Latvijas Mākslas akadēmija jau trešo gadu pēc kārtas īsteno Eiropas Sociālā Fonda līdzfinansēto pro-jektu „Atbalsts Latvijas Mākslas akadēmijas maģistra studiju programmai.” 2011./2012. studiju gadā LMA ir ieguvusi papildus finansējumu projektam „Atbalsts Latvijas Mākslas akadēmijas maģistra stud-iju programmai - otrā kārta.” Projekta ietvaros maģistrantūras studenti konkursa kārtībā pretendē uz ESF mērķstipendijām. Šis finansiālais atbalsts dod iespēju studentam pilnībā nodoties studiju pro-grammai, radošām iecerēm un pētniecībai. 2011./2012. studiju gadā stipendijas ieguva 21 students.

Liels prieks par studentu labi paveiktajiem darbiem un novēlu veiksmes jaunajiem pretendentiem!

LMA Rektors prof. Aleksejs Naumovs

For the third consecutive year the Art Academy of Latvia carries out the project “Support for the Master’s Programme of the Art Academy of Latvia”, co-financed by the European Social Fund. In the academic year of 2011/2012 the AAL has obtained additional funding for the project “Support to the Master’s Programme, Art Academy of Latvia: second round.” Within the proj-ect framework Master’s programme students apply and compete for the ESF special purpose grants. This financial support enables the students to devote themselves fully to the studies, creative ideas and research. In the academic year of 2011/2012 the grants went to 21 students.

I am extremely pleased with the students’ achievements and I wish success to the future applicants.

Prof. Aleksejs NaumovsRector of the AAL

BAIBA BRIEDE1974

EDUCATION2011-to date Art Academy of Latvia (AAL), Faculty of Visual Arts, Painting, Master’s studies, Riga 2007-2011 AAL, Faculty of Visual Arts, Painting, Bachelor’s degree, 2010 Accademia di Belle Arti di Fizenze, ERASMUS student exchange programme 2004-2007 Design courses at AAL 2004-2005 Business school Nimfa, Interior designer certificate 2001-2003 Studio Scuola di pittura e disegnio di Antonella Petese, Italy

SELECTED EXHIBITIONS2012 SEB Unibanka art contest and exhibition, AAL 2011 SEB Unibanka art contest and exhibition, AAL; The 6th International marine painting exhibition Marine - 2011, Jurmala City museum, Latvia; My sweet winter derams, Solo show, Jurmala City museum Latvia; 2010 Rudens. Recycle. Process, Pinachoteca, Latvia; SEB Unibanka art contest and exhibition, AAL; Art Prize of Brederlo - von Sengbush exhibition, AAL 2008 Art Prize of Brederlo - von Sengbush exhibition, AAL; Albert’s grant contest and exhibition III, AAL

Pamatojoties uz savu pasaules redzējumu, autore uzstāda uzdevumu glezniecības izteiksmē radīt asociāciju par cilvēka attiecībām ar citiem, ar dabu un apkārt notiekošajiem procesiem. Darbam jāatspoguļo mākslinieka subjektīvais pasaules redzējums, jārada emocionāls pārdzīvojums, nav jābūt realitātes tiešam attēlojumam, kā arī bezpersoniskam un vienīgi dekoratīvam elementam.

Based on the personal percpective, the author sets up a task to create through expres-sion of painting an association of relations of an individual wtih others, nature and surrounding processes. The work will reflect the subjective vision of the artist and will provoke emotional experience. It will not represent reality directly and will not be im-personal or merely decorative piece.

GLEZNIECĪBAS APAKŠNOZARE/DEPARTMENT OF PAINTINGDarba vad./Academic advisor - prof. I. Heinrihsons

Aprīlis / April. 2012, audekls, eļļa / oil on canvas, 60x60 cm

DARJA FJODOROVA

EDUCATION2011 Art Academy of Latvia (AAL), Faculty of Visual Arts, Painting, Master’s studies, Riga 2007-2011 AAL, Faculty of Visual Arts, Painting, Bachelor’s degree 2009-2010 ERASMUS student at Academia di Belle Arti di Napoli, Italy 2003-2007 Janis Rozentāls Riga Art School 1994-2003 Oskars Kalpaks Riga Folk Art Primary School

SELECTED EXHIBITIONS2012 SEB Unibanka art contest and exhibition, AAL 2011 Painter P. Puzina’s scholarship in the figura-tive painting department competition, SEB unibanka art contest and exhibition, AAL; Art Hunt, Kalncie-ma district, Riga, Latvia 2010 Jarmarka, AAL; SEB Unibanka art contest and exhibition, AAL 2009 Jar-marka, AAL 2008 Jarmarka, AAL; Art Prize of Brederlo - von Sengbush exhibition, AAL; SEB Unibanka art contest and exhibition, AAL 2007 Jarmarka, AAL

Esmu uzlikusi sev uzdevumu gleznās atspoguļot galvenokārt miera, tīrības un viegluma izjūtas,

tādēļ izvēlos minimālistiskās kompozīcijas elementus, kur attīru laukumus no nevajadzīgiem el-

ementiem, atstājot tikai nepieciešamākās detaļas. Darbos, kas gleznoti reālisma stilā, vienmēr

klātesošs ir cilvēka tēls, ar kura palīdzību es stāstu skatītājiem par savām personīgajām izjūtām

un emocionālo stāvokli - mieru, domīgumu, piepildījumu vai vientulību. Man ir svarīgi katru gleznu

izveidot kā atsevišķu pasauli. Tā, lai skatītājs tai noticētu.

I have set for myself the task to reflect in my paintings mostly the feelings of peace, purity and

lightness. For that I choose the elements of minimalistic compositions where I clear the space of

all unnecessary elements to leave just the most necessary details. In my works painted in realistic

style there is always a human image present which helps me to tell the viewers about my personal

feelings and my emotional state - peace, reverie, fullfilment or solitude. It is important for me to

create each painting as a separate world so that the viewer would believe it.

1986

Miegs / Sleep. 2012, audekls, eļļa / oil on canvas, 170x160 cm

GLEZNIECĪBAS APAKŠNOZARE/DEPARTMENT OF PAINTINGDarba vad./Academic advisor - prof. Kr. Zariņš

ZANE VELDRE

EDUCATION2010-2012 Art Academy of Latvia (AAL), Faculty of Visual Arts, Department of Painting, Master’s studies, Riga 2006-2010 AAL, Fac-ulty of Visual Arts, Department of Painting, Bachelor’s studies 2002 -2006 Janis Rozentals Riga Art School 2008 ERASMUS Exchange programme, Universidade do Porto, FAUB 2009 ERASMUS internship in Contemporary Art Gallery Zaumprojects, Lisbon, Portugal

SELECTED EXHIBITIONS2009–2012 SEB Contest in Painting, AAL 2010 Brederlo - von Sengbusch 2010, art prize and exhibition, AAL; Art prize, the young Baltic artists’ and art students’ exhibition of painting, GlobalArtRoom, finalist; Process, Pinakoteka, Contemporary Art Museum; Urban Children, The Young in Latvian Painting II, The Arsenāls Exhibition Hall. Latvian National Museum of Art 2011 Zane Veldre, Marta Sila, The Most Hidden Dreams. Some-thing I Always Wanted to Show, Nabaklab

Kur ir jebkura mākslas darba fiziskais sākums un beigas, kādas ir tā robežas? Tas atrodas noviet-

ots telpā, kas, iespējams, pilda tikpat nozīmīgu lomu mākslas darbā kā pats objekts vai glezna.

