsenbergeri interesé situåcijas, kurås smadzenes müs pievi¬. Viña pati ir ßådas situåcijas piedzîvojusi. Iespéjams, ka årpasaule, ko més uztve- ram, patiesîbå neeksisté, bet ir tikai smadzeñu radîta; nejaußi elektriskie impulsi, kas dod mums iespéju redzét un piedzîvot lietas, kas îstenîbå nepaståv. Izmantojot gaistoßus, nevértîgus materiålus – daΩi no tiem ir kiçîgi, bet citi vairåk atgådina grîdas lupatas –, Marija Mîsenbergere rada skulptüras, kas veido paßas savu, personîbu apdzîvotu, pasauli. Tå ir portretu galerija, kas demonstré emocionålus ståvok¬us un attieksmi pret sevi un citiem. In her installation “Spinning Brains”, Maria Miesenberger playfully and surprisingly couples together questions pertaining to the human subject and personal identity with the most potent symbol of human rationality – the brain. As human beings we trust the evidence of our senses, believing that they are a reflection of reality. Maria Miesenberger is interested in situations when the brain deludes us. She has an experience of such situations herself. It is possible that the outside world that is communicated to us does not actually exist but that it is a construction of the brain itself; stray electrical impulses that make it possible for us to see and experience things that do not really exist. Using transient, worthless materials – some of them kitschy while others more reminiscent of floor cloths – Maria Miesenberger creates sculptures that form a world of their own, populated by personalities. A portrait gallery of states of mind and approaches to ourselves and to each other.
35• Spinning Brains Installation. 2002-2004 1. Picky Brain Foam, stockings, dental floss, tooth picks 2. Shaky Skyscraper Brain II Foam, Scotch-Brite pads 3. Smart Brain (Wishful Thinking...) Foam, fancy pins 4. Double Finger Brain Foam, rubber gloves, wetex 5. Chicken Brain Foam, stockings, car shampoo spounge, feathers 6. Sophisticated Brain Foam, steelwool 7. False Memory Brain Foam, glass bubbles, feather-boa 8. Foamy Punky Brain Foam, bath spounges 9. Sparkling Brain II Foam, stockings, scouring pads 10. Icy Princess Brian Foam, fake silk, Christmas decorations 11. Atomic Brain Foam, stockings, fake silk, teflon pan spounge 12. Green Wavy Brain Foam, stockings, dish drainer cloth 13. Silver Tail Brain Foam, fabric, spangles, feather-boa 14. Shaky Wavy Brain Foam 15. Moroccan Brain Foam, fake silk, ribbons 16. Hairy Brain Foam, stockings, car shampoo spounge, horsehair 17. Golden Blondy Shaky Brain Foam, stockings, fake hair, teflon pan spounges Rotéjoßo smadzeñu instalåcija. 2002-2004 1. Izvélîgå smadzene Porolons, ze˚e, zobu diegs, zobu bakståmie kociñi 2. Nestabilå debesskråpja smadzene II Porolons, Scotch-Brite mazgåßanas lîdzeklis 3. Gudrå smadzene (Cerîgi aizdomåjusies) Porolons, stilîgas saspraudes 4. Divpirkstu smadzene Porolons, gumijas cimdi, wetex 5. Cå¬a smadzene Porolons, ze˚es, ßvamme auto mazgåßanai, spalvas 6. Izsmalcinåtå smadzene Porolons, metåla skråpis 7. Maldîgås atmiñas smadzene Porolons, stikla bumbas, ådas boa 8. Satriecoßå putainå smadzene Porolons, vannas ßvammes 9. Mirdzoßå smadzene Porolons, ze˚es, ßvammes 10. Ledus princeses smadzene Porolons, måkslîgais zîds, Ziemassvétku rotåjumi 11. Atomu smadzene Porolons, ze˚es, måkslîgais zîds, ßvamme teflona pannas mazgåßanai 12. Za¬å vi¬ñotå smadzene Porolons, ze˚es, trauku mazgåjamå lupata 13. Sudrabainås astes smadzene Porolons, audums, vizu¬i, ådas boa 14. Trîsoßå vi¬ñotå smadzene Porolons 15. Marokießa smadzene Porolons, måkslîgais zîds, lentîtes 16. Spalvainå smadzene Porolons, ßvamme auto mazgåßanai, zirgu astri 17. Zeltaini blondå trîsoßå smadzene Porolons, ze˚es, parüka, ßvamme teflona pannas mazgåßanai
0420 36• Karlußs Nogveira / Carlos Nogueira Portugåle / Portugal About “Construction for Nowhere at all” I wrote: a man was walking in search of himself when he noticed that the fields had been set on fire the sea was out of control and the sun burned in a different way with willing hands he worked at joining together stones and whatever else he could find to build a geometric house that opened at the top opposite to the houses and landscapes he had known before and with the remaining light he made a floor Par Konstrukciju nekurienei es rakstîju: cilvéks gåja meklédams sevi kad viñß pamanîja ka lauki ir aizdedzinåti jüra bija nekontroléjama un saule dedzinåja citådi viñß labpråt strådåja sastiprinådams akmeñus un visu citu ko vien varéja atrast lai uzceltu ©eometrisku måju kas atveras augßå pretî måjåm un ainavåm ko viñß pazina iepriekß un ar atlikußo gaismu viñß izveidoja grîdu
37• Konstrukcija nekurienei. 2002–2003 Koks, stikls, dzelzs Construction for Nowhere at all. 2002–2003 Wood, glass, iron
0420 38• Naiema O'Melija / Niamh O'Malley Èrija / Ireland Darbå parådîta atß˚irîba starp attéloßanas mehånismiem un to piedåvåto izpratni, ßai gadîjumå starp videoprojek- ciju un trîsdimensionålu objektu. Es vélos såkt diskusiju par ainavas skatîtåja fizisko novietojumu. Ainava tiek definéta kå dabas “ieråméßana”. Tå ir lîdzeklis, lai aptvertu un fiksétu müsu dabisko pieredzi. Íåda ieråméßana arî deformé un izjauc “reålo”, jo péc bütîbas tikai daΩi pieredzes aspekti var tikt formuléti. Kontrolétais télojums, kas izvélas pieredzes elementus, ko ietvert fokuså, ir veids, kå saprast vietas neizmérojamo plaßumu dabå. Ar norobeΩojuma palîdzîbu arî periférå “citådîba” k¬üst redza- ma. Klåt neesoßå daba arî veido da¬u no jebkuras ainavas télojuma pieredzes. Projekcija piedåvå figüru dabiskå lielumå, kura pieskaras gleznotam objektam priekßplånå. Í˚iet, ka starp figüru un ßo reålo objektu trîsdimensiju telpå notiek mijiedarbîba. Ar digitålo apstrådi no videoieraksta ir izdzésts viens taisnstüris, tådé¬ tas projekcijå redzams balts. Èstais délis ir atsliets savå vietå pie galerijas sienas. Darbs atgådina gleznu, kura léni kustas un kurå mijiedarbe starp reålo un attéloto raisa apjukumu. Te rodas vizuåla spriedze starp déli kå “reålu” objektu un attélu un “reålu” videoieraksta telpu, kurå figüra cenßas izk¬üt no divdimen- siju telpas. Tiek pieñemts, ka skatîtåjiem (atß˚irîbå no video redzamås figüras) ir tießa pieeja attélam, kas redzams dé¬a priekßpusé. Es vélos apcerét skatîßanås grütîbas, jautåjot par skatîßanås aktu un par to, vai jebkurß mé©inåjums dot apzinåtu, “informétu” vértéjumu noliedz autentiskas pieredzes iespéju. Måkslas darbiem bieΩi piemît dubults ieråméjums, citiem vårdiem, akcentéta un apzinåta reålas radîßanas reproducéßana; attélojuma apzinåta attéloßana. Mani interesé distance starp såkotnéjo pieredzi un tås vélåko izpausmi télå. Íî distance var ß˚ietami likvidét katru îstas pieredzes iespéju, bet varbüt ßî “distance” patiesîbå kalpo tam, lai pastiprinåtu såkotnéjå momenta auru. The work deals with the disparity between representational devices and the understanding they propose, in this case a video projection and a three dimensional object. I am proposing a discussion on the physical positioning of a landscape viewer. Landscape is defined as a “framing” of nature. It provides us with a tool for the containment and location of our natural experiences. Such framing also dis- torts and disturbs the “real” since by its nature only some aspects of the experience can be articulated. The controlled representation that selects elements of experience for focus is a way of comprehending the vast natural site. Through its demarcation, the peripheral “other” is also made visible. The absent nature also constitutes part of any experience of landscape representation. A projection presents a figure (life-size) touching a painted object in the foreground. The figure`s interaction appears to be with this real object in three-dimensional space. Through digital post-production, one rectangle has been deleted from the video so that it is displayed white when projected. A real board leans against the gallery wall in its place. The work resembles a slowly moving painting where the interaction between the real and the represented becomes confused. There is a visual tension between the board as a “real” object and image and the “real” space of the video where the figure tries to negotiate a way out of its two dimensional space. The audience is directly implicated to as they (unlike the figure in the video) have access to the image depicted on the front of the board. I want to consider the difficulties of viewing and pose a question whether any attempt at a deliberate, “knowing” appreciation negates the attempted authentic experience. There is often a double framing within the artworks, in other words, a marked and intended reproduction of the real production: an acknowledged representation of a representa- tion. I am interested in the distance between the original experience and its final representation as an image. This dis- tance may appear to negate any possibility of a real experience but perhaps this “distance” actually serves to intensify the aura of the original moment. ˆem vérå... 2004 DaΩådi materiåli Consider this... 2004 Mixed media
39•
0420 40• Hosé Alvaro Perdisess / Jos‚ Álvaro Perdices Spånija / Spain 1998. gadå manu acu priekßå norisinåjås interesants incidents. Tas notika pamatskolas klasé LosandΩelosas centra dienvidda¬å, kur es tai laikå strådåju. Piecgadîgs bérns no papîra saspraudes izveidoja bîstamu ieroci, iedurot kådai no meiteném. Tas man bija pirmais gadîjums ar vardarbîbu måjås /akadémiskajå vidé tik agrînå vecumå. Bet patiesîbå mani vairåk fascinéja ideja par nodomu un to iedvesmojußo morålo impulsu. Papîra saspraude ir tikai papîra saspraude, metåla gabaliñß, kas péc noteiktåm locîßanas manipulåcijåm k¬üst par traumu avotu……bet…….ßis saliektais un gandrîz abstraktais metåla gabaliñß man atgådina kaut ko citu……T‰LNIECÈBA……locîßana…….nodomi…….izgatavoßana……darbs metålå…….sabiedriski mierîgas un nekaitîgas formas. Péc nedé¬as es uzsåku projektu, cenßoties izpétît morålås iespé- jas un to, kå tås izpauΩas fiziskås un tauståmås formås, faktiskajå pieredzé. Galu galå es iedevu 20 bérniem 20 papîra saspraudes. Més apspriedåm vardarbîbas, negåciju, agresîvas uzvedîbas un tamlîdzîgus jautåjumus. Sarunas beigås es viñiem palüdzu aizståt domåßanu ar saspraudes locîßanu, mé©inot pårdzîvot figuratîvos, mentålos télus formålu, tél- niecisku abstrakciju valodå. Uzdevuma noslégumå es savåcu radîtos veidojumus. DaΩas dienas vélåk es atkårtoju to paßu vingrinåjumu, bet izmainîju tému. Diskusija ievirzîjås par laimi, bai¬u neesamîbu, maigumu, labestîbu…..un beigås es atkal savåcu izlocîtås formas. 1999. gadå es izveidoju skulptüru grupu cilvéka augumå, kas ir tießi atvasinåjumi no såkotnéjåm saspraudém. Tås tika radîtas no nerüséjoßå térauda un tika traktétas kå formålas télniecîbas paraugs, kas atdarina ˚émîgu 70. gadu for- målismu. Kad 2003. gadå sañému piedåvåjumu iesniegt projektu Rîgas Télniecîbas kvadriennålei, 7 dienu periodå es izlému izvértét savu darbu, mekléjot måjienus un norådes. Péc vélåko skulptüru apsvérßanas es atgriezos pie såkotnéjåm papîra saspraudém un såku tås uzlükot kå tîri skulpturålus veidojumus, kas, protams, nav célußies no tîri estétiskas pieredzes, bet no PIEREDZES gan. Skatîßanås uz ßiem sîkajiem veidojumiem lika man pårdomåt to vértîbu no Ωesta viedok¬a, kå arî to politisko vértîbu ßodienas supermuzeju un monumentålås produkcijas kontekstå. Vai es varétu sacensties ar ßiem gigantiskajiem, nomåcoßajiem izmériem, visiem ßiem superpopa paraugiem vai supervésturiskajåm bronzas patinåm? Kådå mérå es gribu piedalîties un spélét paßreizéjå måkslas izrådé? Es paliku pie sekojoßå projekta, kurå es izmantoju ori©inålås, sîkås un gandrîz neredzamås papîra saspraudes, ko locîja un pårdzîvoja 20 bérni LosandΩeloså. Tås ir sîki un nenozîmîgi metåla stieples gabaliñi. Kå lai es tos demonstréju pasaulei? Kå lai tos padara publiski nozîmîgus, vienlaikus saglabåjot to såkotnéjo ståvokli? Viens no maniem pirmajiem izaicinoßajiem piedzîvojumiem ar måkslas raΩojumiem kultüras jomå bija Panza kolek- cijas izståde Reina Sofia muzejå Madridé. Kopß tå laika minimålisms bija patiesais atskaites punkts. Tas bija ne tikai atß˚irîgs veids, kå traktét popårta otru pusi un industriålos darinåjumus (ßeit es runåju par lîgumiem, kartém un instruk- cijåm), bet tas bija flirta pilnu attiecîbu såkums, kur notiek svårstîbas starp pielügsmi un pretestîbu. Ori©inålo sasprauΩu izmérs ir visai mazs; bütîbå tås k¬üst gandrîz par formålås un Ωesta télniecîbas parodiju. Es esmu ieceréjis nepråtîgu instalåciju, kurå 16 superminimålistiskas, superdΩadiskas un formålas taisnstüra prizmas no mak- simåli noslîpéta granîta vai balta ©ipßa kalpo par ßo sîko Ωestu pjedeståliem. Katra no sîkajåm saspraudém tiks novietota kvadråtveida pjedeståla vidü. Katra pjedeståla izméri büs 127 cm augs- tumå un 70 x 70cm. Pjedestålu augstumu nosaka attålums starp mazo skulptüru un aci (apméram 127 cm). Pjedestålu kopéjais skaits ir 16 un tie tiks novietoti reΩ©î, atståjot ap 40 cm atstarpi, lai skatîtåjs varétu piek¬üt. Ío ßauro telpu ir ieceréts atståt publikai caurstaigåßanai. Skulptüras tiks piestiprinåtas pie pjedeståliem caur diviem maziem caurumiñiem pjedeståla virsmå, pießujot tos ar caurspîdîgu makß˚erauklu un acumirklîgas iedarbîbas lîmi. Tådå veidå més novérsîsim zådzîbas, bet mazås skulptüras netiks nosegtas ar organisko stiklu vai ko tamlîdzîgu.
41• In 1998, an interesting incident happened in front of my eyes. It took place in the clasroom of an elementary school, in South Central Los Angeles where I was working at the time. A 5 year old boy designed a bloody weapon with a paper clip, stabbing one of the girls. I attended for the first time to a case of domestic/academic violence at such early age. But in fact I was more fascinated with the idea of design behind the original paper clip, a piece of metal, that under certain bending manoeuvres becomes the origin of trau- ma... but... that bended and quasi abstract piece of metal reminded me of something else... SCULPTURE... bending... designs... crafting... metal work... public inoffensive and innocuous forms. A week later I came up with a project trying to investigate moral possibilities and how those arrived as substitutes in physical and tangible forms, in factual experiences. I ended giving 20 paper clips to 20 children. Issues on violence, negativity, aggressive behavior and related issues were discussed. At the end of the talk I asked them to substitute their thinking bending the clip, a try of experiencing figurative mental images into formal and sculptural abstractions. Afterwards I collected the pieces. Few days later I did the same exercise but changing the subject. The discussion went into happines, absence of fear, fondness, kindness... and at the end I collected the bended forms again. In 1999 I developed a group of human/life size sculpture which are direct translation of the original clips. They were manufactured in stainless steal and they were very much presented as formal sculpture emulating a fucked up 70`camp formalism. In 2003, being asked to come up with a project for the Riga Sculpture Quadrennial, within a 7 days window peri- od I decided to look back at my work looking for tips and references. After checking at the later sculptures my mind went back to the original paper clips and I started looking at them just as pure sculpture production that of course didn`t come from a full aesthetic experience but ultimate from an EXPERIENCE. Looking at these tiny creatures made me reconsider their gestural value and furthermore their political value in the context of today`s super museum and monumental productions. Could I compete with those gigantic and overwhelming sizes, with all those super pop or super historical bronze patins? How did I want to be part of or to play within the current art spectacle? I came up with the following project where I am using the original, tiny and almost invisible paper clips- the ones that were bended and experienced by 20 children in Los Angeles, the ones that are just a short and insignificant pieces of metal wire. How would I present them to the world? How would I make them public keeping at the time their orig- inal status? One of my first challenging experiences with cultural art production was the exhibition of the Panza Collection at the Reina Sofia Museum in Madrid. Minimalism was since then a true reference. It was not only a different way of dealing with the other side of pop art and industrial, not hand signed manufacture(I am talking about contracts, maps and instructions) but it was furthermore the beginning of a flirtatious relationship, where issues of admiration and resistance GO back and forth. The size of the original clips is quite tiny; in fact they become almost a parody of formal and gestural sculpture. I have designed a frenetic installation where 16 super minimal, super JUDD and formal rectangular prisms of ultra polished granite or white plaster become the pedestals of these tiny gestures. Each of the tiny clips will be set in the middle of a square pedestal. The dimensions of each pedestal should be 127 cmx 70cm x 70 cm. The height of pedestals is determined by the distance between the tiny sculpture and the eye, (about 127 cm). The total number of pedestals is 16 and they will be distributed in a grid, leaving 40 cm in between each pedestal for public access. It is intended to leave to leave that tight space for the audience to walk through. The sculptures will be fastened to the pedestal making two tiny holes in themiddle on the top part of the pedestal, fixing them with transparent fishing line and instant glue. That way we will avoid any theft BUT the tiny sculpture will never be covered with Plexiglas or similar.
0420 42• 90015 LosandΩelosa: DaΩas sirdis un påris ieroçu (16 sliktas un labas abstraktas skulptüras). 1999–2004 Koks, ©ipsis, metåls 90015 Los Angeles: Some Hearts and Few Guns (16 Bad and Good Abstract Sculptures). 1999–2004 Wood, plaster, metal
43•
0420 44• Nadîne Rennerte / Nadine Rennert Våcija / Germany Nosaukums ir tikpat konkréts, cik maldinoßs: Funkcionålås ainavas. Tas ß˚iet norådåm uz faktu, ka pat visattålåkås ainavas ir saistîtas ar funkcijåm kå nåkotné izmantojamas teritorijas: daba ir vienådojama ar tås izmantoßanu. Formu vi¬ñainie liekumi neatklåj nekådu noteiktu funkciju, kam tås varétu kalpot. Tås ir veidotas no sulîgi za¬as måkslîgås zåles, kas ir rüpîgi norobeΩota ar stingru plastmasas apmali un pårvérßas måjîgå plîßa oderéjumå. Funkcionålås ainavas ir spéles laukumi ar spogu¬iem. Íie atspîdumu punkti pastiprina darbu daudznozîmîbu. Katrs no tiem ir arî hortus deliciarium, kas ietver izklaidi ar daΩådåm spraugåm un cilpåm, malåm un caurumiem. Burgundießa kråsas måkslîgås ådas materiåls akcenté daudzveidîbu darbu fragmentétås poézijas ietvaros. Maikls Habls The title is as definite as misleading: “Functional Landscapes”. It seems to be a reference to the fact that even the most remote landscapes are attached to functions, as a prospective area of exploitation: nature`s equal utilization. The wavy curvatures of the forms indicate no immediate function of which they could serve. They are built of lush green artificial grass, which is carefully lined with a detailed piping of sharp plastic brim and turns into a cozy plush lining. The “Functional Landscapes” are playgrounds with mirrrors. These spots of reflection enhance the diverse meaning of the works. Each of them is also a hortus deliciarium, which implies diversion with various slits and loops, lips and perforations. The fabrication of burgundy artificial leather stresses the multiplicity within the fragmented poet- ry of the works. Michael Hubl
45• Funkcionåla ainava 2. 2001 Måkslîgå zåle, måkslîgå åda, plîßa sega Funkcionåla ainava 3. 2001 Måkslîgå zåle, måkslîgå åda, plîßa sega, spogu¬i Treniñbikses. 2003 Måkslîgå koΩokåda, metåls, poliestera tapséjums, treniñbikses Kapuce. 2003 Måkslîgå åda, tinte uz auduma Zieds ir akls. 2003 Måkslîgais zieds, spogulis Bez nosaukuma. 2000 Måkslîgå koΩokåda, måkslîgå åda, poliestera tapséjums Functional Landscape 2. 2001 Artificial grass, artificial leather, plush blanket Functional Landscape 3. 2001 Artificial grass, artificial leather, plush blanket, mirrors Jogging Trouser. 2003 Artificial fur, metal, polyester filling, jogging trouser Hood. 2003 Artificial leather, inkjet on canvas The Flower is Blind. 2003 Artificial flower, mirror Without Title. 2000 Artificial fur, artificial leather, Polyester filling
0420 46• Pols un Anne Daniela RodΩersi / Paul and Anne Daniela Rodgers Igaunija / Estonia Karuselis. 2004 DaΩådi materiåli Carousel. 2004 Mixed media Tradicionåls karuselis, kurå zirgi sédvietås aizståti ar kazåm. Sédvietas pirmajå mirklî ß˚iet parastas, bet, karuselim grieΩoties, atklåjas, ka tå ir tikai fasåde, aiz kuras atrodas formu mutåcijas un konstrukcijas karkass, pildîjums, stieples un saites. Viss kopumå dekoréts atklåti kiçîgå manieré, izgaismots ar kråsainåm spuldzém un mazliet neveikli grieΩas tradicionåli sparîgas karuse¬a müzikas ritmå. Tå ir savveida metafora par Eiropas Savienîbu, kur katrs cenßas nok¬üt zirgå, pat ja nepietiek vietas un nav îsti zinåms, kåds büs rezultåts. “Visi dzîvnieki ir vienlîdzîgi, bet daΩi ir vienlîdzîgåki par citiem,” – tå DΩordΩs Orvels. Kazas simbolizé veidu, kå nåcijas maina savu situåciju, årieni un identitåti vai vismaz izliekas, ka to dara, lai tikai ieléktu “pédéjå vagonå”. Bet, aplükojot tuvåk, viss nav tå, kå izskatås. A traditional carousel in which the places for sitting, traditionally horses, are replaced by goats. It will seem normal at first glance but as the carousel goes round it becomes evident that the goats themselves are a façade, mutating forms, revealing the carcass, stuffing, wires and string of their construction. The whole piece is highly decorated in an overly kitsch manner, illuminated with coloured bulbs and revolving somewhat clumsily to traditional oompah music of the fairground. A kind of metaphor for the EU itself, with everyone trying to get onto the ride even though there may not be enough room, without really knowing what the outcome will be. “All animals are equal but some are more equal than others”, George Orwell. The goats symbolize the way the nations are changing there condition, appearance and iden- tity, or at least pretending to, just in order to join the “bandwagon”. But on close examination it is not at all the way it seems to be.
47•
0420 48• Dens Íipsaidss / Dan Shipsides Èrija / Ireland Dena Íipsaidsa måksla bieΩi ietver kåpßanu klintîs, lai izpétîtu pieredzes un jaunrades attiecîbas ar telpu. Tå attîstås no performatîvas saiknes starp ˚ermeni un telpu un piedåvå ainavu jaunås formås, jaunus domåßanas veidus par radoßo darbu un telpisko véstîjumu. Koncentréjoties uz klintîm Fontenblo meΩå Francijå, darbå Fontenblo klintis (Rochers à Fontainebleau) izmantots video, animåcija, foto un teksts, lai izvértétu radoßo un étisko saistîbu starp 19. gs. Barbizonas måksliniekiem un ßodienas klinßu kåpéjiem. Projekts ietver vésturisku atsauci uz poétiskiem klinßu aprakstiem, glezno- jumiem un zîméjumiem, kuru autori ir tådi Barbizonas måkslinieki kå Ié, Karuels d’Aliñî, Denuajé un Koro, kå arî vélåk Sezans. Barbizonas måkslinieki atsaucås uz Lielås françu revolücijas ideålu balstîto sociålo radikålismu, lai attîstîtu ainavu glezniecîbu – måkslu, kas ataino ß˚ietami nenozîmîgas vietas, tuvinoties dabai, zemei, – un tådéjådi vérstos pret Måkslas akadémijas iedibinåto hierarhiju. Lielå mérå viñi izveidoja paßreizéjo eiropeisko priekßstatu par ainavu måkslå un ieviesa novatorisko plenéra glezniecîbu – gleznoßanu brîvå dabå izvélétå motîvå tießå klåtbütné. Kå råda gleznu nosaukumi, pieméram, Fontenblo klintis, klintis bija centrålå viñu darbu téma. Fontenblo klintis atklåj paraléli starp gleznotåja jaunradi un kåpéja (kurß kåpj tajås paßås klintîs) izdomu, veidojot jaunus kåpßanas marßrutus jeb “problé- mas”. Attiecîbas starp måkslinieku un motîvu tiek analizétas, paplaßinot radoßås aktivitåtes jédzienu. Fontenblo kåpéjs pårståv un attîsta Barbizonas måkslinieku vélmi dabiskot dzîvi pilsétå, uzturot tießu un nereti apséstîbai lîdzîgu saikni ar zemi – iedzi¬inoties dabas smalkåkajås niansés un rezultåtå radot jaunas kultüras formas. Kultüras formas jédziens tiek praktizéts, izmantojot kåpßanas marßrutu kå jaunrades formu. Darbs mé©ina parådît, kå marßruts atklåj telpisku véstîjumu, rada vai padara iespéjamu ekspresiju, satur autorîbu, vårdu un izplatîbu kultüras laukå. Marßruts, kas radîts ar prasmi, aizrautîbu un izteiksmi, lîdzinås måkslas darbam, kuru citi nåk skatîties, pétît, izmé©inåt un patérét noteiktå secîbå. 40. un 50. gados klinßu kåpßanas aktivitåtes meΩå radås kå treniñß kåpßanai Alpos. Kopß tå laika kåpßana ir attîstîjusies kå neatkarîga nodarbe pasaules mérogå. Vienkårßîbas un tießuma dé¬ tå bieΩi aprakstîta kå vistîråkå kåpßanas forma un salîdzinåta ar dejas precizitåti, atkårtojumiem un secîgumu. Kåpßanas bütîba slépjas tås apséstîbå ar mér˚i. Tå ir filozofiska rakstura aizrautîba ar problémåm (marßrutiem), kas pårbauda kåpéja spéju galéjås robeΩas salîdzinoßi droßås, nelielås klintîs. Marßruts var saståvét tikai no pieciem vai seßiem gåjieniem, kuros izdoma un preci- zitåte bieΩi vien k¬üst izß˚iroßa. Lai izveidotu marßrutu un sasaistîtu gåjienus, kåpéja ˚ermenim jådarbojas un jåkustas precîzi, saskañå ar klints telpisko dabu. Attiecîbå uz tému vai motîvu kåpßana sniedz interesantu iespéju salîdzinåjumam ar plenéra glezniecîbu, jo abas aktivitåtes prasa radoßu un bieΩi vien empåtisku jütîgumu telpas un formas uztveré, kå arî aizrautîgu nodoßanos tießai saiknei ar vidi un tås nosacîjumiem. Attiecîbas ar reålo un iztéloto, individuålo un kolektîvo telpu k¬üst konkrétas, gan- drîz skulpturålas, jo gan kåpéji, gan måkslinieki pieß˚ir formu savai telpiskajai vîzijai. Tas mums var atgådinåt Merlo- Pontî ideju par måkslas darbu kå måkslinieka eksistences veidu. Ar Fontenblo meΩa saikni un nozîmi Francijas politiskajå, konceptuålajå un vizuålajå laukå (paplaßinot – Eiropas kultüras laukå) ßis darbs var likt atgriezties pie diskusijas par ˚ermeña radoßajåm aktivitåtém telpå. Fontenblo klintis. 2003 Fotogråfijas, zîméjumi, konstrukcija, video Rochers à Fontainebleau. 2003 Photography, drawing, construction, video
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004
Tēlniecības kvadriennāle, 2004

