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5

2007. gadå Latvijas kultürå tika pabeigts pamatîgs darbs –

savulaik filozofiju studéjußais publicists, ce¬otåjs un redaktors,

viens no retajiem latvießu intelektuå¬iem Uldis Tîrons no

krievu valodas uz latvießu valodu pårtulkoja Venedikta Jerofe-

jeva romånu Maskava–Gailîßi.1 Òaudis, kuri lasîjußi ßo romånu

tålajos 80. gados, atceras, ka to sauc Moskva–Petußki.

Jau virsraksts paråda, ka latviskots var tikt daudz kas, pat

vietvårds, kas ir acîmredzams absurds. Iedomåsimies latvießu

ciematu Ozolnieki, kurß, runåjot par to krievu valodå, tiktu

nosaukts par Dubovki! Vai Skrîveri tiktu nosaukti par Pisaki!

Lai veiktu ce¬ojumu laikå, kurß kådam var ß˚ist

aizvésturisks, jo runa ir par padomju laiku, ßodien ir

nepiecießams tulkojums. Iespéjams, ka ßîs izstådes jaunajiem

måksliniekiem tå Aizspogulija, kurå savulaik bija jådzîvo, ir

tikpat sveßa kå ßodienas Indija vai Malaizija. Garîgais attålums

no Rîgas lîdz Maskavai jaunam cilvékam, kura ce¬ojumu

galapunkti bijußi Venécija, Berlîne, Kasele utt., ir kå no Rîgas

lîdz Kualalumpurai.

Jaunießi tå varétu uzskatît, ja vien telpa, kurå vél arvien

fiziski un garîgi dzîvojam, nebütu nosaucama par “postpa-

domju”. Pat ja latvießu jaunais måkslinieks neko nevélas

dzirdét par padomju alkoholizéto pelécîbu vai sadzîviskajåm

un ideolo©iskajåm cücîbåm, kuras tik kråßñi valodå ietérpis

Jerofejevs, – pat tad müsu apkårtné vél arvien nav izklîdis

tvans, kurß saindéja gan ¬auΩu dvéseles, gan plaßåku dzîves

telpu. Neviena modernå tirgzinîba, neviens lielveikals vai

seriåls, draugi, térpi, kafejnîcas, stilîgs dzîvoklis vai maßîna,

slépoßana Austrijå, gråmatas vai paßa veidota raΩotne nevar

pilnîbå attîrît paaudzém tîråmo dzîves un dvése¬u telpu.

Arî måksla nav nekåda “˚îmiskå tîrîtava”.

Tie, kas esam rosinåjußi ßo izstådi – politi˚i, arî izståΩu

nama vadîtåjs Leonîds BaΩanovs, kurß tagad ir piepulcéjies

topoßå Latvijas Laikmetîgås måkslas muzeja starptautisko

ekspertu nelielajam lokam, izstådes kurators, latvießu

måkslinieks Ojårs Pétersons – més nevaram kå nebijußu

“nokratît nost” pieredzi, kas veidojås tad, kad Padomju

Latvija atradås Padomju Savienîbå. Kad brauciens no

Maskavas uz Rîgu bija brauciens “na zapad”. Vél arvien

notiek ßådi braucieni uz “naßa Jurmala”.

Íîs pieredzes sekas nav tikai virtuålas. Tås sastopam ik uz

so¬a, ja atminamies valsti un sabiedrîbu, kurå ne tikai nebija

Laikmetîgås måkslas muzeja, ne tikai nebija “normålas”

starptautiskas izståΩu aprites, bet trüka pat elementåras

informåcijas par måkslas norisém tålajos, “zaigojoßajos”

Rietumos. Padomju tvans tå ir saindéjis ¬auΩu pråtus, ka

vairåku paaudΩu cilvéki Latvijå uzskata, ka dzîve bez

Laikmetîgås måkslas muzeja ir normålåka nekå dzîve ar to.

Tas, iespéjams, nav påråk veiksmîgs vispårinåjums, taçu ßo

pårspriedumu kontekstå tas ß˚iet visuzskatåmåkais.

Més varam iztélé mest tematisku loku, lai iezîmétu

koordinåtes ßai Latvijas izstådei Maskavas Nacionålajå

Laikmetîgås måkslas centrå. Kådé¬ tas jådara? Skaidrîbai –,

pieméram, lai pårtulkotu to, kas tulkojams, jo citådi pat

vienas izstådes dalîbnieki sazinås kå caur stiklu. Tad ir citi,

“tur årå”, kas kaut vai ziñkårîbas dzîti grib pietuvoties

måkslas darbam; tad tie, iespéjams, pékßñi sajüt papildus

nepiecießamîbu iedzi¬inåties tå véstîjumå, tad såk domåt par

daudziem måkslas darbiem kopå – izstådé vai muzejå. Tådiem

¬audîm vienå brîdî såk izzîméties tas, ko sauc par kontekstu.

Jo vairåk skaidrîbas par to, jo vieglåk kliedét vismaz to

postpadomju tvanu, kurß daudziem jau ß˚iet zudis.

Ja negribas steidzinåt vésturi, nekas nav jåkliedé. Taçu, ja

vélas kaut ko uzbüvét, pieméram, Laikmetîgås måkslas

muzeju, ir jåpiestrådå, un ne tikai kå rietumnieciskam

mårketinga speciålistam. Jåbüvé ir tad, ja ir Ωélums pret

bérniem, kuriem jåaug postpadomju nolemtîbå, bet ßis

Ωélums nav iepotéjams ar starptautiskå biznesa metodém.

Katram domåt griboßam cilvékam attieksme pret pagåtni

caurvij tagadni, bet patosi ir daΩådi. Ir viens, ko 1990. gadå

mirußais padomju gruzînu filozofs Merabs Mamardaßvili ir

Maskava–Andrejsala. 1980.–2008.

Ce¬ß uz Laikmetîgås måkslas muzeju

Heléna Demakova

76

Grüti iedomåties, cik våjam jåbüt cilvékam, lai tikai oficiålå

izglîtîbas sistéma un institucionålå måkslas vide veidotu viñu

par måkslinieku. Ar måksliniekiem padomju un postpadomju

vidé nemaz nav bijis tik våji. 70. gados Padomju Latvijå radås

un, galvenais, îstenojås lieli talanti (M. Polis, B. Vasi¬evskis,

I. Lancmanis, I. Blumbergs un citi), arî 80. un 90. gadi nav

bijußi måkslås apdalîti.

Més ßodien atß˚iramies no Maskavas måkslas vides ar to,

ka mazå valstî ir vienkårßi skaitliski mazåk måkslås sapråtîgu

un izglîtotu cilvéku. Uz tås ass, kas bija daudzkårt aktîvåka

par Rîgas–Maskavas asi padomju laikå, proti, Tallinas–

Maskavas ass, skaidri saprata un arî vårdos spéja formulét to,

ko daudzkårt privåtås sarunås uzsvéris ievérojamais måkslas

teoréti˚is Ants Juske: “Padomju laikå bija tikai trîs iespéjas –

sociålistiskais reålisms, salons un avangards.”

Postpadomju sekas ir smagi skårußas Latvijas vidusß˚iru.

Cik ir to årstu, advokåtu, uzñéméju, politi˚u, filozofu,

spekulantu, kam pieticis paßdisciplînas, lai iedzi¬inåtos

sareΩ©îtås müsdienu literatüras, müzikas, teåtra, kino un

vizuålås måkslas parådîbås? Es pazîstu tikai vienu tådu

cilvéku, kurß sistemåtiskå darbå jau nobriedußå vecumå

desmit gados spéjis pårvarét postpadomju inerci un

paßapmierinåtîbu, kas raksturo visus tos, kas salonu – kas

pats par sevi nav nekas ¬auns, vél vairåk – ir jauka dzîves

komforta saståvda¬a – pielîdzina tai laikmetîgajai måkslai, par

kuru intereséjas nopietni skatîtåji un nopietni starptautiski

laikmetîgås måkslas muzeju speciålisti.

Íis vienîgais cilvéks, nosauksim viñu par K., bieΩi runå par

måkslas darbu Ozols, kuru viñß redzéjis Tate Modern. Ozols ir

augstu pie sienas piestiprinåts plauktiñß, uz kura atrodas

piepildîta üdens glåze. Darbu papildina apraksts: “Kaut arî tas

izskatås péc üdens glåzes uz plaukta, måkslinieks apgalvo, ka

patiesîbå tas ir ozols. Krega-Mårtina apgalvojums vérßas pie

mums ar bütiskiem jautåjumiem par to, ko més saprotam ar

måkslu, un par müsu ticîbu måkslinieka spéjåm. Íis måkslas

darbs var tikt aplükots kå pétîjums par Marsela Dißåna uzstådî-

jumu, ka jebkurß ikdieniß˚s objekts var tikt atzîts par måkslas

darbu. Darba anotåcijå Kregs-Mårtins gan izvirza jautåjumus,

gan sniedz atbildes, pie¬aujot to, ka pret måkslas pårveidojoßo

spéku vienlaikus var paust gan skepsi, gan uzticéßanos.”8

Vairåk tådus cilvékus årpus måkslas vides Latvijå man nav

nåcies sastapt. Tas Bildungbuergertum9, kas Rietumos brauc

uz Kaseles documenta vai Venécijas biennålém, Latvijå vél îsti

nav izveidojies. Måksla maz izglîtotajai vidusß˚irai Latvijå ir

tikai glezniecîba, piedevåm iespéjami kråßña, estetizéta,

“interesanta”10.

Vairåkums Latvijas vietéjå hierarhijå izcelto gleznotåju

nevienu Rietumu Laikmetîgås måkslas muzeju neinteresé.

Nevar noliegt, ka müsu glezniecîbai ir nopietna tradîcija, tå ir

¬oti labs pamats måkslinieku akadémiskås izglîtîbas iegüßanai.

Taçu ßî glezniecîba, ar retiem izñémumiem, attîstîjusies

slégtå, pat iekapsulétå sabiedrîbå un tås valodu noteikusi

savdabîga postimpresionistiska noskaña, kuru piekopa daudzi

latvießu gleznotåji un kura neapßaubåmi bija “progresîvåka”

par 1940. gadå no Maskavas Latvijå ieviesto kokaino,

ståstoßo sociålistisko reålismu. Un tomér latvießu profesors

Eduards K¬aviñß jau 90. gadu vidü ir rakstîjis par

“postimpresionistiskajåm banalitåtém un müsdienu vietéjo

autoritåßu virtuozo dekoratîvismu”.11

Arî ßajå postimpresionistiskajå tradîcijå ir daudzi labi

meistari, taçu nevajadzétu izvairîties no nopietnå jautåjuma,

cik lielå mérå viñi virzîjußi uz priekßu måkslu un izpratni par

to, vai arî vienkårßi nodevußies lîniju un kråsu jaukumam.

1951. gadå ievérojamais gleznotåjs Ûans Dibifé (1901–1985)

savå lekcijå Çikågas Måkslas institütå sacîja: “Es neuzskatu ßo

funkciju – kråsu izvietoßanu jaukos salikumos – par îpaßi

cildenu. Ja glezniecîbas jéga bütu tikai ßåda, es nekad nebütu

veltîjis ßai nodarbei ne stundu no sava laika.”12

Maskavas profesionålå måkslas vide un arî skatîtåji

pårliecinåjås par vienu vérå ñemamu müsu glezniecîbas

saucis par “manu nepiedodoßo atmiñu”2. Kad pieminétais

latvießu filozofs Uldis Tîrons viñam vaicåja: “Bet kå tu, Merab,

izdzîvoji tajå laikå?” – viñß atbildéja: “Tådé¬, ka esmu gruzîns.”3

Íî ir viena iespéja, viens koordinåtu apraksts.

Cits patoss izspéléts izcilå latvießu teåtra reΩisora Alvja

Hermaña 2007. gada iestudéjumå bez vårdiem Klusuma skañas.

Trîs stundu garumå skan tikai Saimona un Garfunkela müzika

no koncerta, kurß 60. gados nekad nenotika Rîgå, jo nevaréja

notikt. Komunålajå dzîvoklî jauni cilvéki etîΩu formå izspélé

savu dzîvi, kura visos laikos, visås iekårtås ir pilna mîlestîbas,

greizsirdîbas, sirsnîbas, gråmatu, bérnu, rota¬u, apdullinå-

ßanås, radoßa darba. Bet tajå iekårtå ik pa brîdim bailes bija

îpaßi spalgas, jo tås bija ideolo©iski radîtas, iebiedétas

sabiedrîbas bailes. Tås uzplaiksnîja, un tad cilvéki tås iestüma

atmiñu kambaros. Bailes izrådé, gluΩi kå toreiz dzîvé, bija

marginålas. Tu klausies Rietumu müziku un tevi var “pañemt

ciet”, un tajå brîdî tev bail paßam no savas énas. Tomér

cilvéciskais siltums ieΩüΩo spécîgåk, nekå to spéj izårdît bailes.

Arî tåda ir iespéja, viens koordinåtu apraksts.

Tådé¬ (ne jau tikai profesionålås varéßanas dé¬) topoßå

Latvijas Laikmetîgås måkslas muzeja starptautiskajai ekspertu

komisijai4 pievienoties ir aicinåts Maskavas Nacionålå

Laikmetîgås måkslas centra vadîtåjs Leonîds BaΩanovs.

Un tad vél ir profesionålås koordinåtes – tås, kuras veidojußas

izstådes dalîbniekus.

Måkslas vide

Izståde aptver trîs paaudΩu latvießu måksliniekus – no “senio-

riem” piecdesmitgadniekiem lîdz jaunajai Maijai Kurßevai.

Vecåkie – Andris BreΩe, Ojårs Pétersons, Leonards Laganovskis

ir piedzîvojußi, kå padomju laika cenzüra – né, tas skan påråk

abstrakti!, tå bija saujiña iebiedétu Maskavas un vietéjås

komunistiskås partijas centrålkomitejas darboñu – slédza viñu

izstådes 1984. un 1985. gadå. Vélåk ßie paßi slédzéji pårtapa

pårbüves “gaißajos5 spékos”, un varbüt labi, ka tå.

80. gadu såkumå vairåki müsu måkslinieki, kurus tå laika

valodå varétu saukt par “progresîviem”, zinåmå mérå bija

saistîti ar Maskavu. Tie, kuri beidzot pieredzéja “brîvlaißanu”,

tåtad iespéju 80. gadu nogalé doties uz Rietumiem un savu

måkslu izstådît netraucéti, naudu pelnîja Maskavå.

80. gadu såkumå “latvießu avangarda” pårståvji (tå viñus

nodévéja daΩi pazîstami Rietumberlînes måkslas kriti˚i6)

strådåja un labi pelnîja, noforméjot Vissavienîbas Tautas

saimniecîbas sasniegumu izstådi VDNH 7. (Interesanti, lai gan

pilnîgi citå kontekstå, ka izstådi, kas tagad no padomju

sasniegumu lielå skatloga pårtapusi par lielveikalu virkni,

savulaik un arî tagad vainago slavenå Veras Muhinas milzu

bronzas skulptüra Strådnieks un kolhozniece, arî Mosfi¬m

studijas oficiålais zîmols. Tas ir zîmîgi tådé¬, ka Latvijas

kultürtelpå paståv îsti neverificéjams mîts par to, ka

pazîstamå télniece Sta¬ina laikos esot glåbusi no iznîcinåßanas

latvießu lielåko svétumu – Kår¬a Zåles veidoto, 1935. gadå

atklåto Brîvîbas pieminekli, kuru rotå uzraksts Tévzemei un

brîvîbai. Pieminek¬a un uzraksta paståvéßana visus padomju

gadus ir sava veida vésturiska neiespéjamîba. Pati Muhina

célusies no turîgas Rîgas tirgotåju dzimtas.)

Daudzi mîti par tålaika Maskavas nonkonformistisko vidi

îsti nedarbojas ßo müsu måkslinieku uztveré, jo viñi bija

pazîstami ar daudziem Maskavas kolé©iem. Svarîgi

atceréties – lai kådi Ωurnåli vai gråmatas tolaik bija pieejami

par starptautiskajåm måkslas norisém, tås bija informåcijas

druskas gan Rîgå, gan Maskavå. Tå bija slégta tipa

sabiedrîba, kurå bija daudz gudru, talantîgu, radoßu un

droßu, taçu no brîvås pasaules noß˚irtu cilvéku. Doma,

iespéjams, spéj pårvarét jebkuras robeΩas, taçu laikmetîgajai

vizuålajai måkslai ir nepiecießama skatîtåja klåtbütne un tå,

kopß 20. gadsimta såkuma klasiskå modernisma

stråvojumiem Parîzé, Berlîné, Diseldorfå, Minhené un citur, ir

bijusi starptautiska parådîba.

98

Demokråtiskå sabiedrîbå nav tik bütiski, cik kuram domas

brîvas vai måksla kvalitatîva. Taçu kultürpolitiski ir svarîgi

nepie¬aut våju, starptautiski neinteresantu muzeju, un laikus

ir jåidentificé ßådi provinciålisma draudi.

Andrejsala ir ßodienas Rîgas måkslas visaktîvåkå agora, tå

vél pagaidåm nav provinciåla, un metaforiski tießi no turienes

vilciens ir devies uz Maskavas izstådi.

Andrejsala un andrejsaließi

Jaunie cilvéki, kas piedalås izstådé Maskavå, iespéjams, nekad

nav Andrejsalå izstådîjußi savus darbus, taçu jaunås måkslas

gaisotne no Andrejsalas izplatås uz citåm Rîgas

institucionålåm un neinstitucionålåm måkslas ßünåm un

iestådém. Andrejsala pati ir sañémusi impulsus no visåm

iespéjamåm ßünåm, taçu tagad to måkslinieciski veido tå

saucamie andrejsaließi. Redzamåkås ir daudzu måkslinieku

apvienîbu rîkotås izstådes (pieméram, Laikmetîgås måkslas

centrs telpå ‰dnîca), izrådes (umka.lv), dzejas lasîjumi un

video demonstréjumi (Orbîta), jaunås, eksperimentålås

müzikas koncerti (Skañu meΩs), îsfilmu demonstréjumi

(Futureshorts), pat måkslinieku hostelis Singalonga utt.

Andrejsalå virmo radoßs un eksperimentåls gars, taçu visi

zina, ka tas ir îslaicîgi, tas viss te turpinåsies vél tikai daΩus

gadus. Tad ßî industriålå teritorija tiks apbüvéta, te ienåks

lielå nauda – investîcijas. Topoßå muzeja vieta ir zinåma,

måkslinieku “kolonijåm” büs jådodas citur.

2005. gada rudenî Latvijas presé bija lasåms: “Visskaiståkå

Andrejsalå ir üdensmala un jaunie cilvéki, kas to apmeklé.

Var apgalvot, ka tießi te îså laikå izveidojies jauns

antropolo©iskais tips, kas nedaudz vîzdegunîgi uzskata: “Ja

tu neapmeklé Andrejsalas pasåkumus, tad tu neapmeklé

vispår neko vai arî esi pilnîga séne!””16

Ío jaunießu vecums ir apméram no 16 lîdz 35 gadiem, viñi

regulåri apmeklé Andrejsalas kultüras un måkslas pasåkumus

vai arî paßi ir ßo pasåkumu organizétåji. Viñu pasåkumiem

nav elitårs, drîzåk masveida raksturs, lîdz ar to runa ir par

samérå plaßu pilsétas jaunå cilvéka tipu.

Andrejsalietis ir jauna parådîba, kurß sociålås dzîves

“virspusé” ir parådîjies, pateicoties ßai konkrétajai vietai un

laikam. Andrejsala, üdensmala aiz Rîgas pasaΩieru ostas, ilgu

laiku bija tå saucamå “slégtå industriålå” zona. Kopß 2006.

gada 18. maija, Starptautiskås muzeju dienas, to oficiåli

apdzîvo måkslinieku grupas, kuråm iespéju bez îres maksas

izmantot ßîs teritorijas ékas un vidi uz laiku devis teritorijas

attîstîtåjs Jaunrîgas attîstîbas uzñémums (turpmåk – JAU).

Praktiski visas ßîs måkslinieku apvienîbas vai måkslinieciskås

iniciatîvas ir paståvéjußas arî agråk, Andrejsala tåm pieß˚îrusi

koncentrétu non-stop raksturu.

Nosacîtais antropolo©iskais tips andrejsalietis izriet no

urbånås uzvedîbas formåm, sava veida jaunießu subkultüras.

Andrejsaließus raksturo visai ekstravagants un neformåls

©érbßanås, runas un pat Ωestikulåcijas stils, krasi atß˚irîgs no

citådi “progresîvo” cilvéku, pieméram, jauno, veiksmîgo, bet

“klasisko” uzñéméju, mårketinga un komunikåciju

speciålistu dzîvesstila.

Tomér andrejsaließus neraksturo tikai un vienîgi dzîvesstils

(jåteic, daudziem andrejsaließiem ir pietiekami paßu vai

vecåku ienåkumi, ßai videi nav raksturîgs trükums); tikpat

svarîgas ir ßai subkultürai piemîtoßås simboliskås formas un

uzvedîbu noteicoßås ideolo©ijas.17

Lüdzu divas jaunietes, andrejsalietes, aprakstît nosacîto

jauno andrejsaließa tipu:

“Manupråt, ir ¬oti grüti definét tådu Andrejsalas “tipåΩu”,

jo tas ßobrîd ir tikai tapßanas stadijå. Lîdz ar to sniegt kådu

konkrétu raksturojumu pagaidåm nav iespéjams. Andrejsalas

viesu saraksts ir ¬oti daudzveidîgs, bet es domåju, ka visus

Andrejsalas apmeklétåjus vieno trîs komponenti – müsdie-

nîgums, aizrautîba un radoßums. Manupråt, tie ir cilvéki, kas

nogurußi no vienveidîbas un noslégtîbas. Tådi, kas meklé sev

ß˚autni paßå padomju varas beigu periodå – vienas Padomju

Latvijas gleznotåju paaudzes lielå izstådé Posttradicionålisms

1989. gadå Maskavas Centrålajå måkslinieku namå (CDH).

Tur lielformåta darbos Jånis Mitrévics, Ieva Iltnere, Dace Lielå,

Edgars Vérpe, Sandra Krastiña un citi13 parådîja Perestroikas

laika iedroßinåßanos, vismaz Ωesta varenîbas ziñå.

Salîdzinot divas latvießu måkslas izstådes, kas notika

gandrîz vienlaicîgi, proti, jau pieminéto Posttradicionålismu

Maskavå un izstådi Rîga – latvießu avangards 1988. gadå

Rietumberlîné, jåsecina, ka pédéjå vairåk atbilda

daudzveidîbai un müsdienîgumam, ko jau tad spéja radît

latvießu måksla.

80. gadu beigås Latvijå lîdzas lielformåta glezniecîbas

darbiem uzplauka ne mazåk konceptuåla un sociåli orientéta

måksla kå tolaik Maskavå. O¬egs Tillbergs tolaik radîja instalå-

cijas, kurås padomju ideolo©ijas zîmes, iek¬autas télainås

telpiskås struktürås, veidoja jaunas, daudzplåkßñainas nozîmes;

pieméram, tåds ir darbs Aurora (katram kårtîgam padomju

pilsonim pazîstams kara ku©is – kreiseris, no kura Péterburgå

tika raidîta pirmå zalve, såkot tå saucamo Oktobra revolüciju

1917. gadå), kurå milzu va¬a kaulu balstîja pionieru karodziñi.

Lîdzîgi pårdomåtus konceptuålus darbus veidoja Leonards

Laganovskis zîméjumu un objektu sérijås, Andris BreΩe, Juris

Putråms un Ojårs Pétersons lielformåta sietspiedés un

instalåcijås. Multimediju patriarhi Hardijs Lediñß un Juris

Boiko jau 80. gadu såkumå izvérsås ar video un foto

inscenéjumiem, kå arî skañu eksperimentiem.

Lai cik vareni justos uzñéméji vai politi˚i, kuri par

laikmetîgo måkslu sprieΩ tikai péc bildém, ko pakarina savå

miteklî vai birojå pie sienas vai ieliek savu banku seifos,

måksla, paldies Dievam un müsu progresîvajai izglîtîbas

sistémai Jaña Rozentåla Måkslas skolå, Rîgas Dizaina un

måkslas koledΩå un Latvijas Måkslas akadémijå, (arî) Latvijå ir

daudz kas vairåk nekå tikai naudas izteiksmé un fiziskajås,

“pakaramajås” vienîbås izméråms kapitålisma aktîvs. Tå ir

daudz kas vairåk par estétisku un emocionålu vienîbu

humanitåri nesistemåtiski izglîtotu ¬auΩu labsajütå. Kas tå îsti

ir un ar ko îsti nodarbojas tie måkslinieki, kurus interesé pati

måksla lîdz tås galéji iespéjamajåm robeΩåm, nav citådi

atbildams jautåjums, kå vien pårlükojot visu Latvijas måkslas

raΩu, ne tikai kåda viena medija sasniegumus.

Postpadomju vidusß˚iras pårståvji, kuri neiegulda darbu

paßizglîtîbå, nespéj saprast to nepiecießamo jégas nobîdi, kas

raksturo ne-salonu un par kuru latvießu filozofs Jånis Taurens

teicis sekojoßo: “Måkslas darbs ir kå Vilhelma Tella bulta,

kura nomér˚éta uz puisénam – skatîtåjam, kuram jåsaprot

bultas lidojuma virziens, – blakus nokritußo åbolu. Tå bütu

metafora. Citiem vårdiem sakot, jaunås måkslas – kura kå

savu materiålu var izmantot attélu, zîmi, priekßmetu, tekstu,

darbîbu, skañu utt. – valodas nozîmés ietverta nobîde no

apkårtéjås pasaules jégveidojumiem. Íai nobîdei raksturîgi, ka

tå ir neliela, neuzkrîtoßa, bet tråpîga (tå pavésta mums kaut

ko bütisku, kas pasakåms tikai ar måkslu).”14

Kåds gan tam visam sakars ar latvießu måkslinieku, îpaßi,

jauno måkslinieku?

Tam visam ir sakars ar tiem måksliniekiem, kuri vél

veidosies, un ar tiem, kuri no tagadéjiem izß˚irsies palikt vai

nepalikt “pie måkslas”. Måkslas vides (art scene) fenomens

nav otrß˚irîgs apståklis, kad cilvéks pieñem lémumu sevi veltît

tik neprognozéjamai nodarbei kå måksla. Nåkotnes måkslas

vidi nevarés neietekmét topoßå Laikmetîgås måkslas muzeja

Andrejsalå veidols un saturs. Ståsts par tagadni un par

utopiju laikmetîgajå latvießu måkslå lielå mérå ir ståsts par

Andrejsalu. Jau pieminétais Merabs Mamardaßvili reiz sacîja,

ka “daΩas (un acîmredzot cilvékam visbütiskåkås) domas spéj

dzimt tikai agorås…”15 Provinciåla postpadomju agora, kurå

lémumus pieñem tikai un vienîgi salonisma pielüdzéji, nevar

sekmét cilvékam visbütiskåkås domas. Tießi tådé¬ likås svarîgi

iepriekßéjås rindås runåt par to, ka postpadomju gaisotne

stindzina – brîvu domu un måkslu.

1110

tas ir tikai jégpilnåks laika pavadîßanas piedåvåjums ©imeném

ar bérniem (alternatîva garajåm stundåm lielveikalos)? Vai tå

ir tikai nodeva vietéjai måkslas videi vai, kå saka måkslas

zinåtniece Laima Slava: “Es ¬oti ceru uz jauno paaudzi, kas

izaugusi paßreizéjå informatîvajå laukå, kurai jau såkotnéji

visa pasaule ir va¬å, taçu skaidri apzinos, ka tießi viñiem kå

nevienam pietrükst Laikmetîgås måkslas muzeja, kas tießi

Latvijas måkslas nesenås parådîbas vésturiski un jédzieniski

noliktu savås vietås, kur bütu iespéja apjégt kontekstu un –

galu galå – tås iepazît ori©inålos. (..) Vértîbu mérauklas,

atskaites punktu rådîtåja loma ir neatñemama ¬oti gaidîtå

Laikmetîgås måkslas muzeja eksistences da¬a.”22

Vai Laikmetîgås måkslas muzejs ir tikai nepiecießamais

labums türisma industrijas attîstîbai, tådéjådi vairojot

turîgåku un izglîtotåku Rîgas apmeklétåju skaitu (tå saucamos

“kongresu türistus”) iepretim galvaspilsétas viesu sekstüristu

kuplajam skaitam? Vai tå ir tikai tolerances vairoßanas vieta,

jo Laikmetîgås måkslas muzejs, ja vien tas nav pak¬auts pilnîgi

aprobeΩotiem un banåliem ¬audîm, tomér ar savu véstîjumu

vairo iecietîbu pret citådo – pret etniski, seksuåli, reli©iski,

kulturåli citådo?