Mākslas darbu „Pusotrs kg dzīves” veido divas akrila tehnikā gleznotas gleznas (180x240cm un

180x250cm), kurās attēloti objekti – „kūniņas”, kas risina šo telpas un līdzsvara jautājumu. Ob-

jekti veidojušies, nejauši eksperimentējot ar formu un iespaidojoties no Daniila Harmsa idejas

par līdzsvara nobīdi visā Visumā, kas esot ne vairāk un nemazāk kā „pusotrs kg”. Paļaujoties uz

nejaušības principu, ir izdevies sasniegt divas harmoniskas un līdzsvarotas kompozīcijas.

Where is the beginning and the end of any artwork and where are its borders? The artwork is lo-

cated in space which can be as meaningful as the object or painting itself. “One and a Half kg of

Life” consists of two paintings (180x240cm, 180x250cm), featuring two objects, “chrysalises” that

are dealing with this issue of space, borders and balance.. The concept of “chrysalis” was inspired

by Danill Kharms’ literature and his ideas about balance deviation in the Universe, which is not

more and not less than “one and a half kg”.

1986

Pusotrs kg dzīves / One and a Half kg of Life. 2012, audekls, akrikls / acrilic on canvas, 180x240, 180x250 cm

GLEZNIECĪBAS APAKŠNOZARE/DEPARTMENT OF PAINTINGDarba vad./Academic advisor - prof. K. Zariņš

1986DĀRTA HOFMANE

EDUCATION2010-2012 Art Academy of Latvia (AAL), Faculty of Visual Arts, Graphic Art, Master’s studies, Riga 2010-2011 ERASMUS exchange student, Art Academy of Hamburg, Department of Graphic / Typography 2005-2010 AAL, Faculty of Visual Arts, Graphic Art, Bachelor’s degree 2001-2005 Riga Design and Art School, Department of Environmental Design 1994-2001 Uldis Roga art studio, Jelgava, Latvia

SOLO EXHIBITIONS2012 Touching, Radisson Blu Hotel Latvija, Riga, Latvia; Berührung, gallery mare Liberum, Hamburg, Germany 2011 Uncomfortable, culture platform NABAKLAB, Riga, Latvia

SELECTED EXHIBITIONS2012 Miniature exhibition M, gallery Taka, Riga, Latvia; Miniature exhibition M, gallery Ziema, Riga, Latvia 2011 Contemporary art exhibition Eatable, uneatabledc, Sigulda, Latvia; Antalis Print-Art Award, KIM? Lesesaal, Riga, Latvia; Book messe / exhibition Kemp Hlubina, Ostrava, Czech Republic; HFBK Jahresausstellung 2011, Hamburg, Germany; Die Stadt als Schreibfläche. Art project in the urban city City types led by professor Maarten de Reus, Ritveld Academy, Hamburg, Germany; ZUPA ZOPP!, gallery Foto Folgendes, Hamburg, Germany; Graphic exhibition Value, ex-hibition space in the Latgale Museum of cultural Heritage, Rēzekne, Latvia; Exhibition of young Latvian artists Vēja māte, HFBK gallery, Hamburg, Germany 2010 Exhibition The Black and White Planet, AAL, Riga, Latvia

Darbā Pieskaršanās aplūkota neērtības jeb neērtu atmiņu tēma. Ar to saprotot atmiņas, kuras nevar aizmirst un, kuras pēkšņi atceroties, pārņem autentiskas neērtuma sajūtas. Kur mēs esam, kad atceramies? Pagātnē vai tomēr tagadnē? Ik reizi atceroties, bijušais tiek aktualizēts un no jauna izdzīvots jau pārdzīvotais.

Touching is about uncomfortable feelings, uncomfortable memories. Memories thatcannot be forgotten. Once they come back again, the mind is overtaken by authenticuncomfortable feelings. Where are we at the moment of remembering? In the past or in the present? Each time we remember something, the past is being topicalized and the experienced is being re-experienced

E un T / E and T. 2012, koks, jaukta tehnika / mixed media

GRAFIKAS APAKŠNOZARE/DEPARTMENT OF GRAPHIC ARTDarba vad. asoc. / Academic advisor - assoc. Prof. J. Petraškevičs

ELĪNA ĒCE

EDUCATION2011-till now Art Academy of Latvia - Faculty of Design: Department of Functional Design 2007-2011 Art Academy of Latvia - Faculty of Design: Department of Environmental Art 2003-2007 Janis Rozentals Riga Art High - school 1994-2003 Ventspils Gymnasium No1.

ARTISTIC COMPETENCES2012 Project HELPO at European Union organised garden festival - exhibition for seniors Draudzīgs senioriem, Vermanes Park, Riga 2011 Project UNISTEP and DECO at Design department graduates of Art Academy of Latvia exhibition DDD011 LMA / Dizains un emocijas; Project Oāze in cooperation with Liepaja City Council to present improvement projects for Liepaja seaside 2010 Project Riga. Paris. Design in cooperation with École Boulle, art school in Paris, France 2009 Project Ēnotājs at Light Festival STARO RIGA; Project Kūdris at 2. International young designer biennal in Riga, Riga Art space 2005 exhibition Ekrāns at Main Library of Ventspils

Maģistra darba mērķis ir radīt inovatīvas, taktilas betona formas sienas plātņu veidolā, kas būtu

alternatīva jau esošajām, pazīstamajām taktilām zīmēm, formām un sistēmām. Radīto formu

pamatuzdevums ir sniegt informāciju par ēku, kurā tās atrodas, dot navigācijas iezīmes un vien-

laikus kalpot kā vizuāli dekoratīvs sienas estētisks papildelements.

Dizaina darba uzdevums ir meklēt jaunu taktilās valodas veidu, kura ierosme rodas no paša

cilvēka ķermeņa formām, kaulu struktūrām, asinsvadu un nervu sistēmas tīklojumiem. Atteikties

no jau zināmajiem ģeometrisko objektu taktilās funkcijas sniedzošajiem elementiem, un vadīt,

koordinēt, informēt cilvēku caur jaunradītām, organiskām, antropomorfām zīmju formām.

Master’s job is to create innovative, tactile form concrete wall form panels, which would be an

alternative to existing, familiar tactile signs, forms and systems. The resulting shape mission is to

provide information about the buildings in which they are located, to provide navigation features

and at the same time serve as a decorative wall visually aesthetic additional element.

Design work is to look for a new type of tactile language, the initiative arises from the human

body shape, bone structure, cardiovascular and nervous system networks. Away from already

known geometric object features that provide tactile elements, and manage, coordinate, inform

people through the newly created, organic, anthropomorphic character shapes.

1987

Maģistra darba skices / Master’s work sketches. 2012

FUNKCIONĀLĀ DIZAINA APAKŠNOZARE/DEPARTMENT OF FUNCTIONAL DESIGNDarba vad. asoc. / Academic advisor - assoc. Prof. B. Ābele

ELITA FREIMANE

EDUCATION2011-2012 Art Academy of Latvia (AAL), Faculty of Design, Department of Functional Design, Mas-ter’s studies, Riga 1992 English language course, Seattle University, WA, USA 1992 Humboldt State University, CA, USA, sculpture, jewellery 1989–1996 AAL, Industrial design 1983–1986 Riga Col-lege of Applied Art, sculpture, Latvia

SOLO EXIBITION1996 Lonely Blue, gallery ČIRIS, Riga, Latvia

SELECTED EXHIBITIONS1997 Tallinn Applied Art Triennal USELESS THINGS, Tallinn, Estonia 1994 Once in America, Riga, Latvia 1993 Exhibition of miniature textile and sculpture, Riga, Latvia 1992 Regional Spring Exhibi-tion, Eureka, California, USA; Exhibition at the West Coast Latvian Song Festival, Seattle, USA

PRIZE1992 Exhibition at the West Coast Latvian Song Festival, Seattle, USA (One of 10 best works)

Maģistra darbā autors par dizaina pētniecības darba uzdevumu izvirzījis vienu no aktuālākajām indivīda problēmām - bezmiegu. Darba gaitā tika veikta identificētās problēmas kompleksa izpēte un analīze, kā rezultātā tika izstrādāts inovatīvu risinājumu kopums, kas pēc autora domām varētu kļūt par pamatu tālākajam dizaina nozares speciālistu ieguldījumam sociālās problēmas risināšanā.