Recommended

Sculpture Quadrennial Riga 2004
Sculpture Quadrennial Riga 2004 Sculpture Quadrennial Riga 2004
Sculpture Quadrennial Riga 2004Sabīne Jermaloviča
 
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...UNESCO Venice Office
 
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđe
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđeTatjana Segedinčev, Arhivska zbirka kao kulturno nasleđe
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđeArhivistika
 
Kyiv programme (the future of liberal policies in ukraine)
Kyiv programme (the future of liberal policies in ukraine)Kyiv programme (the future of liberal policies in ukraine)
Kyiv programme (the future of liberal policies in ukraine)Yevgen Tkachenko
 
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in Geneva
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in GenevaObinitsa- Finno-Ugric Capital of Culture 2015 @ UN in Geneva
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in GenevaOliver Loode
 
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)heritageorganisations.eu
 
Project-Baltia-Year-report-2013
Project-Baltia-Year-report-2013Project-Baltia-Year-report-2013
Project-Baltia-Year-report-2013Aleksandra Anikina
 
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989dhlab
 

Recommended

Sculpture Quadrennial Riga 2004
Sculpture Quadrennial Riga 2004 Sculpture Quadrennial Riga 2004
Sculpture Quadrennial Riga 2004Sabīne Jermaloviča
 
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...
Slovenia: The intangible cultural heritage of Slovenia in the light of UNESCO...UNESCO Venice Office
 
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđe
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđeTatjana Segedinčev, Arhivska zbirka kao kulturno nasleđe
Tatjana Segedinčev, Arhivska zbirka kao kulturno nasleđeArhivistika
 
Kyiv programme (the future of liberal policies in ukraine)
Kyiv programme (the future of liberal policies in ukraine)Kyiv programme (the future of liberal policies in ukraine)
Kyiv programme (the future of liberal policies in ukraine)Yevgen Tkachenko
 
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in Geneva
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in GenevaObinitsa- Finno-Ugric Capital of Culture 2015 @ UN in Geneva
Obinitsa- Finno-Ugric Capital of Culture 2015 @ UN in GenevaOliver Loode
 
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)
Networking the Cultural Heritage of the Baltic Diaspora (Piret Noorhani)heritageorganisations.eu
 
Project-Baltia-Year-report-2013
Project-Baltia-Year-report-2013Project-Baltia-Year-report-2013
Project-Baltia-Year-report-2013Aleksandra Anikina
 
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989
DH2013: Ad Pollé – Europeana 1914-18 & Europeana 1989dhlab
 
Ernests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nomineeErnests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nomineeBKC; Folklore show
 
The Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of DigitizationThe Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of Digitizationeerokangor
 
Hefore tallinn, estonia
Hefore tallinn, estoniaHefore tallinn, estonia
Hefore tallinn, estoniarbesjm
 
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...Nebraska Library Commission
 
osr vacations pvt ltd
osr vacations pvt ltdosr vacations pvt ltd
osr vacations pvt ltdSelf-Employed
 
Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019Ljiljana Vojvodic
 
Ljiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentationLjiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentationLjiljana Vojvodic
 
Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017Ryota Matsumoto
 
Portfolio 2016-17
Portfolio 2016-17Portfolio 2016-17
Portfolio 2016-17serhiy savchenko
 
CV_Frojmark_160228
CV_Frojmark_160228CV_Frojmark_160228
CV_Frojmark_160228Anders Fröjmark
 
ECbibliography
ECbibliographyECbibliography
ECbibliographyELENA Cretnik
 
European Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding VojvodinaEuropean Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding Vojvodinavojvodinaslovakcultural
 
Presentation (1)
Presentation (1)Presentation (1)
Presentation (1)Daina Birkenbauma
 
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...ICARUS - International Centre for Archival Research
 
National Library of Latvia2010
National Library of Latvia2010National Library of Latvia2010
National Library of Latvia2010Latvijas Nacionālā bibliotēka / National Library of Latvia
 
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programmaKonferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programmaBibliotēku portāls
 
Lime project presentation
Lime project presentationLime project presentation
Lime project presentationTalantuPilseta
 
CV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-EngCV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-EngAnna Zagorska
 
CH CV 1 page
CH CV 1 pageCH CV 1 page
CH CV 1 pageChris Henschke
 
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...ICARUS - International Centre for Archival Research
 
Introduction to EXARC 2017
Introduction to EXARC 2017Introduction to EXARC 2017
Introduction to EXARC 2017EXARC
 
Unesco Resolution In Life 07
Unesco Resolution In Life 07Unesco Resolution In Life 07
Unesco Resolution In Life 07Latvijas Nacionālā bibliotēka / National Library of Latvia
 

More Related Content

What's hot

Ernests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nomineeErnests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nomineeBKC; Folklore show
 
The Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of DigitizationThe Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of Digitizationeerokangor
 
Hefore tallinn, estonia
Hefore tallinn, estoniaHefore tallinn, estonia
Hefore tallinn, estoniarbesjm
 
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...Nebraska Library Commission
 
osr vacations pvt ltd
osr vacations pvt ltdosr vacations pvt ltd
osr vacations pvt ltdSelf-Employed
 
Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019Ljiljana Vojvodic
 
Ljiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentationLjiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentationLjiljana Vojvodic
 
Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017Ryota Matsumoto
 
European Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding VojvodinaEuropean Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding Vojvodinavojvodinaslovakcultural
 
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programmaKonferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programmaBibliotēku portāls
 
Lime project presentation
Lime project presentationLime project presentation
Lime project presentationTalantuPilseta
 
CV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-EngCV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-EngAnna Zagorska
 

What's hot (20)

Ernests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nomineeErnests Spics I.G.F. Folklore Award nominee
Ernests Spics I.G.F. Folklore Award nominee
 
The Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of DigitizationThe Problems of Authorship and Dating in the Context of Digitization
The Problems of Authorship and Dating in the Context of Digitization
 
Hefore tallinn, estonia
Hefore tallinn, estoniaHefore tallinn, estonia
Hefore tallinn, estonia
 
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
NCompass Live: Where in the world...? Nebraska's Polley Music Library and the...
 
osr vacations pvt ltd
osr vacations pvt ltdosr vacations pvt ltd
osr vacations pvt ltd
 
Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019Ljiljana maletin-vojvodic-presentation 2019
Ljiljana maletin-vojvodic-presentation 2019
 
Ljiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentationLjiljana Maletin Vojvodic work presentation
Ljiljana Maletin Vojvodic work presentation
 
Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017Resume ryota matsumoto september 2017
Resume ryota matsumoto september 2017
 
Portfolio 2016-17
Portfolio 2016-17Portfolio 2016-17
Portfolio 2016-17
 
CV_Frojmark_160228
CV_Frojmark_160228CV_Frojmark_160228
CV_Frojmark_160228
 
ECbibliography
ECbibliographyECbibliography
ECbibliography
 
European Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding VojvodinaEuropean Parliament open days Brussels, Understanding Vojvodina
European Parliament open days Brussels, Understanding Vojvodina
 
Presentation (1)
Presentation (1)Presentation (1)
Presentation (1)
 
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...
ICARUS-Meeting #19 | 5th co:op partner meeting - Māra Sprūdža: Cooperative Ac...
 
National Library of Latvia2010
National Library of Latvia2010National Library of Latvia2010
National Library of Latvia2010
 
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programmaKonferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
Konferences “Radošums. Radošs bibliotekārs radošā bibliotēkā” programma
 
Lime project presentation
Lime project presentationLime project presentation
Lime project presentation
 
CV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-EngCV-ANNA-ZAGORSKA-Eng
CV-ANNA-ZAGORSKA-Eng
 
CH CV 1 page
CH CV 1 pageCH CV 1 page
CH CV 1 page
 
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...
ICARUS-Meeting #19 | 5th co:op partner meeting - Gintaras Dručkus and Ruta St...
 