Tås visas ir ¬oti sociåli svarîgas muzeja darbîbas ß˚autnes.

Tomér jau tad, kad Kultüras ministrijå såkåm zîmét pirmås

jaunå muzeja aprises, starptautiskajai ekspertu komisijai

centos uzburt savu vîziju par muzeju, kas nav tießi

pragmatiska:

“Muzejs büs måcîßanås un tikßanås telpa caur kontekstu

un diskusijåm.

Muzejs pirmkårt ir muzejs – vieta, kurå kolekcioné un

izståda måkslas darbus. Taçu müsdienu Rietumu civilizåcijå

“tîrås” atmiñas uzglabåßana, koncentréjot måkslas darbus

kådå vietå, vairs nav tik viennozîmîga. Atmiñu ietekmé

ßodiena, bet pagåtni ietekmé tagadne un nåkotne. Katrs labs

måkslas darbs k¬üst par tagadnes reprezentantu, nevis

pagåtnes informåcijas neséju.

Tådéjådi kolekcija un tås izstådîßana nenozîmé vairs lineåri

tapußu darbu atrådîßanu, bet gan kontekstuåli iekråsotu

véstîjumu kopumu, pie tam konteksts nemitîgi mainås.

Nevarot izvairîties no masu sabiedrîbas spiedoga, kurå

galvenais nav vis ziña, bet tås radîtais viedoklis, topoßajam

muzejam vismaz vienå ziñå ir jåk¬üst revolucionåram – katru

gadu büs nevis nemitîgi jåtransformé digitålu vai citu

informåcijas neséju tehnolo©ijas, bet gan jånodroßina

informåcijas saglabåßana. (Pieméram, Ginta Gabråna måkslas

darbs Starix nevar büt tikai VHS formåta nemitîga transfor-

méßana, bet visu kontekstuålo komponentu informatîva

saglabåßana cauri paaudzém un jauniem kontekstiem).

Muzeja virsuzdevums ir cîña ar globålo ciematu – uzce¬ot

muzeju ûjorkå, no globålå ciemata efekta tiek pasargåta,

pieméram, Rîga. Uzce¬ot muzeju Rîgå, no provinciålisma tiek

pasargåta arî ûjorka. Ja neveido izcilus muzejus, viss k¬üst

par globålo ciemu.

Muzejam jåtop par dubultu måcîbu iestådi:

Muzeja pusamfiteåtra konferençu zåle reizé kalpo par

nopietnu måcîbu telpu skolåm un augstskolåm, kurå notiks

arî stundas un lekcijas par muzejå uzkråto, pirmo pasaulé

pilnîgo WEB måkslas un to pavadoßo fenomenu kolekciju;

Par måcîbu lîdzekli skoléniem, studentiem un ikvienam

apmeklétåjam kalpo pati éka, kurå vértîgs industriålais

mantojums apvienots ar modernu arhitektonisko domåßanu –

tå büs izcili fleksibla artefaktu, måcîbu, domåßanas,

kontekstualitåtes un diskusiju måjvieta.

Tîri politiski vajadzétu atseviß˚u telpa nelielai, nemitîgi

mainîgai da¬ai no Zentas Loginas gleznu kolekcijas, kura visos

laikos atgådinåtu par måkslinieka neatkarîbu no politiskås

varas, par iespéju strådåt, neizstådot måkslas darbus – tikai

kalpojot paßai måkslai. Vispårinoßi ßî telpa atgådinåtu gan

konkrétu cilvéku un viña darbu, taçu reizé arî kådu dzi¬åku

måkslas nozîmi årpus nemitîgåm diskusijåm, kontekstualitåtes

un sabiedriskajåm attiecîbåm.”23

patîkamu vidi un lîdzîgi domåjoßos. Es teiktu, ka ir izveidojies

tåds Andrejsalas fenomens, kas radies, pateicoties

Andrejsalas pieejamîbai un piedåvåto pasåkumu klåstam.

Manupråt, cilvéki dodas uz Andrejsalu jaunas un svaigas

“intelektuålås barîbas” iegüßanai, kas turklåt lieliski

izklaidé.” (Rita, 28 gadi)

“Rîgas ‘underground’, radoßå komüna, atdzimusî Veldzîte

ir tikai daΩi no apzîméjumiem, ar kuriem var tikt raksturoti

andrejsaließi jeb pårsvarå gados jauni cilvéki, kas regulåri

apmeklé Andrejsalu. Vienojoßais, manupråt, ir brîvdomîgie

uzskati, plaßåka interese par literatüru, måkslu, müziku un

manifestéjoßs vizuålais izskats – izteiksmîgas frizüras,

pîrsings, koßåkas drébes. Kå likts, daudzi andrejsaließi

braukås ar veciem riteñiem, pîpés uztinamås cigaretes un

klausîsies elektronisko müziku. Zîmîgi arî, ka Andrejsala ir

viena no retajåm vietåm Rîgå, kur nacionålai piederîbai nav

nozîmes.” (Zane, 27 gadi)

Andrejsaließi tåtad ir “maiga” alternatîva tai patérétåju

sabiedrîbas da¬ai, arî jaunießiem, kuri klausås tikai

ßlågermüziku un brîvo laiku pavada lielveikalos. Secinåjumi

Andrejsalas sakarå apgåΩ izplatîto tézi, ka plaßsaziñas lîdzek¬i

ir noteicoßie dzîves stila izvélé. Èsi ßådu pieeju raksturo

sekojoßs, ß˚iet, miljoniem reiΩu tiraΩéts citåts: “Tagad

medijiem ir izß˚iroßa loma, definéjot mums paßiem müsu

pieredzi. Tie mums piedåvå vispieejamåkås kategorijas, lai

klasificétu sociålo pasauli.”18 Andrejsaließu gadîjumå medijiem

ir nenozîmîga loma.

Andrejsaließi savukårt apstiprina îpaßo “jaunatnes kultüras”

esamîbu Rietumu sabiedrîbå. Íî kultüra nav iedomåjama bez

tehnolo©ijåm, globalizåcijas, multikulturålisma, populårås

kultüras, urbanizåcijas un citåm parådîbåm.19 Tomér Andrejsa-

las gadîjumå noteicoßais ir radoßums un eksperimenti.

Andrejsalå svarîgas ir grupas un indivîda attiecîbas. Lai arî

aprakståmajiem andrejsaließiem katram piemît sava un îpaßi

izkopta (!) identitåte, tå tomér ir grupas identitåte, tådéjådi

norådot uz noteiktu tipolo©iju. Müs intereséjoßå kontekstå

gan jåuzsver, ka “pråta piedévéßana sociålajåm grupåm”20

bütu aplama.

Te vélreiz jåatzîmé, ka andrejsaließi nav Andrejsalas

“iedzimtie”, bet gan ir plaßåks müsdienu kultüras fenomens,

kurß izveidojies Andrejsalå, pateicoties revolucionåråm

pårmaiñåm, kas tur bija vérojamas 2006. un 2007. gadå ar

visu andrejsaließu lîdzdalîbu. Vai andrejsaließi büs topoßå

Laikmetîgås måkslas muzeja auditorija? Vai viñi büs ßî

muzeja lîdzveidotåji? Vai varbüt viñu pienesums büs

krasa konfrontåcija ar topoßo muzeju? Vai nedomåt par

ßådu perspektîvu nozîmé izniekot ener©ijas lådiñu, kurß

tik îså laikå ir uzkråjies Andrejsalå?

Jåatzîmé, ka muzejam ir paredzéta vieta Andrejsalas

Zieme¬u galå, bet ßodienas måkslinieciskås aktivitåtes notiek

Dienvidu galå.

Andrejsalas spékstacijas éka, kas izvéléta Latvijas

Laikmetîgås måkslas muzeja celtniecîbai, büvéta 1905. gadå

(inΩenieris Oskars fon Millers, 1855–1934, arhitekts Kårlis

Johans Felsko, 1813–1902), un ir bijusi pirmå Latvijas

elektrostacija, kurå savu muzeju paredzéjußi veidot arî

ener©éti˚i, publiskai apskatei saglabåjot vértîgu aprîkojumu

un iekårtu deta¬as.

SIA “JAU”, kas ar Rîgas Brîvostas pilnvarojumu apsaim-

nieko Andrejsalu un risina tås attîstîbas uzdevumus, ir

pasütîjis teritorijas detålplåna izstrådi. To veido starptautiski

pazîstams arhitektu birojs OMA (Office for Metropolitan

Architecture, Nîderlande) pasaulslavenå arhitekta Rema

Kolhåsa vadîbå. OMA jau ir izveidojusi topoßå muzeja metu21.

To visu aktîvi atspogu¬o portåls www.andrejsala.lv.

Kåds muzejs, tåda Latvija

Vai Laikmetîgås måkslas muzejs ir vajadzîgs tikai tådé¬, ka tå

nav? Vai tas ir vajadzîgs tikai valsts télam un prestiΩam? Vai

1312

måkslas izståde Skan! kådreizéjå Pårdaugavas cigoriñu un ma-

karonu fabrikå. Tå bija îpaßi marginåla no sabiedriskås domas

viedok¬a un pat netika izvirzîta Dienas gada balvai kultürå.

Pat Andrejsalas Dienvidu gala radoßums nevar kompensét

paßreizéjo vériena un konteksta izjütas trükumu. Ir

nepiecießams muzejs, un ßo izstådi Maskavå var uzlükot kå

pieturvietu ce¬å uz to.

1999. gadå ßîs izstådes kurators Ojårs Pétersons Ωurnålam

Studija rakstîja, ka måksla beidzot ir atjégusies, atradusi savu

vietu reålajå dzîvé24. Tagad pienåcis laiks, lai atjégsme notiktu

viedok¬u lîderu, lémumu pieñéméju, naudas devéju galvås. Te

diemΩél Maskava mums ir priekßå – pat Kandinska balvas

nominantu izståde, kuru atbalsta lielais Krievijas bizness un

kuras norise Rîgå plånota gandrîz vienlaicîgi ar ßo müsu

izstådi Maskavå, ir nesalîdzinåmi profesionålåka un visådi

citådi progresîvåka par jebkuru privåtu kolekciju Latvijå. Tas ir

paradokss – varenå Krievijas komercija liek uzsvaru uz

måkslas garîgåm, nekomerciålåm vértîbåm, savukårt relatîvi

kuslais Latvijas bizness dod priekßroku komerciålajai pusei.

Atjégsme Latvijå nevar notikt tikai intuitîvå lîmenî. Filozofis-

ki, pedago©iski, kultürkritiski, kultürpolitiski, antropolo©iski un

citi jautåjumi, kas saistîti ar måkslas izpratni, nevar kompensét

provinciålo kolekcionéßanas un izstådîßanas praksi.

Paraléli måkslas vides aktivizéßanai ce¬å uz topoßo muzeju

var pétît bîstamîbas, kuras var raksturot ar daudziem “p” –

populisms, proletårisms, piekåpîgums, pragmatisms,

provinciålisms, pieticîba, pårpraßana, principu trükums,

pasivitåte, paternålisms. Kas ir ßo “p” pretstati?

Paßreizéjå laika nogrieznî nepiecießams intelektuåls ieråmé-

jums, lai pårvarétu to provinciålo måkslas uztveri, kas daΩbrîd

k¬uvusi pat naidîga. Pieméram, Valsts kontrole vél iepriekßéjå

valsts kontroliera laikå 2003. gadå nopéla Latvijas Laikmetîgås

måkslas centra paßu måkslas darbu saturisko bütîbu.

Såkumå, pirms nav tapis Laikmetîgås måkslas muzejs, mér˚-

auditorija ir viedok¬u lîderi – tie, kas varétu idejas skaidrot,

nevis tikai gaidît muzeju. Tåtad task force: politologi, måkslas

zinåtnieki, uzñéméji, reklåmisti, humanitårie akadémi˚i,

pedagogi. Tas, ka ir nobriedusi augsne cita lîmeña publiskåm

debatém, apliecina jaunais intelektuålis un viedok¬u lîderis

jaunå, radoßå vidé Reinis Tukißs: “Manupråt, Latvijas publiskajå

telpå par lietåm ßobrîd ir liels paßpårliecinåtîbas trükums. Ja

cilvékiem pajautå, ar ko viñi nodarbojas, lielåkå da¬a nemåk

atbildét.” Turpat viñß saka arî: “Sevi es uzskatu par ¬oti

konservatîvu cilvéku, un man ir grüti dzîvot valstî, kurå nav

nekådu nopietni ñemamu kultüras tradîciju”.25

Arî visas iepriekßéjås ßî raksta rindas ir rakstîjis konser-

vatîvs cilvéks, jo uzskatu, ka Vakareiropas konservatîvisma

tradîcijå vieni no vissvarîgåkajiem jédzieniem ir izcilîba un

personîgå atbildîba.

Rezuméjums

Sañemot dåvanå gråmatu Maskava–Gailîßi no tås tulkotåja,

ieraudzîju, ka viñß titullapå ierakstîjis vienu Venedikta

(Veñiçkas) Jerofejeva teikumu: “Visam pasaulé jånotiek lénåm

un nepareizi, lai cilvéks nek¬ütu lepns, lai cilvéks bütu skumjß

un apjucis.”

Aktîva domu apmaiña agorå, kuru uzsvéra kultürå

“ierakstîtais” Merabs Mamardaßvili, centieni pårvarét

provinciålismu un radît labu måkslas vidi tomér nav centrålais

jautåjums, ja més runåjam par paßu måkslu.

Bütiskåka ir noskaña jeb, kå raksta Maskavas–Gailîßu tulks

Uldis Tîrons: “intonåcija, kuru Veñiçka bija ieguvis apmaiñå

pret pasauli.”26 Neviens, pat vislabåkais muzejs, vislabåkå

sabiedrîba, vislabåkå måkslas vide nespéj radît tådu sajütu.

To spéj tikai måkslinieks.

Uzlükojot pasauli ar skumjåm, tik tießåm nav svarîgi, vai

apkårtéjå sabiedrîba ir vai nav postpadomju fenomens. Svarîgi

tas ir ce¬å no Andrejsalas uz Maskavu, pat ja ßo braucienu

raksturo pårmérîgs, labam måksliniekam nepiemîtoßs optimisms.

Var un vajag jauno muzeju uzlükot no jaunås, radoßås

ekonomikas perspektîvas. Tajå, kå zinåms, galvenais

pårdoßanas kodols ir one big distinctive idea jeb lielå, atß˚irîgå

ideja. Tå nav îsti saistîta ne ar mér˚auditoriju pétîßanu, ne ar

citåm mårketinga aktivitåtém. Tå ir saistîta ar radoßumu, kas

spéj radît kaut ko principiåli jaunu, par ko patérétåjam vél nav

nojausmas, un kas sakñojas ne tikai aptaujås un modeléßanå,

bet pietiekami plaßå kultüras båzé un lielå, ener©iskå talantå.

Muzeja “biznesa” modelî ßåda attieksme ir noteicoßå. Kå

lîdz tam nok¬üt? DiemΩél tie, kuri veidos lîdz galam muzeju kå

“produktu”, iespéjams, nesapratîs, ka muzeja “sléptå” dienas

kårtîba veidos tå publisko télu ne mazåkå mérå KÅ LIELÅ

IDEJA. Biznesa ideja darbosies tikai tad, kad muzeja nekomer-

ciålå, måkslinieciskå, pat revolucionårå komponente büs tikpat

spécîga kå “pårdodamais produkts”. Muzeja télu neveido tikai

apmeklétåji, bet arî viedok¬u lîderi un labi måkslinieki, kuri

Vakareiropas kultürå vél ir saglabåjußi veselo sapråtu.

Varétu muzeja uzdevumu duålismu, gluΩi kå Andrejsalas

duålismu (lielå måksla un lielå nauda) salîdzinåt ar viena

cilvéka radîtiem diviem artefaktiem. Íî cilvéka vårds ir Andrejs,

viñß ir radîjis vismaz divas ievérîbas cienîgas filmas. Vienas

nosaukums ir Ce¬ojums uz Tukumu (1987), un to ir redzéjußi

krietni påris simti skatîtåju. Man personîgi un cilvékiem, kuru

viedoklis man ir dårgs, ßî filma ß˚iet viens no izcilåkajiem

Latvijas laikmetîgås måkslas darbiem. Ío filmu pazîst labi ja

300 cilvéku. Otra Andreja filma – Rîgas sargi (2007) ir pulcé-

jusi vislielåko skatîtåju skaitu kopß Latvijas neatkarîbas atjau-

noßanas, lielåku nekå iepriekßéjai Latvijas skatîtåju rekordistei,

Holivudas Titånikam. Vai abåm filmåm ir kas kopîgs?

Kåda te paraléle ar topoßo muzeju? Í˚istu, ka muzejam

neiespéjamå veidå, gluΩi kå nåkotnes Andrejsalai, gluΩi

kå Latvijas sabiedrîbai bütu jåspéj sasniegt abus mér˚us un

satikties nesasniedzamajå – bizneså, ¬auΩu aktivitåté plus

pråtå sakñotå, unikålå måkslinieciskå radoßumå. Vai Ce¬ojums

uz Tukumu maz bütu kaut kå jåsaméro ar Rîgas sargiem?

Kå izdarît neiespéjamo? Kå radît atß˚irîgo? Varianti ir

iespéjami, pat tådi, kas “idejiski” spétu apvienot abas

Andreja ‰˚a filmas. Viena lielå atß˚irîgå ideja un sléptå dienas

kårtîba bütu ar muzeja kolekciju un programmåm pétît

måkslas robeΩas.

Cik ¬oti måkslas robeΩas sasaucas ar dzîves robeΩåm? Vai

dzîves robeΩa ir nåve (un vai tådai attieksmei nebütu

jånokaunas seno grie˚u priekßå?) Vai “kailå dzîvîba” ir visu

vértîbu mérs, un vai vispår ßådå skatîjumå ir iespéjama kåda

diskusija par vértîbåm? Vai varbüt arî ßai diskusijai ir robeΩas?

Vai “atvérta sabiedrîba” ir vienîgais sabiedrîbas modelis,

kurå iespéjams diskutét par visu augßminéto? Cik ¬oti mainås

robeΩu izpratne?

Muzejå un sabiedrîbå, kura neizbégami büs Latvijå

dzîvojoßa måkslinieka “måli”, izpratne paredz konfrontåciju

ar jebkuru citu izpratni, bet måkslinieks tikmér var modelét

savas iespéjamås pasaules, gluΩi kå ßîs izstådes dalîbniece

måksliniece Katrîna Neiburga pirms kåda laika ir uzpro-

gramméjusi savu, pilnîgu jaunu valodu.

Vai muzejs/Latvijas sabiedrîba/måkslinieks büs pietiekami

brîvi un spécîgi konfliktam un izlîgumam, gréksüdzei un

izaicinåjumam?

Íobrîd ir iespéjams dot jaunus impulsus nedaudz stagnéjo-

ßajai laikmetîgås måkslas videi Latvijå. Tas, ka Latvijå darbojas

labi måkslinieki, nav priekßnoteikums dzîvîgai un spilgtai

måkslas videi. Vérienîgi notikumi/izstådes, kuros pårdomåti

un pårliecinoßi parådås labåkais un progresîvåkais, ko pédéjå

laikå radîjußi Latvijas måkslinieki, pagaidåm tiek marginalizéts

vai notiek årzemés – kå ßî izståde Maskavå, kå februårî

notikusî Latvijas laikmetîgås måkslas izståde Time Will Show –

Laiks rådîs. Jaunå Latvijas måksla Flensburgas muzejå Våcijå.

Manupråt, izcilåkais 2007. gada notikums Latvijas måkslå

bija andrejsaließa, festivåla Skañu meΩs rîkotåja un reizé

laikraksta Diena korespondenta Viestarta Gailîßa kürétå izståde

vél “neapgütå” Rîgas industriålå teritorijå – tå bija skañu

14

1 Jerofejevs, Venedikts. Maskava-Gailîßi. No krievu valodas tulkojis Uldis Tîrons. Rîga :

Liepnieks & Rîtups, 2007. 357, [2] lpp. ISBN 9789984960937.2 Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs

un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga :

Spektrs, 1994. 201 lpp. ISBN 9984900223. 3 Mamardaßvili, Merabs. Ce¬ß, aiz kura paveras lîdzens prieka lauks : [ståsta gruzînu

filoz.]. Pierakst. un iev. sarakst. Uldis Tîrons. Kentaurs XXI, Nr.1, 1992, 17.lpp.4 Starptautiskås ekspertu padomes ekspertu komisija: komisijas priekßsédétåjs Ernests

Bernis (Latvija); komisijas locek¬i: Maaretta Jaukkuri (Somija); Norbert Weber (Våcija);

Sirje Helme (Igaunija); Raminta Jurenaite (Lietuva); Leonîds BaΩanovs (Krievija);

Leonards Laganovskis (Latvija); Raitis Ímits (Latvija); Ieva Astahovska (Latvija); Heléna

Demakova (Latvija); Måra Ådiña (Latvija); Astrîda Rogule (Latvija). Sk. “Par

Laikmetîgås måkslas muzeja kråjuma starptautiskås ekspertu komisijas saståvu” : LR

Kultüras ministrijas rîkojums Nr.2.1.-25-148 (23.10.2007) : pieejams LR Kultüras

ministrijå.5 20.gs. 80.g. beigås par “gaißajiem spékiem” dévéja komunistiskås partijas vadoßos

darbiniekus, kuri atbalstîja pårmaiñas sabiedrîbå un vélåk arî Latvijas neatkarîbas

centienus, tomér viñu darbîba vértéta pretrunîgi.6 Riga : Lettische Avantgarde = Latvießu avangards : [anlässlich einer Ausst., Berlin,

24.7.-24.8.1988]. Neue Gesellschaft für bildende Kunst (Hrsg.). Berlin (West) :

Elefanten Press, 1988. 84 S. : Ill.7 ÇÑçï (Ç˚ÒÚ‡‚Í‡ ‰ÓÒÚËÊÂÌËÈ Ì‡Ó‰ÌÓ„Ó ıÓÁ‡ÈÒÚ‚‡) – 1959.g. izveidots izståΩu

paviljonu komplekss, kura uzdevums bija propagandét daΩådu nozaru sasniegumus

PSRS.8 Craig-Martin, Michael (1941). An Oak Tree (1973). Glass, water, shelf and printed

text

sculpture. Sk. Tate Modern : [online]. Available :

http://www.tate.org.uk/servlet/ViewWork?workid=27072 9 Izglîtotais pilsoñu slånis (våcu val.)10 Sk. Ítokenbergs, Aigars. Vîtoliñß [Andris] nepazudîs : [saruna ar LR re©ionålås

attîstîbas un paßvaldîbu lietu ministru, gleznu kolekcionåru]. Pierakst. Inese Zandere.

Rîgas Laiks, Nr.9, 2007, sept., [24.]-29., 69.lpp. ISSN 1407-1622. 11 K¬aviñß, Eduards. Imants Lancmanis. In: Personal time Art of Estonia, Latvia and

Lithuania, 1945-1996 : Exhibition catalogue, 9.Sept.-13.Oct.1996, Warszawa : [In 3

pt.]. Latvia. Ed. Helena Demakova et al. Warszaw : The Zacheta Gallery of

Contemporary Art, 1996, p.48. ISBN 8386277548.12 Debifé, Ûans. Antikulturålas pozîcijas : [par pårmaiñåm måkslå]. No ang¬u val. tulk.

Heléna Demakova. Kentaurs XXI, Nr.2, 1992, 22.lpp. 13 èÓÒÚ‡‰ËˆËÓÌ‡ÎËÁÏ. Ç˚ÒÚ‡‚Í‡ ‡·ÓÚ „ÛÔÔ˚ ÏÓÎÓ‰˚ı ÊË‚ÓÔËÒˆÂ‚ ã‡Ú‚ËÈÒÍÓÈ

ëëê : ä‡Ú‡ÎÓ„. Ä‚Ú. ÚÂÍÒÚ‡ Ä. éÒÏ‡ÌËÒ. åÓÒÍ‚‡ : ëÓ˛Á ıÛ‰ÓÊÌËÍÓ‚ ëëëê, 1988.

60 Ò.: ËÎ. 14 2 show : latvießu un lietuvießu jauno måkslinieku izståde Laikmetîgås måkslas centrå

(CAC) Vi¬ñå = Young art from Latvia and Lithuania, Contemporary Art Centre,

Vilnius. Sast. un galv. red. Heléna Demakova. Rîga : Kultüras pilotprojekti, 2003,

19.lpp. ISBN 9984973107. 15 Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs

un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga :

Spektrs, 1994. 32. lpp. ISBN 9984900223.16 Visradoßåkå vieta jaunießiem : [par måkslas projektu rîkoßanu Andrejsalå]. Mater.

sagat. Laura Krastiña. Republika.lv, Nr.32, 2006, 22./28.sept., 16.-17.lpp. ISSN

1691-2756. 17 Sk. Gîrcs, Klifords. Kultüru interpretåcija. Rîga : AGB, 1998. 478 lpp. ISBN

9984928810. 18 Hebdige, Dick. Subculture : the Meaning of Style. London ; New York : Routledge,

1998, p. 85 p. ISBN 0415039495. 19 Sk. Youth culture. In : Encyclopedia of Globalization. New York; London : Routledge,

2007, Vol.4, pp.1319-1321. ISBN 0415973147. 20 Sheehy, Paul. The Influance and Significance of Social Groups. In: Sheehy, Paul. The

Reality of Social Groups. Aldershot, Hampshire, England; Burlington, VT, USA :

Ashgate, 2006, p. 94. ISBN 9780754653496. 21 OMA Designs Latvia’s Museum of Centemporary Art : News : [tießsaiste] [skatîts

2007.25.III]. Pieejams : http://www.oma.nl 22 Slava, Laima. Vizuålå måksla un jaunie mediji. : [runa 2.Latvijas Kultüras darbin.

Forumå]. Diena, Nr.245, 2007, 19.okt., 12.lpp. (Piel. “Kultüras nåkotne Latvijå”).

ISSN 1407-1290.23 Topoßå Laikmetîgås måkslas muzeja vîzija, ko raksta autore sagatavoja muzeja

starptautiskajai ekspertu padomei. Sk. Starptautiskås ekspertu padomes sédes Nr. 2,

11.06.2005 materiålus.24 Ojårs Pétersons : [saruna]. Pierakst. Heléna Demakova. Studija, Nr.6, 1999, 20. lpp.25 Tukißs, Reinis. Vai provokatîvai komunikåcijai ir nozîme? Dizaina Studija, Nr.11

(janv./febr), 2008, 33.lpp.26 Tîrons, Uldis. Jums manas skumjas nesaprast. Rîgas Laiks, Nr.9, 2007, 51.lpp.

43

B u b n o v s. Tu ko tur murmini?

S a t i n s. Vårdi... Un tad vél ir – trans-scedentåls...

B u b n o v s. Kas tas?

S a t i n s. Nezinu... aizmirsu...

(Maksims Gorkijs. Dibenå)

Reiz, braucot vilcienå, es noklausîjos kådu sarunu. Viens no

sarunas dalîbniekiem bija tåds truls-truls un vatenî, otrs –

tåds gudrs-gudrs un koverkota mételî. Viñi séΩ un iedzer.

UzkoΩ un tüliñ pat ielej atkal. Trulais-trulais izdzer, nokrekß˚i-

nås un saka: “Ë! Labi aizgåja – maita!” Bet gudrais-gudrais

iedzer un saka: “Trans-cen-den-tåli!” Un tådå svinîgå balsî!

Trulais-trulais uzkoΩ un saka: “Uzk-koda mums ßodien – nav

vårdam vietas! Uzkoda “es jüs ¬oti lüdzu”!.. Bet gudrais-

gudrais koß¬å un saka: “Jå-å-å... Trans-cen-den-tåli!”

Es izjutu zinåmu spriegumu starp ßim divåm noståjåm,

kas gan nepaståvéja konkrétajå situåcijå. Iedomåjos vienu kå

måkslinieku, otru kå kriti˚i, kas pat par tik vienkårßåm lietåm

kå iedzerßana un uzkodas izsakås savå necießamajå dialektå.