In the Master’s paper the author has put forward the task for the design research work to investigate one of the individual’s pressing problems - insomnia. In the course of the complex research, analysis of the identified problem was carried out resulting in an elaborate set of innovative solutions which, in the author’s opinion, could become the basis for further design professionals’ contribution to solving social problems.

1965

MIEGA mediators / SLEEP mediator. 2012, koks/ wood, 5x15x18 cm

FUNKCIONĀLĀ DIZAINA APAKŠNOZARE/DEPARTMENT OF FUNCTIONAL DESIGNDarba vad. doc./Academic advisor assistant - prof. A.Freimane

REINIS HELMANIS

EDUCATION2010-2012 Art Academy of Latvia (AAL), Functional Design Department, Master’s stud-ies, Riga 2006–2010 AAL, Functional Design Department, Bachelor’s studies, Riga 2009–2009 Design and art studies, Manchester Metropolitan University 2002–2006 Enviroment Design Department, Riga Secondary School of Design and Art

RECENT ESSENTIAL ACTIVITIES2011, 8–12 February Greenhouse 2011, Stockholm, development of the exibition stand 2010 Project StickMan, PechaKucha Vol. 9

Viss mainās, un tā ir jānotiek arī ar veidu, kā cilvēki gūst zināšanas.Interaktīvā aplikācija un rotaļlieta StickMe lietotājam dod iespēju radīt pašam savu unikālu tēlu, nevis spēlēties ar citu cilvēku radītām rotaļlietām. StickMe piedāvā iespēju darboties gan digitālā, gan trīsdimensiju telpā.

Everything changes, and this is what should be happening to how people acquire knowledge.The author has created an interactive toy, namely, a study aid for children between 5 and 11 years of age.Interactive application and the toy StickMe allows users to create their own and unique character, instead of playing with toys designed by others. StickMe offers opportunities for activities in digital and three-dimensional space.

1986

Aplikācija StickMe / Application StickMe. 2012, Tēla veidošanas logs / Character creation window

FUNKCIONĀLĀ DIZAINA APAKŠNOZARE/DEPARTMENT OF FUNCTIONAL DESIGNDarba vad./Academic advisor - Emeritus Prof. T. Gaumigs

1986ŠELDA PUĶĪTE

EDUCATION2010-2012 Art Academy of Latvia (AAL), Faculty of History and Theory of Arts, Master’s studies, Riga 2006-2010 AAL, Faculty of History and Theory of Arts, Bachelor’s studies 2008-2009 Johannes Gutenberg-Universität Mainz, Institut für Kunstgeschite (ERASMUS exchange programme) 2004-2006 Latvian - Norvegian Intercultural Studies, Culture Academy of Latvia 1998-2004 Riga City Pļavnieku Gym-nasium 1992-1998 Mežciema Elementary School, Riga PARTICIPATION IN CONFERENCES 2011 Report “Typical Trends of Texture in Latvian Painting in the 1960s-1970s”, 7th International conference “Human.Colour. Nature. Music”, Daugavpils University 2008 Report “Preservation of the Great Cemetery during the Soviet Occupa-tion”, conference “Preservation of Latvia’s Tangible Cultural Legacy”, University of Latvia

PUBLICATIONS2008 Puķīte, Š. Lielo kapu saglabāšanas problēmas padomju okupācijas gados un mūsdienās. Rakstu krājums: Latvijas materiālās kultūras mantojuma saglabāšanas problēmas. Sast., Aleksandrs Gavriļins. Rīga: LU akadēmiskais apgāds, 132.-146.lpp.

Pašlaik, bez strādāšanas pie Padomju Latvijas perioda glezniecības pētīšanas, nodar-bojos arī ar mākslas izstāžu aprakstu un kritiku veidošanas. Tāpat kūrēju izstādes Mans Doms projekta ietvaros. Nākotnē plānoju turpināt Latvijas Padomju perioda mākslas un atsevišķu mākslinieku, kā, piemēram, Henrija Klēbaha un Lidijas Auzas radošā vei-kuma pētniecību. Plānoju turpināt strādāt pie mākslas kritikas un izstāžu kūrēšanas, kā arī pievērsties pedagoģijai, piedāvājot jaunu lekciju kursus mākslas vēsturē un teorijā.

Apart from researching Latvian painting of the Soviet era, I am currently working on art exhibition reviews and critique. I also work as a curator for exhibitions within the Mans Doms project. In the future I am planning to carry on with my studies of Latvian soviet art and the work of some artists, in particular such as Henry Klebach and Lidija Auza. I am planning to keep working on art reviews and curatorship as well as aca-demic teaching, introducing new lecture courses in Art History and Theory

Maģistra darba apraksts.Maģistra darba ietvaros plastiskā valoda un tās izpausmes glezniecībā tiek pētītas, pieņemot, ka plastiskajai valodai ir ļoti būtiska, dažkārt pat dominējoša nozīme gleznas tapšanā Latvijas Padomju periodā. Plastiskās valodas daļa glezniecībā, tāpat kā idejiskā un saturiskā daļa tiek pakļauta PSRS ideoloģiskajam diktātam, tomēr pakāpeniski, nomainoties varas politikai, vadībai un desmitgadēm, māksliniekiem paveras aizvien lielāka iespēja atļauties eksperimentēšanu ar izteiksmes līdzekļiem un brīvāk izpausties mākslas darba plastiskajā līmenī. Var runāt par mākslas darba plastiskās valodas nemitīgu transformāciju gan Padomju varas noteiktā mākslas stila – sociālā reālisma ietvaros, gan modernisma un postmodernisma ietekmē. Tas nozīmē, ka mainās attieksme un veids kā tiek traktēta mākslas darba forma, pielietojot dažādus mākslinieciskos izteiksmes līdzekļus – kolorītu, faktūru, ritmu un dažādus stilizācijas paņēmienus. Tieši lielās dažādības klātbūtne aplūkojamajā posma Latvijas glezniecībā noteica atsevišķa, plastiskās valo-das jautājumiem veltīta pētījuma nepieciešamību. Pētījuma mērķis ir analizēt plastiskās mākslas valodu, kas ietilpina sevī dažādus vizuālos kodus, tai skaitā agrāk iegūtās un pārmantotās zināšanas. Izejot cauri dažādiem mākslas darbu plas-tikas transformācijas posmiem, tiek raksturotas, strukturizētas un analizētas plastiskās valodas tipiskākās izpausmes un to nozīme konkrētajā politiskajā un kultūrvēsturiskajā klimatā, atsau-coties arī 20., 30. gadu glezniecību, kas gadsimta otrā pusē (zināmā mērā jau sākot ar „skarbo sti-lu”) piedzīvos renesansi un kļūs par inspirācijas avotu daudziem māksliniekiem. Tāpat tiek skatītas plastiskās valodas izpausmes konkrētos žanriskajos rāmjos, kā arī savrupās glezniecības veidotāju atstātais mantojums.