Similar to Tēlniecības kvadriennāle, 2004

Introduction to EXARC 2017
Introduction to EXARC 2017Introduction to EXARC 2017
Introduction to EXARC 2017EXARC
 
Lirakay-bio-art-pdf
Lirakay-bio-art-pdfLirakay-bio-art-pdf
Lirakay-bio-art-pdfLira Kay
 
Treasuring the sound heritage: the Europeana Sounds project
Treasuring the sound heritage: the Europeana Sounds projectTreasuring the sound heritage: the Europeana Sounds project
Treasuring the sound heritage: the Europeana Sounds projectEuropeana_Sounds
 
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)Konferences "MetaMind’2014"" programma (25.-28.09.2014.)
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)Bibliotēku portāls
 
Art riga fair 2014 www.artriga.com
Art riga fair 2014 www.artriga.comArt riga fair 2014 www.artriga.com
Art riga fair 2014 www.artriga.comArt Riga Fair
 
UNESCO monuments Riga
UNESCO monuments RigaUNESCO monuments Riga
UNESCO monuments Rigaievahaa
 
Strategies for publication and dissemination of digital content: the case for...
Strategies for publication and dissemination of digital content: the case for...Strategies for publication and dissemination of digital content: the case for...
Strategies for publication and dissemination of digital content: the case for...Paulo Leitao
 
CV_Ana Panic_english
CV_Ana Panic_englishCV_Ana Panic_english
CV_Ana Panic_englishAna Panic
 
Europeana Aggregators' Fair day 1
Europeana Aggregators' Fair day 1Europeana Aggregators' Fair day 1
Europeana Aggregators' Fair day 1Europeana
 
Key concepts in literature and tourism studies
Key concepts in literature and tourism studiesKey concepts in literature and tourism studies
Key concepts in literature and tourism studiesSilviaQuinteiro
 
FEFA lider Miomir Korac
FEFA lider Miomir KoracFEFA lider Miomir Korac
FEFA lider Miomir KoracFEFA Faculty
 
A virtual jukebox for europe's sound heritage
A virtual jukebox for europe's sound heritageA virtual jukebox for europe's sound heritage
A virtual jukebox for europe's sound heritageEuropeana_Sounds
 
Celebrations of the International Mother Language Day 2024.
Celebrations of the International Mother Language Day 2024.Celebrations of the International Mother Language Day 2024.
Celebrations of the International Mother Language Day 2024.Christina Parmionova
 
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...Aneta Kozuchowska
 
Pori Art Museum as an information reserve
Pori Art Museum as an information reservePori Art Museum as an information reserve
Pori Art Museum as an information reserveAnni Saisto
 
2016 ICEE Conference Final Programme
2016 ICEE Conference Final Programme2016 ICEE Conference Final Programme
2016 ICEE Conference Final ProgrammeAntonio Rodriguez
 

Similar to Tēlniecības kvadriennāle, 2004 (20)

Introduction to EXARC 2017
Introduction to EXARC 2017Introduction to EXARC 2017
Introduction to EXARC 2017
 
Unesco Resolution In Life 07
Unesco Resolution In Life 07Unesco Resolution In Life 07
Unesco Resolution In Life 07
 
Lirakay-bio-art-pdf
Lirakay-bio-art-pdfLirakay-bio-art-pdf
Lirakay-bio-art-pdf
 
Treasuring the sound heritage: the Europeana Sounds project
Treasuring the sound heritage: the Europeana Sounds projectTreasuring the sound heritage: the Europeana Sounds project
Treasuring the sound heritage: the Europeana Sounds project
 
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)Konferences "MetaMind’2014"" programma (25.-28.09.2014.)
Konferences "MetaMind’2014"" programma (25.-28.09.2014.)
 
Art riga fair 2014 www.artriga.com
Art riga fair 2014 www.artriga.comArt riga fair 2014 www.artriga.com
Art riga fair 2014 www.artriga.com
 
UNESCO monuments Riga
UNESCO monuments RigaUNESCO monuments Riga
UNESCO monuments Riga
 
PontusKyander2015
PontusKyander2015PontusKyander2015
PontusKyander2015
 
Strategies for publication and dissemination of digital content
Strategies for publication and dissemination of digital contentStrategies for publication and dissemination of digital content
Strategies for publication and dissemination of digital content
 
Strategies for publication and dissemination of digital content: the case for...
Strategies for publication and dissemination of digital content: the case for...Strategies for publication and dissemination of digital content: the case for...
Strategies for publication and dissemination of digital content: the case for...
 
CV_Ana Panic_english
CV_Ana Panic_englishCV_Ana Panic_english
CV_Ana Panic_english
 
Europeana Aggregators' Fair day 1
Europeana Aggregators' Fair day 1Europeana Aggregators' Fair day 1
Europeana Aggregators' Fair day 1
 
Key concepts in literature and tourism studies
Key concepts in literature and tourism studiesKey concepts in literature and tourism studies
Key concepts in literature and tourism studies
 
FEFA lider Miomir Korac
FEFA lider Miomir KoracFEFA lider Miomir Korac
FEFA lider Miomir Korac
 
A virtual jukebox for europe's sound heritage
A virtual jukebox for europe's sound heritageA virtual jukebox for europe's sound heritage
A virtual jukebox for europe's sound heritage
 
Artistic Research Archive at Oslo National Academy of the Arts. pioneering wo...
Artistic Research Archive at Oslo National Academy of the Arts. pioneering wo...Artistic Research Archive at Oslo National Academy of the Arts. pioneering wo...
Artistic Research Archive at Oslo National Academy of the Arts. pioneering wo...
 
Celebrations of the International Mother Language Day 2024.
Celebrations of the International Mother Language Day 2024.Celebrations of the International Mother Language Day 2024.
Celebrations of the International Mother Language Day 2024.
 
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
Europe’s Common Cultural Heritage – Unity in Diversity: Digital Technologies ...
 
Pori Art Museum as an information reserve
Pori Art Museum as an information reservePori Art Museum as an information reserve
Pori Art Museum as an information reserve
 
2016 ICEE Conference Final Programme
2016 ICEE Conference Final Programme2016 ICEE Conference Final Programme
2016 ICEE Conference Final Programme
 

Recently uploaded

Greater Noida Call Girls : ☎ 8527673949, Low rate Call Girls
Greater Noida Call Girls : ☎ 8527673949, Low rate Call GirlsGreater Noida Call Girls : ☎ 8527673949, Low rate Call Girls
Greater Noida Call Girls : ☎ 8527673949, Low rate Call Girlsashishs7044
 
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Service
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts ServiceRussian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Service
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Servicedoor45step
 
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 60009654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000Sapana Sha
 
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call Girl
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call GirlDxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call Girl
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call GirlYinisingh
 
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call Girls
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call GirlsJagat Puri Call Girls : ☎ 8527673949, Low rate Call Girls
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call Girlsashishs7044
 
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Service
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts ServiceIndian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Service
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Servicedoor45step
 
Clines Corners Travel Center, Curio Shop, Clines Corners NM
Clines Corners Travel Center, Curio Shop, Clines Corners NMClines Corners Travel Center, Curio Shop, Clines Corners NM
Clines Corners Travel Center, Curio Shop, Clines Corners NMroute66connected
 
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubai
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur DubaiBur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubai
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubaidajasot375
 
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857delhimodel235
 
Strip Zagor Extra 322 - Dva ortaka.pdf
Strip Zagor Extra 322 - Dva ortaka.pdfStrip Zagor Extra 322 - Dva ortaka.pdf
Strip Zagor Extra 322 - Dva ortaka.pdfStripovizijacom
 
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girls
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call GirlsPragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girls
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girlsashishs7044
 
Call Girls in Islamabad | 03070433345 | Call Girl Service
Call Girls in Islamabad | 03070433345 | Call Girl ServiceCall Girls in Islamabad | 03070433345 | Call Girl Service
Call Girls in Islamabad | 03070433345 | Call Girl ServiceAyesha Khan
 
Olivia Cox. intertextual references.pptx
Olivia Cox. intertextual references.pptxOlivia Cox. intertextual references.pptx
Olivia Cox. intertextual references.pptxLauraFagan6
 
Roadrunner Lodge, Motel/Residence, Tucumcari NM
Roadrunner Lodge, Motel/Residence, Tucumcari NMRoadrunner Lodge, Motel/Residence, Tucumcari NM
Roadrunner Lodge, Motel/Residence, Tucumcari NMroute66connected
 
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi NcrSapana Sha
 
Retail Store Scavanger Hunt - Foundation College Park
Retail Store Scavanger Hunt - Foundation College ParkRetail Store Scavanger Hunt - Foundation College Park
Retail Store Scavanger Hunt - Foundation College Parkjosebenzaquen
 
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girl
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call GirlJvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girl
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girllijeho2176
 
Aiims Call Girls : ☎ 8527673949, Low rate Call Girls
Aiims Call Girls : ☎ 8527673949, Low rate Call GirlsAiims Call Girls : ☎ 8527673949, Low rate Call Girls
Aiims Call Girls : ☎ 8527673949, Low rate Call Girlsashishs7044
 
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girls
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call GirlsIffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girls
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girlsashishs7044
 

Recently uploaded (20)

Greater Noida Call Girls : ☎ 8527673949, Low rate Call Girls
Greater Noida Call Girls : ☎ 8527673949, Low rate Call GirlsGreater Noida Call Girls : ☎ 8527673949, Low rate Call Girls
Greater Noida Call Girls : ☎ 8527673949, Low rate Call Girls
 
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Service
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts ServiceRussian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Service
Russian⚡ Call Girls In Sector 39 Noida✨8375860717⚡Escorts Service
 
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 60009654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000
9654467111 Call Girls In Noida Sector 62 Short 1500 Night 6000
 
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call Girl
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call GirlDxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call Girl
Dxb Call Girl +971509430017 Indian Call Girl in Dxb By Dubai Call Girl
 
call girls in Noida New Ashok Nagar 🔝 >༒8448380779 🔝 genuine Escort Service 🔝...
call girls in Noida New Ashok Nagar 🔝 >༒8448380779 🔝 genuine Escort Service 🔝...call girls in Noida New Ashok Nagar 🔝 >༒8448380779 🔝 genuine Escort Service 🔝...
call girls in Noida New Ashok Nagar 🔝 >༒8448380779 🔝 genuine Escort Service 🔝...
 
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call Girls
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call GirlsJagat Puri Call Girls : ☎ 8527673949, Low rate Call Girls
Jagat Puri Call Girls : ☎ 8527673949, Low rate Call Girls
 
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Service
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts ServiceIndian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Service
Indian High Profile Call Girls In Sector 18 Noida 8375860717 Escorts Service
 
Clines Corners Travel Center, Curio Shop, Clines Corners NM
Clines Corners Travel Center, Curio Shop, Clines Corners NMClines Corners Travel Center, Curio Shop, Clines Corners NM
Clines Corners Travel Center, Curio Shop, Clines Corners NM
 
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubai
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur DubaiBur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubai
Bur Dubai Call Girls O58993O4O2 Call Girls in Bur Dubai
 
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857
Low Rate Call Girls in Laxmi Nagar Delhi Call 9990771857
 
Strip Zagor Extra 322 - Dva ortaka.pdf
Strip Zagor Extra 322 - Dva ortaka.pdfStrip Zagor Extra 322 - Dva ortaka.pdf
Strip Zagor Extra 322 - Dva ortaka.pdf
 
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girls
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call GirlsPragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girls
Pragati Maidan Call Girls : ☎ 8527673949, Low rate Call Girls
 
Call Girls in Islamabad | 03070433345 | Call Girl Service
Call Girls in Islamabad | 03070433345 | Call Girl ServiceCall Girls in Islamabad | 03070433345 | Call Girl Service
Call Girls in Islamabad | 03070433345 | Call Girl Service
 
Olivia Cox. intertextual references.pptx
Olivia Cox. intertextual references.pptxOlivia Cox. intertextual references.pptx
Olivia Cox. intertextual references.pptx
 
Roadrunner Lodge, Motel/Residence, Tucumcari NM
Roadrunner Lodge, Motel/Residence, Tucumcari NMRoadrunner Lodge, Motel/Residence, Tucumcari NM
Roadrunner Lodge, Motel/Residence, Tucumcari NM
 
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr
9654467111 Full Enjoy @24/7 Call Girls In Saket Delhi Ncr
 
Retail Store Scavanger Hunt - Foundation College Park
Retail Store Scavanger Hunt - Foundation College ParkRetail Store Scavanger Hunt - Foundation College Park
Retail Store Scavanger Hunt - Foundation College Park
 
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girl
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call GirlJvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girl
Jvc Call Girl +971528604116 Indian Call Girl in Jvc By Dubai Call Girl
 
Aiims Call Girls : ☎ 8527673949, Low rate Call Girls
Aiims Call Girls : ☎ 8527673949, Low rate Call GirlsAiims Call Girls : ☎ 8527673949, Low rate Call Girls
Aiims Call Girls : ☎ 8527673949, Low rate Call Girls
 
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girls
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call GirlsIffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girls
Iffco Chowk Call Girls : ☎ 8527673949, Low rate Call Girls
 