(Viñi varbüt tießåm varétu saprasties vienîgi pie ßñabja

pudeles.) Man ßî spriedze, kas jütama starp vienkårßu un

priekßmetus aprakstoßu attieksmi pretstatå trans-cen-den-

tålai attieksmei, ß˚iet kå muzikåls intervåls – iedomåjos, ka

vilcienå noklausîtås sarunas dalîbnieki vårdus stiepj nedaudz

muzikåli –, kuram skanot péc patikas ilgi, iespéjams veikt

savu domu skices iztéles neredzamajå telpå.

Iztéles rota¬u més bieΩi såkam ar vårdiem iedomåjies... un

zîméjam tajå to, kas netverams tießå vérojumå, bet ßîs tikai

iedomåtås lînijas bieΩi ir izteiktåkas, uzsverot raksturîgås

domas priekßmeta iezîmes, par îstenîbå véroto. Transcenden-

tålais lietu aspekts (es saucu par transcendentålu katru atziñu,

kas vispår nodarbojas ne tik daudz ar priekßmetiem, bet ar

müsu priekßmetu atziñas veidu, ciktål pédéjam jåbüt

iespéjamam a priori) gan ßeit saglabåtos pårsvarå ironiskå

nozîmé – kå pårgudråkas, varbüt nedaudz reflektéjoßas

attieksmes apzîméjums. Varbüt arî – izmantoßu iemî¬otu

pieméru – kå imperatora Kublaihana zinåma neticîba jaunå

venécießa Marko Polo ziñojumiem par neredzamajåm pilsétåm.

Tomér Marko Polo aprakstos imperatoram parådås tik smalka

zîméjuma filigrånums, ka pat termîts tam nespétu iekost –

nespétu iekost droßi vien tåpéc, ka pilsétas ir neredzamas. Es

gribétu sniegt ßådu “neredzamå” aprakstu par Latvijas måkslu,

kuru iztéloßos dialoga formå, bet dialoga dalîbniekus saukßu

vienkårßi – Vatenî un Koverkota mételî (saîsinåti – Vat un Kov),

jüs – atcerésieties, kurß tåds truls-truls, kurß tåds gudrs-gudrs.

Protams, teiktais nav jåuztver påråk burtiski – atceros

kådu sarunu gastronomå. Ienåca pircéjs vatenî un zåbakos,

tipisks gadîjuma darbu strådnieks, kaut ko jautåja

pårdevéjam... Tas atbildéja ierasti rupjå veidå: “Lasît måki?!”

Strådnieks nokluséja. Tad mierîgi atbildéja: “Måku.” Un

piemetinåja: “Septiñås valodås...”

* * *

Vat: Es gribétu uzskaitît lietas, notikumus, sajütas – to, ko

esmu redzéjis un ko atceros no visåm ßîm izstådém,

atklåßanåm un sarunåm kafejnîcås.

Kov: Bet müsdienu måkslå tiek izmantoti visdaΩådåkie

izteiksmes lîdzek¬i, materiåli un mediji. Un vél – virzieni,

ietekmes. Vajadzîga noteikta analîzes metode, lai ßajå

daudzveidîbå orientétos un to lo©iski sakårtotu.

Vat: Mani interesé fakti.

Kov: Vai tas, kå tu tos uztver un atceries, nemaina paßus

faktus?

Vat: Fakts bija? Bija... Bet fakts, tas arî ir fakts... Fakta

priekßå, tå sacît... Vienkårßi sakot, kad skatos uz

måkslinieku darbiem, daΩas lietas mani uzrunå, ß˚iet

interesantas, atsauc man atmiñå daΩådus vårdus...

Kov: ... jédzienus. Bet kas ir ßîs tavas intereses kritérijs –

tikai subjektîva sajüta?

Trans-cen-den-tåli!

Jånis Taurens

4544

iziet ielås, klaiñot pa tåm, kad ap mani ir citi cilvéki,

viñu jütas un noskañas...

Kov: Jå, tas ir kå iet cauri pinumam, kurå krustu ß˚érsu klåjas

skaudîbas un iekåres, nicinåjuma un lîdzjütîbas,

mîlestîbas un naida skatieni, kurå apmetas izskanéjußu

vårdu bijußais satvars un kurå domas un alkas savijas

noslépumainå audeklå, kas ieskauj kåjåmgåjéju dvéseles.

Ielu var saukt par poétiskås nozîmes telpu vai pü¬a

cilvéka klejojumu vietu; es neminéßu visus tos simul-

akrus, ko cenßamies neredzét un kas pieblîvé müsu

vizuålås uztveres lauku...

Vat: Par tiem simulakriem neko nezinu, bet iedomåjies tik,

reiz pamanîju interesantu trafareta nospiedumu. Tådu kå

sérijveida grafiti, ko ik pa brîdim ievéroju, ejot savå

ikdienas marßrutå. Iespaids, kad atceros to – it kå kåds

bojevika varonis vai hokejists kustas man pretî, un es

jütos kå lielå kinoteåtrî...

Kov: Grafiti médz büt daΩådi, tomér parasti gan tie neatrodas

uz ¬auΩu pilnåm ielåm...

Vat: Bet tu vari iztélojies to kå nelielu, neuzkrîtoßu trafaretu,

ar kuru to var åtri uzpüst uz sienas vai kur citur. Katrs

attéls fiksé kådu ejoßa téla kustîbas momentu, veidojot

nospiedumu sériju marßrutå, pa kuru tu médz staigåt un

kuru kåds aspråtis speciåli tev sagatavojis. Tas ir tikpat

atjautîgi un viegli kå taviem dadaistiem.

Kov: Zinu, tev patîk vieglums vai, precîzåk, pavirßîba. Es

teiktu – arî attieksmé pret dzîvi. Tomér gribéju parunåt

par nopietnåkåm témåm.

*

Vat: Par iedzerßanu? Vai par laiku, par nåvi? – Kåpéc gan ne,

lai notiek!

Kov: Tu smejies, bet man, domåjot par laiku un nåvi, pråtå

nåk rezignétås holandießu klusås dabas, stîgu kvarteta

Quatuor pour la fin du Temps emocionålå nopietnîba...

Vat: ...un goda atdoßana Prusta séjumiem.

Kov: Nedomåju, ka kaut kas nopietns tevi varétu saistît

måkslå. Tomér negribu büt pårlieku kritisks – kåpéc gan

nerîkoties tießi pretéji nopietnîbai, neatmest svinîgumu

un nepårvérst ßos filozofiskos jédzienus operas butafo-

riju vieglpråtîbå, kas kå melodisku Ωestu mirstoßajiem

muzikålås dråmas varoñiem, nodurtiem ar kartona

zobenu, vienmér ¬auj nodziedåt vél kådu skaistu åriju

pirms nåves.

Vat: Neesmu bijis operå, bet nekas nopietns tur nu gan

tießam nevarétu büt sastopams.

Kov: Varétu pat teikt, ka tådå veidå mums ir iespéjams mainît

simbolu nostabilizéjußås nozîmes.

Vat: Bérnîbå es kaut kådå tådå veidå måcîjos tikt galå ar

bailém no tumsas...

Kov: Jå, tad jau arî tumsa vairs nebüs draudîgs, nåvi véstoßs

simbols, bet uzaicinåjums uz kådu spéli.

*

Vat: Spéli ar jütåm, pieméram, bailém?

Kov: Spéles médz büt daΩådas.

Vat: Tas tiesa. Tås var spélét kaut vai izståΩu zålés. Atceros,

kad såku iet skolå, tante mani vazåja lîdzi pa gleznu

izstådém – es spéléjos, veicot zigzagveida kustîbu pie

gleznas, lîdz spéju izlasît nosaukumu, tad atpaka¬,

cenßoties atrast piemérotåko skatu punktu. Jåsaka gan,

ka péc kåda laika man apnika lasît nosaukumus, lielu

da¬u gleznotåjus arî varéju pazît.

Kov: Bet ir arî labi måkslas darbu nosaukumi. Ja reiz runåjam

par pagåtni – pirms vairåkiem gadiem, tas bija 90. gadu

såkumå, kåds müsu paßmåju filozofs sméjås par

nosaukumu “Jütas”, kurß bija dots darbam, kas

saståvéja – ja pareizi atceros – no metåla lodém un

Vat: Kå es vértéju måkslu? – Nu, tikai skatoties, uzkråjot

pieredzi, tå teikt. Un tomér, ja es saku “interesants” –

lai arî man interesants, ir ar zinåmu tev interesantuma

piegarßu. Citiem vårdiem – vienmér taçu var kaut ko

iedomåties un tad izståstît, ko iztélé esi redzéjis.

Kov: Paskaidro, lüdzu, precîzåk!

Vat: Redzétais izraisa manî kådu vårdu, izjütu – tå ir kå

dziesma, ko îsti neatceros, tad mé©inu pie sevis svilpot

daΩådos veidos, kamér, lük, rokå ir!

Kov: Varétu teikt, ka tava iztéle darina variåcijas, kas reizé

iezîmé iespéjamo nozîmju telpu jeb vispårîgi – kådu

noteiktas måkslinieciskas piederîbas, ja piekrîti ßim

apzîméjumam, raksturîgu iezîmi. Bet turpini...

*

Vat: Tu zini, nemîlu tos zinîßus – filozofus visådus, -ßteinus un

-gerus... Un viennakt redzu sapni: prusaki pa sienu lien!

Ieskatos tuvåk – katram tåda kå birka klåt vai kas, bet tur –

tie filozofu vårdi! Pamodos slapjß no sviedriem. Tagad

domåju, ka varbüt kådå izstådé kaut ko tådu esmu redzé-

jis. Ja tå bütu, tad teiktu – interesanti, lai arî derdzîgi...

Kov: Vårdi, starp citu, nav nemaz tik nevainîgi.

Vat: Jå, no avîzém izgriezti burti tiek izmantoti anonîmu

véstu¬u rakstîßanai – tas gan tå bija tikai vecås

detektîvfilmås, tagad nets un tamlîdzîgi... Kådreiz avîzes

glabåja, tad kråva ˚îpås un nodeva makulatürå, tagad

pat es tås nelasu – påråk daudz visådu pielikumu, bilΩu,

papîrs spîdîgs – kråsns iekuram îsti labi neder.

Kov: Nu, burti paliek burti. Tiem ir arî tå vértîba, ka ar to

palîdzîbu tiek fiksétas zinåßanas. Savå veidå – gudrîbas

simbols.

Vat: Jå, sakrauj vecas avîΩu ˚îpas tådå kaudzé – ikuråt

zikuråts sanåks, gudrîbas burtu pils! Bet, ja samirkst, tad

slikti deg – tåpat kå kråsaino lappußu dé¬.

Kov: Kas gan vispår ir kråsas – tik vien kå gramatikas kårtulu

noteikts kråsu nosaukumu lietojums. Måksla kådreiz bija

kråsu måksla, bet tagad... Varbüt to izvélei ir kåda

neskaidra nozîme, pieméram, man ir Edvarda Lîra

limeriku gråmatiña – ang¬u valodå labi rîméjås vårds

“green”, un tas viñam arî påris pantiños izmantots.

Nezinu, jaußi vai nejaußi, bet gråmatiñas våks arî ir za¬å

kråså. Lîdzîga varétu büt arî kråsu izvéle måkslå – ja ne

metafiziska, tad vismaz nejaußa –, lai vismaz kaut kå

saglabåtu kråsu nozîmi.

*

Vat: Es visiem saviem darbiem izvélétos kådu spilgtu kråsu. Man

patîk jautras kråsas, îpaßi – oranΩå. Iedomåjos – oranΩi

baloni... Bérnîbå izdomåju daΩådus vårdus ar ßo kråsu,

pieméram, “oranΩétåjs”. Es atceros arî tådu dziesmu, nu,

pirmås rindiñas gan tikai: “é‡ÌÊÂ‚˚Â Ï‡Ï˚, Ó‡ÌÊÂ-

‚˚Â Ô‡Ô˚, Ó‡ÌÊÂ‚˚Â ‰ÂÚË Ó‡ÌÊÂ‚Ó ÔÓ˛Ú...”

Kov: Es zinu ßo dziesmu, kåds mans draugs to sauca par

pirmo padomju dadaisma darbu.

Vat: Jå, jå, tas nozîmé ñemt kaut ko un darît pretéji tam, kå

pieñemts. Izgriezt cimdu uz otru pusi vai ko citu...,

pieméram – laivu!

Kov: Kådå veidå laivu var izgriezt uz otru pusi – kå tå

izskatîsies?

Vat: Nu, ñem laivu un nokråso otrådi – iekßu kå åru, åru kå

iekßu. Varu iedomåties dadaistisku arhitektüru – tå bütu

pükaina, ¬oti jauka un mî¬a.

Kov: Varu iedomåties kådu nelielas celtnes maketu no mîksta

pükaina materiåla, bet, ja tåda bütu visa iela?

*

Vat: Vai man patiktu pükaina iela? Nezinu, vispår man patîk

4746

*

Vat: Esmu noguris. Nobeigumå tu varétu pateikt kaut ko

nozîmîgu, lielu, plaßu. Kas ir måksla? Kas ir Latvijas

laikmetîgå måksla?

Kov: Lielo ståstu laiks taçu ir beidzies!

Vat: Tad izståsti kådu mazo ståtu.

Kov: “Kas ir måksla?” ir slikts jautåjums, bet Latvijas måkslå

lielie ståsti – vismaz kå tos kådreiz saprata – patießåm

beigußies vai arî nav pat îsti såkußies. Feminisma vai

sociåli-politiskås kritikas diskursam piederoßie temati ßeit

gandrîz nemaz nav sastopami.

Vat: Par kaut ko taçu måksla runå, vai vismaz – kaut ko taçu

tå paråda?

Kov: Reprezentåcija ir tas, par ko måksla runå, bet “paråda” –

tas ir kas netveramåks. Taçu mani ßajå gadîjumå interesé

kas cits – ja skatåmies uz fotogråfiju vai kådas

videokameras fiksétu attélu, tad reprezentétie objekti

vairs nepieder lielajiem ståstiem, bet drîzåk gan ir kådas

atomåras pasaules elementi. Tie var büt naktî izgaismoti

koki, kåda istaba vai maßîna ar nejaußiem sievietes sejas

atspulgiem aizmugures skata spogulî, kåds nieks uz

tualetes galdiña...

Vat: Un kas ßiem “elementiem” ir kopîgs, vai tie visi ir kaut

kas “mazs”? Varbüt vienkårßi parasti, prasti vai

nepiedienîgi?

Kov: Né, kåpéc, paßi darbi varétu büt lieli, pieméram, kå

tornis, veidots no...

Vat: ...malkas pagalém un oglém.

Kov: Un, starp citu, oglém, kurtuvém piemît sava intelektuålå

gaisotne...

Vat: Nu, jå – kå kådreiz ståstîja viens tavs intelektuålais

draugs, tas transcendentålais konceptuålists, vai kå viñu

tur. Piesakås darbå katlu måjå, bet sastop...

Kov: Zinu ßo ståstu. Kådreiz vidéji katlu måjå varéja atrast vai

nu juristu, vai rakstnieku, vai zinåtnieku; gan ar zinåtñu

kandidåta, gan arî ar doktora grådu... Bet måkslå ßie

materiåli un lielie izméri iezîméja intelektuålu protestu;

tad mainîjås laiki, protests – pret ko gan? – ieguva

ironijas plîvuru, rezignåcijas garßu.

*

Vat: “Plîvuru”, “garßu”... Es jau teicu, ka tajå ir kaut kas

nepiedienîgs – tas, ko slépjam.

Kov: Nepiedienîgs? Es drîzåk teiktu “intîms”, kas tiek

padarîts publisks. Iedomåjies ståstu, kura darbîba notiek

kådå gu¬amistabå, bet tå, lai tas bütu redzams no ielas.

Vat: Nocelt måjai sienu nost, tå tu domå?

Kov: Vai projicétu uz nama sienas, fasådes logos, aiz kuriem

norosinås müsu ikdienas dzîves skati, kas parasti taçu ir

aizkaru aizsegti.

Vat: Pårsvarå aizsegti – kopß laikiem, kad årzemju “vi©ikus”

skatîties naktîs bija aizliegts.

Kov: Varbüt tießi tåpéc, ka müsu ikdienas telpa ir påråk

piepildîta ar visåm ßîm runåm par sociåli un politiski

aktuåliem tematiem, måkslinieki savus Ωestus publiskajå

telpå veic kå intîmå, personîgå atklåßanu, parådot to

müsu dzîves aspektu, kas lîdzîgi ikdienas valodas

lietojumam ir pamatå citåm – gan vizuålajåm, gan

verbålajåm – nozîmém.

Vat: Kas tad paliek påri kå måkslas îpaßå, raksturîgå iezîme? –

Ne jau nu savas netîrås ve¬as mazgåßana uz ielas?

*

Kov: Påri paliek – mazie ståsti un ironiskås noskañas.

Vat: Pasmînét par visu?

Kov: Kåpéc tikai pasmînét. Ironija var büt daudzveidîga, pat

tåda, kas vispår neietilpst jédzienå “ironija”.

stikla virsmas uz tåm. Man toreiz ß˚ita, ka ßis jédziens

lieliski darbojas kå treßais darba elements.

Vat: Ek, jütas vispår vajag sadalît elementos jeb atomos un

aizspert kå tådu futbolbumbu.

Kov: (ar smaidu) Tå, ß˚iet, ir kåda cita spéle.

Vat: Vienalga, parunåjam par kaut ko vienkårßåku.

Kov: Tava kårta izvéléties.

*

Vat: Gribétu kaut ko vienkårßåku, pieméram, ogles vai govis.

Kåpéc gan tie nevarétu büt interesanti?

Kov: Kådå ziñå interesanti?

Vat: Nu, iedomåjies, ka govs pékßñi atrodas pilsétas centrå

pie... pie operas teåtra ar visåm tåm baltajåm kolonnåm,

figüråm un zirgiem uz jumta... – vai ka govs attéls

ieñem TV kastes ekrånu izståΩu zålé, vai ka...

Kov: Tas bütu paradoksåli vai vienkårßi smieklîgi?

Vat: Zini, pilséta vienmér ir pretstats laukiem. Tåtad, tas bütu

tåds smieklîgs pretstats.

Kov: Jå, pilsétu un laukus nodala laika atß˚irîba. Pilsétas laiks

nozîmé tås atraßanos pasaules laika zonå, kas parådås

tådos parametros kå informåcijas pieejamîba, jaunåko

ziñu, daΩådu materiålo labumu, pieméram, delikateßu,

arhitektüras stilu, dzîvesveida iezîmju izplatîßanås un

ienåkßanas åtrums.

Vat: Jå, bet nepårspîlé, tagad domåju, ka atß˚irîba ir citå;

atceros, tu pats man skaitîji ßîs rindiñas: “Ç ‰ÂÂ‚ÌÂ

·Ó„ ÊË‚ÂÚ ÌÂ ÔÓ Û„Î‡Ï, Í‡Í ‰ÛÏ‡˛Ú Ì‡ÒÏÂ¯ÌËÍË,

‡ ‚Ò˛‰Û...”

Kov: Gan vienå, gan otrå gadîjumå tas ir cilvéks, kurß izjüt

laiku, dievu vai vienalga ko. Varbüt, dzîvojot pilsétå, viñß

savpatå måkslinieciskå veidå atceras laukus, kur,

iespéjams, pavadîjis bérnîbu.

Vat: Arî es atceros laukus – kå iesåkås karsta vasaras diena,

kad pie horizonta no rîta parådîjås balti, dîvainas

formas måkonîßi, kas tomér neizvértås negaiså; vai

arî – kå negaiss mani tomér reiz pårsteidza, kad

spécîgs véjß pékßñi såka dükt augstu gaiså, koki såka

trakot, lielas lietus låses spéji såka grabét, såka

plakß˚inåt pa lapåm...

Kov: Tavas atmiñas par bérnîbu ir kå bilΩu un skañu galerija...

*

Vat: Jå, skañas; bildes un skañas. Skaña diemΩél daudziem

ß˚iet tikai nebütiska piedeva bildei, tå bieΩi ir tikai tåds

muzikåls pavadîjums.

Kov: Kå baroka koncerta pavadîjums augstmañu maltîtei, kå

domåßanas pavadîjums cilvéka runai, filozofi kådreiz

radîja teorijas, kurås aprakstîts, kå valoda sme¬ savu

nozîmi ßajå nerimstoßajå mentålå fona straumé... vai kå

viegla, neuzkrîtoßa müzika kådam måkslas darbam, starp

citu, arî kå ikdienas trokßñi – tam, ko tu man saki.

Vat: Bet man patîk ikdienas trokßñi, tie visi ir valodas:

muzikålas melodijas, aprauti sarunu fragmenti, skañas,

kréslu atbîdîßanas skañas, glåΩu ß˚indéßana. Tå ir îsta

valodas müzika.

Kov: Valodas müzika drîzåk ir valodas utopija – jégas müzikas

utopija, kas nozîmé, ka savå utopiskajå ståvoklî valoda

atsvabinås, més pat varétu teikt, nodod savu dabu tiktål,

ka pårvérßas par neierobeΩotu skañu audumu, kur tås

semantiskais mehånisms zaudé realitåti.

Vat: Lai tå bütu utopija! Iedomåjies, ka lîdzîgi kå ikdienas

norißu skaniskie iespaidi ienåk müsu sarunås, tå müsu

sacerétås skañas var veidot attélu.

Kov: Tu gribi teikt, ikdienas skañåm iespaidojot valodas

nozîmju lauku, rodas jauna jéga, un lîdzîgi müsu radîtå,

pieméram, elektroniskå müzika, var noteikt un vadît –

ne vairs tikai pavadît – vizuålo attélu.

48

Vat: Lai bütu tå. Es arî varu visu ko iedomåties, atceréties un

teikt, ka, nu tajå...

Kov: ...domu telpå?

Vat: Jå, tajå domu telpå it viss ir labåk redzams. Bet vai tas

nav tikai iztéles auglis? Kas ßeit ir îstenîba?

Kov: Nezinu, kå lai tev îsti atbild... Laikmetîgå måksla vispår

aicina “palükoties uz redzéßanu”, bet pats redzéßanas

veids un måkslå redzamais Latvijå, ß˚iet, ir kaut kas tåds

trans-cen-den-tåls!

Tekstå izmantotå un pieminétå literatüra

å‡ÍÒËÏ ÉÓ¸ÍËÈ. ç‡ ‰ÌÂ// è¸ÂÒ˚. – åÓÒÍ‚‡: ÑÂÚÒÍ‡fl ÎËÚÂ‡ÚÛ‡, 1975. – C. 122.

Venedikts Jerofejevs. Maskava–Gailîßi. No krievu val. tulk. Uldis Tîrons. – Rîga:

Liepnieks & Rîtups, 2007. – 21.–22. lpp. Ernesto Sabato. Tunelis. No spåñu val. tulk.

Edvîns Raups. – Rîga: Valters un Rapa, 2006. – 13. lpp. Ludvigs Vitgenßteins.

Filosofiskie pétîjumi. No våcu val. tulk. Jånis Véjß un Jånis Taurens. – Rîga: Minerva,

1997. Immanuéls Kants. Tîrå pråta kritika. 1. séj. No våcu val. tulk. Atis Rolavs. –

Rîga: izdevis A. Rolavs, 1931. – 59. lpp. (B 25). àÚ‡ÎÓ ä‡Î¸‚ËÌÓ. çÂ‚Ë‰ËÏ˚Â

„ÓÓ‰‡// á‡ÏÓÍ ÒÍÂÒÚË‚¯ËıÒfl ÒÛ‰Â·: êÓÏ‡Ì˚, ‡ÒÒÍ‡Á˚. – ëèÅ: ëËÏÔÓÁËÛÏ,

2001. – C. 141–142. ëÂ„ÂÈ ÑÓ‚Î‡ÚÓ‚. êÂ˜¸ ·ÂÁ ÔÓ‚Ó‰‡... ËÎË äÓÎÓÌÍË Â‰‡ÍÚÓ‡. –

åÓÒÍ‚‡: å‡ı‡ÓÌ, 2006. – ë. 361–362. ëÂ„ÂÈ ÑÓ‚Î‡ÚÓ‚. äÓÏÔÓÏËÒÒ// ëÓ·‡ÌËÂ

ÒÓ˜ËÌÂÌËÈ. í. 1. – ëèÅ: ÄÁ·ÛÍ‡-ÍÎ‡ÒÒËÍ‡, 2007. – ë. 337. ù‰‚‡‰ ãË. äÌË„Ë

çÓÌÒÂÌÒ‡. – ëèÅ: êÂÚÓ, 2001. Migels de Unamuno. Migla. No spåñu val. tulk.

Edvîns Raups. – Rîga: Jåña Rozes apg., 2007. – 31. lpp. àÓÒËÙ ÅÓ‰ÒÍËÈ. èÂÂÏÂÌ‡

ËÏÔÂËË. ëÚËıÓÚ‚ÓÂÌËfl 1960–1996. – åÓÒÍ‚‡: çÂÁ‡‚ËÒËÏ‡fl É‡ÁÂÚ‡, 2001. –

ë. 57. ãÂ‚ íÓÎÒÚÓÈ. ÑÂÚÒÚ‚Ó// ëÓ·‡ÌËÂ ÒÓ˜ËÌÂÌËÈ. í. 1. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ-

‚ÂÌÌ‡fl ÎËÚÂ‡ÚÛ‡, 1972, – ë. 25. à‚‡Ì íÛ„ÂÌÂ‚. ÅË˛Í// á‡ÔËÒÍË ÓıÓÚÌËÍ‡. –

åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ÎËÚÂ‡ÚÛ‡, 1984, – ë. 109. êÓÎ‡Ì Å‡Ú. ì‰Ó‚ÓÎ¸ÒÚ‚ËÂ

ÓÚ ÚÂÍÒÚ‡// àÁ·‡ÌÌ˚Â ‡·ÓÚ˚. ëÂÏËÓÚËÍ‡. èÓ˝ÚËÍ‡. – åÓÒÍ‚‡: èÓ„ÂÒÒ,

ìÌË‚ÂÒÒ, 1994. – ë. 502. êÓÎ‡Ì Å‡Ú. ÉÛÎ flÁ˚Í‡// àÁ·‡ÌÌ˚Â ‡·ÓÚ˚. ëÂÏËÓÚËÍ‡.

èÓ˝ÚËÍ‡. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒ, 1994. – ë. 543.

�Andris BreΩe � Kristaps Ìelzis � Sarmîte Måliña, Kristaps Kalns � Leonards Laganovskis � Evelîna Deiçmane � F5 � Kristîne Kursißa � Maija Kurßeva � Semjons Hañins � Ìirts Korps � Katrîna Neiburga � Kaspars Podnieks � Miks Mitrévics � Krißs Salmanis � Armands Zelçs

68 Andris BreΩe ÄÌ‰ËÒ ÅÂÊÂ

Struktüras I–IVObjekti, 1999

Structures I–IVObjects, 1999

ëÚÛÍÚÛ˚ I–IVé·˙ÂÍÚ˚, 1999

70 Kristaps Ìelzis äËÒÚ‡ÔÒ ÉÂÎÁËÒ

Nedé¬as nogales zîméjumi Objekti, 2008

Dzîves uztvere katram no mums saståv no

daΩådiem nozîmîgiem notikumiem, vietåm,

sajütåm un personåΩiem.

BieΩi, pat mazåkais sîkums, var tikt uzpüsts

lîdz pat pasaulîgam vértîbu lîmenim.

Globalizåcija, urbanizåcija, reli©ija un

individuålisms – problémas, kuras, pieaugot kå

balons, k¬üst arvien vairåk trauslåkas, iekßéjo

pretrunu plosîtas.

Zîméjumu sérijas paskaidro, ka “Nekas ßai

dzîvé nav müΩîgs“, tådé¬ svarîgî to novértét

tagad, neatståjot uz vélåku laiku. Varbüttå

vairs nemaz nebüs.

Weekend DrawingsObjects, 2008

The way we perceive life is a combination of

different important events, places, feelings and

characters.

Very often the smallest details might be

blown up even to the level of global

importance. Globalization, urbanization,

religion and individualism are problems which

like a blown up balloon are getting more and

more fragile and rent by inner conflicts.

A series of drawings shows that “Nothing

is for ever in this life”. Therefore it is

important to recognise it now, not leaving for

later. Probably then it will be gone.

êËÒÛÌÍË wËÍÂÌ‰ÓÙé·˙ÂÍÚ˚, 2008

ÇÓÒÔËflÚËÂ ÊËÁÌË ÒÓÒÚÓËÚ ‰Îfl Í‡Ê‰Ó„Ó ËÁ

Ì‡Ò ËÁ ‡ÁÎË˜Ì˚ı ÔÓËÒ¯ÂÒÚ‚ËÈ, ÏÂÒÚ,

˜Û‚ÒÚ‚ Ë ÔÂÒÓÌ‡ÊÂÈ.