Abstract of the Master’s thesis.In this work we look at plastical language and its form of manifestation, assuming that it is car-rying out an important, sometimes even a dominating role in the creation of a painting during the Soviet era in Latvia. The aspect of plastical language, like the idea and content, is dictated by the ideology of the USSR. However, with the changing of government policies, institution and decades, artists are given an increasingly larger freedom to experiment with means of expression on the plastical level. One can talk about a constant transformation of an artwork’s plastical language within the boundaries of socialist realism - the regulated movement in Soviet art - as well as an increasing influence of modernism and postmodernism. This means a change in the attitude and interpretation of the artistic form, using such means of expression as colour, volume, rythm and various ways of stylization. This large amount of diversity in the particular period of Latvian painting gave reason to a specific analysis dedicated to the issues of plastical language.The goal of this research is to analyze the plastical language of an artwork, which involves an ar-ray of visual codes, including acquired and inherited knowledge. By going through different stages of plastical transformation of an artwork we will describe, structure and analyze the most typical manifestations of plastical language and their role in the particular political and cultural context, also referencing the painting of the 1920s and 1930s, which by the second half of the century (in some ways beginning with the “blunt style”) will live to see its renaissance and will become an in-spiration for many artists. We also look at the manifestation of plastical language within specific genres, as well as the heritage left by individual painters.

EDUARDS DOROFEJEVS

EDUCATION2011 Art Academy of Latvia (AAL), Faculty of History and Theory of Arts, Master’s studies, Riga2007-2011 AAL, Faculty of History and Theory of Arts, Bachelor’s studies 2003-2004 Faculty of Translation and Interpretation, University College of Economics and Culture 2001-2003 Building and Reconstruction Department, Riga Tehnical University

1983

Man šķiet, ka situācijā, kad skats uz mākslas vēsturi kļūst policentrisks, proti rodas ten-dence skatīt dažādu valstu mākslas parādības kā patstāvīgas vērtības, neatkarīgi no Eiropas lielo mākslas centru estētiskiem uzskatiem, Latvijas mākslas zinātnei rodas plašas iespējas pastāstīt pasaulei par sevi. Paliek tikai jautājums kā to izdarīt intere-santi un kvalitatīvi.

It seems to me, that nowadays when appreciation in art history becomes polycentric and we find that the art of different countries could be looked upon as the value inde-pendently from major art center aesthetic opinion, Latvian art history has the great opportunity to tell the world about ourselves. The only question is how to make these story entertaining and of good quality.

Maģistra darba apraksts.Pētnieciska darba rezultātā tiek apskatīts Latvijas akvareļglezniecības fenomens un raksturotas tās izmaiņas, kas notikušas ar šo mākslas tehniku 20. gadsimta II pusē. Lai pilnīgāk atklātu notikuša procesa būtību, tika izvēlētas divas galvenās pētniecības metodes. Pirmkārt, pētījumā tika hronoloģiskā secībā analizētas stilistiskās izmaiņas, pievēršoties visraksturīgākajām parādībām no formāla un tematiska skatupunktiem. Otrkārt, tika apskatīti politiski – ekonomiski apstākļi, kas ietekmēja akvarelistu darbību no institucionāla un radoša viedokļa. Ņemot vērā tēmas plašas hronoloģiskas robežas un lielo informācijas apjomu, darbs tika veidots, kā pārskats par akvareļglezniecības vispārējo attīstību. Tajā pašā laikā darbā iezīmēti pētniecības tālākie virzieni, kas dotu iespēju padziļināti pievērsties šaurākajiem hronoloģiskajiem periodiem un atsevišķām darbā pieminētājām parādībām. Bet neskatoties uz to vienlaikus viens no pētniecības tālākajiem mērķiem ir pievēršanās ģeogrāfiski plašākam reģionam, lai mēģinātu uztaustīt mākslinieciskas saites, kas pastāvēja Latvijas, Lietuvas un Igaunijas akvareļglezniecībā.

Abstract of the Master’s thesis.Research pays attention to the watercolour phenomenon in Latvia and describes the changes that occurred in this art technique in the second half of the 20th century. Two research methods were chosen to fully survey the main subject of the thesis. The first method was to generally examine watercolour stylistic changes chronologically, high-lighting only their most significant characteristics, analyzing watercolour paintings from the formal aspect, including the thematic point of view. The second research ap-proach was to show the influence that the watercolour section of the Union of Artists of the Latvian SSR had on the creative output of watercolour painters. Using archival materials, I tried to compare the differences between official position of watercolour section, which do not always explore real state of business, and unofficial point of view, to clarify historical context and to reveal the objective situation. Taking into account the broad chronological boundaries and the large amount of information, the work was built up as an overview that shows the main outlines in evolution of watercolour in Latvia. At the same time, the work marks the themes for the forward research, which would allow to explore in detail many topics that had been only mentioned in this work. Thus in the future I expect to continue my survey in the history of watercolour, paying more attention to the art of Lithuania and Estonia, look-ing for the close artistic relationships between three Baltic countries.

INESE KUNDZIŅA

EDUCATION2010-2012 Art Academy of Latvia (AAL), Faculty of History and Theory of Arts, Master’s studies, Riga 2006-2010 AAL, Faculty of History and Theory of Arts, Bachelor’s studies 2003-2006 Preiļi State Gymnasium WORKING EXPERIENCE2007-present Historian, Ethnographic Open-Air Museum of Latvia

TRAININGS / SEMINARS2011 Baltic Museology School, Tallinn, Estonia 2010 DAAD Summer Course in Berlin (Berlin pur: Sprache Lernen und Landeskunde erleben) 2008 Summer Semester at Johannes Gutenberg University Mainz (JGU) PARTICIPATION IN CONFERENCES2012 An Insight into the Peculiarities of Vidzeme Region Hope Chests, Annual Scientific Conference at the Ethnographic Open-Air Museum of Latvia, Riga, Latvia 2010 The Decoration/Ornamentation of Hope Chests: Painted Motifs, Scientific Seminar, Latvian Ethno-cultural Centre, Dauderi, branch of the National History Museum of Latvia, Riga, Latvia PUBLICATIONSKundziņa I. (2011) The Structure, Binding and Painted Motifs of Hope Chests in Kurzeme. Art History and Theory, 1(14): 10-19

Mana pētniecības joma ir Latvijas teritorijas vernakulārā kultūra. Pētot krāsotās, apkaltās, otētās un ar spiedogiem krāsotās Latvijas pūralādes konstatēju, ka latviešu tautas māksla (vernakulārā kultūra) ir ļoti aizraujoša un vēl nav pietiekami interpretēta joma. Iecerēts turpināt pētīt vernakulārās kultūras lietišķo mākslu un par tās skaistumu informēt sabiedrību.

My research interests lie in the field of Latvia’s vernacular culture. While investigating different kinds of coloured, ironbound and painted Latvian hope chests, I have found Latvian vernacular culture a very fascinating, yet still unexplored field. My intention is to continue exploring Latvian vernacular culture to reveal its beauty to wide public.