Tēlniecības kvadriennāle, 2004

  • 2.
  • 3. 3• RÈga 2 0 0 4 Eiropas telpa Télniecîbas kvadriennåle Rîga 2004 S/o Måkslas menedΩmenta un informåcijas centrs (MMIC) Centre for Art Management and Information
  • 5. 5• Télniecîbas kvadriennåle “Rîga 2004 – EIROPAS TELPA” PASÅKUMI EIROPAS TELPA 1950. gada télniecîbas darbu fotoreprodukciju izståde Rîgas pilsétvidé 2004. gada 1. maijs – 1. augusts Müsdienu télniecîbas darbu izståde 2004. gada 4. jünijs – 25. jülijs Valsts Måkslas muzeja izståΩu zåle “Arsenåls” Latvijas Dzelzce¬a véstures muzejs Rîgas pilsétvide KOLONIZ‰TÅ TELPA 2004. gada 5.–6. jünijs Starptautiska konference Rîgas Ekonomikas augstskola ATÍIRÈGÅS REALITÅTES I, II, III, IV, V Starptautiski seminåri Vi¬ña, Lietuva – 2004. gada 26.marts Helsinki, Somija – 2004. gada 24. aprîlis Tallina, Igaunija – 2004. gada 25. aprîlis Londona, Lielbritånija – 2004. gada 10. maijs Stokholma, Zviedrija – 2004. gada 24. maijs N TELPA 2004. gada 3. jünijs Starptautiska radoßa darbnîca Latvijas Måkslas akadémija sadarbîbå ar Vi¬ñas,Tallinas un Helsinku Måkslas akadémijåm Latvijas Måkslas akadémija TELPAS BALSS Koncerts izståΩu zålé Stîgu kvartets “Rîgas kamermüzi˚i“ 2004. gada 8. jülijs Latvijas Dzelzce¬a véstures muzejs ATÍIRÈGAS REALITÅTES Forums un web radio Re:Baltic 2004. gada 2.–26. jünijs Starptautiskås télniecîbas kvadriennåles “Rîga 2000” Galvenås balvas ieguvéja Nisi MASAAKI personålizståde Latvijas Måkslinieku savienîbas galerija Sculpture Quadrennial Riga 2004 “EUROPEAN SPACE” EVENTS: EUROPEAN SPACE Exhibition of photoreproductions of the sculptures from 1950 1 May –1 August 2004 Public spaces in Riga city centre Contemporary sculpture exhibition 4 June – 25 July 2004 Exhibition hall Arsenåls of the State Museum of Art The Latvian Railway History Museum Public spaces in Riga city centre COLONIZED SPACE 5–6 June 2004 International conference Stockholm School of Economics in Riga DIVERGENT REALITIES I, II, III, IV, V International seminars 26 March 2004 – Vilnius, Lithuania 24 April 2004 – Helsinki, Finland 25 April 2004 – Tallinn, Estonia 10 May 2004 – London, Great Britain 24 May 2004 – Stockholm, Sweden N SPACE 3 June 2004 International sculpture workshop Latvian Academy of Art in collaboration with Vilnius, Tallinn and Helsinki Art academies VOICES OF THE SPACE Concert at the exhibition halls String Quartet of the Riga Chamber Musicians, 8 July 2004 The Latvian Railway History Museum DIVERGENT REALITIES Forum and web radio Re:Baltic 2–26 June 2004 Nishi MASAAKI solo exhibition Grand Prix-winner of the International Sculpture Quadrennial Riga 2000 Gallery of the Artists’ Union of Latvia
  • 6. 6• Télniecîbas kvadriennåli “Rîga 2004 – EIROPAS TELPA” rîko Måkslas menedΩmenta un informåcijas centrs un Latvijas Kultüras ministrija sadarbîbå ar dalîbvalstu profesionålåm radoßåm organizåcijåm. Sculpture Quadrennial Riga 2004 “EUROPEAN SPACE” is organised by the Centre for Art Management and Information and the Latvian Ministry of Culture in collaboration with the professional creative organisations of the participating countries. Kuratori / Curators Aigars Bikße Kristaps Gulbis Projekta direktore / Project director Måra Ådiña Darba grupa / Workgroup Projekta starptautiskie koordinatori / International project coordinators Elîna Düce, Ilze Egle, Juha van Ingens (Somija / Finland) Sabiedrisko attiecîbu koordinatore / Public relations coordinator Ilze Ítåla Måkslinieks / Designer Artis Rutks Web måkslinieks / Web designer Andris Dinsbergs Tehniskais direktori / Technical directors Måris Grosbahs, Gatis Eglîtis Izstådes iekårtotåjs / Exhibition designer Holgers Elers Seminåru koordinatore / Seminars coordinator Iréna BuΩinska Konferences vadîtåjs / Conference moderator Anders Kreugers (Zviedrija / Sweden) Radoßås darbnîcas vadîtåji / Creative workshop coordinators Barbara Åbele, G¬ebs Pante¬ejevs, Bruno Strautiñß Lîdzorganizatori ES Kultüra 2000 ietvaros / Co-organizers within EU Culture 2000: British Council Latvia, Contemporary Art Information Center of the State Art Museum (CAIC), Estonian Sculptors Union, Riksutställningar, The Association of Finnish Sculptors Kataloga redaktore / Catalogue editor Gundega Cébere Måkslinieks / Designer Artis Rutks Tulkotåji / Translators No ang¬u valodas / From English Stella Pelße, Kristiåna Åbele, Eduards Liniñß, Viktors Freibergs No latvießu valodas / From Latvian Valdis Bérziñß, Kårlis Streips Korektores / Proof-readers Iveta Boiko (ang¬u val. / English), Måra ˆikitina (latvießu val. / Latvian) Izdevéjs / Publisher S/o MMIC – Måkslas menedΩmenta un informåcijas centrs mmic@latnet.lv © Autori, organizåcijas un måkslinieki, 2004 © Ilgvara Gradovska, Kristapa Gulbja un autoru foto, 2004 Iespiests / Printed McÅbols Våks iespiests uz Arctic Volume 300 g/m2 , iekßlapas uz Arctic Volume 150 g/m2 un Munken Print 115 g/m2 no Arctic Paper
  • 7. 7• Latvijas Kultüras ministrija Måkslas menedΩmenta un informåcijas centrs Sponsori un atbalstîtåji / Sponsors and support Culture 2000 Valsts Kultürkapitåla fonds Rîgas dome Valsts Måkslas muzejs Rautakesko Air Baltic Latnet Zieme¬u Ministru padomes informåcijas centrs Rîgå Trials Latvijas Måkslas akadémija SSE Rîga 3 M Objekts Pieci ezeri Valmieras stikla ß˚iedra Dai¬rade Expo Arctic Paper Casablanka DFDS Transport AFAA Centre Culturel Francais Riga Caloouste Gulbenkian Foundatin (Portugal) Luso-American Foundation (Portugal) Ministry of Culture of Portugal Institute of Arts (Portugal) Arts Council of Finland Department for Communication and Culture, Ministry for Foreign Affairs of Finland Kordelin Foundation Embassy of Finland in Latvia Nordic Cultural Fund FRAME Finnish Fund for Art Exchange Ministry of Culture of the Republic of Lithuania Fundation Culture and Sport (Lithuania) Embassy of the Republic of Lithuania to the Republic of Latvia Polijas Republikas véstniecîba Latvijå Prohelvetia Arts Council of Switzerland Nîderlandes Publiskås telpas måkslas fonds / The Dutch Foundation For Art and Public Space (SKOR) Informatîvais atbalsts / Information support Diena IB Media Radio III Divi putni Rîgas Laiks Una Studija Måksla Plus Müzikas Saule The Baltic Times Riga this Week Ças Subbota Pateicîba brîvpråtîgajiem palîgiem / We extend our thanks to volunteers Raivis Austriñß Jana Borisova Vita Breda Edgars Burtnieks Sanita Çevere Toms Çivlis Ivars Drulle Jana Duhovska Kaspars Endols Krißs Erdmanis Marts Erdmanis Eduards Feoktistovs Pauls Gailîtis Karîna Gluhova Liene Gréviña Zane Gromulsone Linda Igolniece Kristîne Ivanova Velga Jékabsone Elîna Kalniña Liene ikute Edgars K¬aviñß Sandis Kondråts Andris Konoßonoks Dina Konstantinova Marika Kozlovska Jånis Kudiñß Jana Kukaine Inese Kurzemniece Inga Låce Iveta Lapsiña Ieva Lauriña Zîle Liepiña Ieva Lindenbauma Ilze Litavniece Kristîna Lukjanska Sandra Madelåne Santa Mazika Anda Mendri˚e Iveta Ozoliña Kristîne Paeglîte Katrîna Pakalniete Marianna Piçula Ilze Prikaßa U©is Pucens Dace Resele Liene Rubane Elîna Ruka Roberts Salaks Ieva Saulîte Anita Sedliña Elîna Simsone Baiba Íime Dårta Íñi˚e Karîna Sîmane Kristaps Strauts Dairis Tiesnesis Karîna Timofejeva Ingmårs Usas Evita Vasi¬jeva Inese Valtere Ilze Va¬ka Gunta Vaska Anitra Velde Johanna Vîtanena Uldis Zariñß Zane Zilberte Evija Zujeva Starptautiskås télniecîbas kvadriennåles “Rîga 2004 – Eiropas telpa” Grand prix laureåti – ungåru måkslinieku Andråßa Gålika un Bålinta Havaßa radoßais tandéms Little Warsaw par darbu Marmora iela, kas eksponéts Dzelzce¬a véstures muzejå Sculpture Quadrennial Riga 2004 “European Space” Grand Prix Little Warsaw (Balint Havas, Andras Galik), Hungary, for the work “Marble Street” Kvadriennåles Ωürijas komisija / Jury of the Sculpture Quadrennial: Ûürijas priekßsédétåjs / Chairman of the Jury Gundars Bojårs, Rîgas Domes priekßsédétåjs / Chairman, Riga City Council Dainis Èvåns, Rîgas Domes Kultüras, måkslas un reli©ijas lietu komitejas priekßsédétåjs / Chairman of the Committee of Culture, Art and Religion of the Riga City Council Diåna Çivle, Rîgas Domes Kultüras pårvaldes priekßniece / Head of the Culture Department of the Riga City Council Ieva Kalniña, Rîgas Domes Kultüras pårvaldes Kultürpolitikas noda¬as vadîtåja, måkslas zinåtniece / Head of the Culture Policy Section, Culture Department of the Riga City Council, art historian Nishi Masaaki (Japåna / Japan), starptautiskås télniecîbas kvadriennåles “Rîga 2000” Grand prix ieguvéjs / Grand Prix winner of the Sculpture Quadrennial “Riga 2000” Aigars Bikße, Kristaps Gulbis, starptautiskås télniecîbas kvadriennåles “Rîga 2004 – Eiropas telpa” kuratori / curators of the Sculpture Quadrennial Riga 2004 “European Space”
  • 8. 0420 8• Eiropas telpas sarunu objekti Hanno Soansa saruna ar Rîgas Télniecîbas kvadriennåles Eiropas telpa kuratoriem Aigaru Bikßi un Kristapu Gulbi notika Tallinå 2004. gada 13. jünijå. Tå bija otrå divu Eiropas telpai veltîto interviju ciklå, un tås téma no vis- påréjiem jautåjumiem, kas tika aplükoti pirmajå intervijå, aizvirzîjås pie konkrétajiem kvadriennåles darbiem un to izraisîtås rezonanses sabiedrîbå. Hanno Soanss: Varbüt jüs gribétu aplükot konkré- tus darbus kå daΩådu izstådes izveides aspektu piemé- rus? Es îpaßi vélétos pievérsties 50. gadu darbu attélu izstådîßanai uz årtelpu stendiem un skulptüråm publiska- jå telpå. Vai jüs varétu nosaukt tos darbus, kuru izstå- dîßana, jüsupråt, bija seviß˚i izdevusies rezultåta vai interesanta procesa ziñå? Kristaps Gulbis: Man seviß˚i interesants ß˚iet tas, kas saistås ar årpus izståΩu telpåm izvietotajiem darbiem. To autoriem bija iespéja ierasties Rîgå jau iepriekß, lai iepazîtos ar izstådîßanås vietåm, tå ka viñi bija privile©étå situåcijå attiecîbå pret påréjiem. Publiskajå telpå ir izvieto- ti vairåki interesanti, ßeit pieminéßanas vérti darbi. Viens tåds ir ‰rika Samaha saules bateriju darbinåtais skañu objekts, kas nomaskéts parkå. Tad man vél bütu jåmin dåña Tomasa Poulsena veidotais darbs, kas izvietots vienå no Rîgas tirgiem. Abi darbi ir labs piemérs tam, kådu vietéjås publikas reakciju izraisa ßådi måkslas objekti. Jåsaka, Tomasa Poulsena darbs ¬audîm patîk. Darba pa- matå ir ideja par to, ka cilvéki ßajå pasaules da¬å ir ¬oti lieli individuålisti, kuri domå galvenokårt par savu mazo pasaulîti. Tad nu måkslinieks véléjås tos apvienot zem viena jumta, padarot viñu savstarpéjo komunikåciju aktîvåku. Viñß izgatavoja jaunu tirgus stendu ar kopéju jumtu un nokråsoja to koßåku salîdzinåjumå ar påréjo tir- gus iekårtu – létåm koka konstrukcijåm ar nelieliem plas- tikåta jumtiñiem. Un més vienojåmies ar zemniekiem, ka péc Poulsena darba pabeigßanas viñi ar savåm precém ievåksies viña stendå. Tomér jau nåkamajå dienå viñi paz- iñoja, ka pårcelßoties atpaka¬, jo pircéji såkußi pårmest, ka viñi izlikußi preci uz skulptüras. Redziet – pie darba ir maza plåksnîte ar autora vårdu un nosaukumu. Aigars Bikße: Nosaukums ir Lete diviem pårde- véjiem. KG: Tad nu pircéji pårmeta: kå nav kauna – tirgoties uz måkslas darba, uz skulptüras; vai tad jums nemaz nav cieñas pret måkslu? Pie tam izrådîjås, ka arî pati kon- strukcija nav seviß˚i izdevusies, jo, kå Ωélojås tirgotåji, tå neaizsargå dårzeñus no saules. Jumta konstrukcija bija tåda, ka lietus laikå üdens, ja arî nelija uz dårzeñiem, tad pircéjiem virsü gan. Més ar Aigaru apsvéråm – varbüt mums vajadzétu mé©inåt piedabüt tirgus direktoru samazinåt ßî stenda îres maksu. Tomér nolémåm, ka mums nevajadzétu mé©inåt iespaidot viñu lémumus. HS: Ja darbs pretendé veidot interaktîvus reålås dzîves procesus, vienojot cilvékus un iespaidojot viñu uz- vedîbu, tad vienmér ir jåbüt arî neveiksmes iespéjai. Ja tå
  • 9. 9• nav, tad darbs ir jau iepriekß nodroßinåts un nespéj pildît pats savus nosacîjumus. Tas padarîtu labu ieceri bezjé- dzîgu. Tad arî citos gadîjumos, kad tå ir noticis, jums diez vai ir tiesîbas vértét projekta panåkumus. Un jüsu tagad ståstîtais – par reakciju, kådu izraisîja tirgoßanås uz skulp- türas, – labi atklåj kontekstu. Dånijå ¬audis bütu zinåmå mérå sagatavotåki formåli uztvert müsdienu sociålås skulptüras nosacîjumus – tur tådéjådi risks bütu mazåks. Manupråt, tas ir interesants aspekts, kurå måkslinieks var risinåt domu tålåk. Es gribétu atgådinåt Kléras Bißopas sacîto Telpas kolonizåcijas konferencé. BieΩi ßis sociålås skulptüras veids, kas tießi strådå ar cilvékiem un viñu dzîves vidi, deklaré savu orientåciju uz aktîvu sabiedrîbas pårveidi. Tomér bieΩi diskurss ap ßådiem måkslas darbiem tiek veidots pårlieku sargåjoßs, cenßoties slépt, ka tas neiedarbojas visos aspektos un vienmér, par spîti labåm iecerém. Es domåju, jüsu lémums bija pareizs, jo kuratori nereti mé©ina slépt k¬üdas. Tålåkå perspektîvå tas tikai mazina ßådas måkslas patieso nozîmîbas potenciålu. KG: No vienas puses, tirgotåju attieksme bija ¬oti pozitîva. Viñi teica, ka viñiem objekts patîkot un viñi to izmantotu, ja vien sédekli varétu atvirzît drusku tålåk un jumtu nedaudz pårtaisît. Te proceså såk iejaukties daΩi lokåli noteikumi, lokåli paradumi. Årpusnieks tos neizprot. Arî latvießu måkslinieks varéja pie¬aut tås paßas k¬üdas – jo måkslinieki jau nepieder pie tiem ¬audîm, kas tirgojas ßajos tirgos, més arî neesam zemnieki. Zemnieki bütîbå apdzîvo ßo tirgu un ir izveidojußi paßi savu – viñu biznesam nozîmîgu lietu hierarhiju. Viñi var nedaudz atbalstît arî måkslu – nekådu problému! – tikai ja tas såk kaitét viñu noietam, tad tas vairs nav pieñemami. AB: Konkurencé starp ierastajåm vienkårßajåm kon- strukcijåm, uz kuråm viñi bija pieradußi tirgoties, un ßo jauno stendu standarta konstrukcijas uzvaréja arî tåpéc, ka, pircéjupråt, precei vecajos stendos jåbüt létåkai. Viñi bija nåkußi pirkt dabiskus, îstus lauku produktus un sprie- da, ka parastajos stendos ir vecå labå prece – îsti lauku raΩojumi. Savukårt måkslas darba estétika izrådîjås tuvå- ka prezentåciju letém, kådas ßeit tiek izmantotas tikai tirdzniecîbas centros. KG: Òaudis domåja – ja jau ir jauns stends, tad arî cenas droßi vien ir augståkas. Tå viñi ir ieradinåti. Tå ir parasta prakse – tirdzniecîbas vieta tiek labiekårtota un tad atkal atvérta jau ar augståkåm cenåm. HS: Tas ir saistîts arî ar tému, kuru més såkåm ap- spriest jau iepriekßéjå intervijå, – par elitårismu, måkslu måksliniekiem. Lai jüsu måkslas centieni iegütu nozîmi, jums vajadzîga publika. Ja jüs mé©inåt modificét rezultéjoßo måkslinieka iespaidu uz publiku, padarît to “efektîvåku”, såk zust tå sasaiste ar realitåti. Lai gan man patießåm patîk Tomasa Poulsena ideja, ßajå darbîbas fåzé man tås îstenojumå nebütu jåjaucas. Müsu pirmå saruna bija par “mums un viñiem” – un tas pats ß˚îrums darbo- jas ßeit. Misék¬i noråda uz tåm atß˚irîbåm, kas paståv starp måkslinieka iedomåto tirgu un to, kå tas funkcioné ikdienas realitåté. Jaucoties proceså, més varétu galu galå nonåkt pie naivås pårliecîbas, ka més varam radît ßiem tir- gotåjiem labåkus stendus, neko îsti nezinot par tir- goßanos – tå ir vél viena elitårås pieejas forma, labu gri- boßs, bet aprobeΩots elitårisms. AB: Viens no galvenajiem pretendentiem uz Ωürijas balvu bija Hårvija un Ekroidas darbs. Kad måkslinieki pir- moreiz ieradås Rîgå izpétes braucienå, viñi apsvéra daΩå- das iespéjas. Viens no iespéjamiem variantiem bija lielfor- måta attéli, kas tiktu veidoti, izmantojot fotosintézi. Viñi izvieto uz sienas tumßå telpå audzétu zåli un projicé uz tås fotogråfiju – milzîgu, lîdz 10 metriem augstumå. Pateicoties fotosintézei, divu nedé¬u laikå attéls atveidojas dabiskajå materiålå. Tad viñi zåli nomérdé, tå konservéjot darbu. Rezultåtå tiek iegüts milzîgs dabiskas izcelsmes gobeléns ar fotogråfijas negatîvu. Més viñiem atradåm trîs daΩådas potenciålås vietas, trîs arhitektoniskus objek- tus, kurus viñi varéja izmantot savai instalåciju sérijai – padarît tos za¬us, apaudzéjot ar zåli. Efekts, protams, ir fantastisks. Arhitektüra, éka zaudé savu materialitåti un it kå pazüd. Jo garåka aug zåle, jo nearhitektoniskåka k¬üst éka – tai züd visas deta¬as, un tå såk funkcionét vidé kå vienota za¬a masa. Rîgå måkslinieki to realizé graustå, postaΩå, un tur tas darbojas seviß˚i labi. KG: Tai vietå uz katra so¬a ir narkomånu izmétåtas ߬irces... AB: Måkslinieki strådåja påris dienas, kamér sakopa to vietu. Tad éku pårklåja ar måla maisîjumu, kam pie- jauktas zåles séklas. Kad tås såka dîgt, éka pamazåm pårvértås za¬å maså. Bija ¬oti interesanti vérot, kå tas maina müsu apkårtéjås vides uztveri. KG: Vizuåli, man ß˚iet, tas bija ¬oti spécîgi, ¬oti ie- spaidîgi. Bet més baΩîjåmies par to ¬auΩu iespéjamo rîcîbu, kuri tur ierodas, lai apreibinåtos ar narkotikåm vai alkoholu, un daΩkårt pavada nakti. Lîdzås ir cietums, tå ka vieta nav pati droßåkå. Més baidîjåmies, kas ßådos apståk¬os var notikt ar måkslas darbu. Såkumå uz pår- klåtås sienas tießåm kåds kaut ko uzrakstîja. Taçu, kad cil- véki ievéroja, ka dîgst zåle, kad viñi såka nojaust gaidåmo rezultåtu, attieksme k¬uva daudz saudzîgåka, nekå ierasts. HS: Tåtad jums izdevås sasniegt rezultåtu, kas lîdzi- nås Tomasa Hirßhorna îstenotajam ar viña Bataija pie- minekli (Bataille Monument) pédéjå Documenta, kad måkslinieks kaut kå iefiltréjås turku imigrantu kopienå un panåca savstarpéju uzticéßanos ar tås locek¬iem, tå ka varéja pat atståt tur dårgu televîzijas studijas aprîkojumu bez apsardzes. KG: Tas ir interesants fenomens. Més ar Aigaru ap- spriedåm iespéju veidot måkslas centru kådå no trü- cîgåkajiem rajoniem, jo tur dzîvojoßo cilvéku attieksme ir daudz pretimnåkoßåka. Es domåju, arî ‰riks Samahs uz- ñémås lielu risku, izvietojot ar saules ener©iju darbinåmås flautas. Vai jüs tås redzéjåt? HS: Jå, es biju paßa måkslinieka vadîtajå ekskursijå uz ßo objektu. Taisnîbu sakot – brîniß˚îgs darbs. Kad spîd saule, flautas såk spélét, bet, kad ir måkoñains, darbs – kas ir rüpîgi noslépts – apklust un k¬üst pilnîgi nepa- manåms! KG: Tas ir tas, kas man måkslinieka veikumå ¬oti pa- tîk – tas nav uzkrîtoßi nolikts pilsétas centrå, nav masîvs skulpturåls veidojums, kas sev pieprasa milzumu telpas. Man patîk ßî diskrétå saskarsme ar publiku. Viña darbs ir ¬oti delikåts, savukårt tå publiskoßanas metode – ne gluΩi. Uzturoties Rîgå, måkslinieks katru dienu pårvietojås pa pilsétu ar savu saules flautu rokå un ståstîja par to katram sastaptajam. HS: Ar instrumentu rokå viñß izskatîjås kå mags, kå Oza zemes burvis... Bija diezgan aizraujoßi uzzinåt, kå tas darbojas, uzskañojoties péc saules gaismas. KG: Vai zinåt, ka to skañu var arî ierakstît? Instru- mentå ir mikrofons. Íîs instalåcijas nav måkslinieka vienî- gais darbîbas virziens, taçu viens no tiem, ko viñß paståvî- gi attîsta. Bet, ja jüs salîdzinåtu viña darbu ar, pieméram, to, kuru veidoja Navaks, tås ir divas daΩådas pieejas. Un Rîgå tie izvietoti viens no otra kådus 300 metrus attålumå.