ó‡ÒÚÓ ‰‡ÊÂ ÏÂÎÓ˜¸ ÏÓÊÂÚ ·˚Ú¸ ‡Á‰ÛÚ‡

‰Ó ÛÓ‚Ìfl ÏËÓ‚Ó„Ó ÁÌ‡˜ÂÌËfl.

ÉÎÓ·‡ÎËÁ‡ˆËfl, Û·‡ÌËÁ‡ˆËfl, ÂÎË„Ëfl Ë

ËÌ‰Ë‚Ë‰Û‡ÎËÁÏ – ˆÂÌÌÓÒÚË, ‡ÒÚÛ˘ËÂ Í‡Í

¯‡, ÒÚ‡ÌÓ‚flÚÒfl ‚ÒÂ ·ÓÎÂÂ ıÛÔÍËÏË Ë

‡Á‰Ë‡ÂÏ˚ÏË ‚ÌÛÚÂÌÌËÏË

ÔÓÚË‚ÓÂ˜ËflÏË.

à‰Âfl ÒÂËË ËÒÛÌÍÓ‚ Ó·˙flÒÌflÂÚÒfl Í‡Í

“çË˜ÚÓ ‚ ˝ÚÓÈ ÊËÁÌË ÌÂ ‚Â˜ÌÓ”, ÔÓ˝ÚÓÏÛ

‚‡ÊÌÓ ˝ÚÓ ÓˆÂÌËÚ¸ ÒÂÈ˜‡Ò, ÌÂ ÓÚÍÎ‡‰˚‚‡fl

Ì‡ ·ÓÎÂÂ ÔÓÁ‰ÌÂÂ ‚ÂÏfl. åÓÊÂÚ ·˚Ú¸, Â„Ó

ÛÊÂ Ë ÌÂ ·Û‰ÂÚ.

AltarIntallation, 2006

ÄÎÚ‡¸àÌÒÚ‡ÎÎflˆËfl, 2006

72 Sarmîte Måliña, Kristaps Kalns ë‡ÏËÚÂ å‡ÎËÌfl, äËÒÚ‡ÔÒ ä‡ÎÌÒ

AltårisInstalåcija, 2006

74 Leonards Laganovskis ãÂÓÌ‡‰c ã‡„‡ÌÓ‚ÒÍËÒ

From Series “Vodka”

PerspektivnayaOil, canva, 2007

ParketnayaOil, canva, 2007

àÁ ÒÂËË “Vodka”

PerspektivnayaM‡ÒÎÓ, ıÓÎÒÚ, 2007

ParketnayaM‡ÒÎÓ, ıÓÎÒÚ, 2007

No sérijas “Vodka”

PerspektivnayaE¬¬a, audekls, 2007

ParketnayaE¬¬a, audekls, 2007

Teiksma – pasakas par cilvékuizturéßanosObjekti, 2007

Pasakås bieΩi vien tiek ståstîts par tumßiem

meΩiem, kuros dzîvojot brînumainas radîbas.

Un tikai daΩiem izdodas tos satikt –

apmaldoties.

Darbs ir fotogråfiju sérija, tås pamatå ir

pasakas par cilvéka izturéßanos, ko izraisa

brînumi un mistérijas vai slepenas norises,

kuras var notikt tikai privåtajå, personiskajå

telpå un kuras nevar izskaidrot cits. Íajos

ståstos cilvéks pårvérßas par dzîvnieku un

apkårtne – par meΩu. Fotogråfijås redzamas

hibrîdås bütnes ßajå mistiskajå norisé. Telpas

ir meΩi, kur mums atklåjas noslépumu bütîba.

MeΩs, kuru veido mébeles, paklåjs un zeme,

krésli un celmi, radio un zari. Liela balerîna

lido putnu måkonî, un ˚eizars mirst viens

pats savas istabas tumså…

Cilvéks ir dzîvnieks, un viña dabiskais

ståvoklis ir intimitåte.

Fairy-Tales about Human BehaviourObjects, 2007

Fairy-tales often relate about dark forests

where wondrous creatures are told to dwell.

And only the chosen few can meet them while

getting lost.

The work consists of a series of photo-

graphs based on fairy-tales about human

behaviour caused by miracles and mysteries or

secret events, taking place only in private,

personal space and not explicable by everybody.

In these tales human beings transforms into

animals but their surroundings become forest.

The photographs portray the hybrid creatures

during this enigmatic process. Spaces are

forests that reveal the essence of mysteries. A

forest made up by furniture, carpet and earth,

chairs and stumps, radio and branches. A large

ballerina flies in the cloud of birds and the king

dies alone in the darkness of his room…

A human being is an animal and his natural

state is intimacy.

76 Evelîna Deiçmane ù‚ÂÎËÌ‡ ÑÂÈ˜Ï‡ÌÂ

çÂ·˚ÎËˆ˚ Ó ÔÓ‚Â‰ÂÌËË ˜ÂÎÓ‚ÂÍ‡é·˙ÂÍÚ˚, 2007

Ç ÒÍ‡ÁÍ‡ı ˜‡ÒÚÓ „Ó‚ÓËÚ¸Òfl Ó ÚfiÏÌ˚ı

ÎÂÒ‡ı, ‚ ÍÓÚÓ˚ı ÊË‚ÛÚ Û‰Ë‚ËÚÂÎ¸Ì˚Â

ÒÛ˘ÂÒÚ‚‡. à ÚÓÎ¸ÍÓ ÌÂÏÌÓ„ËÂ ÏÓ„ÛÚ

‚ÒÚÂÚËÚ¸ Ëı, Ó˜ÌÛ‚¯ËÒ¸ ÓÚÓ ÒÌ‡.

ê‡·ÓÚ‡ ÒÓÒÚÓËÚ ËÁ ÒÂËË

ÙÓÚÓ„‡ÙËÈ, ‚ ÓÒÌÓ‚Â ÍÓÚÓ˚ı ÒÍ‡ÁÍË Ó

ÔÓ‚Â‰ÂÌËË ˜ÂÎÓ‚ÂÍ‡, ‚˚Á‚‡ÌÌÓÏ

˜Û‰ÂÒ‡ÏË Ë ÏËÒÚÂËflÏË ËÎË ÒÍ˚Ú˚ÏË

ÔÓˆÂÒÒ‡ÏË, ÍÓÚÓ˚Â ÏÓ„ÛÚ ÔÓıÓ‰ËÚ¸

ÚÓÎ¸ÍÓ ‚ ˜‡ÒÚÌÓÏ, Ó„‡ÌË˜ÂÌÌÓÏ

‚ÓÒÔËflÚËÂÏ Ó‰ÌÓ„Ó ˜ÂÎÓ‚ÂÍ‡

ÔÓÒÚ‡ÌÒÚ‚Â, Ë ÍÓÚÓ˚Â ÌËÍÚÓ ÌÂ

ÏÓÊÂÚ Ó·˙flÒÌËÚ¸.Ç ˝ÚËı ‡ÒÒÍ‡Á‡ı

˜ÂÎÓ‚ÂÍ ÔÂ‚‡˘‡ÂÚÒfl ‚ ÊË‚ÓÚÌÓÂ, ‡ Â„Ó

ÓÍÛÊÂÌËÂ – ‚ ÎÂÒ. ç‡ ÙÓÚÓ„‡ÙËflı

Á‡ÔÂ˜‡ÚÎÂÌ˚ „Ë·Ë‰Ì˚Â ÒÛ˘ÂÒÚ‚‡,

Û˜‡ÒÚ‚Û˛˘ËÂ ‚ ˝ÚÓÏ ÏËÒÚË˜ÂÒÍÓÏ

ÔÓˆÂÒÒÂ. èÓÏÂ˘ÂÌËfl – ˝ÚÓ ÎÂÒ, ‚

ÍÓÚÓÓÏ Ì‡Ï ÓÚÍ˚‚‡ÂÚÒfl ÒÛÚ¸ Ú‡ÈÌ.

ãÂÒ, ÒÓÒÚÓfl˘ËÈ ËÁ ÏÂ·ÂÎË, ÍÓ‚‡ Ë

ÁÂÏÎË, ÒÚÛÎ¸Â‚ Ë ÔÌÂÈ, ‡‰ËÓÔËfiÏÌËÍ‡

Ë ‚ÂÚÓÍ. ÇÂÎËÍ‡fl ·‡ÎÂËÌ‡ Ô‡ËÚ ‚

Ó·Î‡ÍÂ ÔÚËˆ, ‡ ËÏÔÂ‡ÚÓ ÛÏË‡ÂÚ Ó‰ËÌ

‚ ÚÂÏÌÓÚÂ Ò‚ÓÂÈ ÍÓÏÌ‡Ú˚…

óÂÎÓ‚ÂÍ – ˝ÚÓ ÊË‚ÓÚÌÓÂ, Ë Â„Ó

ÂÒÚÂÒÚ‚ÂÌÌÓÂ ÒÓÒÚÓflÌËÂ – ËÌÚËÏÌÓÒÚ¸.

78

Spéka starojumsObjekts, 2008.

DaΩkårt kaut kå ir påråk daudz –

necilvécîgi daudz.

Par daudz gaismas, par daudz skaistå, par

daudz neaptveramå.

NECILV‰CÈGÅ STAROJUMÅ NO AKLUMA

PAGLÅBJ ACU AIZSEGÍANA AR ROKU.

Starojumu iztur tikai trenétie.

Radiation of PowerObject, 2008.

Sometimes there is too much of something –

superhumanly much.

Too much light, too much beauty, too much

beyond human understanding.

COVERING EYES WITH ONE’S HAND SAVES

FROM BLINDNESS CAUSED BY THE

SUPERHUMAN RADIATION. Only the well-

trained ones survive the radiation.

ëËflÌËÂ ÒËÎ˚é·˙ÂÍÚ, 2008

àÌÓ„‰‡ ˜Â„Ó-ÚÓ ·˚‚‡ÂÚ ÒÎË¯ÍÓÏ ÏÌÓ„Ó –

ÌÂ˜ÂÎÓ‚Â˜ÂÒÍË ÏÌÓ„Ó.

ëÎË¯ÍÓÏ ÏÌÓ„Ó Ò‚ÂÚ‡, ÒÎË¯ÍÓÏ ÏÌÓ„Ó

Í‡ÒÓÚ˚, ÒÎË¯ÍÓÏ ÏÌÓ„Ó ÌÂÔÓÒÚËÊËÏÓ„Ó.

Ç çÖóÖãéÇÖóÖëäéå ëàüçàà éí ëãÖèéíõ

åéÜçé áÄôàíàíúëü íéãúäé èêàäêõÇ

ÉãÄáÄ êìäéâ. ëËflÌËÂ ‚˚‰ÂÊË‚‡˛Ú

ÚÓÎ¸ÍÓ Ì‡ÚÂÌËÓ‚‡ÌÌ˚Â.

F5 ãË„‡ å‡ˆËÌÍÂ‚Ë˜‡, å‡ÚËÌ¸¯Ò ê‡ÚÌËÍÒ, àÂ‚‡ êÛ·ÂÁÂ

Es neskatosDivu kanålu sinhronizéta videoinstalåcija.

29’ 30”, 2006

Videoekråni ir novietoti tå, lai skatîtåjs tos

neredzétu vienlaicîgi.

Pirmajå videoekrånå ir redzama kåda telpa

ar kréslu rindu pie sienas. Léni parådås sédoßas

sievietes téls...Nekas nenotiek. Ir tikai

nojaußams, ka sieviete såk raudåt.

Otrajå videoekrånå ir redzama tå pati aina

tuvplånå. Kadrå ir redzama raudoßå seja.

Kåpéc tas notiek – tas paliek apslépts. Bez

skañas, bez vårdiem.

I’m not lookingTwo-channel synchronized video installation.

29’ 30”,2006

Video screens are placed in a way the spectator

would not see them both at the same time.

The first screen shows some premise with a

row of chairs close to the wall. An image of a

seated woman appears slowly … Nothing

happens. Still one can guess that the woman

starts weeping.

The second video screen features the same

scene in a close-up. A weeping face shows on

the screen.

The cause of the process remains hidden.

No sounds, no words.

ü ÌÂ ÒÏÓÚ˛Ñ‚ÛıÍ‡Ì‡Î¸Ì‡fl ÒËÌıÓÌÌ‡fl

‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl. 29’ 30”, 2006

ÇË‰ÂÓ˝Í‡Ì˚ ‡ÒÔÓÎÓÊÂÌ˚ Ú‡Í, ˜ÚÓ·˚

ÁËÚÂÎ¸ ÌÂ ‚Ë‰ÂÎ Ëı Ó‰ÌÓ‚ÂÏÂÌÌÓ.

ç‡ ÔÂ‚ÓÏ ˝Í‡ÌÂ ‚Ë‰ÌÓ Í‡ÍÓÂ-ÚÓ ÔÓÏÂ-

˘ÂÌËÂ Ò fl‰ÓÏ ÒÚÛÎ¸Â‚ Û ÒÚÂÌ˚. åÂ‰ÎÂÌÌÓ

ÔÓfl‚ÎflÂÚÒfl Ó·‡Á ÒË‰fl˘ÂÈ ÊÂÌ˘ËÌ˚...

çË˜Â„Ó ÌÂ ÔÓËÒıÓ‰ËÚ. ÖÒÚ¸ ÚÓÎ¸ÍÓ ÔÂ‰-

˜Û‚ÒÚ‚ËÂ, ˜ÚÓ ÊÂÌ˘ËÌ‡ Ì‡˜ËÌ‡ÂÚ ÔÎ‡Í‡Ú¸.

ç‡ ‚ÚÓÓÏ ˝Í‡ÌÂ ‚Ë‰Ì‡ Ú‡ ÊÂ

Í‡ÚËÌ‡ ÍÛÔÌ˚Ï ÔÎ‡ÌÓÏ. Ç Í‡‰Â ‚Ë‰ÌÓ

ÔÎ‡˜Û˘ÂÂ ÎËˆÓ.

èÓ˜ÂÏÛ Ú‡Í ÔÓËÒıÓ‰ËÚ – ÓÒÚ‡ÂÚÒfl

ÒÍ˚Ú˚Ï. ÅÂÁ Á‚ÛÍ‡, ·ÂÁ ÒÎÓ‚.

Lîga Marcinkeviça, Mårtiñß Ratniks, Ieva Rubeze

80 Kristîne Kursißa äËÒÚËÌ‡ äÛÒË¯‡

PiensVideo. 1’ 8 ’’, 2008

‰naVideo. 30’, 2008

Sapñojot bieΩi vien es neredzu cilvéku sejas.

Es nojaußu, precîzåk, es zinu, kas tie ir, bet

sejas neredzu. DaΩbrîd es nosapñoju, ka

pazîstu dzîvé pavisam nepazîstamus cilvékus

un ik reizi sapños notiek nelo©iskas lietas.

Íis lo©ikas trükums man ¬oti patîk. Tåpéc ir

radußies “Piens” un “‰na”, sirreåli sapñi,

kuros izjustais ir bütiskåks par lo©isku

iznåkumu.

MilkVideo. 1’ 8’’, 2008

ShadowVideo. 30’, 2008

While dreaming I often cannot see people’s

faces. I guess or even know who they are but

don’t see faces. Sometimes I dream about

knowing people I don’t really know and always

illogical things happen in dreams. I like this

lack of logic very much. That’s why the works

“Milk” and “Shadow” were created, surreal

dreams in which sensations are more important

than a logical outcome.

åÓÎÓÍÓÇË‰ÂÓ. 1’ 8’’, 2008

íÂÌ¸ÇË‰ÂÓ. 30’, 2008

ÇÓ ÒÌÂ fl ˜‡ÒÚÓ ÌÂ ‚Ë‰ÂÎ‡ ˜ÂÎÓ‚Â˜ÂÒÍËÂ

ÎËˆ‡. ü ‰Ó„‡‰˚‚‡˛Ò¸, ÚÓ˜ÌÂÂ, ÁÌ‡˛, ÍÚÓ

ÓÌË, ÌÓ ÎËˆ ÌÂ ‚ËÊÛ. àÌÓ„‰‡ ÏÌÂ ÒÌËÎÓÒ¸,

˜ÚÓ ÁÌ‡˛ ÒÓ‚ÒÂÏ ÌÂ ÁÌ‡ÍÓÏ˚ı ÏÌÂ ÔÓ

ÊËÁÌË Î˛‰ÂÈ, Ë ‚Ó ÒÌÂ ‚ÒÂ„‰‡ ÔÓËÒıÓ‰flÚ

ÌÂÎÓ„Ë˜Ì˚Â ‚Â˘Ë. ùÚÓ ÓÚÒÛÚÒÚ‚ËÂ ÎÓ„ËÍË

ÏÌÂ Ó˜ÂÌ¸ Ì‡‚ËÚÒfl. èÓ˝ÚÓÏÛ Ó‰ËÎËÒ¸

“åÓÎÓÍÓ” Ë “íÂÌ¸”, Ò˛Â‡ÎËÒÚË

82 Maija Kurßeva å‡Èfl äÛ¯Â‚‡

Mana piektdienaInstalåcija, 2008

Ar vieglu dzinn! sace¬as vi¬ñi. No såkuma mazi,

tad lielåki. Uznes lîdz griestiem, kur galva

atsitas un saß˚îst stiklos. No rîta skaidrs, ka

istabå bijusi vétra, jo pie kåjåm saskalotas

pudeles ar véstîjumiem iekßå.

My FridayInstallation, 2008

Waves rise with a light tinkle. Initially small,

they get bigger. Bring up to ceiling where the

head is crashes against glass. In the morning it

is clear there has been storm in the room, as

bottles with messages are silted by the feet.

åÓfl ÔflÚÌËˆ‡àÌÒÚ‡ÎÎflˆËfl, 2008

éÚ ÎÂ„ÍÓ„Ó “‰ÁËÌ¸!” Ì‡·Â„‡˛Ú ‚ÓÎÌ˚.

ëÌ‡˜‡Î‡ Ï‡ÎÂÌ¸ÍËÂ, ÔÓÚÓÏ ÔÓ·ÓÎ¸¯Â.

èÓ‰ÌËÏ‡˛Ú ‰Ó ÔÓÚÓÎÍ‡, Ó ÍÓÚÓ˚È

ÒÚÛÍ‡ÂÚÒfl „ÓÎÓ‚‡ Ë ‡Á·Ë‚‡˛ÚÒfl Ì‡ ÓÒÍÓÎÍË

ÒÚÂÍÎ‡. ìÚÓÏ ÔÓÌflÚÌÓ, ˜ÚÓ ‚ ÍÓÏÌ‡ÚÂ ·˚Î‡

·Ûfl, Ó· ˝ÚÓÏ „Ó‚ÓflÚ ‡Á·Ë‚¯ËÂÒfl

·ÛÚ˚ÎÍË Ò Á‡ÔËÒÍ‡ÏË ‚ÌÛÚË.

84

te man kåds iekoda vai arî es apdedzinåjos

te es nokritu no ßüpolém

sadzija, bet daΩreiz niez

né, ne te, nedaudz augståk

tur ir kaut kådi izsitumi

varbüt aler©ija

te lük piedzéros sakåvos

tas ir apendicîts

kas ßeit – neatceros

labåk neaiztiec

Atdzejojis Kårlis Vérdiñß

here I got bitten or I was burnt

and here I fell off the swings

it has healed but it’s still a bit itchy

no, not here, a bit higher

there’s some sort of rash there

could be an allergy

here I got drunk and was in a fight

this was appendicitis

here I don’t remember what

better not touch

Translated by Maria Kozlovskaya-Wiltshire

Semjons Hañins ëÂÏÂÌ ï‡ÌËÌ

Á‰ÂÒ¸ ÍÚÓ-ÚÓ ÏÂÌfl ÛÍÛÒËÎ ËÎË fl Ó·ÊÂ„Òfl

Á‰ÂÒ¸ fl ÛÔ‡Î Ò Í‡˜ÂÎÂÈ

Á‡ÚflÌÛÎÓÒ¸, ÌÓ ËÌÓ„‰‡ ˜Â¯ÂÚÒfl

ÌÂÚ, ÌÂ Á‰ÂÒ¸, ÌÂÏÌÓ„Ó ÔÓ‚˚¯Â

Ú‡Ï Í‡Í‡fl-ÚÓ Ò˚Ô¸

ÏÓÊÂÚ ·˚Ú¸ ‡ÎÎÂ„Ëfl

Á‰ÂÒ¸ ‚ÓÚ Ì‡ÔËÎÒfl ÔÓ‰‡ÎÒfl

˝ÚÓ ‡ÔÔÂÌ‰ËˆËÚ

ÚÛÚ fl ÌÂ ÔÓÏÌ˛ ˜ÚÓ

ÎÛ˜¯Â ÌÂ ÚÓ„‡È

Video veidots kå sajüta, asociåcija, kas izriet no

skañas, tåpéc tas ir abstrakts témas skatîjums

bez secîgas siΩetiskås lînijas.

Video saståv no filméta, gan arî grafiska

materiåla, lai labåk izceltu skañas struktüru un

radîtu atbilstoßu noskañu.

Ìirts Korps & GIRNŲ GIESMĖSMVideo, 2003

Mîtiskå domåßana bija veids, kå izprast pasauli.

Mîts radås, cilvéka iztélei saskaroties ar

nesaprotamo îstenîbu.

Müsdienu mîts ir cits.

Tas nemaz nav mîts.

Cilvéks ir puslîdz ticis skaidrîbå ar pasauli,

vismaz tås tauståmo pusi; pats sev gan ir atståjis

tiesîbas uz jelkådu noslépumainîbu.

Savu personîgo realitåti cilvéks var mitolo©izét.

Maldi un ilüzijas rodas, iztélei saskaroties ar

nereti k¬üdainu priekßstatu par to, kådam standar-

tam vajadzétu atbilst realitåtei vai kas ir laime.

K¬üdaini priekßstati var radît privåtu mîtu,

kas var k¬üt par meliem.

Mîts ir par realitåti.

Müsdienås mîts par realitåti ir meli.

Darbs “M” ir sadarbîbas projekts ar vienu no

vecåkajåm lietuvießu dark ambient/industrial

grupåm Girnų Giesmės. Tas ir abstrakts piecu

minüßu video, kas veidots, izejot no skañas

materiåla struktüras un noskañas. Darbs ir autoru

iztéles auglis par tému “mîts”. Skaña un video

veido simbolu kopumu, kas izriet no autoru

bérnîbas atmiñåm un priekßstatiem par pasauli,

kå arî ßî brîΩa attieksmes pret pagåtni un tagadni.

Mîtiskå pasaules uztvere påriet tagadnes

realitåtes apziñå, kas noved pie mîtiskås pasaules

robeΩas sagraußanas.

86

fruit of the author’s imagination on the theme

of “myth”. The sound and video form a

symbolic whole derived from the author’s

childhood memories and notinos of the world,

as well his current attitude towards the past

and present. A mythical perception of the

world turns into awareness of the present

reality leading to the breaking down of the

boundaries of the mythical world.

The video has been made as a feeling, an

association coming from the sound and that is

why it i san abstract view of the theme without

a sequential storyline. The video consists of

both filmed and graphic materials in order to

highlight the structure of the sound and create

an appropriate mood.

ÉËÚÒ äÓÔÒ & GIRNŲ GIESMĖSM ÇË‰ÂÓ. 2003

åËÙË˜ÂÒÍÓÂ Ï˚¯ÎÂÌËÂ ·˚ÎÓ ÒÔÓÒÓ·ÓÏ

ÔÓÌflÚ¸ ÏË.

åËÙ ÔÓfl‚ËÎÒfl, ÍÓ„‰‡ ˜ÂÎÓ‚Â˜ÂÒÍÓÂ

‚ÓÓ·‡ÊÂÌËÂ ÒÚÓÎÍÌÛÎÓÒ¸ Ò ÌÂÔÓÌflÚÌÓÈ

‰ÂÈÒÚ‚ËÚÂÎ¸ÌÓÒÚ¸˛.

ëÓ‚ÂÏÂÌÌ˚È ÏËÙ ‰Û„ÓÈ.

ùÚÓ ÒÓ‚ÒÂÏ ÌÂ ÏËÙ.

óÂÎÓ‚ÂÍ Ì‡ÔÓÎÓ‚ËÌÛ ÔÓÌflÎ ÏË, ‚Ó

‚ÒflÍÓÏ ÒÎÛ˜‡Â, Â„Ó ÓÒflÁ‡ÂÏÛ˛ ˜‡ÒÚ¸; Ò‡Ï ‰Îfl

ÒÂ·fl ÓÒÚ‡‚ËÎ Ô‡‚Ó Ì‡ Î˛·Û˛ ÒÂÍÂÚÌÓÒÚ¸.

ë‚Ó˛ ÎË˜ÌÛ˛ Â‡Î¸ÌÓÒÚ¸ ˜ÂÎÓ‚ÂÍ

ÏÓÊÂÚ ÏËÙÓÎÓ„ËÁËÓ‚‡Ú¸.

é·Ï‡Ì Ë ËÎÎ˛ÁËË ÔÓfl‚Îfl˛ÚÒfl, ÍÓ„‰‡

‚ÓÓ·‡ÊÂÌËÂ ÒÚ‡ÎÍË‚‡ÂÚÒfl Ò ÌÂÂ‰ÍÓ

Ó¯Ë·Ó˜Ì˚Ï ÔÂ‰ÒÚ‡‚ÎÂÌËÂÏ Ó ÚÓÏ,

Í‡ÍÓÏÛ ÒÚ‡Ì‰‡ÚÛ ÌÛÊÌÓ ÒÓÓÚ‚ÂÚÒÚ‚Ó‚‡Ú¸

Â‡Î¸ÌÓÒÚË Ë ˜ÚÓ Ú‡ÍÓÂ Ò˜‡ÒÚ¸Â.

é¯Ë·Ó˜Ì˚Â ÔÂ‰ÒÚ‡‚ÎÂÌËfl ÏÓ„ÛÚ

ÒÓÁ‰‡‚‡Ú¸ ˜‡ÒÚÌ˚È ÏËÙ, ÍÓÚÓ˚È ÏÓÊÂÚ

ÒÚ‡Ú¸ Ó·Ï‡ÌÓÏ.

åËÙ – ÓÌ Ó Â‡Î¸ÌÓÒÚË.

ëÓ‚ÂÏÂÌÌ˚È ÏËÙ Ó Â‡Î¸ÌÓÒÚË – ˝ÚÓ

Ó·Ï‡Ì.

ê‡·ÓÚ‡ “å” – ÔÓÂÍÚ ‚ ÒÓÚÛ‰ÌË˜ÂÒÚ‚Â Ò

Ó‰ÌÓÈ ËÁ ÒÚ‡ÂÈ¯Ëı ÎËÚÓ‚ÒÍËı „ÛÔÔ ÒÚËÎfl

dark ambient/industrial – Girnų Giesmės.

ùÚÓ ‡·ÒÚ‡ÍÚÌÓÂ ÔflÚËÏËÌÛÚÌÓÂ ‚Ë‰ÂÓ,

ÒÓÁ‰‡ÌÌÓÂ ËÒıÓ‰fl ËÁ ÒÚÛÍÚÛ˚ Ï‡ÚÂË‡Î‡

Á‚ÛÍ‡ Ë Ì‡ÒÚÓÂÌËfl. ê‡·ÓÚ‡ – ˝ÚÓ ÔÎÓ‰

‚ÓÓ·‡ÊÂÌËfl ‡‚ÚÓÓ‚ Ì‡ ÚÂÏÛ “ÏËÙ”.

á‚ÛÍ Ë ‚Ë‰ÂÓ Ó·‡ÁÛ˛Ú ÍÓÏÔÎÂÍÒ ÒËÏ‚ÓÎÓ‚,

ËÒıÓ‰fl˘Ëı ËÁ ‰ÂÚÒÍËı ‚ÓÒÔÓÏËÌ‡ÌËÈ Ë

ÔÂ‰ÒÚ‡‚ÎÂÌËÈ Ó ÏËÂ, ‡ Ú‡ÍÊÂ ËÁ

ÓÚÌÓ¯ÂÌËfl ˝ÚÓ„Ó ÏÓÏÂÌÚ‡ Í ÔÓ¯ÎÓÏÛ Ë

Ì‡ÒÚÓfl˘ÂÏÛ. åËÙË˜ÂÒÍÓÂ ‚ÓÒÔËflÚËÂ ÏË‡

ÔÂÂıÓ‰ËÚ ‚ ÒÓÁÌ‡ÌËÂ Â‡Î¸ÌÓÒÚË

Ì‡ÒÚÓfl˘Â„Ó, ˜ÚÓ ÔË‚Ó‰ËÚ Í ‡ÁÛ¯ÂÌË˛

„‡ÌËˆ˚ ÏËÙË˜ÂÒÍÓ„Ó ÏË‡.