1987

Maģistra darba apraksts.“Otētās Latvijas pūralādes”.Maģistra darbā pētīta, uzskaitīta, analizēta PV 20.gs.20.-40.gadu sākuma un LVI 20.gs.50.-90.gadu sākuma apzinātā informācija (uzmērījumi, apraksti) par pūralādēm “uz papīra” ar mērķi sākt iezīmēt aprises Latvijas krāsoto pūralāžu tipoloģijai. Apzinātie materiāli strukturēti, atliekot tos uz 1939.g.Latvijas administratīvās kartes; tie uzskaitīti pa novadiem, apriņķiem pēc pētāmajiem kritērijiem: lādes tips, pamat krāsojums, otējums. Atsevišķi apkopotas liecības par lāžu izgatavotājiem. Salīdzināšana izmanto-ta Latvijas un kaimiņzemju pūralāžu līdzību un atšķirību apjaušanai, kā arī savstarpēji salīdzinot Latvijas novadu pūralāžu atšķirības. Veiksmīgākai analīzei apskatītas arī realitātē esošās pūralādes Latvijas muzejos. Bagātīgajā attēlu pielikumā un izveidotajās shēmās (6 shēmas un 28 tabulas) iegūtas Latvijas novadus raksturojošas atziņas par “tipiskākajām” pūralādēm. Tomēr pūralāžu tipoloģija atrodas pilnveides stadijā, jo nemitīgi tiek iegūti jauni materiāli.

Abstract of the Master’s thesis.Painted Latvian Hope Chests.The information (measurement, descriptions) about hope chests available ‘on paper’ gathered from the Historic Monuments Board in the early 1920s-1940s, and the Insti-tute of Latvian History in the early 1950s-1990s has been studied, listed and analysed in the Master Thesis with the aim to start outlining the typology of Latvian painted hope chests. The materials collected have been structured by marking them on the 1939 ad-ministrative map of Latvia and listed by regions and districts according to the research criteria: chest type, base paintwork, brush painting. Proofs of the chests manufactur-ers have been collected separately. The comparative method has been applied for the purpose of identifying the similarities and differences of the Latvian hope chests and those of the neighbouring countries, as well as for comparing the differences of the Latvian hope chests coming from different regions. For the purpose of achieving a more successful analysis the existing hope chests stored at Latvian museums have also been reviewed. The ample annex of pictures and the developed charts (6 charts and 28 tables) have lead to the conclusions about the ‘typical’ hope chests characteristic of the Latvian regions. Yet, the typology of hope chests is still in the process of improve-ment because new materials are being gathered continuously.

ŪNA LAUKMANE

Strādājot pie maģistra darba „Inovācija tekstililustrācijā: faktūras vēstījums“, meklēju un pētu

dažādu materiālu faktūru dažādību un to savstarpējo mijiedarbību.

Darbu veidoju pēc Nīcas raksta parauga. Pētot dažādu komponistu un mūziķu nošu- krāsu

attiecības, izveidoju muzikālu rakstu. Katrai krāsai atbilst viena nots, tā raksts veido muzikālu

skaņdarbu. Pēc šādas skaņu – krāsas – ritma sistēmas iespējams veidot un radīt jaunu skaņdarbu.

Working on my MA project “Innovation in textile illustration: texture messages” I have searched

and explored the diversity of textures of various materials and their mutual interaction.

My work is based on the model of the Nīca (an ethnographical region in Latvia) pattern.

By investigating the interplay between notation and colours in different composers’ and musi-

cians’ work I have come up with a unique musical pattern. Each colour corresponds to a different

note thus creating a musical piece. Observation of this type of sound - colour - rhythm system

allows for the creation a new musical composition.

EDUCATION2011-2012 Studies at Latvian Academy of Arts 1989-1991 Moscow Culture Institute Special-ity of motion plastics producer 1993-1998 Latvian Academy of Arts Department of Textiles Speciality of textile designer

SELECTED EXHIBITIONS2008 International textile exhibition “Cloth and Culture NOW” Sainsbury Visual Art Centre, Norwich, England 2006 Personal exhibition „The Diary”, Agija Suna gallery, Riga 2005 Travelling exhibition „The mist falls, the dew falls” in Swedish cities 2004 Exhibition „Forever Young” by Baltic textile artists, Stockholm, Sweden 2000 Personal exhibition „Balance”, St.Peter`s Church, Riga 1997 The Fifth Annual Exhibition „Opera” organized by Soros Contemporary Art Centre, Riga 1995 Environ-ment and Installation projects „Open” and ’’Biosport”, Riga

1971

XXX. 2012, video

TEKSTILA MĀKSLAS APAKŠNOZARE/DEPARTMENT OF TEXTILEDarba vad./Academic advisor - prof. I. Krūmiņa

ILONA RAŽINSKA

EDUCATION2010-2012 Art Academy of Latvia (AAL), Visual Plastic Arts Department, ceramics, Master’s studies, Riga 2006-2010 AAL, Visual Plas-tic Arts Department, ceramics, Bachelor’s studies 2002-2006 Riga Design and Art School, Ceramics Department 1998-2002 Jēkabpils State Gymnasium, Latvia 1997-2002 Jēkabpils District Art School

SOLO EXHIBITIONS2012 Co-evolution, AAL 2010 Co-evolution. Body and Soul, Spīķeri, “Dirty Deal Café” (BA work) 2008 3D emotion, Jēkabpils, Latvia

SELECTED EXHIBITIONS2010 Art Optimization, Decorative Constructive Art Museum of Riga 2009 Exhibition of students’ works “Jarmarka”, AAL; Small Crimi-

nal, exhibition of students’ works in ceramics, AAL; 4th International porcelain exhibition of small forms, Porcelain Museum of Riga; Ambience Exhibition, Ikšķile city festival, Latvia; Dry Run, gallery The Place, Sunderland, UK; Shipka 6, gallery of the Union of Bulgarian artists, Sofia, Bulgaria 2008 Solo exhibition of ceramics in the Jelgava Recreation Centre within the Roumanian Days; Dialogue, Interna-tional symposium in Zvārtava, exhibition of artworks in the Artists Community showroom; Paintings. Silk. Ceramics., collective exhibition in the History Museum in Valmiera, Latvia; 3D Plastic Emotion, solo exhibition in the castle of Krustpils, Latvia 2007 Fir-Tree Furnishings, Europa club Casino, Riga, Latvia; The Story of The White Angel, Europa club Casino, Riga, Latvia; Iris, Natural History Museum of Latvia; Karaoke of the Judgement Day, AAL

Darba galvenā izpētes forma – cilvēka ķermenis. Sākotnēji tas tika apskatīts kā reāls cilvēka

ķermenis divās dimensijās, taču attīstoties nonācu pie koncepcijas trīs dimensijās, kas ir ne tikai

transformācijas un iedomātie tēli. Galvenā iedvesma nākusi no slavenās skulptūras “Kapitolijas

vilcene”. Darbā ir vērojama tās interpretācija cilvēka ķermeņa - sievietes formātā; protams, gala

rezultātā darbs pilnībā nebalstās uz šo leģendu. Maģistra darbā sievietes tēls tiek rādīts kā kaut

kas vairāk kā tikai gādīga māte. Sieviete ir spēks un tā spēj daudz vairāk, tomēr nezaudējot viltīgas

vilcenes raksturu.

The main form of the research is the human body. Initially it was viewed as a real human body in

two dimensions, but the concept evolved in three dimensions, which is not only transformation

and images. The main inspiration came from the famous sculpture “Capitoline She-Wolf”. Of

course, ultimately the work is not based on this legend entirely. In the Master’s work the woman is

shown as something more than a caring mother; a woman has power and she is capable of much

more without losing the cunning nature of the she-wolf.

1986

VILCENE / WOLVERINE, skulptūra keramikā, akmensmasa / sculture in ceramics, stoneclay, porcelain

KERAMIKAS APAKŠNOZARE/DEPARTMENT OF CERAMICSDarba vad./Academic advisor - prof. D. Lesiņš

1985LINDA KONONE

Kāda ir atšķirība starp statisku un kustīgu attēlu? Kas ir kustības pamatā? Kā attēlot laiku vizuāli? Kā skan laiks?Šos jautājumus pētu savos darbos.