  • 10. 10• HS: Tomér, es domåju, abas metodes ir vitåli svarîgas müsdienu skulptürai. Joprojåm ir daudz darbu, kuri operé ar masu un materialitåti, un arî darbi, kuri ir jau gluΩi vai pie nepamanåmîbas robeΩas, bet arî ¬oti iedarbîgi, vérotåju aktîvi iesaistoßi. Tie bieΩi pårsteidz cilvékus ne- sagatavotus. Labåkais rezultåts tiek sasniegts, kad ¬audis, kas katru dienu dodas cauri ßim parkam, pékßñi pamana kådas ¬oti smalkas pårmaiñas. KG: Navaks man ståstîja, ka darba uzstådîßanas laikå garåm gåjis kåds vecs krievs un noprasîjis: “A ti kto takoi?”1 Navaks kådu laiku vilcinåjies ar atbildi un tad paziñojis: “Ja ñemec.”2 Tad vecis arî kådu brîdi kluséjis, apsverot dzirdéto. Galu galå viñß atteicis: “ˆemec – eto vsjo taki luçße çem latiß.”3 HS: Un arî to var paveikt tikai publiskås telpas skulp- türa. Tå var atklåt problému samezglojumus publikas apziñå, kuri tur ir paståvîgi un iespaido lémumus, bet reti tiek formuléti vårdos. BieΩi vien tiem ir sakars ar nacionå- lo piederîbu un sociålo statusu. No vecåka krievu stråd- nieka visnota¬ var sagaidît låstu “jüs – faßisti tådi”, un viñam tas izskan apméram tåpat kå “jüs – våcießi tådi”, kaut arî tas jau ne tuvu nav viens un tas pats. Un tad viñß pauΩ: “Våcießi tomér ir labåki nekå jüs – latvießi tådi.” KG: Un ko jüs domåjat par Hansa Houvelingena darbu? HS: Varbüt man nedaudz apßaubåmas ß˚iet viña ide- jas Eiropas telpas importa sakarå – it kå Latvija lîdz ßim nebütu bijusi Eiropas da¬a, un viñß tagad ir atvedis ßurp kaut ko no holandießu modernisma, lai ßo telpu ßeit iedi- binåtu. Tomér man patîk, ka modernisma vésture tiek uzskatîta par vértîbu, par kaut ko vispåreiropeisku. Kåpéc lai holandießu modernisma darbu nepårbaudîtu, ievieto- jot citå kontekstå un laika ietvarå? Ja to varétu turpinåt, uzce¬ot îstu éku – iespéjams, pirmo vadoßa holandießu müsdienu arhitekta projektétu celtni Austrumeiropå –, tas bütu patießåm lieliski. KG: No vienas puses – ir interesanti sekot arhitekta domai par to, vai ßeit ir vai nav Eiropas telpa. No ßåda viedok¬a tas jau atkal ir jautåjums par “mums un viñiem”. No otras puses – bütu interesanti vérot rîdzinieku attieks- mi. AB: Manupråt, tas büs viens no darbiem, kas nedaudz provocés. Såkotnéji ß˚ita, ka arî Ekroidas un Hårvija darbs provocés cilvékus. Bija ¬oti grüti sañemt at¬auju, jo instalåcijas vieta bija kådreizéjås kapsétas teri- torijå, un kapela ir arhitektüras piemineklis. Tomér atbil- dîgås institücijas direktors ir diezgan müsdienîgi domå- joßs – viñß labi saprot, ka ir svarîgi veidot saikni ar ßodie- nas aktuålo kultüru. Ja nedarbojas nekas aktuåls, bet tikai atmiñas, tad nekas nepaliek no ßodienas, no müsu laikam atbilstoßiem simboliem. Rîgå joprojåm smagi jåcînås pret ¬audîm, kuri uzskata, ka visam nozîmîgajam pagåtnes mantojumam jåtiek iebalzamétam vai butaforiski atdari- nåtam – kå Melngalvju nama gadîjumå. HS: Bet kå måkslinieki iedomåjås savu darbu kåd- reizéjås kapsétas kontekstå? Tå kå identisku darbu viñi veidojußi arî citå vidé, tad tas k¬üst par atß˚irîgu konteks- tu testu arî viñiem paßiem... AB: Savu instalåciju viñi veidoja pamestå baznîcå un tådéjådi it kå atgrieza dzîvîbu ßajå vietå. Pirms tam éka netika izmantota un bija pak¬auta izpostîßanai. Viñu måk- sla rosinåja tås nozîmîbas atjaunoßanos. Tå arî atklåja ßajå apkårtné dzîvojoßajiem, tiem, kas ir pie ßîs ékas pieradußi, jaunu pieeju vecajai baznîcai. Pamestå vietå neviens vairs nerüpéjas par vides ståvokli – ßis måkslas darbs orientéjas tießi uz ßo rüpju rosinåßanu. Kaut vai tikai tas, ka viena celtne ßajå vietå tiek iztîrîta, palîdz citådi uztvert apkårtni, tas izsaka citådas esamîbas iespéjamîbu. HS: Íî nolaistå vietå esoßås ékas iztîrîßana un måkslas darba veidoßana tajå ir visai interesants piemérs, kå ¬oti poétisks darbs, klasiska instalåcija, var reizém radît spécî- gåku sociålo efektu nekå tießi sociåli vérsts, programma- tiski sociåls darbs. KG: Bet ir vél kåds interesants aspekts – ja to darîtu jüs vai kåds cits no vietéjiem måksliniekiem, reakcija bütu atß˚irîga. Manupråt, Latvijas sabiedrîbå kopumå ir ¬oti po- zitîva attieksme pret årzemniekiem. Ja årzemju måkslinie- ki ierodas Rîgå un pievérß uzmanîbu ßai vietai, tad te jåbüt kaut kam patießåm vértîgam. AB: Tas gan attiecas uz ¬audîm, kam ir kåda såkot- néjå informåcija, bet ßî rajona iemîtnieki... Més baidîjå- mies no vanda¬u postîjumiem. Tomér ¬audis, kuriem par måkslu nav nekåda priekßstata, nepavisam nebija agresîvi noskañoti pret ßo darbu. KG: Nepavisam. Viñi visi gribéja ar tur strådåjoßajiem måksliniekiem aprunåties. AB: Tå kå tas nav pilsétas centrs, tad tur uzturas vieni un tie paßi cilvéki. Viñi sazinås savå starpå. Ja viens pazi- ño, ka, redziet, ßis puisis no Anglijas te taisa kaut ko forßu, tas darbojas kå bezdråts telegråfs un piesaista uzmanîbu. Izrådîjås, ka vietéjais informåcijas lauks iedar- bojas ¬oti labvélîgi. HS: Kå ir ar vidusméra auditorijas interesi – vai tå vairåk fokuséta uz darbiem publiskajå telpå vai uz izstå- di? KG: Praktisku apsvérumu dé¬ vairåk cilvéku ir ap- skatîjußi darbus izståΩu zålé – nav jåpårvietojas pa visu pil- sétu ar karti rokå. Més jau visi esam slinki un domåjam, ka to taçu var paspét rît vai nåkamnedé¬, kamér ir jau par vélu. Bet kåda ir Latvijas måkslas profesionå¬u attieksme pret ßo notikumu – kå tev ß˚iet, Aigar? AB: Kad Ωurnålisti izråda véléßanos ar mums ap- runåties, tad man ß˚iet, ka viñus vairåk interesé publiskås telpas måksla. HS: Bet varbüt tas tå ir tießi tåpéc, ka vairåk nekå desmit gadus ir bijis vérojams tåds müsdienu måkslas deficîts publiskajå telpå? Tagad viñi var arî novértét starpîbu. KG: Òoti bieΩi uzdots jautåjums ir – kå ßie darbi mijiedarbojas ar to publiskås telpas måkslu, kas Rîgå ir, ar pieminek¬iem? Tomér es nekad agråk neesmu Latvijå vérojis tådu kultüras jomå nespecializéto mediju interesi. Kad més izsütîjåm preses relîzes un uzaicinåjåm viñus uz akreditåciju, sañémåm atbildi, ka viñus tas neinteresé. Tagad viñi müs uzmeklé un paziño, ka ir mainîjußi savu viedokli un vélas rakstît par ßo notikumu. Viñu skatîjums uz ßo notikumu un tas, kå viñi izsakås par måkslu, ir visai interesanti. Tas nepårprotami atß˚iras no müsu redzéju- ma, taçu iesåkumam, protams, nav slikti. AB: Kas attiecas uz atsauksmém medijos, 50. gadu måkslas darbi funkcioné ¬oti sekmîgi un skulptüras pub- liskajå telpå arî. Savukårt par ekspozîcijåm izståΩu zålés – kaut arî tas ir müsu svarîgåkais elements – publikas interese ir ierobeΩota, lielåko tiesu intereséjas profe- sionå¬i. KG: Í˚iet, ar vienu darbu mums ir izdevies pievérst gluΩi neceréta publikas segmenta uzmanîbu – ar Dena Íipsaidsa darbu. Man piezvanîja no alpînisma biedrîbas un lüdza, vai nevarot izmé©inåt to veidojumu Arsenålå, kas taisîts no alpînisma treniñiem domåta materiåla. Vispirms viñi ieradås skulptüru apskatît, péc tam tajå uzråpties. Tas ir paradoksåli – tirgü pircéjus mulsinåja tas,
  • 11. ka zemnieki tirgo savu preci uz skulptü- ras, kas taçu bija domåta tirgoßanai, bet ßie puißi ieradås paßi, lai izmé©inåtu sa- vas spéjas izståΩu zålé! Viñi nepavisam nemulsa. Protams, es teicu, ka man prieks par viñu lémumu. Viñi savukårt mums pateicås par alpînisma propagan- déßanu. AB: Tåda jau arî bija ßî darba ori©i- nålå iecere – såkotnéji més plånojåm to izvietot lielveikalå, taçu nevaréjåm vieno- ties ar veikalu par deta¬u pienåcîgu nos- tiprinåßanu. Bet visinteresantåkais ir tas, ka alpînisti paßi ievéroja ßo darbu izståΩu zålé un nekautréjås palügt at¬auju tajå uzkåpt. BieΩi vien tießi ßådas mazas sa- biedrîbas grupas atklåj måkslas darbus kådå patießåm interesantå aspektå, iedzîvina tos kontekstå un sniedz intere- santu vielu vélåkai apsprießanai. Tå ir ma- zo nißu publika, kas padara skulptüras par sarunu objektu, veidojot sociålo diskursu. KG: Runåjot par izstådi kopumå mums ar Aigaru daudzi pårmetußi “vés- tîjuma” neesamîbu. Måkslas profe- sionå¬u aprindås ir pierasts ßåds “kura- toru véstîjums tautai”. Més abi esam måkslinieki un ßo izstådi esam büvéjußi uz citiem, mums interesantiem princi- piem: uz situåcijas fikséßanu, uz to, kas konkrétå laikå – 1950. un 2004. gadå – daΩådås kultürtelpås tiek uzskatîts par vértîbu. Un atkal esam nonåkußi pie “més un jüs”. Tießi ßî robeΩlînija man arî ß˚iet tå interesantåkå – tas, kådé¬ vispår bija vérts pasåkumu “Eiropas telpa” orga- nizét. Tådé¬ atbilde, ko sañémåm no Rî- gas Galvenås policijas pårvaldes ar attei- kumu ierosinåt kriminållietu par Lielajos kapos izvietotå måkslas darba uz- turéßanai nepiecießamå tehniskå inven- tåra zådzîbu, ir pårliecinoßa liecîba, ka måkslas, måkslas profesionå¬u un sa- biedrîbas attiecîbås vél daudz daråms, lai més kaut vai såktu mé©inåt sarunåties, ja ne vienå, tad vismaz lîdzîgå, visiem saprotamå valodå. 1, 2, 3 Krievu val. •11
  • 12. 12• The Conversation Pieces of “European Space” The interview with the curators of Riga Sculpture Quadrennial, “European Space”, Aigars Bikße and Kristaps Gulbis, took place in Tallinn, on 13 th June 2004. As it was the second one from the set of two interviews relating to “European Space”, the focus was shifted from the general issues addressed in the first interview to concrete artworks at the Sculpture Quadrennial and the resonance they provoke in public. Hanno Soans: Maybe you would like to choose some works as examples of different aspects building up the exhibition. I would particularly like to mention the works from the 1950s installed on billboards and the sculptures in public space. Could you address the works, which in your opinion have been a particular success or interesting as a process? Kristaps Gulbis: I found very interesting the issues concerning the works exhibited outside the exhibition halls. These artists could come to Riga beforehand for the research visits, so they were in a privileged position com- pared to the others. In public space there are some works particularly interesting to address here. One is by Erik Samakh, a sound piece feeding on solar energy and dis- creetly situated in a park. Then I should mention the work by FOS, Thomas Poulsen from Denmark, whose work is situated in one of Riga’s marketplaces. These are both good examples of how local people can react to the artwork. Actually people like Thomas Poulsen’s work. His initial idea about people in this part of the world was that they are very individual, thinking mostly about their own small worlds. So he wanted to connect them under one roof, making communication between them more active. He made a new stand with a common roof and painted it to look nice if you compare it with the existing struc- tures in the market, which are cheap wooden things with some plastic for the roof. We agreed with the farmers who are selling there, that after Poulsen’s work is fin- ished, they will move to this new stand. But as they moved there for one day they told us they are going to move back because some customers started to complain that they sell their stuff on a sculpture. There is a tiny sign with the artist’s name and the title attached to the stand, you know. Aigars Bikße: The title is “Stand for Two Venders”. KG: So their question was, how dare you trade on an artwork, on a sculptural object, don’t you have any respect for art? It also came out that the construction itself was not too good as the guys selling complained that it doesn’t protect vegetables from the sun. The roof was constructed in a way that even if the water doesn’t get on vegetables, it drops on customers, when it is rain- ing. We discussed with Aigars weather we have to influ- ence the director of the market, make him to reduce the rent for this stand? But we came to the conclusion that we shouldn’t try to influence their decisions. HS: If there is a work, intended at building up real- life interactive processes connecting people and influenc- ing their behaviour, there must always be the possibility to fail. If it is not there the work is pre-protected and can- not fulfill its own preconditions. It makes good effort meaningless. You can then hardly claim to measure the success of another occasion, when it might have hap- pened. And what you told me now is revealing a lot about the context, this reaction to trading on a piece of sculpture. In Denmark people would have been pre- pared, to a certain extent, to formally accept the condi- tions of contemporary social sculpture – thus there would have been less risk. I think this is an interesting aspect for the artist to consider further. I wanted to recall here what Claire Bishop addressed in “Colonising Space” confer- ence. Often this kind of social sculpture, working direct- ly with people and their environment, claims to be orien- tated to actively changing society. But often discourse around this kind of work is overprotective trying to hide that it might not work in every aspect every time, despite good intentions. I think you made the right decision, because often curators are trying to mask failures. In longer terms that is reducing the actual potential of the importance of that type of work. KG: From one hand there was very positive attitude from the guys selling in the market. They told us that they like the stand and that they would use it, only if this seat could be moved a little bit further and this roof re- done a bit. There are some local rules, local habits step- ping in. They cannot be understood by someone who is from outside. The artist from Latvia might have made the same mistake. Because artists don’t belong to this group of people who are trading goods in markets, we are not farmers. They basically inhabit the market and they have developed their own hierarchy of things important for their business. They can support artwork a little, no prob- lem, but if their sales are deteriorating, they cannot accept it. AB: In the competition between the traditional rough structures they were used to be trading on and the new stand, the rough basic structures won also because customers expected that the price on the old stands would be cheaper. As they came there for authentic raw peasant food they believed that rough stands mean the good old thing and the product will really be from the countryside. The aesthetics of this artwork thus was clos- er to the aesthetics of presentation, which here is used only in the shopping malls. KG: People thought that if you buy from new stands the price probably is also higher. That is how they have been trained. It is a usual prac- tice to refurbish a place to open up with higher prices. HS: This is related to the topic we started to discuss in the previous interview, concerning elitism, art for art- ists only. You need public to make your effort meaning- ful. If you try to modify the result of artists’ impact on public, to make it more “efficient”, it looses its touch with reality. Although I really like the idea of Thomas Poulsen I shouldn’t interfere with it in this phase. Our first conversation was about Us and Them – the same distinc- tion works here. The drawbacks are addressing these dif- ferences, which exist between artists’ imagination of a market place and the very practicalities of it operating. By interfering we might end up in a naïve conclusion that
  • 13. we might do better stands for people trading there with- out any experience about trading, which is another form of an elitist approach, benevolent but narrow minded elitism. AB: Harvey and Ackroyd’s piece was one of the favourites of the Jury. When the artists came first time to Riga, for a research trip, they were thinking of various possibilities. They also make huge pictures using photo- synthesis as a process. So that was one possible variant. They take a dark room, grow grass on the wall there and project a huge photography on it, up to 10 meters. And with the help of photosynthesis taking place within 2 weeks the picture is transformed on the natural material. And they then kill the grass, conserving the picture. The result is a big naturally grown tapestry with an image in negative. We found for them three different places as potential sites for the series of installations they do with architectural objects, which they turn green by growing grass on them. The effect, of course, is fabulous. The architecture, the building loses its materiality and sort of disappears. The more the grass grows the less architec- tural the building seems, all details are reduced and it starts to work in the environment as a green mass. The place they are doing it in Riga is a desolate area, a rough place, and this works particularly well there. KG: It was a place with a lot of needles left behind by junkies... AB: The artists cleaned the place, working for a cou- ple of days. The building was covered with the mixture of clay containing seeds of grass. When it started to grow the building turned into a green mass. It is very interest- ing how our perception of environment around it changes. KG: Visually, I think it is very powerful, very impres- sive. But we were worried about the attitude of those people who go there and use drugs or drink there and sometimes stay overnight. It is close to jail, so this neigh- borhood is not very safe. We were concerned what will happen to the work in these circumstances. Something was indeed written on the building in the beginning. But when people started to notice the grass growing and anticipated the result, the attitude became more caring than it is usually. HS: So you could get the same result like Thomas Hirschhorn got at the last Documenta with his “Bataille Monument”, that he could somehow enter a Turkish emigrant community and establish a trust relationship between himself and the community so that he even could leave there expensive TV studio equipment without guard. KG: This is an interesting phenomenon. We were dis- cussing with Aigars the possibility of establishing an art center in some kind of depressed area, because the atti- tude of people living there is more generous. Erik Samakh, I think, also did take big risk with his flutes oper- ating on the solar energy. Did you see that one? HS: Yeah, I was at the excursion the artist gave about the piece. It is marvelous, actually. When it is sunshine the flutes start to play and when it is cloudy the piece, which is sort of invisible anyway, turns silent and disap- pears completely. KG: That is something that I very much like in his work – it is not something rudely put in the city center as a massive piece of sculpture claiming a lot of space for itself. I like his discreet way of dealing with the public. His work is very sensitive, but at the same time the way he is promoting his work is quite different. When he was here, he was every day walking through Riga with his solar flute in his hand talking about it to everyone. HS: He looked like a magician, the Wizard of Oz, with that thing... It was quite impressive to get to know how his instruments work, making a tune out of light. KG: Did you know that you could also record that sound? There is a microphone inside. He is not working only with this type of installations all the time, but this is one branch of his activities he is developing constantly. But if you for example compare his work with the work of Navakas, these are two different approaches. And in Riga they are exhibited maybe 300 meters from each other. HS: But I think both methods are vital for contem- porary sculpture. You still see a lot of work dealing with mass and materiality and also pieces, which are on the border of hardly being noticeable but work very strong- ly, engaging the viewer actively. They often get the peo- ple unprepared. So best of all the result is realized by people who pass this park every day and suddenly notice that something very subtle has changed. KG: Navakas told me that when he was installing his piece there was an old Russian guy passing by and ask- ing: ‘A ti kto takoi?’