ÇË‰ÂÓ Ó·‡ÁÓ‚‡ÌÓ Í‡Í ˜Û‚ÒÚ‚Ó,

‡ÒÒÓˆË‡ˆËfl, ‚˚ÚÂÍ‡˛˘‡fl ËÁ Á‚ÛÍ‡, ÔÓ˝ÚÓÏÛ

˝ÚÓ ‡·ÒÚ‡ÍÚÌÓÂ ‚Ë‰ÂÌËÂ ÚÂÏ˚ ·ÂÁ

ÔÓÒÎÂ‰Ó‚‡ÚÂÎ¸ÌÓÈ Ò˛ÊÂÚÌÓÈ ÎËÌËË.

ÇË‰ÂÓ ÒÓÒÚÓËÚ ËÁ ÒÌflÚÓ„Ó Ë „‡ÙË˜ÂÒÍÓ„Ó

Ï‡ÚÂË‡Î‡, ˜ÚÓ·˚ ÎÛ˜¯Â ‚˚‰ÂÎËÚ¸

ÒÚÛÍÚÛÛ Á‚ÛÍ‡ Ë ÒÓÁ‰‡Ú¸ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘ÂÂ

Ì‡ÒÚÓÂÌËÂ.

Ìirts Korps ÉËÚÒ äÓÔÒ

Ìirts Korps & GIRNŲ GIESMĖSMVideo, 2003

Mythical thinking was a way of understanding

the world.

A myth is created when man’s imagination

encounters the incomprehensible reality.

The myth of today is different.

It’s one of myth. Man has more or less got

to grips with the world, at least its tangible

side; he does though, reserve the right to

secrecy of any kind. Man can mythologise his

personal reality.

Delusions and illusions arise when the

imagination meets with an often mistaken idea

of what kind of standard should correspond

with reality or what is that can become lies.

Myth is about reality.

Nowadays a myth about reality is lies.

“M” is a joint project with Girnų Giesmės,

one of Lithuania’s oldest dark ambient/

industrial groups. It is a five-minute abstract

video formed on the basis of the structure and

mood of the acoustic material. The work is the

88

KROXAVideo poéma, 2005

Dzeja: Hañins

DaΩas sekundes gara filmiña, kurå dzejas un

attéla mijiedarbîba rada pilnmetråΩas filmas

vértu spriegumu, iezîméjot ßauro un netveramo

robeΩu starp to, kas jau ir bijis – atståtas lietas,

pateikti vårdi, pirkstu nospiedumi, smarΩa

gaiså, caurvéjß, pieskåriena siltums, un to, kas

vél tikai büs – nezinåms un tomér

nenovérßams.

Pauls Bankovskis, rakstnieks

Krohas måkslas gabaliñß ir apståßanås, par

kuru més nojautåm, taçu nespéjåm sasniegt.

Vîrießa balss, ar kuru skatiens slîd pår sienåm

un priekßmetiem, bez ßaubåm, ir vienkårßi roka,

kas slîd pår sievietes ådu, un, ja lietåm ir

bütîba, tå atrodas ßajå virspusé.

Uldis Tîrons, galvenais redaktors

Katrîna Neiburga savå darbå “Kroxa” ar

atkailinåtu tießumu analizé cilvéka personîbas

klåtbütni viña apdzîvotajå telpå.

Ilmårs Ílåpins, dramaturgs

KROXAVideo poem, 2005

Poetry: Hañins

A film of few seconds in which the interaction

between poetry and picture creates tension of

a full-length film, marking the narrow and

imperceptible boundary between what is past

already – things left, words spoken, finger

prints, perfume in the air, draught, warmness

of touch, and what is still to happen –

unknown and still unavoidable.

Pauls Bankovskis, writer

Kroha art piece is a standstill we anticipated

but could not achieve. The male voice that

accompanies the gaze sliding over walls and

objects, is, of course, simply a hand sliding

over woman’s skin, and, if things have any

essence, it if found on this surface.

Uldis Tîrons, Editor-in-Chief

Katrîna Neiburga in her work Kroxa analyses

the human presence in his/her living space with

an open directness.

Ilmårs Ílåpins, playwright

Katrîna Neiburga ä‡ÚËÌ‡ çÂÈ·Û„‡

KROXAÇË‰ÂÓ ÔÓ˝Ï‡, 2005

ëÚËıË: ï‡ÌËÌ

îËÎ¸Ï, ‰ÎËÌÓ˛ ‚ ÌÂÒÍÓÎ¸ÍÓ ÒÂÍÛÌ‰, ‚

ÍÓÚÓÓÏ ‚Á‡ËÏÓÒ‚flÁ¸ ÔÓ˝ÁËË Ë ËÁÓ·‡-

ÊÂÌËfl ÓÊ‰‡ÂÚ Ì‡ÔflÊÂÌËÂ, ‰ÓÒÚÓÈÌÓÂ

ÔÓÎÌÓÏÂÚ‡ÊÌÓ„Ó ÙËÎ¸Ï‡, ÔË ˝ÚÓÏ

ÓÚÏÂ˜‡fl ÛÁÍÛ˛ Ë ÌÂÛÎÓ‚ËÏÛ˛ „‡ÌËˆÛ

ÏÂÊ‰Û ÚÂÏ, ˜ÚÓ ÛÊÂ ·˚ÎÓ – ÓÒÚ‡‚ÎÂÌÌ˚Â

‚Â˘Ë, ÒÍ‡Á‡ÌÌ˚Â ÒÎÓ‚‡, ÓÚÔÂ˜‡ÚÍË Ô‡Î¸ˆÂ‚,

Á‡Ô‡ı ‚ ‚ÓÁ‰ÛıÂ, ÒÍ‚ÓÁÌflÍ, ÚÂÔÎÓ

ÔËÍÓÒÌÓ‚ÂÌËfl, Ë ÚÂÏ, ˜ÚÓ Â˘fi ÚÓÎ¸ÍÓ

·Û‰ÂÚ – ÌÂËÁ‚ÂÒÚÌÓÂ Ë ‚Òfi-Ú‡ÍË

ÌÂÓÚ‚‡ÚËÏÓÂ.

è‡ÛÎÒ Å‡ÌÍÓ‚ÒÍËÒ, ÔËÒ‡ÚÂÎ¸

ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÍÛÒÓ˜ÂÍ ÍÓıË –

ÓÒÚ‡ÌÓ‚Í‡, ÍÓÚÓÛ˛ Ï˚ ÔÂ‰˜Û‚ÒÚ‚ÛÂÏ, ÌÓ

ÌÂ ÏÓÊÂÏ ‰ÓÒÚË˜¸. åÛÊÒÍÓÈ „ÓÎÓÒ, Ò

ÍÓÚÓ˚Ï ‚Á„Îfl‰ ÒÍÓÎ¸ÁËÚ ÔÓ ÒÚÂÌ‡Ï Ë

ÔÂ‰ÏÂÚ‡Ï, ·ÂÁ ÒÓÏÌÂÌËfl, ÔÓÒÚÓ ÛÍ‡,

ÒÍÓÎ¸Áfl˘‡fl ÔÓ ÊÂÌÒÍÓÈ ÍÓÊÂ, Ë, ÂÒÎË Û

‚Â˘ÂÈ ÂÒÚ¸ ÒÛÚ¸, ÓÌ‡ Ì‡ıÓ‰ËÚÒfl Ì‡ ˝ÚÓÈ

ÔÓ‚ÂıÌÓÒÚË.

ìÎ‰ËÒ íËÓÌÒ, „Î‡‚Ì˚È Â‰‡ÍÚÓ

ä‡ÚËÌ‡ çÂÈ·Û„‡ ‚ Ò‚ÓÂÈ ‡·ÓÚÂ “Kroxa” Ò

Ó·Ì‡ÊfiÌÌÓÈ ÔflÏÓÚÓÈ ‡Ì‡ÎËÁËÛÂÚ

ÔËÒÛÚÒÚ‚ËÂ ˜ÂÎÓ‚Â˜ÂÒÍÓÈ ÎË˜ÌÓÒÚË ‚Â„Ó

Ó·ÊËÚÓÏ ÔÓÒÚ‡ÌÒÚ‚Â.

àÎÏ‡ òÎ‡ÔËÌ, ‰‡Ï‡ÚÛ„

90 Kaspars Podnieks ä‡ÒÔ‡Ò èÓ‰ÌËÂÍÒ

Bez nosaukumaFotogråfija, 2008

Vienreiz domåju, kå ir pakårties. Kad sevi

pakarinåju, pats nevaréju atbrîvoties.

Lénåm pazuda bilde, skaña k¬uva

viendabîga. Tas bija patîkami. Mani

nocéla, pårgrieΩot stri˚i.

UntitledPhotography, 2008

I thought once how would it be to hang

oneself. When I hung myself I could not get

off. The picture faded slowly, sound became

uniform. It was pleasant. I was taken off,

cutting the rope.

ÅÂÁ Ì‡Á‚‡ÌËflîÓÚÓ„‡ÙËfl, 2008

é‰Ì‡Ê‰˚ ‰ÛÏ‡Î, Í‡Í ˝ÚÓ – ÔÓ‚ÂÒËÚ¸Òfl.

äÓ„‰‡ ÔÓ‚ÂÒËÎ ÒÂ·fl, Ò‡Ï ÌÂ ÏÓ„

ÓÒ‚Ó·Ó‰ËÚ¸Òfl. åÂ‰ÎÂÌÌÓ ÔÓÔ‡‰‡Î‡

Í‡ÚËÌÍ‡, Á‚ÛÍ ÒÚ‡Î Ó‰ÌÓÓ‰Ì˚Ï. ùÚÓ ·˚ÎÓ

ÔËflÚÌÓ. åÂÌfl ÒÌflÎË, ÔÂÂÂÁ‡‚ ‚Âfi‚ÍÛ.

Aizmirstie mirk¬iFotogråfija. Instalåcija, 2006

Kas ir tie mirk¬i, kurus més atceramies un kurus

més aizmirstam? Vai, atskatoties atpaka¬,

laimes mirk¬u müsu dzîvés ir bijis pietiekoßi

daudz un kuri no tiem mums nesußi patiesu

laimi? Vai tå ir laime, ko més mekléjam?

Vecumdienås cilvéki dzîvo vienam mirklim, spéj

novértét katru elpas vilcienu. Viñi kavéjas pie

jaunîbå rakstîtåm véstulém un nereti saka mums

– Tießi tagad tu dzîvo. Cik tu esi laimîgs. Taçu

müs nepamet sajüta, ka viss ir tikai priekßå...

Müsu ikdienas dzîve mums ß˚iet tikai kå

gatavoßanås müsu îstajai dzîvei un gaidåmajai

nåkotnei un laimei. Nereti, atskatoties atpaka¬

un pårvértéjot ßo skréjienu péc labklåjîbas,

karjeras un pårticîbas, més uzdodam sev

jautåjumu – cik daudz no tå visa mums tießåm

vajag, lai més justos patiesi laimîgi?

Uz lielas baltas sienas katru dienu tiek

piestiprinåtas maza izméra fotogråfijas, kurås

tiek fikséta mana ikdienas dzîve, mé©inot

parådît piedzîvotås emocijas un novérojumus,

kas citådi nolemti aizmirstîbai. Katru dienu ßî

atmiñu kolekcija tiek papildinåta, lai varétu

atgriezties aizmirsto mirk¬u pasaulé. Kas zina,

kurß no tiem bija îstais?

Forgotten MomentsPhotographs. Installation, 2006

What moments do we remember and forget?

Looking back, had we had enough happy

moments and which of them had brought a

true sense of happiness? Is it happiness what

we look for?

Old people enjoy every moment, they can

value each breath. They linger in their

memories on letters from their youth and

sometimes say to us – you life goes on now.

How happy are you. But we are haunted by a

sense that all will happen in the future… Our

everyday life seems like a preparation for

some true life, expected future and happiness.

Often, looking back and revaluating this rush

for well-being, career and wealth, we ask

ourselves – how much of this entire do we

really need to be really happy?

Small photographs are fixed to a large, white

wall. They capture my everyday life,

attempting to show the experienced emotions

and observations that are otherwise doomed

to oblivion. This collection of memories is

added to every day, aiming to return to the

world of forgotten moments. Who knows

which of them the true one was?

92 Miks Mitrévics åËÍÒ åËÚÂ‚Ëˆ

á‡·˚Ú˚Â Ï„ÌÓ‚ÂÌËflîÓÚÓ„‡ÙËfl. àÌÒÚ‡ÎÎflˆËfl, 2006

óÚÓ Ú‡ÍÓÂ Ï„ÌÓ‚ÂÌËfl, ÍÓÚÓ˚Â Ï˚ ÔÓÏÌËÏ Ë

Ó ÍÓÚÓ˚ı Á‡·˚‚‡ÂÏ? ÖÒÎË Ï˚ Ó„ÎflÌfiÏÒfl

Ì‡Á‡‰, ‰ÓÒÚ‡ÚÓ˜ÌÓ ÎË ‚ Ì‡¯ÂÈ ÊËÁÌË ·˚ÎÓ ÔÓ-

Ì‡ÒÚÓfl˘ÂÏÛ Ò˜‡ÒÚÎË‚˚ı Ï„ÌÓ‚ÂÌËÈ, Ë ÍÓÚÓ˚Â

ËÁ ÌËı ÔËÌÂÒÎË Ì‡Ï ËÒÚËÌÌÓÂ Ò˜‡ÒÚ¸Â? íÓ ÎË

˝ÚÓ Ò˜‡ÒÚ¸Â, ‚ ÔÓËÒÍ‡ı ÍÓÚÓÓ„Ó Ï˚

Ì‡ıÓ‰ËÎËÒ¸?

ç‡ ÒÍÎÓÌÂ ÎÂÚ Î˛‰Ë ÊË‚ÛÚ Ó‰ÌËÏ Ï„ÌÓ‚ÂÌËÂÏ,

Ë ÓÌË ÏÓ„ÛÚ ÓˆÂÌËÚ¸ Í‡Ê‰˚È ‚Á‰Óı. éÌË

ÔÂÂ˜ËÚ˚‚‡˛Ú ÔËÒ¸Ï‡, Ì‡ÔËÒ‡ÌÌ˚Â ‚

ÏÓÎÓ‰ÓÒÚË Ë ÌÂÂ‰ÍÓ „Ó‚ÓflÚ Ì‡Ï: “àÏÂÌÌÓ

ÒÂÈ˜‡Ò Ú˚ ÊË‚fi¯¸ ... ä‡Í Ú˚ Ò˜‡ÒÚÎË‚ ...” ïÓÚfl

Ì‡Ò ÌÂ ÓÒÚ‡‚ÎflÂÚ ˜Û‚ÒÚ‚Ó, ˜ÚÓ ‚Òfi Â˘fi ÚÓÎ¸ÍÓ

‚ÔÂÂ‰Ë. èÓ‚ÒÂ‰ÌÂ‚Ì‡fl ÊËÁÌ¸ Ì‡Ï ÔÂ‰ÒÚ‡‚-

ÎflÂÚÒfl ÚÓÎ¸ÍÓ ÔÓ‰„ÓÚÓ‚ÍÓÈ Í Ì‡ÒÚÓfl˘ÂÈ ÊËÁÌË

Ë ÓÊË‰‡ÂÏÓÏÛ ·Û‰Û˘ÂÏÛ Ë Ò˜‡ÒÚ¸˛. çÂÂ‰ÍÓ,

Ó„ÎflÌÛ‚¯ËÒ¸ Ì‡Á‡‰ Ë ÔÂÂÓˆÂÌË‚ ˝ÚÛ ÔÓ„ÓÌ˛ Á‡

·Î‡„ÓÔÓÎÛ˜ËÂÏ, Í‡¸ÂÓÈ Ë ‰ÓÒÚ‡ÚÍÓÏ, Ï˚

Á‡‰‡fiÏ ÒÂ·Â ‚ÓÔÓÒ – ˜ÚÓ ËÁ ˝ÚÓ„Ó Ì‡Ï

‰ÂÈÒÚ‚ËÚÂÎ¸ÌÓ ÌÂÓ·ıÓ‰ËÏÓ, ˜ÚÓ·˚ ˜Û‚ÒÚ‚Ó‚‡Ú¸

ÒÂ·fl ÔÓ-Ì‡ÒÚÓfl˘ÂÏÛ Ò˜‡ÒÚÎË‚˚ÏË?

ç‡ ·ÓÎ¸¯ÓÈ ·ÂÎÓÈ ÒÚÂÌÂ Í‡Ê‰˚È ‰ÂÌ¸

ÔÓfl‚Îfl˛ÚÒfl ÌÂ·ÓÎ¸¯Ó„Ó ‡ÁÏÂ‡ ÙÓÚÓ„‡ÙËË,

Ì‡ ÍÓÚÓ˚ı Á‡ÔÂ˜‡ÚÎÂÌ‡ ÏÓfl ÔÓ‚ÒÂ‰ÌÂ‚Ì‡fl

ÊËÁÌ¸, ˝ÚËÏ fl Ô˚Ú‡˛Ò¸ ÔÓÍ‡Á‡Ú¸ ÔÂÂÊËÚ˚Â

ÏÌÓ˛ ˝ÏÓˆËË Ë Ò‚ÓË Ì‡·Î˛‰ÂÌËfl, ÍÓÚÓ˚Â ‚

ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â·˚ÎË ·˚ ÔÂ‰‡Ì˚ Á‡·‚ÂÌË˛.

ä‡Ê‰˚È ‰ÂÌ¸ ˝Ú‡ ÍÓÎÎÂÍˆËfl ‚ÓÒÔÓÏËÌ‡ÌËÈ

ÔÓÔÓÎÌflÂÚÒfl Ò ˆÂÎ¸˛ Â‡ÎËÁÓ‚‡Ú¸ ‚ÓÁÏÓÊÌÓÒÚ¸

‚ÂÌÛÚ¸Òfl ‚ ÏË Á‡·˚Ú˚ı Ï„ÌÓ‚ÂÌËÈ. äÚÓ

ÁÌ‡ÂÚ, ÍÓÚÓÓÂ ËÁ ÌËı ·˚ÎÓ ËÒÚËÌÌ˚Ï?

94

Kåpéc neesmu ve©itårietisAnimåcijas cilpa, 2007

Violets dårzenis spiegdams un virpu¬odams

levité virs verdoßa üdens katliña.

Cilvékiem ar stipriem nerviem.

Why I am not a VegitarianAnimation loop, 2007

A purple vegetable levitates spinning and

screaming above a boiling pot of water.

Not for the faint hearted.

èÓ˜ÂÏÛ fl ÌÂ ‚Â„ËÚ‡Ë‡ÌÂˆÄÌËÏ‡ˆËÓÌÌ‡fl ÔÂÚÎfl, 2007

ÇËÁÊ‡˘ËÈ Ë ÍÛÚfl˘ËÈÒfl ÙËÓÎÂÚÓ‚˚È Ó‚Ó˘

ÎÂ‚ËÚËÛÂÚ Ì‡‰ ÍÓÚÂÎÍÓÏ Ò ÍËÔfl˘ÂÈ ‚Ó‰ÓÈ.

ÑÎfl Î˛‰ÂÈ Ò ÍÂÔÍËÏË ÌÂ‚‡ÏË.

Krißs Salmanis äË¯c ë‡ÎÏ‡ÌËÒ

DußaAnimåcija, 2007

Ar akrilu uz sienåm un grîdas gleznota animå-

cija, kas radîta projekta At Home in Europe

ietvaros kopå ar ISIS (Lielbritånija), RIXC (Lat-

vija), InterSpace (Bulgårija) un BEK (Norvé©ija).

Krißs Salmanis strådå ar visåm savåm sajütåm,

lai izprastu apkårtéjo pasauli, un piedåvå

mums daΩas animétas ironiskas pårdomas par

“augstajåm“ un “zemajåm“ tehnolo©ijåm,

seniem un jauniem mîtiem un dzîvi kopumå. Izvilkums no “Do you read me? Kriss Salmanis’ animated

art works“, 2007, autore: Karen Kipphoff,

våcu/kanådießu izcelsmes måksliniece, måkslas

pasniedzéja Bergenas Måkslas augstskolå, Norvé©ija

The ShowerAnimation, 2007

Animation painted on walls and floor in

acrylic, created as a part of the project At

Home in Europe together with ISIS (UK),

RIXC (Latvia), InterSpace (Bulgaria) and

BEK (Norway)

Kriss Salmanis works with all of his senses to

take in the world around him and proposes

us with some animated tongue-in-cheek

thoughts about high and low tech, old and

new myths and life in general. From “Do you read me? Kriss Salmanis’ animated art

works” by Karen Kipphoff, 2007 German/Canadian Artist

Professor of Fine Arts, Kunsthøgskolen i Bergen, Norway

ÑÛ¯ÄÌËÏ‡ˆËfl. 2007

ç‡ËÒÓ‚‡ÌÌ‡fl ‡ÍËÎÓÏ Ì‡ ÒÚÂÌÂ Ë ÔÓÎÛ

‡ÌËÏ‡ˆËfl, ÒÓÁ‰‡ÌÌ‡fl ‚ ‡ÏÍ‡ı ÔÓÂÍÚ‡

At Home in Europe ‚ÏÂÒÚÂ Ò ISIS (ÇÂÎËÍÓ-

·ËÚ‡ÌËfl), RIXC (ã‡Ú‚Ëfl), InterSpace

(ÅÓÎ„‡Ëfl) Ë BEK (çÓ‚Â„Ëfl).

äË¯ ë‡ÎÏ‡ÌËÒ ‡·ÓÚ‡ÂÚ ‚ÒÂÏË Ò‚ÓËÏË

˜Û‚ÒÚ‚‡ÏË, ˜ÚÓ·˚ ÔÓÌflÚ¸ ÓÍÛÊ‡˛˘ËÈ ÏË,

Ë ÔÂ‰Î‡„‡ÂÚ Ì‡Ï ÌÂÒÍÓÎ¸ÍÓ

‡ÌËÏËÓ‚‡ÌÌ˚ı ËÓÌË˜ÂÒÍËı ‡Á‰ÛÏËÈ Ó

“‚˚ÒÓÍËı” Ë “ÌËÁÍËı” ÚÂıÌÓÎÓ„Ëflı, ‰Â‚ÌËı

Ë ÌÓ‚˚ı ÏËÙ‡ı Ë ÊËÁÌË ‚ ˆÂÎÓÏ. àÁ “Do you read me? Kriss Salmanis’ animated art

works”, 2007, ‡‚ÚÓ ä‡ÂÌ äËÔÌÓÙÙ (Karen Kipphoff),

ıÛ‰ÓÊÌËˆ‡ ÌÂÏÂˆÍÓ„Ó/Í‡Ì‡‰ÒÍÓ„Ó ÔÓËÒıÓÊ‰ÂÌËfl,

ÔÂÔÓ‰‡‚‡ÚÂÎ¸ ËÒÍÛÒÒÚ‚‡ ‚ ÅÂ„ÂÌÒÍÓÈ

ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚Ò¯ÂÈ ¯ÍÓÎÂ, çÓ‚Â„Ëfl

96 Armands Zelçs ÄÏ‡Ì‰Ò áÂÎ˜c

Piezîmes par paßsaprotamåmlietåmObjekts, 2008

Lîdz atziñai, ka kubs saståv no seßiem

kvardåtiem nok¬üt nevar, jo ßis divritenis

jau ir izgudrots.

Notes on Self-Evident ThingsObject, 2008

One cannot arrive at the conclusion that

cube consists of six squares because this

bicycle has been already invented.

á‡ÏÂÚÍË Ó Ò‡ÏÓ ÒÓ·ÓÈ‡ÁÛÏÂ˛˘ËıÒfl ‚Â˘‡ıé·˙ÂÍÚ, 2008

ä ‚˚‚Ó‰Û Ó ÚÓÏ, ˜ÚÓ ÍÛ· ÒÓÒÚÓËÚ ËÁ ¯ÂÒÚË

Í‚‡‰‡ÚÓ‚, ÔË‰ÚË ÌÂÎ¸Áfl, ÔÓÚÓÏÛ ˜ÚÓ

˝ÚÓÚ “‚ÂÎÓÒËÔÂ‰” ÛÊÂ ËÁÓ·ÂÚfiÌ.

99

Andris BreΩeDzimis 1958. gadå1973–1977 Rîgas Lietiß˚ås måkslas vidusskolasKoktélniecîbas noda¬a.1979–1984 Latvijas Måkslas akadémijas Dizaina noda¬a.Darbîbas joma: grafika, instalåcijas, objekti, gråmatuilustréßana, glezniecîba, performance.

Personålizstådes1995 kopå ar Aiju Zariñu, Sv. Toma katedråle, Rovinja,

Horvåtija 1993 (kopå ar O.Pétersonu), Zalcavas kultüras centrs,

Ílezviga-Holßteina /Våcija“in situ” (kopå ar Ìediminu Urboni (Lietuva),Vi¬ña/Lietuva“Visu måja”, Rîgas galerija

Grupu izstådes2007 “Contemporary Art from Latvia”, European Central

Bank, Frankfurte pie Mainas, Våcija2006 “ART MOSCOW”, Maskava

“ermeña spéks”, Rîgas galerija, Rîga2002 “Nekå personîga”, Brémenes pilsétas galerija,

Brémene2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga

(kat.)“Identitåte”,Rîgas galerija (kat.)“Jaunå realitåte. Identifikåcija”, 5. Starptautiskåsmåkslas meses ART MOSCOW ietvaros, Centrålaismåkslinieku nams, Maskava (kat.)“Reanimåcija”, Måkslas dienu 2001ietvaros.Zvårtavas pils, Gaujienas pagasts, Zvårtava;instalåcija “Zemes saimnieki”(1987)“Zîméjums”, Rîgas galerija, Rîga

2000 “Sociålais un personiskais. 1984–2000”, Måkslasmuzejs Arsenåls, Rîga

1999 “Kluså daba Nr. 3”, Latvijas Måkslinieku savienîbasgalerija, RîgaGrupas izståde starptautiskå seminåra “Måksla ungarîgums” ietvaros, Årzemju måkslas muzeja velvjuzåle, Rîga1998 “Konstnärer fran Riga. Måkslinieki no Rîgas”,Séderteljes izståΩu zåle, Sédertelje/Zviedrija (kat.)“Ventspils Tranzîts Terminåls”, SMMC-Rîga 6.gadskårtéjå izståde.Måkslas a©itvilciens, Ventspilsnovada véstures un måkslas muzejs, Ventspils (kat.)

1997 “H.Vorkals, A.BreΩe, O.Pétersons, J.Putråms”,Måkslas muzejs Arsenåls, Rîga“12”. – Latvijas Måkslinieku savienîbas galerija, Rîga

1996 “Cita bilde”, Rîgas galerija, Rîga1995 “Kalåçojums”, E.Veidenbauma memoriålais muzejs

Kalåçi, Liepas pagasts (kat.)“Pedvålisms ‘95”, Pedvåles måkslas parks, SabilePlakåtu izståde “Urna – I”. – Nacionålås bibliotékas

skatlogi, kafejnîca Andalüzijas suns, Rîga (kat.)Paståvîgås ekspozîcijas atklåßana Rîgas Ekonomikasaugstskolå“Piemineklis” – 3. gadskårtéjå SMMC Rîga izståde,Rîgas pilsétas vide, Latvijas Fotogråfijas muzejs, Rîga“Ferma”, izståde–process, Raiña Literatüras unmåkslas muzejs, Rîga (kat.)

1994 “Firkspedvåles sarunas ‘94’, Pedvåles måkslas parks,Sabile (kat.) “Valsts”, 2. gadskårtéjå Sorosa Müsdienu måkslascentra-Rîga izståde, måkslas muzejs Arsenåls; ValstsMåkslas muzejs; Rundåles pils (kat.)