What makes a difference between a still image and a moving one? What is movement based on?How to present time visually? How does time sound?These are the questions that I research in my works.

EDUCATION2011-2012 Electroacoustic studies, Composition class by R.Kronlaks, Jāzeps Vītols Latvian Academy of Music; Art Academy of Latvia (AAL), Faculty of Visual communication department, Master studies, Riga 2006-2011 AAL, Faculty of Visual communication department, Bachelor studies 2008 ERASMUS studies, Audio Visual communication department, Ecole regionale des Beaux-arts de Caen la mer 2002-2006 Jana Rozentāls Riga Art School 1992-2002 Gulbene Gymnasium

SELECTED EXHIBITIONS2012 Video Mer presentation in Internationale Kurzfilmtage Oberhausen 2011 Presentation of video installation Klusā daba/Still life and Amukuason zeb in video festival MOVING BUILDINGS11, Amstelveen(NL); Presenta-tion of video Mer for R.Tiguls’composition. Commisioned by music and video festival Skaņu mežs/ Sound Forest festival; Video installation Klusā daba/Still life in the art show Just will be by students of Visual communication department, AAL; Two video installations There is no Present in the exhibition There is no time in the Turkish embassy in Latvia 2010 Video Milky Way in the video festival Home Sweet Home, Berlin, Germany 2009 Two video projections Flat in the project MOVING BUILDINGS09, Amstelveen, the Netherlands; Two video installa-tions The Way in the young Latvian artists’ exhibition, Lisbon, Portugal

Tā viņš i / That’s how it goes. 2012, video, 1’29min

VIZUĀLĀS KOMUNIKĀCIJAS APAKŠNOZARE / DEPARTMENT OF VISUAL COMMUNICATIONDarba vad. doc./Academic advisor assistant - prof. M.Ratniks

OSKARS PAVLOVSKIS

Pastāv teorētiska iespēja, ka realitāte ir daudz plašāka, tā nebeidzās ar cilvēkam redzamo un

zināmo. Ja visa sākums ir nejaušības, kas laika gaitā ir veidojušas visu ko uzskatam par reālu,

tad vismazākā novirze šajā nejaušībā varēja radīt kaut ko pilnīgi citu. Cita realitāte, paralēlā

pasaule, citas dzīvības formas, to eksistence nav noliedzama. Cilvēka prātam neaptveramais vi-

suma plašums nevar būt tik šaurs, lai tajā ietilptu tikai viena pasaule. Ar šādām atziņām saistu

savu maģistra darbu “Redzamā robeža”, kas sastāv no pieciem savstarpēji stilistiski un idejiski

saistītiem darbiem.

There is a theoretical possibility that reality is much vaster, it does not end with the known and the

visible to the human. If the beginning of everything that has been shaped over time was a random

chance, then the smallest deviation in this randomness would make it possible to create some-

thing completely different. Another reality, a parallel world, other life forms and their existence is

undeniable although not yet proven. The unfathomable vastness of the universe cannot be as nar-

row as to accommodate only one world, one reality. It is this concept that I relate to my Master’s

work “The Visible Boundary”, which consists of five stylistically and ideologically related objects.

EDUCATION2010-2012 Art Academy of Latvia (AAL), Visual Communication Department, Master’s studies, Riga 2005-2009 AAL, Visual Communication Department, Bachelor’s studies 2000-2005 Janis Rozentāls Riga Art School

SELECTED EXHIBITIONS2012 Nordicomics & Naturegraffix, comic artist group exhibition at Nabaklab, Riga; Comixiade, comic artist group exhibition at VERA-Groningen, Groningen, the Netherlands 2011 Frotē pludmalē, Ogre, Latvia 2010 Ērmi, 309. kabinets”, Valka, Latvia; New Anatomy, exhibition Fluxus Ministerija, Vilnius, Lithuania; 3 für 1, exhibition organized by KUŠ! at nextComic Festival Linz, Poland 2009 Lost in The City, exhibition of Latvian comic artists and illustrators, Riga; Lost in The City, exhibition of Latvian comic artists and illustrators, Berlin 2008 Trīs Mazās Māsas, exhibition of Baltic comic artists and illustrators, Riga 2005 Fresh Ear, young multimedia artists exhibition, Riga

1985

Nr.4. 2012, sietspiede /screen printing, 64x45 cm

VIZUĀLĀS KOMUNIKĀCIJAS APAKŠNOZARE/DEPARTMENT OF VISUAL COMMUNICATIONDarba vad./Academic advisor - prof. Jānis Murovskis

AIJA BAUMANE

Darba apjoms: 40 lpp., 10 attēli, 4 rasējumi 1:10, 3 objekti, 2 videoinstalācijas, 1 video darbs. Darba mērķis - vizualizēt tēmu „Praktiskās bailes” ar zīmēm un simboliem, virzīt rezultātu jaunā nosacītības līmenī, uzrunājot skatītāja vizuālo kompetenci un mudināt to interpretēt. Darbā tiek apskatītas smalkas baiļu nianses iracionālās kompozīcijās. Darba realizēšanas process tika vērsts uz izpēti, salīdzinājumiem, personīgās pieredzes un statistikas sintēzi. Scope of work: 40 pages, 10 images, 4 drawings 1:10, 3 objects, 2 video installations, 1 video work. The aim of the work is to visualize the theme of “Practical Fear” with signs and sym-bols to direct the results onto a new level of conditionality, addressing the viewer’s visual competence and encourage their interpretation. The work examines subtle nuances of fear in irrational compositions. The implementation process was focused on research, compari-son, synthesis of the personal experience and statistics.

EDUCATION2010-2012 Art Academy of Latvia (AAL),Visual Communication Department, Master studies, Riga 2000-2004 AAL, Visual Communication Department, Bachelor studies 1994-1998 Technology and Design, Riga Tehnical School of Light Industry

SELECTED EXHIBITIONS2011 Gardener of Feelings, Stenders Ltd, Riga 2004 Jukas, exhibition hall Arsenāls 2003 Graduates, RVRT exhibition hall 2002 Stamps, Latvia’s Central Post Office building 2001 Optiskie raksti, Museum of Decorative and Applied Art

AWARDS2012 2nd grade medal, ADwards Mastery category Illustration and Photography for the group Gaujarts CD design. Creative Excellence Festival ADwards; 1st prize in logo competition dedicated to the 20th anniversary of Israeli-Lithuanian diplomatic relations; 2011 1st prize in the category Corporate package in Art Print Award. Gaujarts CD design; 1st prize in the category Tasks for Dardedze holography. Creative Excellence Festival ADwards 2008 1st prize in the category “Corporate communications materials” in the festival MAP contemporary, MOS book of ideas

1979

Lietderīgās bailes/ Useful fear. 2012, video cilpa / video loop

VIZUĀLĀS KOMUNIKĀCIJAS APAKŠNOZARE DEPARTMENT OF VISUAL COMMUNICATIONDarba vad./Academic advisor - prof. Ojārs Pētersons

LIENE MACKUS

Šobrīd manu māksliniecisko interesi saista lokālā daba un cilvēks. Tveru sajūtas, personāžus, priekšmetus, lietas un noskaņas sev apkārt, iesaistu tās skulptūrās, tad plastilīna animācijā. Veidojot ikdienišķas, acīmredzamas un vienkāršas epizodes, jaucot tās un izdomājot, ceru nonākt pie kodiem, kas atklāj būtisko.

At the moment, my artistic interest lies in the local nature and human. I am catching feelings, characters, objects, things and atmosphere around me to integrate them in sculptures, then in plasticine animation. By daily modeling obvious and simple epi-sodes, mixing and inventing them, I hope to arrive at a code that reveals the essence.