* Navakas took some time and then answering back he claimed: ‘Ja nemets.’** The old man was also silent for a while, taking his time for thinking. Finally he responded: ‘Nemets eto vsjotaki lutshe tshem latish.’*** HS: And this is also one thing that only public sculp- ture can do. It can bring up problematic knots in public consciousness always there to influence our decisions, but seldom verbalized. Often these are things to do with national identity or social status. You could expect an older worker guy of Russian origin to curse “you fas- cists”, which equals to him with something like “you Germans”, but which of course is not the same thing at all. And then you get a thing like “Germans are still bet- ter than “Latvians”. KG: So what do you think of Hans van Houwelingen’s work. HS: Maybe I have some doubts about his ideas con- cerning importing European space, as if Latvia were not a part of European Space and he is bringing a bit of Dutch modernism over to establish it. But I like how his- tory of modernism is considered as something valuable and trans-European. Why not to put a legendary piece of Dutch modernism in another context and time frame to test it? If this can be continued into carrying out the actu- al building, probably the first building of a leading Dutch modern architect in Eastern Europe, it would be great. KG: On the one hand it is interesting to follow the artist considering if this is European space here or not. It is once again the question of Us and Them from his point of view. And on the other side it would be interesting to see the attitude of people in Riga. AB: I think this will be one of the works, which is a bit provocative. At first it seemed that also the piece by Ackroyd and Harvey provokes people. It was very hard to get the permission for the work, as the installation site was a former cemetery. And also as this chapel is part of architectural heritage. But the director of this institution is quite an advanced in his attitudes. He well understands the importance of creating links with living culture of our days. If there is no present involved but only reminis- cences, nothing remains from the present day, no sym- 13•
  • 14. 0420 14• bolism adequate to our age. There is a big battle in Riga between people who have an attitude that everything important from the past has to be mummified or pre- sented as a fake show, like the House of Blackheads, for example. HS: But how did the artists think of working in the context of a former cemetery? As they have done similar work in another context the piece is like a test for differ- ent contexts for them too... AB: They did an installation in a former church, which sort of woke up the place. Earlier it was planned to demolish the church, as it was not a functioning space. Their art gave a new push to the meaning of the place. It also showed another way of drawing nearer the old edifice to people who live there, who are accustomed to that building. In a desolate place nobody pays atten- tion to the environment any more. Their work focuses on getting this attention. Just cleaning up one building in this area helps to think of all the surrounding houses dif- ferently, it makes difference as a potentiality articulated. HS: To clean one building in a desolate environment and make a work there is quite an interesting lesson of how a very poetic piece, a classical installation work can sometimes carry a stronger social effect than a directly social work, a programmatically social piece. KG: But there is also another interesting aspect – if you would have done it or someone from the local artists the reaction would have been different. I think in Latvia in general we have a very positive attitude towards for- eigners. If foreign artists are coming to Riga and paying attention to this place there must be something really valuable there. AB: This mainly goes for people who have some background information, but the inhabitants of this area... We were afraid of the possible damage by van- dals. But the people who are coming without knowing anything about art were not aggressive about the work. KG: No. They were all very eager to talk with the artists working and so on... AB: As it is not a central area the local people are used to communicate between each other. If one of them says this is a guy from England doing something nice there, it works like post without letters drawing attention. The local field of information has luckily turned out to be favourable. HS: What about the interest of the popular audi- ence, is it more focused on the public artworks or the exhibition. KG: If you look at it from the practical point of view more spectators have seen indoor works: people in gen- eral are lazy to walk around through the whole city with a map in one’s hand. We think we can do it next day or next week until it is too late. But what is the attitude of art professionals in Latvia towards the event, what do you think, Aigars? AB: Journalists who are willing to speak with us, seem to have more interest in public art. HS: But maybe it is exactly because there has been such a deficit of public contemporary art for more than a decade. And now they also can recognize the difference. KG: A very usual question is how these works inter- act with public art we have in the city of Riga, like mon- uments? But at the same time I have never noticed in Latvia such an interest from media not specialized in cul- ture. When we sent press releases and invited them for accreditation for the event they told us that they are not interested. And now they approach us and say that they have changed their mind and want to make an article on the event. Their perspective on the event and how they talk about art is interesting. It obviously differs from our point of view, but that’s a good start indeed. AB: Judging from the media resonance the works from the 1950s work very good and also the public sculpture. But the exhibition halls, although they are the central ones, have a limited number of public with most- ly professional interest. KG: There is one example showing that we managed to rouse interest of an unexpected section of public – this is the piece by Dan Shipsides. I got a call from a moun- tain climbing society as they wanted to test out this piece in the Arsenåls Hall, which was built from the props of mountain climbing. They first came to look at the sculp- ture and then to try it out. It is a paradox as in the mar- ket place the customers were insulted by the fact the farmers are trading on a piece of sculpture, which really was made for trading, but these guys came to us to test out their skills in the exhibition hall. They were not afraid to take initiative. Of course I told them that it is very good that they made the decision to try it. They thanked us for popularizing the mountain climbing. AB: That was the original idea when we planned to install it in a supermarket initially. But we couldn’t reach an agreement on security measures. The most interesting is that they did find this work at the exhibition and were not shy to ask permission. It is often these small communities, which sort of open the works up in a really interesting way, make them live in context and give something really interesting to talk about later. It is the niche audiences, which turn the sculptures into conversation pieces, molding the social discourse. KG: With regard to the exhibition as a whole, many have accused Aigars and me of the absence of any “mes- sage”. Among art professionals, a “message to the peo- ple from the curator” is customary. We are both artists and have built this exhibition around other principles, which interest us: to record the situation and show what was regarded as valuable in different cultural milieus in the particular time period: 1950. un 2004. And again, we have reached a situation of “us and them”. This boundary line in particular seems the most inter- esting to me: it was the reason why it was worth organ- ising the “European Space” event at all. Thus, the answer we received from the Riga Main Administration of Police regarding its refusal to initiate a criminal case concerning the theft of technical equipment necessary for maintain- ing a work of art placed in the Great Cemetery repre- sents clear evidence that there is still a great deal to do in the realm of relations between art professionals and soci- ety before we can even begin to try to communicate, if not in the same language then at least in a mutually intel- ligible fashion. * Who are you? ** I am German. *** German is still better than Latvian.
  • 15. 15• Decision No 90. On refusal to initiate a criminal case In accordance with Article 109 of the Criminal Process Code, I, A. Íurko, District Inspector of Riga City Main Police Administration, reviewed material ENÛ-1524 of 09.07.2004, and in the course my investigation established that: On 09.07.2004, the Chairperson of the Board of the public organisation Art Management and Information Centre Måra Ådiña made a submission to the 28th Police Department of the Riga City Main Police Administration, regarding the fact of the disappearance of a plastic water container. In her submission, M. Ådiña explained that the public organisation Art Management Centre had been undertaking activities in the Riga Great Cemetery. For the purpose of these activities, a water container of 2000 l in volume had been procured, left in the territory of the Great Cemetery from 21.05.2004. Intensive work was conducted on preparing the art object up to 19.06.2004. On 09.07.2004, it was found that the water container had disappeared. In view of the above, it is concluded that the water container, left unattended, may have been regarded by some unknown person as abandoned, ownerless property, and, without knowledge of the ownership of the container, someone may have collected it as a chance find. Thus, the action of this unknown person may not be regarded as a criminal act, as envisaged by Section 1, Article 175 of the Criminal Law of Latvia, and so, in accordance with Article 5, Section 2 of the Criminal Process Code of Latvia and Article 112 of the Criminal Process Code, I decided: 1. To refuse to initiate a criminal case. 2. To send a copy of this decision to the Prosecutor’s Office of Vidzeme District of the City of Riga. District Inspector A.Íurko
  • 18. 0420 18• Leonora Antunesa / Leonor Antunes Portugåle / Portugal Mußu sitamais ir koka siena, gatavota no Rîgas rajonå cirsta kokmateriåla. Sienå ir caurums (caur to var redzét) un durvis. Caurums tiks no vienas puses aizklåts ar samîcîtu cepuri. Durvju augßgalå ir garß koka délis, piestiprinåts astoñ- stürainam stienim, kas karåjas virs durvîm. Délis svårstås katru reizi, kad kåds iet cauri durvîm. Ja kåds atver durvis, délis aizkrît aiz ienåcéja muguras. Mußu sitamais ir aizguvums no Bastera Kîtona 1921. gadå uzñemtås filmas Kaimiñi. Íajå filmå Basters Kîtons ir iemîléjies kaimiñu meitené. Abas ©imenes ienîst viena otru, tåpéc tås ir uzcélußas augstu sienu starp savåm teritorijåm. Basters sazinås ar savu iemî¬oto pa caurumu, kamér abas ©imenes to atklåj. Tad Basters uzkonstrué durvju mehånismu, lai izåzétu meitenes tévu, kurß nav ¬åvis viñiem apprecéties. The Fly Swatter is a wooden wall made of timber from the Riga district. In the wall there is a hole (one can look through) and a door. The hole is going to be covered from one of its sides with a smashed hat. On the top of the door there is a long piece of wood fixed in the middle to an octagonal stick that is hanging on the door. The long piece of wood is balancing every time someone is going through the door. If someone is opening the door the piece of wood falls over the person’s back. The Fly Swatter is based on Buster Keaton’s film, “The Neighbours” from 1921. In this film Buster Keaton is in love with the neighbouring girl. Both families hate each other therefore they have constructed a big wall between their spaces. Buster communicates with his loved one through a hole until both families discover it. Buster then constructs a mechanism on the door to tease the girl’s father, because he hasn’t allowed them to get married.
  • 19. 19• Mußu sitamais. 2004 Priede The Fly Swatter. 2004 Pine wood
  • 20. 0420 20• Helgi Hjaltalins Ejolfsdorfs / Helgi Hjaltalin Eyolfsdorf Islande / Iceland Darbu koncepcija man vienmér sagådå galvassåpes. Es neesmu rakstnieks, un mani darbi tapßanas proceså ß˚iet nesaprotami. Viena vienîga pårpratumu virkne. Tåpéc nåkas nozagt vai aizñemties tekstu no gråmatas Çaklås rokas, kas pirmoreiz publicéta 1903. gadå. Teksts ir no noda¬as par meΩizstrådi. “BAÒU KOKU CIRÍANA” “Labåkais laiks koku cirßanai ir tad, kad tie sasniegußi briedumu un satur vismazåk sulas. MeΩsargs parasti novérté koka vecumu péc lapotnes izskata, koka apmériem un citåm åréjåm pazîmém. Ja cirßana ir novélota, kokmateriåls bojå- jas, k¬üst trausls un nelokåms, bet, ja kokus nocért ¬oti jaunus, lielåko da¬u veido gremzdi, kas nepavisam nav izturîgi. Periodi, kuros katra ba¬˚u koku suga sasniedz briedumu, ir visai atß˚irîgi; tå ozols var büt lielisks jebkurå laikå starp seßdesmit un simt gadu vecumu, bet egles un priedes parasti tiek cirstas starp septiñdesmit un astoñdesmit gadiem. DiemΩél notiek tå, ka kokus cért, tiklîdz tie sasniegußi viduvéjus izmérus, ñemot vérå vecumu; ßis trükums piemît lielåka- jai da¬ai ba¬˚u, kas tagad sasniedz Anglijas ostas. Gremzdi vispår ir viegli atpazîstami – priedes gadîjumå tå bieΩi ir zila kråsa, bet ozola – netîri balta.” (151. lpp.) “Kad koks ir nocirsts, to atbrîvo no zariem un citiem traucék¬iem. Ar tesli tiek notésta miza, lîdz stumbra ß˚érs- griezums no aptuvena ap¬a pårvérßas kvadråtå, k¬üstot par ba¬˚i.” (152. lpp. ) Statement of my works is always a headache. I am not a writer and my works in process seem to be incompre- hensible. A winding line of misunderstanding. So I am forced to steal or borrow a text from a book named “The Handyman’s Book”. First published in 1903. The text is from the chapter about harvesting the forest. “FELLING TIMBER TREES. The best time for felling trees is when maturity is reached, and when they contain the least sap. The forester generally judges whether the tree is mature by the appearance of the foliage, the size of the tree, and other outward indications. If felling is delayed beyond the stage of maturity, the material deteriorates, becoming brittle and unyielding, whilst if the trees are cut very young the greater part is sapwood, and thus not at all durable as timber. The period at which each kind of timber tree attains maturity differs considerably; thus the oak may be perfect at any time between sixty and a hundred years, whilst the spruce and pine are generally cut between seventy and eighty years. It unfortunately happens, however, that the trees are cut as soon as they are a moderate size, without regard to age; this is the fault of most timber that now reaches the English ports. The sapwood, generally speaking, is very easily detected; in the case of deal it is often a blue colour, whilst that of oak is dirty white.” Page No. 151. “After the tree has been felled it is stripped of its branches and other appendages. By means of an adze the bark is chipped off until the trunk is converted roughly from acircular form to one square in cross-section, when it becomes a log.” Page No. 152.
  • 21. 21• Rakt lejå, rakt augßå. 2004 DaΩådi materiåli Dig down Dig up. 2004 Mixed media
  • 22. 0420 22• Rißårs Fogé / Richard Fauguet Francija / France Kopß 2000. gada un izstådes La beauté du geste qui associait Vasivjérå, péc aizraußanås sportu un müsdienu måkslu, Fogé ˚éries pie pingponga galdiem. Izskatås, ka pédéjos apsédußas izbadéjußåm molekulåm lîdzîgas trakas bumbiñas. Galdi ir kå îsti kaujas lauki ar vietu manevriem un sadursmém, kå virtuålas ainavas ar izteiktu reljefu. Tie ir gatavi jebkuram scenårijam: tå bumbiñas, kuras saliedétas savå trajektorijå ar liektu metåla stiebru palîdzîbu, atsauc atmiñå fotogråfu, pirmåm kårtåm Marija un MaibridΩa, iemüΩinåtos mirk¬us. Tas ir kå drudΩainas, burleskai lîdzîgas dienas steigas apstådinåßana. Rißåram Fogé pingponga galds atjauno saikni ar skulptüras pamatprincipiem, t.i., måkslas akadémijas pirmå kursa studentiem måcîto samazinoßo un saskaitåmo metodi. Gludajå, neitrålajå telpå (zilie naftas kråsas panno) iezîméjas méms posts (katastrofa, nelaime), nepårliecinoßs, nedroßs îslaicîgums. (Citéts no kataloga: Decron Benoæt, Richard Fauguet. Mus‚e de l’Abbaye Sainte-Croix, Les Sables d’Olonnes, 23 juin – 22 septembre 2002.) Since 2000 and the exhibition “La beaut‚ du geste qui associait” at Vassivière, following on his earlier fasci- nation with sport and contemporary art, Fauguet has turned to ping pong tables. The latter appear beset with crazy lit- tle balls resembling hungry molecules. The tables are like real battlefields, a scene of manoeuvres and clashes, like vir- tual landscapes with marked relief. They are ready for any scenario: balls whose trajectories are connected by means of curved metal rods, recalling the moments captured by photographers such as Marey and Muybridge. The freezing of a feverish, burlesque daily rush. For Richard Fauguet, the ping pong table restores a link with the basic principles of sculpture, i.e., the method of reduction and counting taught to first-year art students. The smooth, neutral space (pan- els in crude-oil blue) becomes a setting for mute destruction (catastrophe, calamity), with an unpersuasive, insecure impermanence. Quoted from the catalogue “Decron Benoæt, Richard Fauguet (Mus‚e de l’Abbaye Sainte-Croix, Les Sables d’Olonnes, 23 juin – 22 septembre 2002)”
  • 23. 23• Pingponga galds. 2001 Pingponga galds, pingponga raketes, pingponga bumbiñas Piedåvå: Art:concept, Paris Ping-Pong Table. 2001 Ping-pong table, ping-pong rackets, ping-pong balls Courtesy of Art:concept, Paris