1993 “Baltiske Billeder”, Herningas måkslas muzejs unSollerodas muzejs pa Gammel Holtegaard/Dånija“Attélu atmiña”. Baltijas fotomåksla ßodien, Pilsétasmåkslas galerija Im Sophienhof, île; Rostoka/Våcija;Rîga/Latvija; Vi¬ña/Lietuva; Stokholma/Zviedrija (kat.)“Aujourd’hui les Baltes”, Igaunijas, Latvijas, Lietuvasmüsdienu måkslas izståde. – Parîze (kat.)“Drie Letse kunstenaars” (kopå ar O.Pétersonu unV.Zåberu), Pilsétas municipalitåtes éka,Cvolle/Holande Vislatvijas måkslas akcija “ep!”, grafikas izstådes 33pilsétås (kat.)“Sajüta Nr. 30”, Måkslas muzejs Arsenåls, Rîga

1992 “Beyond Control”, Prezentåcijas centra galerija,Zieme¬vanküvera/Kanåda“Kvalitåte ‘92”, IzståΩu zåle Latvija, Rîga (kat.)“Refleksija”, müsdienu måksla no Igaunijas, Latvijasun Lietuvas, Walter Phillips Gallery, Benfa/KanådaStarptautiskå télniecîbas kvadrinåle “Rîga ‘92”.IzståΩu zåle Latvija, Rîga (kat.)“Paaudze”, Müsdienu måkslas muzejs, Pori/Somija(kat.)

1991 “ARS BALTICA”, ce¬ojoßa plakåtu izståde,île/Våcija; Varßava/Polija; RîgaPerformance (kopå ar I.Mailîti, I.Vekmani,R.Loçmeli), Sarkanais laukums, Maskava

1990 Rauma Biennale Balticum ‘90, Måkslasmuzejs,Rauma/Somija (kat.)“Latvija – XX gadsimta külenis. 1940.–1990. gads”,IzståΩu zåle Latvija, Rîga (kat.)“Randteckning” – 5 måkslinieki no Rîgas, GalleriKonstnärscentrum, Malme/Zviedrija (kat.) (kopå arJ.Putråmu, O.Pétersonu, F.Kirki), Neisas izståΩuzåle/Våcija

1989 8. Tallinas grafikas triennåle, Tallina/Igaunija (kat.)“Rîga – latvießu avangards”, Pilsétas måkslas galerijaIm Sophienhof, île; izståΩu zåle Weserburg,Brémene/Våcija“Telefons” (kopå ar J.Putråmu, O.Pétersonu),Kongresshalle, Berlîne/Våcija13. republikas ståjgrafikas izståde, IzståΩu zåleLatvija, Rîga

1988 Grupas izståde (kopå ar K.Ìelzi , J.Putråmu,O.Tillbergu, O.Pétersonu), Teåtra muzejs, Rîga;instalåcija “Zemes saimnieki” Müsdienu latvießu skulptüra un grafika, Valstsmåkslas muzejs, Tbilisi/Gruzija (kat.)Måkslas dienas ‘88, 3. izståde Rîgas dzelzce¬astacijas gåjéju tunelî “Rîga – latvießu avangards”, 23 Latvijas måksliniekuizståde, Valsts Kunshalle, Rietumberlîne“Litogråfija Latvijå”, Valsts Måkslas muzejs, Rîga (kat.)

1987 Måkslas dienas ‘87, 2. izståde Rîgas dzelzce¬astacijas gåjéju tunelî “H.Vorkals, A.BreΩe, O.Pétersons, J.Putråms”,AizrobeΩu måkslas muzejs, Rîga; serigråfijas unobjekti ar kopéjo nosaukumu “Pilsétas mitolo©ija”7. starptautiskå plakåtu biennåle, Lahti/Somija“Baltijas plakåts ‘87”, 7. Baltijas republiku plakåtutriennåle. – IzståΩu zåle Latvija, Rîga (kat.)2. Rîgas minigrafikas triennåle, IzståΩu zåle Latvija, Rîga

1986 Måkslas dienas ‘86, 1. izståde Rîgas dzelzce¬astacijas gåjéju tunelî 7. Tallinas grafikas triennåle, Igaunijas PSRMåkslinieku savienîbas izståΩu zåle, Tallina (kat.)12. republikas ståjgrafikas izståde, IzståΩu zåleLatvija, Rîga

1985 17. republikas jauno måkslinieku izståde,Péterbaznîca, Rîga4. Baltijas republiku scenogråfijas triennåle, IzståΩuzåle Latvija, Rîga; instalåcija “Odiseja ce¬ojums”;kopå ar Induli Gailånu“Jaunîba” – Baltijas republiku jauno måkslinieku 3.télotåjas måkslas izståde, Lietuvas PSR Måkslasmuzejs, Vi¬ña; litogråfijas “Spårni”, “Karamadonna”, Drauds” (kat.)Jauno måkslinieku izståde (kopå ar J.Putråmu unO.Pétersonu), G.Í˚iltera muzejs, Rîga6. Starptautiskå plakåtu biennåle, Lahti Måkslasmuzejs/SomijaRepublikas 9. plakåtu izståde, Valsts Måkslasmuzejs, Rîga

1984 6. Baltijas republiku plakåtu triennåle, TallinasizståΩu nams/Igaunija“Daba. Vide. Cilvéks”, Péterbaznîca, Rîga

1983 “Grafika ikdienai”, Rîga“Rudens 83”, IzståΩu zåle Latvija, Rîga

1981 “Baltijas republiku plakåti”, Vi¬ñas izståΩunams/Lietuva

Andris BreΩeBorn in 19581973–1977 Riga High School of Applied Arts.1979–1984 Latvian Academy of Art, Dept. of Design.Activities: graphics, installations, objects, bookillustration, painting, performance.

Biogråfijas

Biographies

ÅËÓ„‡ÙËË

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“à‰ÂÌÚË˜ÌÓÒÚ¸”, êËÊÒÍ‡fl „‡ÎÂÂfl (Í‡Ú.)“çÓ‚‡fl Â‡Î¸ÌÓÒÚ¸. à‰ÂÌÚËÙËÍ‡ˆËfl”, ‚ ‡ÏÍ‡ı5-ÓÈ ÏÂÊ‰ÛÌ‡Ó‰ÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ flÏ‡ÍËART MOSCOW,ˆÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚,åÓÒÍ‚‡ (Í‡Ú.)“êÂ‡ÌËÏ‡ˆËfl”, Ç ‡ÏÍ‡ı ÑÌÂÈ ËÒÍÛÒÒÚ‚ 2001,á‡ÏÓÍ á‚‡Ú‡Ò, É‡ÛÈÂÌÒÍ‡fl ‚ÓÎÓÒÚ¸, á‚‡Ú‡‚‡;ËÌÒÚ‡ÎÎflˆËfl “ïÓÁflÂ‚‡ ÁÂÏÎË”(1987)“êËÒÛÌÓÍ”, êËÊÒÍ‡fl „‡ÎÂÂfl; ÍËÌÂÚË˜ÂÒÍ‡flËÌÒÚ‡ÎÎflˆËfl “ä‡Í Ô‡‚ËÎ¸ÌÓ Ì‡ËÒÓ‚‡Ú¸ ‰ÌÓ”

2000 “ëÓˆË‡Î¸Ì˚È Ë ÔÂÒÓÌ‡Î¸Ì˚È. 1984 – 2000”,ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂÌ‡Î”, êË„‡

1999 “ç‡Ú˛ÏÓÚ N 3”, É‡ÎÂÂfl ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ïÛ‰ÓÊÌËÍÓ‚, êË„‡ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚Í‡ ‚ ‡ÏÍ‡ı ÏÂÊ‰ÛÌ‡Ó‰ÌÓ„ÓÒÂÏËÌ‡‡ “àÒÍÛÒÒÚ‚Ó Ë ‰ÛıÓ‚ÌÓÒÚ¸”, è‡Î‡Ú‡ÏÛÁÂfl á‡Û·ÂÊÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡

1998 “Konstnärer fran Riga. ïÛ‰ÓÊÌËÍË ËÁ êË„Ë”,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ëÂ‰ÂÚÂÎ¸Â,ëÂ‰ÂÚÂÎ¸Â/ò‚ÂˆËfl (Í‡Ú.)“ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏËÌ‡Î”, 6-‡fl ÂÊÂ„Ó‰Ì‡fl‚˚ÒÚ‡‚Í‡ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ëÓÓÒ‡, êË„‡, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ‡„ËÚÔÓÂÁ‰,àÒÚÓË˜ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË, ÇÂÌÚÒÔËÎÒ (Í‡Ú.)

1997 “ï.ÇÓÍ‡ÎÒ, A.ÅÂÊÂ, O.èÂÚÂÒÓÌÒ, û.èÛÚ‡ÏÒ”,ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂÌ‡Î”, êË„a“12”, É‡ÎÂÂfl ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ ïÛ‰ÓÊÌËÍÓ‚,êË„‡

1996 “ÑÛ„‡fl Í‡ÚËÌ‡”, êËÊÒÍ‡fl „‡ÎÂÂfl1995 “ä‡Î‡˜Ó˛ÏÒ”, åÂÏÓË‡Î¸Ì˚È ÏÛÁÂÈ ù. ÇÂÈ-

‰ÂÌ‚‡ÛÏ‡ “ä‡Î‡˜Ë”, ãËÂÔ‡ÈÒÍ‡fl ‚ÓÎÓÒÚ¸; (Í‡Ú.)“èÂ‰‚‡ÎËÁÏ ‘95”, èÂ‰‚‡Î¸ÒÍËÈ Ô‡Í ËÒÍÛÒÒÚ‚,ë‡·ËÎÂÇ˚ÒÚ‡‚Í‡ ÔÎ‡Í‡Ú‡ “ìÌ‡ – I”. – ÇËÚËÌ˚ç‡ˆËÓÌ‡Î¸ÌÓÈ ·Ë·ÎËÓÚÂÍË, Í‡ÙÂ ÄÌ‰‡ÎÛÁÒÍËÈÔÂÒ, êË„‡ (Í‡Ú.)éÚÍ˚ÚËÂ ÔÓÒÚÓflÌÌÓÈ ˝ÍÒÔÓÁËˆËË êËÊÒÍÓÈ˝ÍÓÌÓÏË˜ÂÒÍÓÈ ‚˚Ò¯ÂÈ ¯ÍÓÎÂ“è‡ÏflÚÌËÍ”, 3-‡fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ ñÂÌÚ‡ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡, êË„‡,ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ ÙÓÚÓ„‡ÙËË, êË„‡“îÂÏ‡”, ‚˚ÒÚ‡‚Í‡ – ÔÓˆÂÒÒ, ãËÚÂ‡ÚÛÌÓ-ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ê‡ÈÌËÒ‡, êË„‡ (Í‡Ú.)

1994 “îËÍÒÔÂ‰‚‡Î¸ÒÍËÂ ·ÂÒÂ‰˚ ‘94”, èÂ‰‚‡Î¸ÒÍËÈÔ‡Í ËÒÍÛÒÒÚ‚, ë‡·ËÎÂ (Í‡Ú.)“ÉÓÒÛ‰‡ÒÚ‚Ó”, 2-‡fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ ñÂÌÚ‡ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡, êË„‡ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂÌ‡Î”;ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ;êÛÌ‰‡Î¸ÒÍËÈ ‰‚ÓÂˆ (Í‡Ú.)

1993 “Baltiske Billeder”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ“ïÂÌËÌ„” Ë ÏÛÁÂÈ “Sollerodas pa GammelHoltegaard”/Ñ‡ÌËfl

“è‡ÏflÚ¸ Ó·‡Á‡” îÓÚÓËÒÍÛÒÒÚ‚Ó Å‡ÎÚËË ÒÂ„Ó‰Ìfl,ÉÓÓ‰ÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl „‡ÎÂÂfl “ImSophienhof”, äËÎ¸; êÓÒÚÓÍ/ÉÂÏ‡ÌËfl;êË„‡/ã‡Ú‚Ëfl; ÇËÎ¸Ì˛Ò/ãËÚ‚‡; ëÚÓÍ„ÓÎ¸Ï/ò‚ÂˆËfl(Í‡Ú.)“Aujourd’hui les Baltes”, Ç˚ÒÚ‡‚Í‡ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ ùÒÚÓÌËË, ã‡Ú‚ËË, ãËÚ‚˚. – è‡ËÊ (Í‡Ú.)“Drie Letse kunstenaars” (ÒÓ‚ÏÂÒÚÌÓ ÒO.èÂÚÂÒÓÌÓÏ Ë Ç.á‡·ÂÓÏ), á‰‡ÌËÂ „ÓÓ‰ÒÍÓ„ÓÏÛÌËˆËÔ‡ÎËÚÂÚ‡, ñ‚ÓÎÎe/ÉÓÎÎ‡Ì‰ËflÇÒÂÎ‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡ÍˆËfl “˝Ô!”,Ç˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı; (Í‡Ú.)“óÛ‚ÒÚ‚Ó N 30”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ“ÄÒÂÌ‡Î”, êË„‡

1992 “Beyond Control”, É‡ÎÂÂfl ñÂÌÚ‡ ÔÂÁÂÌÚ‡ˆËË,ëÂ‚ÂÌ˚È Ç‡ÌÍÛ‚Â/ä‡Ì‡‰‡“ä‡˜ÂÒÚ‚Ó ‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡(Í‡Ú.)“êÂÙÎÂÍÒËfl”, ÒÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ËÁùÒÚÓÌËË, ã‡Ú‚ËË, ãËÚ‚a, “Walter Phillips Gallery”,Å‡ÌÙ/ ä‡Ì‡‰‡åÂÊ‰ÛÌ‡Ó‰Ì‡fl Í‚‡‰ËÂÌ‡ÎÎÂ ÒÍÛÎ¸ÔÚÛ˚ “êË„‡‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (ÍaÚ.)“èÓÍÓÎÂÌËÂ”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,èÓË/îËÌÎflÌ‰Ëfl (Í‡Ú.)

1991 “ARS BALTICA”, ‚˚ÒÚ‡‚Í‡ ÒÚ‡ÌÒÚ‚Û˛˘Â„ÓÔÎ‡Í‡Ú‡,äËÎ¸/ÉÂÏ‡ÌËfl; Ç‡¯‡‚‡/èÓÎ¸¯‡; êË„‡“èÂÙÓÏ‡ÌÒ” (ÒÓ‚ÏÂÒÚÌÓ Ò à.MaÈÎËÚËÒÓÏ,à.ÇÂÍÏ‡ÌÓÏ, ê.ãÓ˜ÏÂÎÂ),ä‡ÒÌ‡fl ÔÎÓ˘‡‰¸,åÓÒÍ‚‡

1990 “Rauma Biennale Balticum ‘90”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ, ê‡ÛÏa/îËÌÎflÌ‰Ëfl (Í‡Ú.)“ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ XX ‚ÂÍ‡. 1940–1990 „Ó‰˚”,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (Í‡Ú.)“Randteckning”, 5 ıÛ‰ÓÊÌËÍÓ‚ ËÁ êË„Ë. “GalleriKonstnärscentrum”, å‡ÎÏfi/ò‚ÂˆËfl (Í‡Ú.)(ÒÓ‚ÏÂÒÚÌÓ Ò û.èÛÚ‡ÏÒÓÏ, O.èÂÚÂÒÓÌÓÏ,î.äËÍÂ), Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î çÂÈÒÒ/ÉÂÏ‡ÌËfl

1989 8-‡fl í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ, í‡ÎÎËÌÌ/ùÒÚÓÌËfl (Í‡Ú.)“êË„‡ – ‡‚‡Ì„‡‰ Î‡Ú˚¯ÂÈ”, ÉÓÓ‰ÒÍ‡flıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl „‡ÎÂÂfl “Im Sophienhof”, äËÎ¸;‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “Weserburg”,ÅÂÏÂÌ/ÉÂÏ‡ÌËfl“TeÎÂÙÓÌ” (ÒÓ‚ÏÂÒÚÌÓ Ò û.èÛÚ‡ÏÒÓÏ, O.èÂÚÂ-ÒÓÌÓÏ), á‡Î äÓÌ„ÂÒÒÓ‚, ÅÂÎËÌ/ ÉÂÏ‡ÌËfl13-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÒÚ‡ÌÍÓ‚ÓÈ„‡ÙËÍË,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡

1988 ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚Í‡ (ÒÓ‚ÏÂÒÚÌÓ Ò K.ÉÂÎÁËÒÓÏ,û.èÛÚ‡ÏÒÓÏ, O.TËÎÎ·Â„ÓÏ, O.èÂÚÂÒÓÌÓÏ). –åÛÁÂÈ íÂ‡Ú‡, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ïÓÁflÂ‚‡ ÁÂÏÎË” ëÓ‚ÂÏÂÌÌ‡fl Î‡Ú˚¯ÒÍ‡fl ÒÍÛÎ¸ÔÚÛ‡ Ë„‡ÙËÍ‡,ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ, í·ËÎËÒË/ÉÛÁËfl (Í‡Ú.)ÑÌË ËÒÍÛÒÒÚ‚‡ ‘88 , 3-fl ‚˚ÒÚ‡‚Í‡ ‚ ÔÂ¯ÂıÓ‰ÌÓÏ

ÚÛÌÌÂÎÂ êËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡ “êË„‡ – ‡‚‡Ì„‡‰ Î‡Ú˚¯ÂÈ”, 23 Ç˚ÒÚ‡‚Í‡ã‡Ú‚ËÈÒÍËı ıÛ‰ÓÊÌËÍÓ‚,ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈKunsthalle, á‡Ô‡‰Ì˚È ÅÂÎËÌ“ãËÚÓ„‡ÙËfl ‚ ã‡Ú‚ËË”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ (Í‡Ú.)

1987 “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”,2-fl ‚˚ÒÚ‡‚Í‡ ‚ ÔÂ¯ÂıÓ‰ÌÓÏÚÛÌÌÂÎÂ êËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡ “ï.ÇÓÍ‡ÎÒ, A.ÅÂÊÂ, O.èÂÚÂÒÓÌÒ, û.èÛÚ‡ÏÒ”,ÏÛÁÂÈ á‡Û·ÂÊÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡;¯ÂÎÍÓ„‡ÙËfl Ë Ó·˙ÂÍÚ˚ Ò Ó·˘ËÏ Ì‡Á‚‡ÌËÂÏ“åËÙÓÎÓ„Ëfl „ÓÓ‰‡”7-‡fl ÏÂÊ‰ÛÌ‡Ó‰Ì‡fl ·ËÂÌÌ‡ÎÂ ÔÎ‡Í‡Ú‡,ã‡ıÚË/îËÌÎflÌ‰Ëfl“Å‡ÎÚËÈÒÍËÈ ÔÎ‡Í‡Ú ‘87”, 7-‡fl ÚËÂÌÌ‡ÎÂÔÎ‡Í‡Ú‡ Å‡ÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î“ã‡Ú‚Ëfl”, êË„‡ (Í‡Ú.)2-‡fl êËÊÒÍ‡fl ÚËÂÌÌ‡ÎÂ ÏËÌË„‡ÙËÍË.Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡

1986 “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”, 2-fl ‚˚ÒÚ‡‚Í‡ ‚ ÔÂ¯ÂıÓ‰ÌÓÏÚÛÌÌÂÎÂ êËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡7-‡fl í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ëÓ˛Á‡ ïÛ‰ÓÊÌËÍÓ‚ ùÒÚÓÌÒÍÓÈëëê, í‡ÎÎËÌÌ (Í‡Ú.)12-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÒÚ‡ÌÍÓ‚ÓÈ„‡ÙËÍË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡

1985 17-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÏÓÎÓ‰˚ııÛ‰ÓÊÌËÍÓ‚,ñÂÍÓ‚¸ èÂÚ‡, êË„‡4-‡fl ÚËÂÌÌ‡ÎÂ ÒˆÂÌÓ„‡ÙËË Å‡ÎÚËÈÒÍËıÂÒÔÛ·ÎËÍ, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “èÛÚÂ¯ÂÒÚ‚ËÂ é‰ËÒÒÂfl”; ÒÓ‚ÏÂÒÚÌÓÒ àÌ‰ÛÎËÒÓÏ É‡ÈÎ‡ÌÒÓÏ“ûÌÓÒÚ¸”, 3-fl ‚˚ÒÚ‡‚Í‡ ËÁÓ·‡ÁËÚÂÎ¸ÌÓ„ÓËÒÍÛÒÒÚ‚‡ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ Å‡ÎÚËÈÒÍËıÂÒÔÛ·ÎËÍ. – ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ãËÚÓ‚ÒÍÓÈëëê, ÇËÎ¸Ì˛Ò; ÎËÚÓ„‡ÙËË “ä˚Î¸fl”, “ÇÓÂÌÌ‡flÏ‡‰ÓÌÌ‡”, “ì„ÓÁ‡” (Í‡Ú.)Ç˚ÒÚ‡‚Í‡ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ (ÒÓ‚ÏÂÒÚÌÓ Òû.èÛÚ‡ÏÒÓÏ, O.èÂÚÂÒÓÌÓÏ), åÛÁÂÈÉ.òÍËÎÚÂ‡, êË„‡6-‡fl åÂÊ‰ÛÌ‡Ó‰Ì‡fl ·ËÂÌÌ‡ÎÂ ÔÎ‡Í‡Ú‡.ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ã‡ıÚË/îËÌÎflÌ‰Ëfl9-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÔÎ‡Í‡Ú‡.ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡

19846-‡fl ÚËÂÌÌ‡ÎÂ ÔÎ‡Í‡Ú‡ Å‡ÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î í‡ÎÎËÌÌ/ùÒÚÓÌËfl“èËÓ‰‡. ëÂ‰‡. óÂÎÓ‚ÂÍ”. ñÂÍÓ‚¸ èÂÚ‡, êË„‡

1983 “É‡ÙËÍ‡ ‰Îfl ·Û‰ÌÂÈ”, êË„‡“éÒÂÌ¸ 83”. Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡

1981 “èÎ‡Í‡Ú Å‡ÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ”, Ç˚ÒÚ‡‚Ó˜Ì˚ÈÁ‡Î ÇËÎ¸Ì˛Ò‡/ãËÚ‚‡

Solo Exhibitions:1995 Together with Aija Zariña. – Sv. Toma Church,

Rovinj, Croatia1993 “Everybody’s House”. – Riga Gallery

Selected Group Exhibitions:2007 “Contemporary Art from Latvia”, European Central

Bank, Frankfurt am Main, Germany2006 “ART MOSCOW”, Moscow

“Body Power”, Riga Gallery ,Riga2002 “Nothing Personal”, The City Gallery of

Bremen/Germany2001 “New Reality. Identification”, Exhibition within the

framework of the 5th International Art Fair ARTMOSCOW programme, Central House of Artists,Moscow“Reanimation” – within the framework of the Daysof Art 2001, Zvårtava Castle, Gaujienas village,Zvårtava/Latvia

1999 “Still Life No. 3”, Gallery of the Artists’ Union ofLatvia, RigaGroup Exhibition within the framework of theinternational seminar “Art and Spirituality”,Museum of Foreign Art, Riga1998 “Konstnärer fran Riga. Artists fromRiga”,Södertälje Konsthall, Södertälje/Sweden“Ventspils Transit Terminal” – 6th annual SCCA-Riga exhibition, Art Propaganda Train, Museum ofHistory and Art, Ventspils (cat.)

1997 “Heinrihs Vorkals, Andris BreΩe, Ojårs Pétersons,Juris Putråms”, Museum of Art Arsenåls, Riga“12”, Gallery of the Latvian Artists’ Union, Riga

1996 “The Other Picture”, Riga Gallery1995 “Kalåçojums”, Memorial Museum of E.Veidenbaums

Kalåçi, the Liepa village/Latvia (cat.)“Pedvålisms ‘95”, Pedvåle Art Park, Sabile/LatviaPoster Exhibition “Urn – I”. – National Library, CafeAndalüzijas suns, Riga (cat.)“Monument”, The 3rd Annual Soros Center forContemporary Arts-Riga Exhibition, City space ofRiga, Latvian Museum of Photography, Riga“Farm”, Rainis Museum of Literature and Art, Rîga(cat.)

1994 “Firkspedvåle Conversations ‘94” – art objects plein-air. – Pedvåle art Park, Sabile/Latvia (cat.) “State”,The 2nd Annual Soros Center for ContemporaryArts-Riga Exhibition, Museum of Art Arsenåls, StateMuseum of Art, Rundåle Castle (cat.)

1993 “Baltiske Billeder”, Herning Kunstmuseum andSollerod Museum pa Gammel Holtegaard/Denmark“The Memory of Images. Baltic Photo Art Today”,City Art Gallery Im Sophienhof, Kiel; Rostock; Riga;Vilnius; Stockholm (cat.)“Aujourd’hui les Baltes”, Contemporary art from

Estonia, Latvia and Lithuania, Paris (cat.)together with Ojårs Pétersons, Culture CentreSalzau, Scheswig-Holstein “in situ”, together with Gediminas Urbonas(Lithuania). – Vilnius “Three Latvian Artists”, (together with OjårsPétersons and Vilnis Zåbers). – Zwolle/HollandAll-Latvia Art Action “ep!”, graphic exhibitions in33 towns (cat.)“Sensation No. 30”, Museum of Art Arsenåls, Riga

1992 “Beyond Control”, Presentation Centre Gallery,North Vancouver“Quality ‘92”, Exhibition Hall Latvija, Riga (cat.)“Reflection”, Walter Phillips Gallery, Banff Centerfor Arts/Canada“Riga ‘92”, International Sculpture Quadrennial. –Exhibition Hall Latvija, Riga“Paaudze. Sukupolvi. Generation”, Museum ofContemporary Art, Pori/Finland (cat.)

1991 “ARS BALTICA”, Travelling Poster Exhibition,Kiel;Warsaw; RigaPerformance (together with I.Mailîtis,I.Vekmanis,R.Loçmelis), Red Square, Moscow

1990 Rauma Biennale Balticum ‘90,Museum of Art,Rauma/Finland (cat.)“Latvia – XX Century Somersault.1940–1990”,Exhibition Hall Latvija, Riga (cat.)“Five Artists from Riga”,Gallery of the Artists’Union, Malmö/Sweden (cat.)“Avantgarde des Ostens. Kunst aus Riga,Lettland/UdSSR” (together with Juris Putråms, OjårsPétersons, Françeska Kirke),KunstraumNeuss/Germany

1989 The 8th Graphic Triennial, Exhibition House ofTallinn (cat.)“Riga – Lettische Avantgarde”,City Art Gallery ImSophienhof, Kiel; Exhibition Hall Weserburg,Bremen/Germany (cat.) “Telephone” (together with J.Putråms,O.Tillbergs),Kongresshalle, Berlin

1988 Group Exhibition (together with Kristaps Ìelzis,JurisPutråms, O¬egs Tillbergs, OjårsPétersons),Theatre Museum, Riga“Daysof Art ‘88”,the 3rd exhibition at thepedestrian tunnel of the Riga Railway Terminal“Riga – Latvian Avantgarde”,Staatliche Kunsthalle,WestBerlin (cat.)

1987 “Days of Art ‘87”,the 2nd exhibition at thepedestrian tunnel of the Riga Railway TerminalGraphic Art Exhibition,Museum of Foreign Art, RigaThe 7th International Poster Biennial,Lahti ArtMuseum/Finland (cat.)Poster Triennial of the Baltic Republics,ExhibitionHall Latvija, Riga

Miniature Graphic Triennial of the BalticRepublics,Exhibition Hall Latvija, Riga

1986 “Days of Art ‘86”, the 1st exhibition at thepedestrian tunnel of the Riga Railway TerminalThe 7th Graphic Triennial,Exhibition House of Tallinn (cat.)

1985 The 17th Republican Young Artists Exhibition,St. Peter’s Church, RigaScenography Triennial of the BalticRepublics,Exhibition Hall Latvia, RigaYoung Artists Exhibition (together with Juris Put-råms and Ojårs Pétersons),G.Í˚ilters Museum, Riga“Youth”, The 3rd Fine Art Exhibition of the YoungArtists of the Baltic Republics,Museum of Art,Vilnius (cat.)The 6th International Poster Biennial,Lahti ArtMuseum/Finland (cat.)