EDUCATION2010-2012 Art Academy of Latvia (AAL), Sculpture, Master’s studies, Riga 2006-2010 AAL, Sculpture, Bachelor’s studies 2007-2008 Accademia di Belle Arte di Palermo, Italy 2002-2006 Riga School of Design and Art 1991-2002 Mālpils Secondary School

EXHIBITIONS, COMPETITIONS, FESTIVALS2012 58th International Short-film festival, Oberhausen; Film festival Video Bites 04, Berlin, Mitte; XII International Festival of Videopthamology, Spain 2011 Lion of Kabula, art group Anna Varna, Cēsis Art Festival’11, Latvia;Iron-Casting festival, Aizpute, Latvia 2010 Animation film festival Tindirindis, Vilnius, Lithuania; Colour.Line.Shape, Riga Art Space; Film festival 2ANNAS, plasticine animation Hugo; Brederlo-von Sengbusch Art Award exhibition, AAL 2009 Group exhibition, gallery Supernova, Riga; International Baltic Sand Sculpture festival Magic Sand, Jūrmala, Latvia; Autumn 2007, Willy, Riga

1984

Zināma vieta / Familiar Place 2012, kadrs no animācijas / frame from the animation

koks, stieple, plastilīns / wood, wire, plasticine, 0:30 min

TĒLNIECĪBAS APAKŠNOZARE/DEPARTMENT OF SCULPTURE Darba vad./Academic advisor - prof. A. Bikše

IVETA VILNE

Mode nav tikai audums un apģērbs. Tajā pastāv daudz plašākas iespējas, tā sevī ietver kā mākslu, tā dizainu un vēstījumu.

Fashion is not just fabric and garment. It offers a much wider scope as it comprises art, design and message.

EDUCATION2011- to date Art Academy of Latvia (AAL), Faculty of Fashion Design, Master’s studies, Riga 2010-2011 ERASMUS exchange student, Department of Fashion Design, Manchester Metropolitan University2007-2011 AAL, Faculty of Fashion Design, Bachelor’s studies 2005-2007 Preparatory Courses, AAL 2003-2005 Business School Nimfa, landscape planning 1991-2003 Riga Secondary School No.41

SELECTED FASHION SHOWS AND EXIBITIONS 2011 Participation in the young fashion designers’ exhibition Inspired by Absolut, 1st prize, category avant-garde; Curator of the exhibition Brainwash, of the works and installations by the AAL students, Department of Fashion Design; Participation in the exhibition of students’ works with a picture book Girl with a Rabbit Heart, Manchester Metropolitan University, Open Doors event; Participation in the fashion exhibition Link Gallery, Manchester Metropolitan University 2010 Participation in the students’ fashion exhibition Antwerp Mansion, Manchester Metropolitan University

1985

Meža gars / Spirit of woods. 2012, modes dizaina kolekcija / Fashion design collection

MODES DIZAINA APAKŠNOZARE/DEPARTMENT OF FASHION ARTDarba vad. doc./Academic advisor assistant - prof. Gunta Vīcupe

KRISTIĀNA KALNIŅA

Maģistra darbs „Kaleidoskops” ir tērpu kolekcija, kas sastāv no četrpadsmit tērpu komplektiem.

Šī kolekcija atklāj autora pieredzi, prasmes, iedvesmas un prieka avotus, un tā līdzinās spēlei ar

krāsu, līniju, materiāliem, tēliem un tērpu apveidiem. Tērpu audumu motīvi un apdruka ir autor-

darbs. Zīmējumi saskaņoti grafiskajā un krāsu risinājumā, tomēr neatkārtojas, raksti ir pakārtoti

tērpu piegrieztnēm. Krāsainajā un rakstiem bagātajā kolekcijā nozīmīga loma ir arī detaļu un

piegriezumu savdabībai. Prieks visās tā izpausmēs ir šīs kolekcijas galvenais ierosmes avots.

Master’s project “Kaleidoskops” (“Kaleidoscope”) is a fashion collection that consists of fourteen

sets of costumes. This collection reflects the author’s experience, skills, sources of inspiration and

joy. It is like a game with colour, lines, materials, characters and shapes of garment. Motives of

costume fabric and prints have been created by the author herself. Drawings are harmonized in

graphic and colours, however they don’t repeat, ornaments are subordinated to the pattern of

every dress. Particularity of details and original cut play a very important role in this colourful and

richly patterned fashion collection. Pleasure in all its forms is the main source of inspiration for

this work.

EDUCATION 2010-2012 Art Academy of Latvia (AAL),Department of Fashion Design, Master’s studies, Riga 2006-2010 AAL, Department of Textile Art, Bachelor’s studies 2008-2009 ERASMUS programme, Eslola Massana, Department of Textile Design, Barcelona, Spain 2001-2005 Riga Design and Art School, Department of Fashion Design, qualification: fashion designer

SELECTED EXHIBITIONS2012 The Sea of Talents – Coppice, Museum of Decorative Arts and Design, Riga; Paper Flower Cos-tumes, gallery Centre, Riga 2011 Chamber 2011, AAL; Fashion short Uncovered Entity: costumes, styling; Habitus Baltija, exhibition space Ķīpsala; Competition Design Award 2010, 2nd place, nomina-tion Surprising Felt , nominated in category New Designer of the Year 2010 Colour. Line.Shape. Riga Art Space; Lost - Found, LMS gallery, Riga; All with TC1, National Theatre of Estonia; Stare, gallery Apsīda, Riga 2009 All with TC1, gallery Apīda, Riga; Concurso international de diseno textil. Premios Ateval, Spain 2008 Wood, Germany 2007 Paper in Space, AAL; Butterfly in Close-up, Natural History Museum of Latvia; Dress for Ramona Galkina contemporary dance performance “Interspace”; Secrets of the Swan’s Life, Natural History Museum of Latvia

1986

Kaleidaskops / Kaleidoscope. 2012, modes dizaina kolekcija / Fashion design collection

MODES DIZAINA APAKŠNOZARE/DEPARTMENT OF FASHION ARTDarba vad. doc./Academic advisor assistant - prof. Gunta Vīcupe

JĀNIS VALDMANIS

Tava barotavaModulāras, interaktīvas mājputnu un trušu mītnes un tās atbalstošais pakalpojumu kopums. Modulārās mītnes ir paredzētas mājputniem un trušiem, bet pakalpoju-mu kopums- zaļi domājošiem mājputnu un trušu saimniekiem un viņu bērniem, lai ieguldītais darbs mītos ar prieku un svaigiem pārtikas produktiem katru dienu.

Your Feeding-TableModular, interactive domestic bird and rabbit homes and their supporting services unit. Modular homes are intended for domestic birds and rabbits, but the unit of services - for green-thinking farmers and their children, breeding domestic birds and rabbits and enjoying the invested labour and fresh food every day.