  • 24. 0420 24• Gints Gabråns / Gint Gabran Latvija / Latvia Izstådé gu¬oßais cilvéks ir "atslédzies" paßå notikumu centrå, kur attiecîbas ir aktuålo vértîbu priekßnosacîtas. Skulptüra ir uz robeΩas, kur beidzas jégpilnå måkslîgi radîtå kultüras telpa un såkas daba, ko nevar reducét lîdz mani- pulåcijåm ar vårdiem un koncepcijåm. Iemidzinåtie cilvéki ir brîvpråtîgie, kas atsaukußies uz sludinåjumu. A man sleeping at the exhibition has "switched off" in the very epicentre of activity where relations are precon- ditioned by the actual values. The sculpture is on the boundary between the meaningful, artificially created cultural space, and nature that cannot be reduced to manipulations with words and conceptions. Persons put to sleep are volunteers who have answered the announcement.
  • 25. 25• Implozijas priesteri. 2004 DaΩådi materiåli Imploding Priests. 2004 Mixed media
  • 26. 0420 26• Íarlote Gillenhammare / Charlotte Gyllenhammar Zviedrija / Sweden 2003. gada pavasarî Stokholmas Modernås måkslas muzejå Íarlote Gillenhammare pirmo reizi savå video un skulp- turålajå instalåcijå Novérotåji izmantoja dokumentålo filmu, kurå attélota ˚îlnieku sagråbßana. Ío tému måksliniece turpina arî instalåcijå Í˚é®ßli un maldi, kur skatåms fragments no televîzijas ziñu materiåla par ˚îlnieku sagråbßanu Olimpisko spé¬u laikå Minhené 1972 gadå. Més redzam, kå toreizéjå Rietumvåcijas policija cenßas atbrîvot ˚îlniekus un ar kådu interesi publika véro notiekoßo. Izstådé redzama divu notikuma gaita: bérna atmiñas un zemapziñå pårdzîvotais. When Gyllenhammar exibited at the Moderna Museet in Stockholm in the spring of 2003, she used documentary film footage for the first time in her sculpture and video installation”Betraktarna” (The Observers) to portray a hostage taking. Gyllenhammar continues with this subject in “Obstacles and Disguises”, which includes a clip from a news broadcast from the hostage crisis at the 1972 Olympics in Munich. We see the attempts of the West German police to free the hostages and the interest of the public in the operation. The exhibition portrays two courses of events: the memories of a child and subconscious experience.
  • 27. 27• Í˚ér߬i un maldi. 2003 Skaña, poliesters, matracis, zviedru siena, DVD projekcijas, 16 mm filma Obstacles and Disguises. 2003 Sound, polyester, matrass, wall bar, DVD projections, 16 mm film
  • 28. 0420 28• Jons Gundersens / Jon Gundersen Norvé©ija / Norway Kolekcija, kurå ietilpst akmens cirvji (ar un bez caurumiem) un akmens mobilie telefoni ar antenåm. Es lasîju norvé©u arheologu V.C. Brogera (1854 - 1940) un viña déla A.V. Brogera darbus, kad es pirmo reizi atk- låju reti sastopamo akmens ß˚irni, ko sauc par grorudîtu. Akmens laikmeta cilvéki, kas dzîvoja tagadéjå Oslo apkaimé, to izmantoja cirvju asmeñiem. Izpétot ßos grorudîta veidojumus, es iepazinu Maridalenas, Lilomarkas un Grorudas apvidus, kå arî Oslo apgabala zieme¬us un zieme¬austrumus. Es izpratu, kå klints îpaßîbas noteica ainavas ©eomeorfolo©iju. Tås cietîba rada izvirzîju- mus un paugurus, bet tendence ß˚elties – mazas ielejas un ståvas klintis. Grorudîts kå materiåls un retums var mums ko paståstît par tagadnes kontekstu. Grorudîts ir îpaßi piemérots, lai veidotu asas ß˚autnes un garus, plånus asmeñus. Cértot, urbjot un slîpéjot es esmu pårveidojis ßo akmeni tauståmos objektos: cirvjos un mobilajos telefonos. Liels pretstatå mazam, viens elements vai forma, kas sasaucas ar citu gandrîz hronolo©iskås un tipolo©iskås asociåcijås, kå arî nejaußås konstelåcijås. Cirvji un mobilie telefoni pårståv augstås tehnolo©ijas produktus katrå no daΩådajiem véstures laikmetiem. Pagåtne un nåkotne. Pirms mums ßeit ir bijußi cilvéki, un nåkotne ir pårdomas raisoßs projekts. Jons Gundersens, 1999. gada aprîlis A Stone’s Throw from Reality A Collection of Rock Axes with and without Holes and Rock Mobile Phones with Antennae I was reading the works of Norwegian archaeologists W. C. Brogger (1854–1940) and his son A. W. Brogger when I first discovered a rare rock type called Grorudite. This rock was used by the Stone Age man living in the Oslo area to make axe heads. I got to know the terrain of Maridalen, Lillomark and Grorud in the north/north-east of the Oslo district by tracing these Grorudite formations. I became aware of how the rock`s characteristics made the basis of the landscape`s geo- morphology. Its hardness creates extrusions and hills. Its tendency to fissure creating fault lines has formed small val- leys and steep cliffs. Grorudite as a material and a rarity can tell us something of the site- specifics in the present tense. Grorudite is especially well suited for making sharp edges and long thin blades. By cutting, drilling and grinding, I have formed this rock into tangibe objects: axes and mobile phones. Big in contrast to small, one element of form to resound from another in almost chronological and typological associations, as well as incidental constellations. Axes and mobile phones represent the products of high technology in each of its own different historical epochs. Past and future. There have been people here before us, and the future is a thought provoking project. Jon Gundersen, April 1999 Akmens metiens no realitåtes. 2004 Saplåksnis, akmens, metåls A Stone’s Throw From Reality. 2004 Plywood, stone, steal
  • 29. 29•
  • 30. 0420 30• Aksels Lîbers / Axel Lieber Våcija / Germany Aksela Lîbera darbi ir saistîti ar daΩådiem mérogu palielinåßanas un samazinåßanas veidiem, mérîßanu un jaunu izvi- etojumu radîßanu. Viñß péta attiecîbas starp ˚ermeni un atmiñu. Jaunajå izståΩu zålé, kas pårsniedz jebkurus sapråtîgus izmérus, viñß uzstådîja savu télniecisko mérogu. Skulptüras Die ErfŸllung såkumpunkts bija ideja par ß˚autñainu T kreklu. Lîbers pårvérta T kreklu no bezformîga ap©érba gabala par paßpietiekamu minimålistisku torsu. Viñß palielinåja tå mérogus un pagrieza to augßpédus. Moder- nisma arhitektüra un cilvéka ˚ermenis apvienoti hibrîdå formå. Såkotnéjais ˚ermeniskais apjoms pårcelts nelielas, vie- nai personai domåtas ékas mérogå. Måjas årpusi un iekßpusi veido sienas, kas klåtas ar divkårßu celtniecîbas putu slåni, radot siltuma, viegluma un gaisîguma iespaidu. Måjå var ieiet; tajå müs sagaida objekti, kas saistås ar iedzîvi un ap©ér- bu. Télnieciskås pårveides proceså tie ir fragmentéti, samazinåti, palielinåti, radikåli izmainîti vai ieguvußi jaunu bütîbu. Måjas mérogi un izcelsme kopå ar “elpojoßajåm” sienåm maina müsu sajütas. Dzîvîbas acumirklîgais potenciåls ir pårveidots telpisko attiecîbu sistémå, jütîgå materiåla izpratné un cilvéciskajå atmiñå. Ar skices palîdzîbu jüs varat stådîties priekßå skulptüru izvietojumu. Attéli var sniegt aptuvenu priekßstatu par sareΩ©îto saspéli starp årpusi un iekßpusi. Axel Lieber’s work is concerned with different modes of up- and down-scaling, taking measurings and creating new positionings. He explores the relations between living, body and memory. In the new fair hall of a size beyond any reasonable dimension he set up his own sculptural scale. The starting point of the sculpture “Die ErfŸllung” has been the idea about an angular T-shirt. Lieber transformed the T-shirt from a shapeless body-covering into an independent minimalist torso. He has scaled it up and turned it on its back. Modernist architecture and the human body are combined to create a hybrid form. The original volume of the body is transposed to the size of a small one-person house. The outside and the inside of the house is covered with walls of double layered styrofoam which create a feeling of warmth, lightness and breathing. The house can be entered for a journey inwards, where objects with reference to the world of living and clothing await us. In the process of their sculptural creation they have been fragmented, compressed, enlarged, de-cored or formed into new substancies. With relation to the scale and the origin of the house together with the “breathing” walls they transform to organs of feeling. The immediate potential of life is turned into a system of spatial relations, sensitive materiality and human memory.
  • 31. 31• Pieminek¬i (Rîga). 2004 Segas, lîme Memorials (Riga). 2004 Blankets, glue
  • 32. 0420 32• DeAnna Maganiasa / DeAnna Maganias Grie˚ija / Greece Manos darbos atkårtojas ideja par pazîstamu lietu uztveri no sånskata, kad objekta interpretåcija svårstås kaut kur starp kaut ko tauståmu un kaut ko abstraktu. Daudzi téli rodas no nemiera sajütas, ko raisa draudîgi notikumi, kuri tiek uztverti kå neizbégami un nekontroléja- mi. Citi atveido iztélotu interjeru fragmentus, vietas, kur nav iespéjams pårvietoties vai elpot un kas varétu bütu uz sabrukuma robeΩas. Daudzos darbos es izmantoju mérogu mode¬us, lai manipulétu ar mikrokosmu, kas grauj ß˚ietami paredzamo real- itåti. Íî “realitåte” samazinåtå mérogå sniedz skatîtåjam neiespéjamu skatpunktu, kas atrodas årpus un virs ierastås arhitektoniskås pozîcijas. Aténas–Rîga ir trîsdimensionåla karte, kas konstruéta péc atmiñas, un atveido salu, kurå es nekad neesmu bijusi. Tå ir vieta, ko es zinu péc skata, vidü ir jüra, un attålums ir mazliet par lielu, lai varétu aizpeldét. Reiz, lidojot virs Peloponésas, es redzéju salu no gaisa un ilgojos péc ßîs vietas, kas ir vienlaikus pazîstama un nezinåma. Darbs ir par ainavu, kas ir påråk tålu, lai bütu sasniedzama, par attålumu, kas ir pietiekami liels, lai apgrütinåtu nok¬üßanu. A recurring idea in my work is about the oblique perception of familiar things, where the interpretation of an object falters somewhere between something tangible and something abstract. Many images arise out of a sense of unrest towards events which are imminent, which are felt to be inescapable and beyond one’s control. Others depict fragments of dreamscape interiors, places that are impossible to move around, breathe in and which may be on the brink of collapse. In many works I use scale models to manipulate a microcosm that undermines an ostensibly predictable reality. This ‘reality’ in small scale gives the spectator an impossible point of view outside and above a familiar architectural situation. “Athens–Riga” is a 3 dimensional map, constructed from memory, of an island I have never been to. It is a place that I know in a view, separated by the sea from a distance that would be barely too far to swim. Once, flying over the Peloponnesus, I saw the island from the air and I longed for this place that is at the same time familiar and unknown. The piece is about a landscape that is too far to access, about a distance that is just great enough to frustrate your passage.
  • 33. 33• Aténas–Rîga. 2004 DaΩådi materiåli 500 x 700 x 300 cm 210 x 100 x 75 cm Athens–Riga. 2004 Mixed media 500 x 700 x 300 cm 210 x 100 x 75 cm
  • 34. 0420 34• Marija Mîsenbergere / Maria Miesenberger Zviedrija / Sweden Savå instalåcijå Rotéjoßås smadzenes Marija Mîsenbergere rota¬îgi un pårsteidzoßi apvieno jautåjumus par cilvéka personisko identitåti ar visspécîgåko cilvéka pråta simbolu – smadzeném. Kå cilvéciskas bütnes més uzticamies savåm sajütåm, ticot, ka tås atspogu¬o realitåti. Mariju Mîsenbergeri interesé situåcijas, kurås smadzenes müs pievi¬. Viña pati ir ßådas situåcijas piedzîvojusi. Iespéjams, ka årpasaule, ko més uztve- ram, patiesîbå neeksisté, bet ir tikai smadzeñu radîta; nejaußi elektriskie impulsi, kas dod mums iespéju redzét un piedzîvot lietas, kas îstenîbå nepaståv. Izmantojot gaistoßus, nevértîgus materiålus – daΩi no tiem ir kiçîgi, bet citi vairåk atgådina grîdas lupatas –, Marija Mîsenbergere rada skulptüras, kas veido paßas savu, personîbu apdzîvotu, pasauli. Tå ir portretu galerija, kas demonstré emocionålus ståvok¬us un attieksmi pret sevi un citiem. In her installation “Spinning Brains”, Maria Miesenberger playfully and surprisingly couples together questions pertaining to the human subject and personal identity with the most potent symbol of human rationality – the brain. As human beings we trust the evidence of our senses, believing that they are a reflection of reality. Maria Miesenberger is interested in situations when the brain deludes us. She has an experience of such situations herself. It is possible that the outside world that is communicated to us does not actually exist but that it is a construction of the brain itself; stray electrical impulses that make it possible for us to see and experience things that do not really exist. Using transient, worthless materials – some of them kitschy while others more reminiscent of floor cloths – Maria Miesenberger creates sculptures that form a world of their own, populated by personalities. A portrait gallery of states of mind and approaches to ourselves and to each other.
  • 35. 35• Spinning Brains Installation. 2002-2004 1. Picky Brain Foam, stockings, dental floss, tooth picks 2. Shaky Skyscraper Brain II Foam, Scotch-Brite pads 3. Smart Brain (Wishful Thinking...) Foam, fancy pins 4. Double Finger Brain Foam, rubber gloves, wetex 5. Chicken Brain Foam, stockings, car shampoo spounge, feathers 6. Sophisticated Brain Foam, steelwool 7. False Memory Brain Foam, glass bubbles, feather-boa 8. Foamy Punky Brain Foam, bath spounges 9. Sparkling Brain II Foam, stockings, scouring pads 10. Icy Princess Brian Foam, fake silk, Christmas decorations 11. Atomic Brain Foam, stockings, fake silk, teflon pan spounge 12. Green Wavy Brain Foam, stockings, dish drainer cloth 13. Silver Tail Brain Foam, fabric, spangles, feather-boa 14. Shaky Wavy Brain Foam 15. Moroccan Brain Foam, fake silk, ribbons 16. Hairy Brain Foam, stockings, car shampoo spounge, horsehair 17. Golden Blondy Shaky Brain Foam, stockings, fake hair, teflon pan spounges Rotéjoßo smadzeñu instalåcija. 2002-2004 1. Izvélîgå smadzene Porolons, ze˚e, zobu diegs, zobu bakståmie kociñi 2. Nestabilå debesskråpja smadzene II Porolons, Scotch-Brite mazgåßanas lîdzeklis 3. Gudrå smadzene (Cerîgi aizdomåjusies) Porolons, stilîgas saspraudes 4. Divpirkstu smadzene Porolons, gumijas cimdi, wetex 5. Cå¬a smadzene Porolons, ze˚es, ßvamme auto mazgåßanai, spalvas 6. Izsmalcinåtå smadzene Porolons, metåla skråpis 7. Maldîgås atmiñas smadzene Porolons, stikla bumbas, ådas boa 8. Satriecoßå putainå smadzene Porolons, vannas ßvammes 9. Mirdzoßå smadzene Porolons, ze˚es, ßvammes 10. Ledus princeses smadzene Porolons, måkslîgais zîds, Ziemassvétku rotåjumi 11. Atomu smadzene Porolons, ze˚es, måkslîgais zîds, ßvamme teflona pannas mazgåßanai 12. Za¬å vi¬ñotå smadzene Porolons, ze˚es, trauku mazgåjamå lupata 13. Sudrabainås astes smadzene Porolons, audums, vizu¬i, ådas boa 14. Trîsoßå vi¬ñotå smadzene Porolons 15. Marokießa smadzene Porolons, måkslîgais zîds, lentîtes 16. Spalvainå smadzene Porolons, ßvamme auto mazgåßanai, zirgu astri 17. Zeltaini blondå trîsoßå smadzene Porolons, ze˚es, parüka, ßvamme teflona pannas mazgåßanai
  • 36. 0420 36• Karlußs Nogveira / Carlos Nogueira Portugåle / Portugal About “Construction for Nowhere at all” I wrote: a man was walking in search of himself when he noticed that the fields had been set on fire the sea was out of control and the sun burned in a different way with willing hands he worked at joining together stones and whatever else he could find to build a geometric house that opened at the top opposite to the houses and landscapes he had known before and with the remaining light he made a floor Par Konstrukciju nekurienei es rakstîju: cilvéks gåja meklédams sevi kad viñß pamanîja ka lauki ir aizdedzinåti jüra bija nekontroléjama un saule dedzinåja citådi viñß labpråt strådåja sastiprinådams akmeñus un visu citu ko vien varéja atrast lai uzceltu ©eometrisku måju kas atveras augßå pretî måjåm un ainavåm ko viñß pazina iepriekß un ar atlikußo gaismu viñß izveidoja grîdu
  • 37. 37• Konstrukcija nekurienei. 2002–2003 Koks, stikls, dzelzs Construction for Nowhere at all. 2002–2003 Wood, glass, iron
  • 38. 0420 38• Naiema O'Melija / Niamh O'Malley Èrija / Ireland Darbå parådîta atß˚irîba starp attéloßanas mehånismiem un to piedåvåto izpratni, ßai gadîjumå starp videoprojek- ciju un trîsdimensionålu objektu. Es vélos såkt diskusiju par ainavas skatîtåja fizisko novietojumu. Ainava tiek definéta kå dabas “ieråméßana”. Tå ir lîdzeklis, lai aptvertu un fiksétu müsu dabisko pieredzi. Íåda ieråméßana arî deformé un izjauc “reålo”, jo péc bütîbas tikai daΩi pieredzes aspekti var tikt formuléti. Kontrolétais télojums, kas izvélas pieredzes elementus, ko ietvert fokuså, ir veids, kå saprast vietas neizmérojamo plaßumu dabå. Ar norobeΩojuma palîdzîbu arî periférå “citådîba” k¬üst redza- ma. Klåt neesoßå daba arî veido da¬u no jebkuras ainavas télojuma pieredzes. Projekcija piedåvå figüru dabiskå lielumå, kura pieskaras gleznotam objektam priekßplånå. Í˚iet, ka starp figüru un ßo reålo objektu trîsdimensiju telpå notiek mijiedarbîba. Ar digitålo apstrådi no videoieraksta ir izdzésts viens taisnstüris, tådé¬ tas projekcijå redzams balts. Èstais délis ir atsliets savå vietå pie galerijas sienas. Darbs atgådina gleznu, kura léni kustas un kurå mijiedarbe starp reålo un attéloto raisa apjukumu. Te rodas vizuåla spriedze starp déli kå “reålu” objektu un attélu un “reålu” videoieraksta telpu, kurå figüra cenßas izk¬üt no divdimen- siju telpas. Tiek pieñemts, ka skatîtåjiem (atß˚irîbå no video redzamås figüras) ir tießa pieeja attélam, kas redzams dé¬a priekßpusé. Es vélos apcerét skatîßanås grütîbas, jautåjot par skatîßanås aktu un par to, vai jebkurß mé©inåjums dot apzinåtu, “informétu” vértéjumu noliedz autentiskas pieredzes iespéju. Måkslas darbiem bieΩi piemît dubults ieråméjums, citiem vårdiem, akcentéta un apzinåta reålas radîßanas reproducéßana; attélojuma apzinåta attéloßana. Mani interesé distance starp såkotnéjo pieredzi un tås vélåko izpausmi télå. Íî distance var ß˚ietami likvidét katru îstas pieredzes iespéju, bet varbüt ßî “distance” patiesîbå kalpo tam, lai pastiprinåtu såkotnéjå momenta auru. The work deals with the disparity between representational devices and the understanding they propose, in this case a video projection and a three dimensional object. I am proposing a discussion on the physical positioning of a landscape viewer. Landscape is defined as a “framing” of nature. It provides us with a tool for the containment and location of our natural experiences. Such framing also dis- torts and disturbs the “real” since by its nature only some aspects of the experience can be articulated. The controlled representation that selects elements of experience for focus is a way of comprehending the vast natural site. Through its demarcation, the peripheral “other” is also made visible. The absent nature also constitutes part of any experience of landscape representation. A projection presents a figure (life-size) touching a painted object in the foreground. The figure`s interaction appears to be with this real object in three-dimensional space. Through digital post-production, one rectangle has been deleted from the video so that it is displayed white when projected. A real board leans against the gallery wall in its place. The work resembles a slowly moving painting where the interaction between the real and the represented becomes confused. There is a visual tension between the board as a “real” object and image and the “real” space of the video where the figure tries to negotiate a way out of its two dimensional space. The audience is directly implicated to as they (unlike the figure in the video) have access to the image depicted on the front of the board. I want to consider the difficulties of viewing and pose a question whether any attempt at a deliberate, “knowing” appreciation negates the attempted authentic experience. There is often a double framing within the artworks, in other words, a marked and intended reproduction of the real production: an acknowledged representation of a representa- tion. I am interested in the distance between the original experience and its final representation as an image. This dis- tance may appear to negate any possibility of a real experience but perhaps this “distance” actually serves to intensify the aura of the original moment. ˆem vérå... 2004 DaΩådi materiåli Consider this... 2004 Mixed media