1984 Poster Triennial of the Baltic Republics,ExhibitionHouse of Tallinn (cat.)“Nature. Environment. Man”,St. Peter’s Church,Riga

1983 “Graphics for Every Day”, Riga“Autumn 83”,Exhibition Hall Latvija, Riga

1981 “Posters of the Baltic Republics”,Exhibition Hall ofVilnius

ÄÌ‰ËÒ ÅÂÊÂêÓ‰ËÎÒfl ‚ 1958 „Ó‰Û ‚ êË„Â.1973–1977 êËÊÒÍ‡fl ÒÂ‰Ìflfl ¯ÍÓÎ‡ ÔËÍÎ‡‰ÌÓ„ÓËÒÍÛÒÒÚ‚‡, ÓÚ‰ÂÎÂÌËÂ ‰ÂÂ‚flÌÌÓÈ ÒÍÛÎ¸ÔÚÛ˚1979–1984 ã‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‰ËÁ‡ÈÌ‡.ëÙÂ‡ ‰ÂflÚÂÎ¸ÌÓÒÚË: „‡ÙËÍ‡, ËÌÒÚ‡ÎÎflˆËË, Ó·˙ÂÍÚ˚,ËÎÎ˛ÒÚ‡ˆËfl ÍÌË„, ÊË‚ÓÔËÒ¸, ÔÂÙÓÏ‡ÌÒ

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË:1995 cÓ‚ÏÂÒÚÌÓ Ò ÄÈÂÈ á‡ËÌÂÈ. – ä‡ÙÂ‰‡Î¸Ì˚È

ÒÓ·Ó ë‚. íÓÏ‡, êÓ‚ËÌ¸fl, ïÓ‚‡ÚËfl 1993 ÒÓ‚ÏÂÒÚÌÓ Ò O.èÂÚÂÒÓÌÓÏ – á‡Îˆ‡‚ÒÍËÈ

ÍÛÎ¸ÚÛÌ˚È ˆÂÌÚ, òÎÂÁ‚Ë„-ÉÓÎ¸¯ÚÂÈÌ/ÉÂÏ‡ÌËfl“in situ” (ÒÓ‚ÏÂÒÚÌÓ Ò ÉÂ‰ÂÏËÌ‡ÒÓÏ ì·ÓÌËÒÓÏ(ãËÚ‚‡)),ÇËÎ¸Ì˛Ò/ãËÚ‚‡“ÇÒÂÓ·˘ËÈ ‰ÓÏ”,êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË:2007 “Contemporary Art from Latvia”, Ö‚ÓÔÂÈÒÍËÈ

ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ Ì‡ å‡ÈÌÂ,ÉÂÏ‡ÌËfl

2006 “ART MOSCOW”, åÓÒÍ‚‡“ëËÎ‡ ÚÂÎ‡” – êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡

2002 “çË˜Â„Ó ÎË˜ÌÓ„Ó”, ÅÂÏÂÌÒÍ‡fl „ÓÓ‰ÒÍ‡fl„‡ÎÂÂfl, ÅÂÏÂÌ

2001 “åÂÚÓÔÓÎ¸. êË„‡”, ‰ÓÏ êËÊÒÍÓÈ îÓÌ‰Ó‚ÓÈ·ËÊË, êË„‡; Ó·˙ÂÍÚ (Í‡Ú.)

103102

12. republikas ståjgrafikas izståde, IzståΩu zåleLatvija, Rîga7. Tallinas grafikas triennåle, Tallina (kat.)Måkslas dienas ‘86; grafiti akcija centrålås dzelzce¬astacijas gåjéju tunelî, Rîga

1985 12. Vispasaules jaunatnes un studentu festivålaizståde, Latvijas kultüras centrs, Maskava; vides måksla “’Veltîjums Leona Paeglesdzejai” kopå ar Induli GailånuPSRS Måkslas akadémijas izståde, Maskava“Teåtra téma grafikå”, Teåtra muzejs, Rîga

Kristaps ÌelzisBorn in 1962 in Riga.1980–1986 Latvian Academy of Art, Department ofGraphics. 1997 teacher in the Academy of Art, Department ofGraphic Design.1998 Curator of the 6th Annual SCCA-Riga Exhibition“Ventspils Transit Terminal”Field of activities: graphics, videoinstallations,installations, objects, drawing, book illustration.

Awards1994 Prize of the International Jury for the installation

“Dream Journey” at the 1st Annual SCCA-RigaExhibition “Zoom Factor”

1987 Prize of the Latvian Ministry of Culture at the 18th

Exhibition of the Republican Young Artists’ Works1986 Diploma of the Latvian Artists’ Union at the 5th

Republican Exhibition of Miniature Graphics

Solo Exhibitions:2007 “Bonaqua”. – Riga Gallery2000 “Time Square”. – Riga Gallery; digital prints,

videinstallation1997 Stage design for the theatre performance “Stigma”. –

Latvian Daile Theatre, Riga“Independence Day”. – Riga Gallery; objects

1996 “Virtuale”. – State Museum of Art, Riga; objects1994 “Slidepaintings und Objekte”. – Gallery P.U.N.K.T.,

Hamburg1992 Gallery Kolonna, Riga

Gallery Jåña séta, Riga; installation “Jåña séta”Riga Gallery

1991 Gallery Anhava, Helsinki1990 Agency Inter-Art, West Berlin1987 “Shrine”. – Gallery Jåña séta, Riga

Selected Group Exhibitions: 2007 “Mobile Museum” Andrejsala, Riga

“The Baltics Part I: Contemporary Art of Latvia”,Kalmar Art Museum, Sweden

2005 “Tresspassers. Art from the 80ies”. Museum of Art

Arsenåls, Riga2004 “The Hague Sculpture 2004: Giants”, City space,

Hague/The Netherlands (cat.)2003 “Masks” – International Art Fair ART MOSCOW,

Central Artists’ House, Moscow/Russia (cat.)2002 “Nothing Personal”, The City Gallery of

Bremen/Germany2001 “Metropolis. Riga”, Stock Exchange building, Rîga;

audio-video installation “Millenium Salute at theDome Square” (cat.)“Identity”, Riga Gallery, Riga; digital print “Scully”“New Reality. Identification”, Exhibition within theframework of the 5th International Art Fair ARTMOSCOW programme, Central House of Artists,Moscow; installation “Personal Cube” (cat.)“Contemporary Utopia”, Eduards Smi¬©is TheatreMuseum, Riga; video installation“Nothing Personal(Big City Lights)” (cat., booklet)

2000 “Baltic Security!”, Arlanda Airport, Stockholm;digital prints “Mulder” and “Scully” (booklet)“Distance”, Exhibition Hall of Hansabank, Tallinn;digital prints; video (cat.)

1999 “Days of Art ‘99”, Berga Bazårs, Riga; action “Againin creative condition”

1998 “Konstnärer fran Riga. Artists from Riga”, SödertäljeKonsthall, Södertälje/Sweden; objects (cat.)The 2nd World-wide Latvian Contemporary ArtExhibition, Museum of Art Arsenåls, Riga;installation “âm Jums Paika”“The World of Ballet”, Culture Centre of Jürmala

1997 “Art of Simple Things”, Gallery Bastejs, Riga“Invasion” – the 2nd International SaaremaaBiennial, Kuresaare Castle, Saaremaa; objects (cat.)“Ballet”, Grand Hall of the Riga Stock Exchange,Riga

1996 “The Other Picture”, Riga Gallery“Personal Time. Art of Estonia, Latvia and Lithuania1945–1996”, Centre for Contemporary ArtUjazdowski Castle, Warsaw (cat.); Central ExhibitionHall Manezh, St.Petersburg (cat.)“Compi Box”, Gallery Anhava, Helsinki

1995 “Farm”, Rainis Museum of Literature and Art, Riga(cat.)“Stockholm Art Hotel”, Lydmar Hotel, Stockholm(cat.)“Monument”, the 3rd Annual SCCA-Riga Exhibition,Museum of Photography, RigaOpening of the permanent exhibition of Latviancontemporary artworks at the Stockholm School ofEconomics, RigaGroup Exhibition in Gallery Anhava, Helsinki (cat.)“Kalåçojums”, Memorial Museum of E.Veidenbaums Kalåçi, the Liepa Village; outdoorinstallation “Eco Yard” (cat.)

“Prospects”, Var Gard Center NACKA, Saltsjöbaden,Stockholm; outdoor object “Swedish table”“Port of Art”, City space of Kotka/Finland;installation “Crazy Dauka” (cat.)“Private/Public” – ARS 95. – City space, Helsinki;installation “Eco Yard 2000” (cat.)

1994 “State”, the 2nd annual Soros Center forContemporary Arts – Riga exhibition. – StateMuseum of Art, Riga; installation “For Fatherlandand Freedom”; Rundåle Castle; Timmijs Snips “Sign”and audioinstallation; Memorial Museum of EduardsVeidenbaums Kalåçi, the Liepa Village; outdoorinstallation “Eco Yard” (cat.)“Wegkreuzung – Künstler aus Riga”. – NDR Studio,Hamburg (cat.)“Firkspedvåle Conversations ‘94”. – Pedvåle ArtPark, Sabile; installation “Twin elements”, object“Sign” (cat.)“Island Project”, The International MultimediaWorkshop, City space, Gdansk; installation “Redtennis” “Zoom Factor”, the 1st Annual SCCA-Rigaexhibition, Exhibition Hall Latvija, Riga; installation“Dream journey” (cat.)

1993 “Sensation No.30”, Museum of Art Arsenåls, Riga;Timmijs Snips “Their Yard”Exhibition of videoinstallations as part of the 2ndFrench-Baltic Videoart Festival, Museum of ArtArsenåls, Riga; videoinstallation “Winner of theuninterrupted space” (cat.)“Basteårijs”, Gallery Bastejs, Riga“Aujourd’hui les Baltes”, Contemporary Estonian,Latvian and Lithuanian Art. – Paris (cat.)All-Latvia Art Action “ep!” – graphic exhibitions in33 towns (cat.)

1992 “Paaudze. Generation. Sukupolvi”, Museum ofContemporary Art, Pori/Finland; installation “BorgGard” (cat.)“Mare Balticum”, Nordic Art Center, Helsinki (cat.)

1991 “Young Artists of Riga”, Museum of ContemporaryArt Mücsarnok, Budapest (cat.)

1990 Rauma Biennale Balticum, Museum of Art,Rauma/Finland (cat.)“Railway Point”, Gallery Jåña séta, Riga; installation“Reserved in Europe”“Latvia – the XX Century’s Somersault.1940–1990”, Exhibition Hall Latvija, Riga;installation “Washing Day” (cat.)

1989 “Riga – Lettische Avantgarde”, City Art Gallery ImSophienhof, Kiel; Exhibition Hall Weserburg,Bremen; videoinstallation “Dismantling of the Wall”(cat.)

1988 “Riga – Lettische Avantgarde”, StaatlicheKunsthalle, West Berlin; videoinstallation

Kristaps ÌelzisDzimis 1962. gadå 1980–1986 Latvijas Måkslas akadémijas Grafikas noda¬a.1998–1999 kurators 6. gadskårtéjai SMMC-Rîga izstådei“Venspils Tranzîts Terminåls”

Apbalvojumi1994 Starptautiskås Ωürijas balva par instalåciju “Sapñu

ce¬ojums” 1. gadskårtéjå SMMC-Rîga izstådé “Zoomfaktors”

1987 Latvijas Kultüras ministrijas prémija Republikas jaunomåkslinieku 18. darbu izstådé

1986 Latvijas Måkslinieku savienîbas diploms par darbu 5.republikas miniatürgrafikas izstådé

Personålizstådes:2007 “Ëdenskurs”, Rîgas galerija, Rîga, Latvija2000 “Laika laukums”, Rîgas galerija, Rîga, Latvija

Scenogråfija Artüra Íniclera lugai “Rondo”, JaunaisRîgas teåtris, reΩisore Bañuta Rubess

1997 Scenogråfija G.Repßes izrådei “Stigma” LatvijasDailes teåtrî, Rîga, Latvija “Neatkarîbas diena”, Rîgas galerija, Rîga, Latvija

1996 “Virtuale”, Valsts Måkslas muzejs, Rîga, Latvija1994 “Diapozitîvu gleznas un objekti”,galerija

P.U.N.K.T.,Hamburga,Våcija1992 Galerija Kolonna, Rîga, Latvija

IzståΩu nams Jåña séta, Rîga, LatvijaRîgas galerija; Rîga, Latvija

1991 Galerija Anhava, Helsinki, Somija1990 A©entüra Inter-Art, Rietumberlîne, Våcija1987 “Í˚irsts”, IzståΩu nams Jåña séta, Rîga, Latvija

Nozîmîgåkås grupu izstådes:2007 “Mobilais muzejs”, Andrejsala, Rîga

“The Baltic Countries, part I: Contemporary Artfrom Latvia”, Kalmåras måkslas muzejs, Zviedrija

2005 “RobeΩpårkåpéji. 80. gadu måksla”, VMM izståΩuzåle “Arsenåls”, Rîga, Latvija

2004 “The Hague Sculpture 2004: Giants”, Pilsétvide,Håga/Nîderlande (kat.)

2003 “Maskas” – Rîgas galerijas ekspozîcija (kopå arRitumu Ivanovu) Starptautiskås måkslas meses ARTMOSCOW ietvaros, Centrålais måkslinieku nams,Maskava/Krievija (kat.)

2002 “Nekå personîga”, Brémenes pilsétas galerija,Brémene/Våcija

2001 Sybaris – Baltijas valstu müsdienu måkslas biennåle,Nacionålais måkslas muzejs, Íçecina/Polija; video“Nekå personîga”“Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga;audio-video instalåcija “Mileniuma salüts Domalaukumå” (kat.)“Identitåte”, Rîgas galerija, Rîga; digitåldruka

“Skalija” (kat.)“Jaunå realitåte. Identifikåcija” , 5. Starptautiskåsmåkslas meses ART MOSCOW ietvaros, Centrålaismåkslinieku nams, Maskava; instalåcija “Kubpersona¬nij” (kat.)“Müsdienu utopija”, E.Smi¬©a Teåtra Muzejs, Rîga;videoinstalåcija “Nekå personîga (Lielås pilsétasgaisma)” (kat., buklets)“Maska”, Galerija Bastejs, Rîga; kolåΩa “Laimîgåmaska”

2000 “Baltic Security!” (Baltijas droßîba!), Årlandaslidosta, Stokholma; digitåldrukas “Skalija” un“Malders”, objekts “Personîba” (buklets)“Distance”, Hansabankas izståΩu zåle, Tallina;digitåldrukas, video (kat.)“Kailais måkslinieks”, Rîgas galerija

1999 Måkslas dienu izståde, Berga Bazårs, Rîga; akcija“Atkal radoßå ståvoklî”

1998 “Konstnärer fran Riga. Måkslinieki no Rîgas”,Séderteljes izståΩu zåle, Sédertelje/Zviedrija; objekti(kat.) 2. Vispåréjå latvießu måkslas izståde, Måkslas muzejsArsenåls, Rîga; instalåcija “âm Jums Paika”“Baleta pasaule”, Jürmalas Kultüras centrs, Jürmala

1997 “Vienkårßo lietu måksla”, Galerija Bastejs, Rîga“Invåzija” – 2. Starptautiskå Såremå Biennåle,Kuresåres pils, Sårema; objekti (kat.) “Balets”. – Rîgas Fondu birΩas Lielå zåle, Rîga

1996 “Cita bilde”, Rîgas galerija“Personîgais laiks. Igaunijas, Latvijas un Lietuvasmåksla 1945–1996”, Müsdienu måkslas centrsZamek Ujazdowski, Varßava (kat.); Centrålå izståΩuzåle ManéΩa, Sanktpéterburga (kat.)“Compi Box”, Galerija Anhava, Helsinki

1995 “Ferma”, Raiña Literatüras un måkslas muzejs, Rîga(kat.)“Art Hotel”, Lydmar Hotel, Stokholma (kat.)“Piemineklis”, 3. gadskårtéjå SMMC-Rîga izståde,Latvijas Fotogråfijas muzejs, Rîga Paståvîgås ekspozîcijas atklåßana Rîgas Ekonomikasaugstskolå Galerija Anhava, Helsinki“Kalåçojums”, E. Veidenbauma memoriålais muzejsKalåçi, Liepas pagasts; instalåcija “Eko séta” (kat.)“Prospekti”, Var Gard Centre NACKA, Saltsjöbaden,Stokholma; objekts parkå “Zviedru galds”“Port of Art”. – Pilsétas vide, Kotka/Somija;instalåcija “Dullais Dauka” (kat.)“Privåts/Publisks”, ARS ‘95. – Pilsétas vide, Helsinki;“Eko séta 2000” (kat.)

1994 “Valsts”, 2. gadskårtéjå SMMC-Rîga izståde, ValstsMåkslas muzejs, Rîga; instalåcija “Tévzemei unbrîvîbai”; Rundåles pils; Timmijs Snips “Zîme” unaudioinstalåcija; E.Veidenbauma memoriålais muzejsKalåçi; “Eko séta” (kat.)

“Wegkreuzung – Künstler aus Riga”, NDR Studija,Hamburga (kat.)“Firkspedvåles sarunas ‘94”, Pedvåles måkslas parks,Sabile; instalåcija “Dvîñu elementi” (kat.)Projekts “Sala”, Pilsétas vide, Gdañska; instalåcija“Sarkanais teniss”“Zoom faktors”, 1.gadskårtéjå SMMC-Rîga izståde,IzståΩu zåle Latvija, Rîga; instalåcija “Sapñuce¬ojums” (kat.)

1993 “Sajüta Nr.30”, Måkslas muzejs Arsenåls, Rîga;Timmijs Snips instalåcija “Viñu séta”Videoinstalåciju izståde 2. Baltijas-Francijasvideomåkslas festivåla ietvaros, Måkslas muzejsArsenåls, Rîga; videoinstalåcija “Nepårtrauktåstelpas uzvarétåjs” (kat.)“Basteårijs” (“Karnevåls”), Galerija Bastejs, Rîga“Aujourd’hui les Baltes”, Igaunijas, Latvijas, Lietuvasmüsdienu måkslas izståde, Parîze (kat.)Vislatvijas måkslas akcija “ep!” , grafikas izstådes33 pilsétås (kat.)

1992 “Paaudze”, Pori Müsdienu måkslas muzejs, Somija;instalåcija “Borg Gard” (kat.)“Mare Balticum”, Zieme¬u måkslas centrs, Helsinki;instalåcija “Valodas stunda” (kat.)

1991 “Fiatal Müveszek Rigaból”, Müsdienu måkslasmuzejs Mücsarnok, Budapeßta (kat.)

1990 Rauma Biennale Balticum, Raumas måkslas muzejs,Rauma/Somija (kat.)“Pårmija”, IzståΩu nams Jåña séta, Rîga; instalåcija“Rezervéts Eiropå”“Latvija – XX gadsimta külenis. 1940.–1990. gads”,IzståΩu zåle Latvija, Rîga; instalåcija “Ve¬as diena”(kat.)

1989 “Riga – Lettische Avantgarde”, Pilsétas måkslasgalerija Im Sophienhof, île; izståΩu zåleWeserburg, Brémene; videoinstalåcija “Müranojaukßana” (kat.)

1988 “Riga – Lettische Avantgarde”, Valsts Kunsthalle,Rietumberlîne; videoinstalåcija “Müra nojaukßana”(kat.)Måkslas dienas ‘88; galerija centrålås dzelzce¬astacijas gåjéju tunelî, RîgaGrupas izståde (kopå ar O.Tillbergu, O.Pétersonu,A.BreΩi, J.Putråmu), Teåtra muzejs, Rîga; instalåcija“Burtnieku pils”

1987 Vissavienîbas jauno måkslinieku izståde, MaskavaRepublikas jauno måkslinieku 18. darbu izståde,IzståΩu zåle Latvija, RîgaMåkslas dienas’87; instalåcija “Asni” skvérå pieCitadeles un Muitas ielåm, Rîga

1986 Kino dienas’86, Péterbaznîca, Rîga; video akcija“Müris”5. republikas miniatürgrafikas izståde, IzståΩu zåleLatvija, Rîga

105104

“ó‡ÒÚÌ˚È / èÛ·ÎË˜Ì˚È”, ARS ’95, ïÂÎ¸ÒËÌÍË /îËÌÎflÌ‰Ëfl (“ùÍÓ ÒÂÚ‡ 2000”).

1994 “ÉÓÒÛ‰‡ÒÚ‚Ó” – SMMC–êË„‡ 2-‡fl ÂÊÂ„Ó‰Ì‡fl‚˚ÒÚ‡‚Í‡, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ, êË„‡, (ËÌÒÚ‡ÎÎflˆËfl “éÚÂ˜ÂÒÚ‚Û ËÒ‚Ó·Ó‰Â”); êÛÌ‰‡Î¸ÒÍËÈ Á‡ÏÓÍ (Timmija Snipa“áÌ‡Í” Ë ‡Û‰ËÓËÌÒÚ‡ÎflˆËfl); ÏÂÏÓË‡Î¸Ì˚ÈÏÛÁÂÈ ù‰Û‡‰‡ ÇÂÈ‰ÂÌ·‡ÛÏ‡ “ä‡Î‡˜Ë”, (“ùÍÓëÂÚ‡”).*“Wegkreuzung – Künstler aus Riga”, NDR Studio,É‡Ï·Û„ / ÉÂÏ‡ÌËfl.*“ÅÂÒÂ‰˚ ‚ îËÍÒÔÂ‰‚‡ÎÂ ‘94”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÔ‡Í èÂ‰‚‡ÎÂ (ËÌÒÚ‡ÎÎflˆËfl “ùÎÂÏÂÌÚ˚·ÎËÁÌÂˆÓ‚”).*èÓÂÍÚ “éÒÚÓ‚”, É‰‡Ì¸ÒÍ / èÓÎ¸¯‡(ËÌÒÚ‡ÎÎflˆËfl “ä‡ÒÌ˚È ÚÂÌÌËÒ”).“Zoom faktors” – SMMC–êË„‡ 1-‡fl ÂÊÂ„Ó‰Ì‡fl‚˚ÒÚ‡‚Í‡, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡(ËÌÒÚ‡ÎÎflˆËfl “èÛÚÂ¯ÂÒÚ‚ËÂ ÒÌÓ‚”).*

1993 “é˘Û˘ÂÌËÂ Nr. 30”, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ“ÄÒÂÌ‡Î”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl íËÏÏË ëÌËÔ‡“Ö„Ó ‰‚Ó”).Ç˚ÒÚ‡‚Í‡ ‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËË 2-„Ó Å‡ÎÚËÈÒÍÓ-î‡ÌˆÛÁÒÍÓ„Ó ‚Ë‰ÂÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„ÓÙÂÒÚË‚‡Îfl, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂÌ‡Î”,êË„‡ (‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl “èÓ·Â‰ËÚÂÎ¸ÌÂÔÂ˚‚ÌÓ„Ó ÔÓÒÚ‡ÌÒÚ‚‡”).* “Å‡ÒÚÂ‡ËÒ” (“ä‡Ì‡‚‡Î”), „‡ÎÂÂfl “Å‡ÒÚÂÈÒ”,êË„‡.“Aujourd’hui les Baltes” – ‚˚ÒÚ‡‚Í‡ ùÒÚÓÌÒÍÓ„Ó,ã‡Ú‚ËÈÒÍÓ„Ó, ãËÚÓ‚ÒÍÓ„Ó ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡, è‡ËÊ / î‡ÌˆËfl.*ÇÒÂÎ‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡ÍˆËfl “˝Ô!” –‚˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı.*

1992 “èÓÍÓÎÂÌËÂ”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚èÓË / îËÌÎflÌ‰Ëfl (ËÌÒÚ‡ÎÎflˆËfl “Borg Gard”).*“Mare Balticum”, ëÂ‚ÂÌ˚È ˆÂÌÚ ËÒÍÛÒÒÚ‚‡,ïÂÎ¸ÒËÌÍË / îËÌÎflÌ‰Ëfl (ËÌÒÚ‡ÎÎflˆËfl “ìÓÍflÁ˚Í‡”).*

1991 “Fiatal Müveszek Rigaból”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ Mücsarnok, ÅÛ‰‡ÔÂ¯Ú / ÇÂÌ„Ëfl.*

1990 Rauma Biennale Balticum, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ‚ ê‡ÛÏ‡, ê‡ÛÏ‡ / îËÌÎflÌ‰Ëfl.*“ëÚÂÎÍ‡”, ‚˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡(ËÌÒÚ‡ÎÎflˆËfl “á‡·ÓÌËÓ‚‡Ì ‚ Ö‚ÓÔÂ”).“ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ 20-„Ó ÒÚÓÎÂÚËfl. 1940 – 1990„Ó‰˚”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡(ËÌÒÚ‡ÎÎflˆËfl “ÑÂÌ¸ ·ÂÎ¸fl”).*

1989 “Riga – Lettische Avantgarde”, ÉÓÓ‰ÒÍ‡flıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl „‡ÎÂÂfl Im Sophienhof, äËÂÎ¸ /ÉÂÏ‡ÌËfl; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î Weserburg, ÅÂÏÂÌ /ÉÂÏ‡ÌËfl (‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl “è‡‰ÂÌËÂÒÚÂÌ˚”).*

1988 “Riga – Lettische Avantgarde”, ÉÓÓ‰ÒÍÓÈ á‡Î

ËÒÍÛÒÒÚ‚, á‡Ô‡‰Ì˚È ÅÂÎËÌ (‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl“è‡‰ÂÌËÂ ÅÂÎËÌÒÍÓÈ ÒÚÂÌ˚”).*“ÑÌË ËÒÍÛÒÒÚ‚‡ ‘88”, êË„‡ („‡ÎÂÂfl ‚ÔÂ¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂÎÂ ñÂÌÚ‡Î¸ÌÓ„ÓÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡).ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚Í‡ (ÒÓ‚ÏÂÒÚÌÓ Ò éÎÂ„ÓÏíËÎÎ·Â„ÓÏ, éflÓÏ èÂÚÂÒÓÌÓÏ, AÌ‰ÂÂÏÅÂÊÂ Ë ûËÒÓÏ èÛÚ‡ÏÒÓÏ), íÂ‡Ú‡Î¸Ì˚ÈÏÛÁÂÈ ù. ëÏËÎ¸„ËÒ‡, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “á‡ÏÓÍÅÛÚÌËÂÍÛ”).

1987 ÇÒÂÒÓ˛ÁÌ‡fl ‚˚ÒÚ‡‚Í‡ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚,åÓÒÍ‚‡ / êÓÒÒËfl.18-‡fl ‚˚ÒÚ‡‚Í‡ ‡·ÓÚ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚,‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡“ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “èÓ·Â„Ë”‚ ÒÍ‚ÂÂ Û ÛÎËˆ ñËÚ‡‰ÂÎÂÒ Ë åÛÈÚ‡Ò).

1986 “ÑÌË ÍËÌÓ ‘86”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡(‚Ë‰ÂÓ‡ÍˆËfl “ëÚÂÌ‡”).5-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÏËÌË‡Ú˛ÌÓÈ„‡ÙËÍË. – Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡12-‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÒÚ‡ÌÍÓ‚ÓÈ„‡ÙËÍË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡7-‡fl í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, í‡ÎÎËÌÌ /ùÒÚÓÌËfl.*“ÑÌË ËÒÍÛÒÒÚ‚‡ ‘86”, êË„‡ (‡ÍˆËfl „‡ÙÙËÚË„‡ÎÂÂfl ‚ ÔÂ¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂÎÂ ñÂÌÚ‡Î¸ÌÓ„ÓÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡).

1985 12-‡fl ÇÒÂÏËÌ‡fl ‚˚ÒÚ‡‚Í‡ ÙÂÒÚË‚‡Îfl ÏÓÎÓ‰ÂÊËË ÒÚÛ‰ÂÌÚÓ‚, ã‡Ú‚ËÈÒÍËÈ ÍÛÎ¸ÚÛÌ˚È ˆÂÌÚ,åÓÒÍ‚‡ (ËÒÍÛÒÒÚ‚Ó “ÒÂ‰˚” “èÓÒ‚fl˘ÂÌËÂ ÔÓ˝ÁËËãÂÓÌ‡ è‡˝„ÎÂ” ÒÓ‚ÏÂÒÚÌÓ Ò àÌ‰ÛÎËÒÓÏÉ‡ËÎ‡ÌÒÓÏ).Ç˚ÒÚ‡‚Í‡ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË ëëëê,åÓÒÍ‚‡ / êÓÒÒËfl.“É‡ÙËÍ‡ ÚÂ‡Ú‡Î¸ÌÓÈ ÚÂÏ˚”, íÂ‡Ú‡Î¸Ì˚ÈÏÛÁÂÈ ù. ëÏËÎ¸„ËÒ‡, êË„‡.

* ä‡Ú‡ÎÓ„** ÅÛÍÎÂÚ

Sarmîte MåliñaDzimusi 1960. gadå 1981–1986 Latvijas Måkslas akadémijas Dizaina noda¬a.1976–1980 Rézeknes Lietiß˚ås måkslas vidusskola.No 1994. gada strådå laikrakstå “Diena” parmåksliniecisko redaktori.