EDUCATION2011-2012 Art Academy of Latvia (AAL), Faculty of design and environmental arts, Department of Environmental Arts, Master’s studies, Riga 2006-2010 AAL, Faculty of design and environmental arts, Department of Environmental Arts, Bachelor’s degree 2002-2006 Riga Design and Art Secondary School, Woodwork Design programme, woodwork designer 1997-2002 Valdemārpils Secondary School 1993-1997 Lubezere Elementary School

ADDITIONAL EDUCATION 2011 Dutch Design Made in Latvia, guest lecture at the Museum of Decorative Arts and Design; Riga Art Space For the Future of the Baltic Sea, designers from Northern and Baltic countries shared their experience about specific of designers’ work and their projects in developing liable and long-lasting de-sign 2007 Northern Design Workshop II and Seminar, organised by Norden and the AAL 2006 PHARE year 2003, cross-countries’ co-operation programme, Baltic Sea region seminar Design Changes Image 2004 Seminar Options of packing, organised by the British Council

1986

Dējējvistu, pīļu un trušu kopīga mītne / Laying hen, duck and rabit common home 2012, vizualizācija / visualization, 1100 X 2750 X 1100 cm

VIDES MĀKSLAS APAKŠNOZARES/DEPARTMENT OF ENVIRONMENTAL ARTDarba vad. asoc. / Academic advisor - assoc. Prof. B. Ābele

LAIMA LAIZĀNE

Mani interesē vides un cilvēka mijiedarbība.Iznīcība un pārdabiskums. Spēle ar cilvēka sajūtām un emocijām, nojaucot realitātes un nerealitātes robežas.

I am interested in human and environment interaction. Extinction and the preter-natural. Playing with the human senses and emotions breaking down the boundaries between reality and supernaturalness

EDUCATION2012 Art Academy of Latvia (AAL), Environmental Art Department, Master’s studies, Riga 2011-2012 Burg Giebichenstein University of Art and Design (Interior Architecture) 2011 AAL, Environmental Art Department, Bachelor’s studies 2009-2010 Berlin University of the Arts (UDK), Industrial design 2002-2006 Design and Art School of Riga, Metal Design Department 1992-2002 Riga Waldorf School

TRAINING2010 Video, Audio and Light course by Thomass Kutscher, Berlin University of the Arts 2009 Pho-tography course by Andreas Velten, Berlin University of the Arts

SELECTED EXHIBITIONS AND AWARDS2012 Cube of Illusion, Interior project at the Burg Giebichenstein University of Art and Design, Halle, DE 2011 Installation Light strings, BA Diploma exhibition, AAL; Design Launching Pad, competition finalist; VI collection Little steed, creative festival ADWARDS 2011, finalist, industrial design; Pre-sentation of the installation Light strings, PechaKucha vol.15, the club Nabaklab, Riga; Participation at the exhibition Still Resort, Liepāja, Planning for the Beach Park in Liepāja and the collection Little Steed, PechaKucha Night vol.14 presentation 2010 Participation at the light festival Staro Rīga, light installation Aquarium; Berlin scholarship (EVZ), social and exhibition project Roma in Motion - Roma in Berlin; Participation at 6th Berlin Biennial Contemporary Art Institute (Art in Context), Berlin UDK; Long Science Night 2010, Humboldt University of Berlin; Southwest European Culture Centrum, Berlin; Snapshot UDK 2010 TRANS, INTER & CO – DMY, International Design Festival Berlin Making of, project Knotted Stool; Project Light Ceiling, annual exhibition, Berlin University of the Arts

1986

Saldūdens / Freshwater. 2012, kadrs no īsfilmas / frame from shortfilm

VIDES MĀKSLAS APAKŠNOZARES/DEPARTMENT OF ENVIRONMENTAL ARTDarba vad. asoc./Academic advisor - assoc. Prof. O.Tilbergs

REINIS DZUDZILO

Šobrīd aktīvi sanāk strādāt profesijā - scenogrāfs. Tūlīt (25. Maijā) notiks latviešu kla-sikas Blaumaņa indrānu pirmizrāde Rīgas Krievu teātrī. Nākamais projekts Šekspīra “Makbets” Andrejsalā, kā turpinājums ciklam, ko iesāku ar izrādi “HEDA”, kas bija mans akadēmijas bakalaura darbs. Pēc Šekspīra atgriežos atkal pie Blaumaņa “Purva Bridēja” Latvijas Nacionālajā teātrī”. Strādājot pie visām izrādēm domāju par izvirzīto maģistra darba uzdevumu - “skatītājs kā lielākais pārdzīvotājs”.

Now has the possibility to work actively in the profession - stage designer. Soon on the 25th of May Latvian classics Blaumana play Indrāni premiere will take place in Riga Russian Theatre. The next project - Shakespeare’s Macbeth in Andrejsala is as a con-tinuation of the cycle, which started with the performance HEDA which was my thesis. After Shakespeare comes again Blaumanis with Purva bridējs in Latvian National The-atre. All these works have been made connected with my master’s thesis - spectator – the biggest experiencer.

EDUCATION2011 Art Academy of Latvia (AAL), Faculty of audiovisual and media art, stage design, Master’s studies, Riga 2007-2011 AAL, Faculty of audiovisual and media art, stage design, Bachelor’s studies 2003-2007 Janis Rozentāls Riga Arts School, 1994-2003 Cesis City Grammar School

PERFORMANCES2012 Macbeth, set designer, dir. E. Senkovs, Andrejosta (in process); Indrani, stage designer, dir. E. Senkovs, Mikhail Chekhov Riga Russian Theatre (in process); Performance end, stage designer, dir. E. Senkovs, The Latvian National Theatre 2011 HEDA, stage designer, dir. E. Senkovs and J. Djakonovs, Andrejosta; Granonka, stage designer, lights, dir. E. Senkovs, Mikhail Chekhov Riga Russian Theatre 2010 Our body, stage designer, costumes and lights, dir. E. Senkovs, E. Smilga Theatre Museum; Confession, stage designer, costumes and lights, dir. E. Senkovs, Dirty Deal Teatro; Jan’s uncle, stage designer, dir. Mara Kimele, the New Riga Theatre 2009 Still life, stage designer, costumes and lights, dir. E. Senkovs, Dirty Deal Teatro

SELECTED EXHIBITIONS2011 students group exibition in Prague Quadrennial of Performance Design and Space 2010 Switches, Riga Art Space, ART-mind, Cēsis Exhibition Building

1987

Indrāni Scenogrāfija / Stage design 2012, Rūdolfa Blaumaņa luga/ Rūdolfa Blaumana play

režisors/ director Elmārs Seņkovs Mihaila Čehova Rīgas Krievu teātrī /Mikhail Chekhov Riga Russian Theatre

SCENOGRĀFIJAS APAKŠNOZARE/DEPARTMENT OF SCENOGRAPHYDarba vad./Academic advisor - prof. A.Freibergs

Coordination Laura OzolaDesign Ingus EisaksTranslation Rasma Mozere

Art Academy of LatviaKalpaka bulvāris 13/ Rīga. LV-1867www.lma.lv

Buklets tiek finansēts no projekta „Atbalsts Latvijas Mākslas akadēmijas maģistra studiju programmas īstenošanai” Nr.2009/0150/1DP/1.1.2.1.1/09/IPIA/VIAA/009 un „Atbalsts Latvijas Mākslas akadēmijas maģistra studiju programmas īstenošanai – otrā kārta” Nr. 2011/0017/1DP/1.1.2.1.1/11/IPIA/VIAA/006

Izmantota studentu sniegtā informācija un fotogrāfijas no personīgā arhīva.Pārpublicēšanas gadījumā izdevēja atļauja obligāta.

The booklet is funded by the project „Support for the Master’s Programme of the Art Academy of Latvia” Nr.2009/0150/1DP/1.1.2.1.1/09/IPIA/VIAA/009 and „Sup-port for the Master’s Programme of the Art Academy of Latvia: second round” Nr. 2011/0017/1DP/1.1.2.1.1/11/IPIA/VIAA/006

The information and photos used are from personal archives of the students.No part of this work may be reproduced or utilize in any way by any means without the prior written permition of Publisher.

Projektu līdzfinansē Eiropas Sociālais fonds

2012

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