  • 39. 39•
  • 40. 0420 40• Hosé Alvaro Perdisess / Jos‚ Álvaro Perdices Spånija / Spain 1998. gadå manu acu priekßå norisinåjås interesants incidents. Tas notika pamatskolas klasé LosandΩelosas centra dienvidda¬å, kur es tai laikå strådåju. Piecgadîgs bérns no papîra saspraudes izveidoja bîstamu ieroci, iedurot kådai no meiteném. Tas man bija pirmais gadîjums ar vardarbîbu måjås /akadémiskajå vidé tik agrînå vecumå. Bet patiesîbå mani vairåk fascinéja ideja par nodomu un to iedvesmojußo morålo impulsu. Papîra saspraude ir tikai papîra saspraude, metåla gabaliñß, kas péc noteiktåm locîßanas manipulåcijåm k¬üst par traumu avotu……bet…….ßis saliektais un gandrîz abstraktais metåla gabaliñß man atgådina kaut ko citu……T‰LNIECÈBA……locîßana…….nodomi…….izgatavoßana……darbs metålå…….sabiedriski mierîgas un nekaitîgas formas. Péc nedé¬as es uzsåku projektu, cenßoties izpétît morålås iespé- jas un to, kå tås izpauΩas fiziskås un tauståmås formås, faktiskajå pieredzé. Galu galå es iedevu 20 bérniem 20 papîra saspraudes. Més apspriedåm vardarbîbas, negåciju, agresîvas uzvedîbas un tamlîdzîgus jautåjumus. Sarunas beigås es viñiem palüdzu aizståt domåßanu ar saspraudes locîßanu, mé©inot pårdzîvot figuratîvos, mentålos télus formålu, tél- niecisku abstrakciju valodå. Uzdevuma noslégumå es savåcu radîtos veidojumus. DaΩas dienas vélåk es atkårtoju to paßu vingrinåjumu, bet izmainîju tému. Diskusija ievirzîjås par laimi, bai¬u neesamîbu, maigumu, labestîbu…..un beigås es atkal savåcu izlocîtås formas. 1999. gadå es izveidoju skulptüru grupu cilvéka augumå, kas ir tießi atvasinåjumi no såkotnéjåm saspraudém. Tås tika radîtas no nerüséjoßå térauda un tika traktétas kå formålas télniecîbas paraugs, kas atdarina ˚émîgu 70. gadu for- målismu. Kad 2003. gadå sañému piedåvåjumu iesniegt projektu Rîgas Télniecîbas kvadriennålei, 7 dienu periodå es izlému izvértét savu darbu, mekléjot måjienus un norådes. Péc vélåko skulptüru apsvérßanas es atgriezos pie såkotnéjåm papîra saspraudém un såku tås uzlükot kå tîri skulpturålus veidojumus, kas, protams, nav célußies no tîri estétiskas pieredzes, bet no PIEREDZES gan. Skatîßanås uz ßiem sîkajiem veidojumiem lika man pårdomåt to vértîbu no Ωesta viedok¬a, kå arî to politisko vértîbu ßodienas supermuzeju un monumentålås produkcijas kontekstå. Vai es varétu sacensties ar ßiem gigantiskajiem, nomåcoßajiem izmériem, visiem ßiem superpopa paraugiem vai supervésturiskajåm bronzas patinåm? Kådå mérå es gribu piedalîties un spélét paßreizéjå måkslas izrådé? Es paliku pie sekojoßå projekta, kurå es izmantoju ori©inålås, sîkås un gandrîz neredzamås papîra saspraudes, ko locîja un pårdzîvoja 20 bérni LosandΩeloså. Tås ir sîki un nenozîmîgi metåla stieples gabaliñi. Kå lai es tos demonstréju pasaulei? Kå lai tos padara publiski nozîmîgus, vienlaikus saglabåjot to såkotnéjo ståvokli? Viens no maniem pirmajiem izaicinoßajiem piedzîvojumiem ar måkslas raΩojumiem kultüras jomå bija Panza kolek- cijas izståde Reina Sofia muzejå Madridé. Kopß tå laika minimålisms bija patiesais atskaites punkts. Tas bija ne tikai atß˚irîgs veids, kå traktét popårta otru pusi un industriålos darinåjumus (ßeit es runåju par lîgumiem, kartém un instruk- cijåm), bet tas bija flirta pilnu attiecîbu såkums, kur notiek svårstîbas starp pielügsmi un pretestîbu. Ori©inålo sasprauΩu izmérs ir visai mazs; bütîbå tås k¬üst gandrîz par formålås un Ωesta télniecîbas parodiju. Es esmu ieceréjis nepråtîgu instalåciju, kurå 16 superminimålistiskas, superdΩadiskas un formålas taisnstüra prizmas no mak- simåli noslîpéta granîta vai balta ©ipßa kalpo par ßo sîko Ωestu pjedeståliem. Katra no sîkajåm saspraudém tiks novietota kvadråtveida pjedeståla vidü. Katra pjedeståla izméri büs 127 cm augs- tumå un 70 x 70cm. Pjedestålu augstumu nosaka attålums starp mazo skulptüru un aci (apméram 127 cm). Pjedestålu kopéjais skaits ir 16 un tie tiks novietoti reΩ©î, atståjot ap 40 cm atstarpi, lai skatîtåjs varétu piek¬üt. Ío ßauro telpu ir ieceréts atståt publikai caurstaigåßanai. Skulptüras tiks piestiprinåtas pie pjedeståliem caur diviem maziem caurumiñiem pjedeståla virsmå, pießujot tos ar caurspîdîgu makß˚erauklu un acumirklîgas iedarbîbas lîmi. Tådå veidå més novérsîsim zådzîbas, bet mazås skulptüras netiks nosegtas ar organisko stiklu vai ko tamlîdzîgu.
  • 41. 41• In 1998, an interesting incident happened in front of my eyes. It took place in the clasroom of an elementary school, in South Central Los Angeles where I was working at the time. A 5 year old boy designed a bloody weapon with a paper clip, stabbing one of the girls. I attended for the first time to a case of domestic/academic violence at such early age. But in fact I was more fascinated with the idea of design behind the original paper clip, a piece of metal, that under certain bending manoeuvres becomes the origin of trau- ma... but... that bended and quasi abstract piece of metal reminded me of something else... SCULPTURE... bending... designs... crafting... metal work... public inoffensive and innocuous forms. A week later I came up with a project trying to investigate moral possibilities and how those arrived as substitutes in physical and tangible forms, in factual experiences. I ended giving 20 paper clips to 20 children. Issues on violence, negativity, aggressive behavior and related issues were discussed. At the end of the talk I asked them to substitute their thinking bending the clip, a try of experiencing figurative mental images into formal and sculptural abstractions. Afterwards I collected the pieces. Few days later I did the same exercise but changing the subject. The discussion went into happines, absence of fear, fondness, kindness... and at the end I collected the bended forms again. In 1999 I developed a group of human/life size sculpture which are direct translation of the original clips. They were manufactured in stainless steal and they were very much presented as formal sculpture emulating a fucked up 70`camp formalism. In 2003, being asked to come up with a project for the Riga Sculpture Quadrennial, within a 7 days window peri- od I decided to look back at my work looking for tips and references. After checking at the later sculptures my mind went back to the original paper clips and I started looking at them just as pure sculpture production that of course didn`t come from a full aesthetic experience but ultimate from an EXPERIENCE. Looking at these tiny creatures made me reconsider their gestural value and furthermore their political value in the context of today`s super museum and monumental productions. Could I compete with those gigantic and overwhelming sizes, with all those super pop or super historical bronze patins? How did I want to be part of or to play within the current art spectacle? I came up with the following project where I am using the original, tiny and almost invisible paper clips- the ones that were bended and experienced by 20 children in Los Angeles, the ones that are just a short and insignificant pieces of metal wire. How would I present them to the world? How would I make them public keeping at the time their orig- inal status? One of my first challenging experiences with cultural art production was the exhibition of the Panza Collection at the Reina Sofia Museum in Madrid. Minimalism was since then a true reference. It was not only a different way of dealing with the other side of pop art and industrial, not hand signed manufacture(I am talking about contracts, maps and instructions) but it was furthermore the beginning of a flirtatious relationship, where issues of admiration and resistance GO back and forth. The size of the original clips is quite tiny; in fact they become almost a parody of formal and gestural sculpture. I have designed a frenetic installation where 16 super minimal, super JUDD and formal rectangular prisms of ultra polished granite or white plaster become the pedestals of these tiny gestures. Each of the tiny clips will be set in the middle of a square pedestal. The dimensions of each pedestal should be 127 cmx 70cm x 70 cm. The height of pedestals is determined by the distance between the tiny sculpture and the eye, (about 127 cm). The total number of pedestals is 16 and they will be distributed in a grid, leaving 40 cm in between each pedestal for public access. It is intended to leave to leave that tight space for the audience to walk through. The sculptures will be fastened to the pedestal making two tiny holes in themiddle on the top part of the pedestal, fixing them with transparent fishing line and instant glue. That way we will avoid any theft BUT the tiny sculpture will never be covered with Plexiglas or similar.
  • 42. 0420 42• 90015 LosandΩelosa: DaΩas sirdis un påris ieroçu (16 sliktas un labas abstraktas skulptüras). 1999–2004 Koks, ©ipsis, metåls 90015 Los Angeles: Some Hearts and Few Guns (16 Bad and Good Abstract Sculptures). 1999–2004 Wood, plaster, metal
  • 43. 43•
  • 44. 0420 44• Nadîne Rennerte / Nadine Rennert Våcija / Germany Nosaukums ir tikpat konkréts, cik maldinoßs: Funkcionålås ainavas. Tas ß˚iet norådåm uz faktu, ka pat visattålåkås ainavas ir saistîtas ar funkcijåm kå nåkotné izmantojamas teritorijas: daba ir vienådojama ar tås izmantoßanu. Formu vi¬ñainie liekumi neatklåj nekådu noteiktu funkciju, kam tås varétu kalpot. Tås ir veidotas no sulîgi za¬as måkslîgås zåles, kas ir rüpîgi norobeΩota ar stingru plastmasas apmali un pårvérßas måjîgå plîßa oderéjumå. Funkcionålås ainavas ir spéles laukumi ar spogu¬iem. Íie atspîdumu punkti pastiprina darbu daudznozîmîbu. Katrs no tiem ir arî hortus deliciarium, kas ietver izklaidi ar daΩådåm spraugåm un cilpåm, malåm un caurumiem. Burgundießa kråsas måkslîgås ådas materiåls akcenté daudzveidîbu darbu fragmentétås poézijas ietvaros. Maikls Habls The title is as definite as misleading: “Functional Landscapes”. It seems to be a reference to the fact that even the most remote landscapes are attached to functions, as a prospective area of exploitation: nature`s equal utilization. The wavy curvatures of the forms indicate no immediate function of which they could serve. They are built of lush green artificial grass, which is carefully lined with a detailed piping of sharp plastic brim and turns into a cozy plush lining. The “Functional Landscapes” are playgrounds with mirrrors. These spots of reflection enhance the diverse meaning of the works. Each of them is also a hortus deliciarium, which implies diversion with various slits and loops, lips and perforations. The fabrication of burgundy artificial leather stresses the multiplicity within the fragmented poet- ry of the works. Michael Hubl
  • 45. 45• Funkcionåla ainava 2. 2001 Måkslîgå zåle, måkslîgå åda, plîßa sega Funkcionåla ainava 3. 2001 Måkslîgå zåle, måkslîgå åda, plîßa sega, spogu¬i Treniñbikses. 2003 Måkslîgå koΩokåda, metåls, poliestera tapséjums, treniñbikses Kapuce. 2003 Måkslîgå åda, tinte uz auduma Zieds ir akls. 2003 Måkslîgais zieds, spogulis Bez nosaukuma. 2000 Måkslîgå koΩokåda, måkslîgå åda, poliestera tapséjums Functional Landscape 2. 2001 Artificial grass, artificial leather, plush blanket Functional Landscape 3. 2001 Artificial grass, artificial leather, plush blanket, mirrors Jogging Trouser. 2003 Artificial fur, metal, polyester filling, jogging trouser Hood. 2003 Artificial leather, inkjet on canvas The Flower is Blind. 2003 Artificial flower, mirror Without Title. 2000 Artificial fur, artificial leather, Polyester filling
  • 46. 0420 46• Pols un Anne Daniela RodΩersi / Paul and Anne Daniela Rodgers Igaunija / Estonia Karuselis. 2004 DaΩådi materiåli Carousel. 2004 Mixed media Tradicionåls karuselis, kurå zirgi sédvietås aizståti ar kazåm. Sédvietas pirmajå mirklî ß˚iet parastas, bet, karuselim grieΩoties, atklåjas, ka tå ir tikai fasåde, aiz kuras atrodas formu mutåcijas un konstrukcijas karkass, pildîjums, stieples un saites. Viss kopumå dekoréts atklåti kiçîgå manieré, izgaismots ar kråsainåm spuldzém un mazliet neveikli grieΩas tradicionåli sparîgas karuse¬a müzikas ritmå. Tå ir savveida metafora par Eiropas Savienîbu, kur katrs cenßas nok¬üt zirgå, pat ja nepietiek vietas un nav îsti zinåms, kåds büs rezultåts. “Visi dzîvnieki ir vienlîdzîgi, bet daΩi ir vienlîdzîgåki par citiem,” – tå DΩordΩs Orvels. Kazas simbolizé veidu, kå nåcijas maina savu situåciju, årieni un identitåti vai vismaz izliekas, ka to dara, lai tikai ieléktu “pédéjå vagonå”. Bet, aplükojot tuvåk, viss nav tå, kå izskatås. A traditional carousel in which the places for sitting, traditionally horses, are replaced by goats. It will seem normal at first glance but as the carousel goes round it becomes evident that the goats themselves are a façade, mutating forms, revealing the carcass, stuffing, wires and string of their construction. The whole piece is highly decorated in an overly kitsch manner, illuminated with coloured bulbs and revolving somewhat clumsily to traditional oompah music of the fairground. A kind of metaphor for the EU itself, with everyone trying to get onto the ride even though there may not be enough room, without really knowing what the outcome will be. “All animals are equal but some are more equal than others”, George Orwell. The goats symbolize the way the nations are changing there condition, appearance and iden- tity, or at least pretending to, just in order to join the “bandwagon”. But on close examination it is not at all the way it seems to be.
  • 47. 47•
  • 48. 0420 48• Dens Íipsaidss / Dan Shipsides Èrija / Ireland Dena Íipsaidsa måksla bieΩi ietver kåpßanu klintîs, lai izpétîtu pieredzes un jaunrades attiecîbas ar telpu. Tå attîstås no performatîvas saiknes starp ˚ermeni un telpu un piedåvå ainavu jaunås formås, jaunus domåßanas veidus par radoßo darbu un telpisko véstîjumu. Koncentréjoties uz klintîm Fontenblo meΩå Francijå, darbå Fontenblo klintis (Rochers à Fontainebleau) izmantots video, animåcija, foto un teksts, lai izvértétu radoßo un étisko saistîbu starp 19. gs. Barbizonas måksliniekiem un ßodienas klinßu kåpéjiem. Projekts ietver vésturisku atsauci uz poétiskiem klinßu aprakstiem, glezno- jumiem un zîméjumiem, kuru autori ir tådi Barbizonas måkslinieki kå Ié, Karuels d’Aliñî, Denuajé un Koro, kå arî vélåk Sezans. Barbizonas måkslinieki atsaucås uz Lielås françu revolücijas ideålu balstîto sociålo radikålismu, lai attîstîtu ainavu glezniecîbu – måkslu, kas ataino ß˚ietami nenozîmîgas vietas, tuvinoties dabai, zemei, – un tådéjådi vérstos pret Måkslas akadémijas iedibinåto hierarhiju. Lielå mérå viñi izveidoja paßreizéjo eiropeisko priekßstatu par ainavu måkslå un ieviesa novatorisko plenéra glezniecîbu – gleznoßanu brîvå dabå izvélétå motîvå tießå klåtbütné. Kå råda gleznu nosaukumi, pieméram, Fontenblo klintis, klintis bija centrålå viñu darbu téma. Fontenblo klintis atklåj paraléli starp gleznotåja jaunradi un kåpéja (kurß kåpj tajås paßås klintîs) izdomu, veidojot jaunus kåpßanas marßrutus jeb “problé- mas”. Attiecîbas starp måkslinieku un motîvu tiek analizétas, paplaßinot radoßås aktivitåtes jédzienu. Fontenblo kåpéjs pårståv un attîsta Barbizonas måkslinieku vélmi dabiskot dzîvi pilsétå, uzturot tießu un nereti apséstîbai lîdzîgu saikni ar zemi – iedzi¬inoties dabas smalkåkajås niansés un rezultåtå radot jaunas kultüras formas. Kultüras formas jédziens tiek praktizéts, izmantojot kåpßanas marßrutu kå jaunrades formu. Darbs mé©ina parådît, kå marßruts atklåj telpisku véstîjumu, rada vai padara iespéjamu ekspresiju, satur autorîbu, vårdu un izplatîbu kultüras laukå. Marßruts, kas radîts ar prasmi, aizrautîbu un izteiksmi, lîdzinås måkslas darbam, kuru citi nåk skatîties, pétît, izmé©inåt un patérét noteiktå secîbå. 40. un 50. gados klinßu kåpßanas aktivitåtes meΩå radås kå treniñß kåpßanai Alpos. Kopß tå laika kåpßana ir attîstîjusies kå neatkarîga nodarbe pasaules mérogå. Vienkårßîbas un tießuma dé¬ tå bieΩi aprakstîta kå vistîråkå kåpßanas forma un salîdzinåta ar dejas precizitåti, atkårtojumiem un secîgumu. Kåpßanas bütîba slépjas tås apséstîbå ar mér˚i. Tå ir filozofiska rakstura aizrautîba ar problémåm (marßrutiem), kas pårbauda kåpéja spéju galéjås robeΩas salîdzinoßi droßås, nelielås klintîs. Marßruts var saståvét tikai no pieciem vai seßiem gåjieniem, kuros izdoma un preci- zitåte bieΩi vien k¬üst izß˚iroßa. Lai izveidotu marßrutu un sasaistîtu gåjienus, kåpéja ˚ermenim jådarbojas un jåkustas precîzi, saskañå ar klints telpisko dabu. Attiecîbå uz tému vai motîvu kåpßana sniedz interesantu iespéju salîdzinåjumam ar plenéra glezniecîbu, jo abas aktivitåtes prasa radoßu un bieΩi vien empåtisku jütîgumu telpas un formas uztveré, kå arî aizrautîgu nodoßanos tießai saiknei ar vidi un tås nosacîjumiem. Attiecîbas ar reålo un iztéloto, individuålo un kolektîvo telpu k¬üst konkrétas, gan- drîz skulpturålas, jo gan kåpéji, gan måkslinieki pieß˚ir formu savai telpiskajai vîzijai. Tas mums var atgådinåt Merlo- Pontî ideju par måkslas darbu kå måkslinieka eksistences veidu. Ar Fontenblo meΩa saikni un nozîmi Francijas politiskajå, konceptuålajå un vizuålajå laukå (paplaßinot – Eiropas kultüras laukå) ßis darbs var likt atgriezties pie diskusijas par ˚ermeña radoßajåm aktivitåtém telpå. Fontenblo klintis. 2003 Fotogråfijas, zîméjumi, konstrukcija, video Rochers à Fontainebleau. 2003 Photography, drawing, construction, video