Apbalvojumi1995 Starptautiskås Ωürijas balva par instalåciju

“Nepamatots prieks” 3. gadskårtéjå SMMC-Rîgaizstådé “Piemineklis”.

Grupu izstådes2007 “Mobilais muzejs”, Andrejsala, Rîga2006 “Altåris” – Sv. Marijas Magdalénas baznîca Rîgå

(kopå ar Kristapu Kalnu)2003 “Tautas nobalsoßana” – Laikraksta “Diena”

speciålpielikums – s/o “Kultüras pilotprojekti”projekts

2002 “Nekå personîga”. – Brémenes pilsétas galerija,Brémene; instalåcija “Bailes no augstuma”

2001 “Metropole. Rîga”. – Rîgas Fondu birΩas nams, Rîga;(kat.)“Identitåte”. – Rîgas galerija“Reanimåcija” – Måkslas dienu 2001 ietvaros. –Zvårtavas pils, Gaujienas pagasts, Zvårtava;instalåcija “DΩuljetas kleita”(1999)“Jaunå realitåte. Identifikåcija” – 5. Starptautiskåsmåkslas meses ART MOSCOW ietvaros. – Centrålaismåkslinieku nams, Maskava

2000 “Distance”. – Hansabankas izståΩu zåle, Tallina;instalåcija “Mana ìimene” (kat.)“Íokolådes måksla”. – Latvijas Måksliniekusavienîbas galerija, Rîga; fotogråfiju sérija“Íokolådés édåji”“Sociålais un personiskais. 1984–2000”. – Måkslasmuzejs Arsenåls, Rîga

1999 Måkslas dienu izståde. – Berga Bazårs, Rîga;instalåcija “DΩuljetas balkons”; objektu sérija“Vértîbu kompleksi”

1998 “Blîvå upe”. – Galerija Noass, Rîga; instalåcija “Beznosaukuma” (kat.)“Ventspils Tranzîts Terminåls” – SMMC-Rîga 6.gadskårtéjå izståde. – Måkslas aìitvilciens, Ventspilsnovada véstures un måkslas muzejs, Ventspils;projekta pieteikums “Marmors” (kat.)2. vispåréjå latvießu måkslas izståde. – IzståΩu zåleLatvija, Rîga; instalåcija “Pieredze” (buklets)“Spike Island ‘98”. – Spike Island, Bristole;instalåcija “Don’t worry, be happy”

1997 “Logs/Spogulis” – Somijas un Latvijas müsdienumåksla. – IzståΩu zåle Taidehalli, Helsinki; Måkslasmuzejs Arsenåls, Rîga; instlåcijas “Saulaina diena”,“Auguste”, “XXX” (buklets)

“Dismantling of the Wall” (cat.)“Days of Art ‘88” – gallery at the pedestrian tunnelof the Riga Railway TerminalGroup Exhibition together with O.Tillbergs,O.Pétersons, A.BreΩe, J.Putråms). – TheatreMuseum, Riga; installation “Burtnieku Castle”

1987 All Union Young Artists’ Exhibition. – MoscowThe 18th Republican Exhibition of Young Artists’Works. – Exhibition Hall Latvija, Riga“Days of Art ‘87”. – City space, Riga; installation“Sprouts”

1986 “Days of Film ‘86”; video action “Wall”, St.Peter’sChurch, RigaThe 5th Republican Exhibition of MiniatureGraphics, Exhibition Hall Latvija, RigaThe 12th Republican Graphic Exhibition, ExhibitionHall Latvija, RigaThe 7th Tallinn Graphic Triennial, Tallinn (cat.)“Days of Art ‘86”; graffiti action at the pedestriantunnel of the Riga Railway Terminal

1985 Exhibition of the 12th World Youth and StudentsFestival, Latvian Culture Centre, Moscow;environment “Dedication to the poetry of LeonsPaegle” together with Indulis GailånsExhibition of the USSR Academy of Art. – Moscow“Theatre Theme in Graphics”, Theatre Museum, Riga

äËÒÚ‡ÔÒ ÉÂÎÁËÒêÓ‰ËÎÒfl ‚ 1962 „Ó‰Û 1980–1986 ì˜Â·‡ ‚ ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ÓÚ‰ÂÎÂÌËË É‡ÙËÍË.1997 ãÂÍÚÓ ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ÓÚ‰ÂÎÂÌË BËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË Ë É‡ÙËÍË.1998 äÛ‡ÚÓ 6-ÓÈ ÂÊÂ„Ó‰ÌÓÈ ‚˚ÒÚ‡‚ÍË “ÇÂÌÚÒÔËÎÒ.í‡ÌÁËÚ. íÂÏËÌ‡Î” ñÂÌÚ‡ ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ëÓÓÒ‡ – êË„‡ (ÒÓ‚ÏÂÒÚÌÓ Ò ëÓÎ‚ËÚÓÈ äÂÒÂ).

ç‡„‡‰˚1994 èËÁ ÏÂÊ‰ÛÌ‡Ó‰ÌÓ„Ó Ê˛Ë Á‡ ËÌÒÚ‡ÎÎflˆË˛

“èÛÚÂ¯ÂÒÚ‚ËÂ ÒÌÓ‚” 1-ÓÈ ÂÊÂ„Ó‰ÌÓÈ ‚˚ÒÚ‡‚ÍËSMMC–êË„‡ “Zoom Ù‡ÍÚÓ”

1987èÂÏËfl åËÌËÒÚÂÒÚ‚‡ ÍÛÎ¸ÚÛ˚ ã‡Ú‚ËË Ì‡ 18-ÓÈêÂÒÔÛ·ÎËÍ‡ÌÒÍÓÈ ‚˚ÒÚ‡‚ÍÂ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚

1986 ÑËÔÎÓÏ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ ‡·ÓÚÛ Ì‡5-ÓÈ ÂÒÔÛ·ÎËÍ‡ÌÒÍÓÈ ‚˚ÒÚ‡‚ÍÂ ÏËÌË‡Ú˛ÌÓÈ„‡ÙËÍË

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2007“ÇÓ‰Ì˚È ÍÛÒ” – êËÊÒÍ‡fl „‡ÎÂÂfl; ‡Í‚‡ÂÎË2000 “èÓÎÂ ‚ÂÏÂÌË”, êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡

(‰Ë„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸, ‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl).1997“ÑÂÌ¸ ÌÂÁ‡‚ËÒËÏÓÒÚË”, êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡

(Ó·˙ÂÍÚ˚).

1996“ÇËÚÛ‡Î¸ÌÓÒÚ¸”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡

1994 “ÑË‡ÔÓÁËÚË‚Ì˚Â Í‡ÚËÌ˚ Ë Ó·˙ÂÍÚ˚”, „‡ÎÂÂfl“P.U.N.K.T.”, É‡Ï·Û„ / ÉÂÏ‡ÌËfl.

1992 É‡ÎÂÂfl “äÓÎÓÌÌ‡”, êË„‡ (Ó·˙ÂÍÚ˚).Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl“üÌfl ëÂÚ‡”).êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡ (¯ÂÎÍÓ„‡ÙËfl).

1991 É‡ÎÂÂfl “Anhava”, ïÂÎ¸ÒËÌÍË / îËÌÎflÌ‰Ëfl.1990 Ä„ÂÌÚÒÚ‚Ó “Inter-Art”, á‡Ô‡‰Ì˚È ÅÂÎËÌ /

ÉÂÏ‡ÌËfl.1987 “äÓ‚˜Â„”, ‚˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡.

ç‡Ë·ÓÎÂÂ ÁÌ‡˜ËÚÂÎ¸Ì˚Â „ÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË,ÒˆÂÌÓ„‡ÙËfl2007“åÓ·ËÎ¸Ì˚È åÛÁÂÈ” (ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó

ËÒÍÛÒÒÚ‚‡) ÄÌ‰ÂÈÒ‡Î‡, êË„‡/ã‡Ú‚Ëfl (Ó·˙ÂÍÚ˚).“ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ËÁ ã‡Ú‚ËË” ä‡ÎÏ‡ÒÍËÈ „ÓÓ‰ÒÍÓÈ åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡. ä‡ÎÏ‡. ò‚ÂˆËfl

2005 “åÛÁÂ˛ 100” ã‡Ú‚ËÈÒÍËÈ ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ / ã‡Ú‚Ëfl(ÑË„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸ ·ÓÎ¸¯Ó„Ó ÙÓÏ‡Ú‡ ëÚÓ ÎÂÚ,óÚÓ ÔÓËÒıÓ‰ËÚ ‚ ã‡Ú‚ËË)

2004 “Den Haag Sculptur 2004. Giants”, É‡‡„‡ /çË‰ÂÎ‡Ì‰˚ (ÒÍÛÎ¸ÔÚÛ‡ Red Apes)“Faster Than History”, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “Kiasma”, ïÂÎ¸ÒËÌÍË/îËÌÎflÌ‰Ëfl (‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl “çË˜Â„ÓÎË˜ÌÓ„Ó”, ‰Ë„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸ Ì‡ ıÓÎÒÚÂ – ˆËÍÎ“å‡ÒÍË”)*

2003 7-‡fl åÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ “Art Moscow”, ñÂÌÚ‡Î¸Ì˚È ‰ÓÏıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ / êÓÒÒËfl (“å‡ÒÍË”)*“Lux Eropae 2002”, äÓÔÂÌ„‡„ÂÌ / Ñ‡ÌËfl (Ò‚ÂÚÓ‚‡flËÌÒÚ‡ÎÎflˆËfl “á‚ÂÁ‰Ì˚È ÔÛÚ¸ ‰ÓÏÓÈ”)“îÛÍÚ˚ ÁÂÏÎË, ÙÛÍÚ˚ ÌÂ·ÂÒ”, çÓ‚˚È Á‡Îã‡Ú‚ËÈÒÍÓÈ Ì‡ˆËÓÌ‡Î¸ÌÓÈ ÓÔÂ˚, êË„‡(ÒˆÂÌÓ„‡ÙËfl Ë ‚Ë‰ÂÓ‡·ÓÚ‡ “èÓ‰‡ÍË”)

2002 “çË˜Â„Ó ÎË˜ÌÓ„Ó” ÅÂÏÂÌÒÍ‡fl „ÓÓ‰ÒÍ‡fl„‡ÎÂÂfl / ÉÂÏ‡ÌËfl (ÑË„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸·ÓÎ¸¯Ó„Ó ÙÓÏ‡Ú‡)*“í‡Ò-‚ËÁËÚ Tras vizit”, Ç˚ÒÚ‡‚Ó˜Ì˚È ˆÂÌÚå‡ÒÌÂ‰ÓÙ‡, ÇÓ‰ËÌ·Ó„ / Ñ‡ÌËfl (“íË „ÓÎÓ‚˚”)

2001“åÂÚÓÔÓÎ¸. êË„‡”, ÑÓÏ êËÊÒÍÓÈ ÙÓÌ‰Ó‚ÓÈ·ËÊË, êË„‡, (‡Û‰ËÓ- Ë ‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl“ë‡Î˛Ú ÏËÎÎÂÌËÛÏ‡ Ì‡ ÑÓÏÒÍÓÈ ÔÎÓ˘‡‰Ë”)*“à‰ÂÌÚË˜ÌÓÒÚ¸”, êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡(‰Ë„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸ “ëÍ‡ÎËfl”)*“çÓ‚‡fl Â‡Î¸ÌÓÒÚ¸. à‰ÂÌÚËÙËÍ‡ˆËfl” 5-‡flåÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ “Art Moscow”, ñÂÌÚ‡Î¸Ì˚È ‰ÓÏıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ / êÓÒÒËfl (ËÌÒÚ‡ÎÎflˆËfl “äÛ·ÔÂÒÓÌ‡Î¸Ì˚È”)*

“ëÓ‚ÂÏÂÌÌ‡fl ÛÚÓÔËfl”, íÂ‡Ú‡Î¸Ì˚È ÏÛÁÂÈ ù.ëÏËÎ¸„ËÒ‡, êË„‡ (‚Ë‰ÂÓËÌÒÚ‡ÎÎflˆËfl “çË˜Â„ÓÎË˜ÌÓ„Ó (é„ÌË ·ÓÎ¸¯Ó„Ó „ÓÓ‰‡)”)*“å‡ÒÍ‡”, „‡ÎÂÂfl “Å‡ÒÚÂÈÒ”, êË„‡ (ÍÓÎÎ‡Ê“ë˜‡ÒÚÎË‚‡fl Ï‡ÒÍ‡”).

2000 “Baltic Security!”, ‡˝ÓÔÓÚ ÄÎ‡Ì‰‡, ëÚÓÍ„ÓÎ¸Ï /ò‚ÂˆËfl (‰Ë„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸ “ëÍ‡ÎËfl” Ë“å‡Î‰ÂÒ”, Ó·˙ÂÍÚ “ãË˜ÌÓÒÚ¸”)**“Distance”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ï‡ÌÁ‡·‡ÌÍ‡,í‡ÎÎËÌÌ / ùÒÚÓÌËfl (‰Ë„ËÚ‡Î¸Ì‡fl ÔÂ˜‡Ú¸, ‚Ë‰ÂÓ)*

1999 Ç˚ÒÚ‡‚Í‡ ÑÌÂÈ ËÒÍÛÒÒÚ‚‡, Å‡Á‡ ÅÂ„‡, êË„‡(‡ÍˆËfl “éÔflÚ¸ ‚ Ú‚Ó˜ÂÒÍÓÏ ÒÓÒÚÓflÌËË”).

1998 “Konstnärer fran Riga. ïÛ‰ÓÊÌËÍË ËÁ êË„Ë”,‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ëfi‰ÂÚÂÎ¸Â, ëfi‰ÂÚÂÎ¸Â /ò‚ÂˆËfl (Ó·˙ÂÍÚ˚)*2-‡fl ‚ÒÂÓ·˘‡fl ‚˚ÒÚ‡‚Í‡ ã‡Ú‚ËÈÒÍËı ıÛ‰ÓÊÌËÍÓ‚,ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂÌ‡Î, êË„‡(ËÌÒÚ‡ÎÎflˆËfl “âm Jums Paika”).“åË ·‡ÎÂÚ‡”, ûÏ‡Î¸ÒÍËÈ ÍÛÎ¸ÚÛÌ˚È ˆÂÌÚ,ûÏ‡Î‡.

1997“àÒÍÛÒÒÚ‚Ó ÔÓÒÚ˚ı ‚Â˘ÂÈ”, „‡ÎÂÂfl “Å‡ÒÚÂÈÒ”,êË„‡“àÌ‚‡ÁËfl” – 2-‡fl åÂÊ‰ÛÌ‡Ó‰Ì‡fl ·ËÂÌÌ‡ÎÂ Ì‡ë‡‡ÂÏ‡‡, ‰‚ÓÂˆ ‚ äÛÂÒÒ‡‡Â, ë‡‡ÂÏ‡‡ /ùÒÚÓÌËfl (Ó·˙ÂÍÚ˚).* “Å‡ÎÂÚ”, ÅÓÎ¸¯ÓÈ Á‡Î êËÊÒÍÓÈ îÓÌ‰Ó‚ÓÈÅËÊË, êË„‡.ëˆÂÌÓ„‡ÙËfl Í ÔÓÒÚ‡ÌÓ‚ÍÂ ‡ÒÒÍ‡Á‡ ÉÛÌ‰Â„ËêÂÔ¯Â “ëÚË„Ï‡” ‚ ÚÂ‡ÚÂ Ñ‡ÈÎÂÒ, êË„‡.

1996 “ÑÛ„‡fl Í‡ÚËÌÍ‡”, êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡.“ãË˜ÌÓÂ ‚ÂÏfl. àÒÍÛÒÒÚ‚Ó ùÒÚÓÌËË, ã‡Ú‚ËË ËãËÚ‚˚ 1945– 1996”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ “Zamek Ujazdowski”, Ç‡¯‡‚‡ /èÓÎ¸¯‡; ˆÂÌÚ‡Î¸Ì˚È ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î“å‡ÌÂÊ”, ë‡ÌÍÚ-èÂÚÂ·Û„ / êÓÒÒËfl.*“Compi Box”, „‡ÎÂÂfl “Anhava”, ïÂÎ¸ÒËÌÍË /îËÌÎflÌ‰Ëfl.

1995 “îÂÏ‡”, ãËÚÂ‡ÚÛÌÓ-ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈê‡ÈÌËÒ‡, êË„‡.*“Art Hotel”, Lydmar Hotel, ëÚÓÍ„ÓÎ¸Ï / ò‚ÂˆËfl.*“è‡ÏflÚÌËÍ” – SMMC–êË„‡ 3-fl ÂÊÂ„Ó‰Ì‡fl‚˚ÒÚ‡‚Í‡, ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ ÙÓÚÓ„‡ÙËË, êË„‡.éÚÍ˚ÚËÂ ÔÓÒÚÓflÌÌÓÈ ˝ÍÒÔÓÁËˆËË ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ ã‡Ú‚ËË, êËÊÒÍ‡fl ˝ÍÓÌÓÏË˜ÂÒÍ‡fl‚˚Ò¯‡fl ¯ÍÓÎ‡, êË„‡.É‡ÎÂÂfl “Anhava”, ïÂÎ¸ÒËÌÍË / îËÌÎflÌ‰Ëfl.“ä‡Î‡˜Ó˛ÏÒ”, ÏÂÏÓË‡Î¸Ì˚È ÏÛÁÂÈ ù‰Û‡‰‡ÇÂÈ‰ÂÌ·‡ÛÏ‡ “ä‡Î‡˜Ë”, ãËÂÔ‡ÈÒÍ‡fl ‚ÓÎÓÒÚ¸(ËÌÒÚ‡ÎÎflˆËfl “ùÍÓ ÒÂÚ‡”) *“èÓÒÔÂÍÚ˚”, Var Gard Centre NACKA,Saltsjöbaden, ëÚÓÍ„ÓÎ¸Ï / ò‚ÂˆËfl (Ó·˙ÂÍÚ ‚Ô‡ÍÂ “ò‚Â‰ÒÍËÈ ÒÚÓÎ”)“Port of Art”, „ÓÓ‰ äÓÚÍ‡ / îËÌÎflÌ‰Ëfl(ËÌÒÚ‡ÎÎflˆËfl “é¯‡ÎÂÎ˚È Ñ‡ÛÍ‡”).*

107106

Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ãËÚÓ‚ÒÍÓ„Ó äÛÎ¸ÚÛÌÓ„ÓÙÓÌ‰‡, ÇËÎ¸Ì˛Ò

1992 “èÓÍÓÎÂÌËÂ”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚èÓË, îËÌÎflÌ‰Ëfl (ËÌÒÚ‡ÎÎflˆËfl “˜Û‚ÒÚ‚‡” (Í‡Ú.)“Å‡ÎÚËÈÒÍËÈ ÔÛÚ¸” – ÏÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡‡Í‚‡ÂÎË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡;‡Í‚‡ÂÎË “é˜ÂÌ¸ ‰Û¯ËÒÚ˚È”. 1992. “The greatoutlooks I, II”. 1992 (Í‡Ú.)“Ancora Vita”. – Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ üÌfl ëÂÚ‡,êË„‡; Í‡ÚËÌ‡ “Ñ‚ÓÈÌÓÂ ˜Û‚ÒÚ‚Ó”

1990 “ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ XX ‚ÂÍ‡. 1940–1990 „Ó‰˚”,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ËÌÒÚ‡ÎÎflˆËfl“ÇÁ„Îfl‰ ÒÓ ÒÚÓÓÌ˚” (Í‡Ú.)

1989 ÄÍˆËfl ‚ ·˚‚¯ÂÏ „‡‡ÊÂ üÔÓÌÒÍÓ„Ó ÔÓÒÓÎ¸ÒÚ‚‡(ÒÓ‚ÏÂÒÚÌÓ Ò ë.Ñ‡‚˚‰Ó‚˚Ï Ë O.íËÎ·Â„ÓÏ), êË„‡

1 9-‡fl ‚˚ÒÚ‡‚Í‡ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚,ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂÌ‡Î, êË„‡; ‡Í‚‡ÂÎË

1988 “La Dolce Vita”, Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ üÌfl ëÂÚ‡,êË„‡; ÍÓÎÎ‡Ê (Í‡Ú.)“ÑÂÚË ëÚ‡·Û‡„‡”, ÔÂÙÓÏ‡ÌÒ ÒÓ‚ÏÂÒÚÌÓ Òë.Ñ‡‚˚‰Ó‚˚Ï Ë O.íËÎ·Â„ÓÏ. – èÂ¯ÂıÓ‰Ì˚ÈÚÛÌÌÂÎ¸ êËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡,êË„‡

1987 “ã˛‰Ë ‚ ÍÎÂÚÍ‡ı”, ÔÂÙÓÏ‡ÌÒ ÒÓ‚ÏÂÒÚÌÓ Òë.Ñ‡‚˚‰Ó‚˚Ï Ë O.íËÎ·Â„ÓÏ. – ëÍ‚ÂÙËÎ‡ÏÓÌËË, êË„‡

1986 “èÓÒÚ‡ÌÒÚ‚Ó Ë Ï˚”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡;‰ËÔÎÓÏÌ‡fl ‡·ÓÚ‡

with Sergejs Davidovs and O¬egs Tillbergs,pedestrian tunnel of the Riga Railway Terminal“La Dolce Vita”. – Gallery Jåña séta, Riga; collage(cat.)

1987 “People in Cages” – performance together withSergejs Davidovs and O¬egs Tillbergs. – PhilharmonicSquare, Riga

1986 “Space and Us”. – St. Peter’s Church, Riga

ë‡ÏËÚÂ å‡ÎËÌflêÓ‰ËÎ‡Ò¸ ‚ 1960 „Ó‰Û 1981–1986 ã‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‰ËÁ‡ÈÌ‡.1976–1980 êÂÁÂÍÌËÌÒÍ‡fl ÒÂ‰Ìflfl ¯ÍÓÎ‡ ÔËÍÎ‡‰ÌÓ„ÓËÒÍÛÒÒÚ‚‡.ë 1994 „Ó‰‡ ‡·ÓÚ‡ÂÚ ‚ „‡ÁÂÚÂ “ÑËÂÌ‡”ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Ï Â‰‡ÍÚÓÓÏ.

ç‡„‡‰˚1995 ÔËÁ ÏÂÊ‰ÛÌ‡Ó‰ÌÓ„Ó Ê˛Ë Á‡ ËÌÒÚ‡ÎÎflˆË˛

“çÂÓ·ÓÒÌÓ‚‡ÌÌ‡fl ‡‰ÓÒÚ¸” Ì‡ 3-ÂÈ ÂÊÂ„Ó‰ÌÓÈ‚˚ÒÚ‡‚ÍÂ SMMC-êË„‡ “è‡ÏflÚÌËÍ”.

B˚ÒÚ‡‚ÍË2007 “åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡2006 “ÄÎÚ‡¸” – ˆÂÍÓ‚¸ Ò‚. å‡ËË-å‡„‰‡ÎÂÌ˚, êË„‡

(ÒÓ‚ÏÂÒÚÌÓ Ò äËÒÚ‡ÔÓÏ ä‡ÎÌÓÏ)2003 “ÉÎ‡Ò Ì‡Ó‰‡” – ÒÔÂˆË‡Î¸ÌÓÂ ÔËÎÓÊÂÌËÂ

„‡ÁÂÚ˚ “ÑËÂÌ‡” – ÔÓÂÍÚ “éÒÌÓ‚Ì˚Â ÔÓÂÍÚ˚ÍÛÎ¸ÚÛ˚”

2002 “çË˜Â„Ó ÎË˜ÌÓ„Ó”, ÅÂÏÂÌÒÍ‡fl „ÓÓ‰ÒÍ‡fl„‡ÎÂÂfl, ÅÂÏÂÌ; ËÌÒÚ‡ÎÎflˆËfl “ÅÓflÁÌ¸ ‚˚ÒÓÚ˚”

2001 “åÂÚÓÔÓÎ¸. êË„‡”, ÑÓÏ êËÊÒÍÓÈ îÓÌ‰Ó‚ÓÈ·ËÊË, êË„‡; (Í‡Ú.)“à‰ÂÌÚË˜ÌÓÒÚ¸”, êËÊÒÍ‡fl „‡ÎÂÂfl“êÂ‡ÌËÏ‡ˆËfl” – Ç ‡ÏÍ‡ı ÑÌÂÈ ËÒÍÛÒÒÚ‚‡ 2001,á‡ÏÓÍ á‚‡Ú‡Ò, É‡ÛÈÂÌÒÍ‡fl ‚ÓÎÓÒÚ¸, á‚‡Ú‡‚‡;ËÌÒÚ‡ÎÎflˆËfl “èÎ‡Ú¸Â ÑÊÛÎ¸ÂÚÚ˚”(1999)“çÓ‚‡fl Â‡Î¸ÌÓÒÚ¸. à‰ÂÌÚËÙËÍ‡ˆËfl”, Ç ‡ÏÍ‡ı5-ÓÈ ÏÂÊ‰ÛÌ‡Ó‰ÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚ÒÚ‡‚ÍËART MOSCOW, ˆÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚,åÓÒÍ‚‡

2000 “Distance”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î Hansabanka,í‡ÎÎËÌÌ; ËÌÒÚ‡ÎÎflˆËfl “åÓfl ÒÂÏ¸fl” (Í‡Ú.)“òÓÍÓÎ‡‰ÌÓÂ ËÒÍÛÒÒÚ‚Ó”, „‡ÎÂÂfl ëÓ˛Á‡ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË, êË„‡; ÒÂËfl ÙÓÚÓ„‡ÙËÈ“Ö‰ÓÍË ¯ÓÍÓÎ‡‰‡”“ëÓˆË‡Î¸Ì˚È Ë ÔÂÒÓÌ‡Î¸Ì˚È. 1984–2000”,ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂÌ‡Î, êË„‡

1999 Ç˚ÒÚ‡‚Í‡ ÑÌÂÈ ËÒÍÛÒÒÚ‚‡. – Å‡Á‡ ÅÂ„‡, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “Å‡ÎÍÓÌ ÑÊÛÎ¸ÂÚÚ˚”; ÒÂËflÓ·˙ÂÍÚÓ‚ “äÓÏÔÎÂÍÒ˚ ˆÂÌÌÓÒÚÂÈ”

1998 “èÎÓÚÌ‡fl ÂÍ‡”, É‡ÎÂÂfl çÓ‡ÒÒ, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “ÅÂÁ Ì‡Á‚‡ÌËfl” (Í‡Ú.)

“ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏËÌ‡Î”, 6-‡fl ÂÊÂ„Ó‰Ì‡fl‚˚ÒÚ‡‚Í‡ SMMC-êË„‡, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È‡„ËÚÔÓÂÁ‰, àÒÚÓË˜ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ ÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË, ÇÂÌÚÒÔËÎÒ; ÔÓÂÍÚ“å‡ÏÓ” (Í‡Ú.)2-‡fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ Î‡Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ËÌÒÚ‡ÎÎflˆËfl“éÔ˚Ú” (·ÛÍÎÂÚ)“Spike Island ‘98”. – Spike Island, ÅËÒÚÓÎ¸;ËÌÒÚ‡ÎÎflˆËfl “Don’t worry, be happy”

1997 “éÍÌÓ/áÂÍ‡ÎÓ”, ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚ÓîËÌÎflÌ‰ËË Ë ã‡Ú‚ËË. – Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡ÎTaidehalli, ïÂÎ¸ÒËÌÍË; ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈÄÒÂÌ‡Î, êË„‡; ËÌÒÚ‡ÎÎflˆËË “ëÓÎÌÂ˜Ì˚È ‰ÂÌ¸”,“Auguste”, “XXX” (·ÛÍÎÂÚ)“éÔÂ‡”, 5-‡fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ˆÂÌÚ‡ ëÓÓÒ‡-êË„‡. –ã‡Ú‚ËÈÒÍËÈ ÚÂ‡Ú Ñ‡ÈÎÂÒ, êË„‡; ËÌÒÚ‡ÎÎflˆËfl“í‡ÌˆÛ˛˘‡fl ‚Ó‰‡” (·ÛÍÎÂÚ)

1996 “ãË˜ÌÓÂ ‚ÂÏfl. àÒÍÛÒÒÚ‚Ó ùÒÚÓÌËË, ã‡Ú‚ËË ËãËÚ‚˚ 1945–1996”. – É‡ÎÂÂfl ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ Zacheta, Ç‡¯‡‚‡; (Í‡Ú.) ñÂÌÚ‡Î¸Ì˚È‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î å‡ÌÂÊ, ë‡ÌÍÚ-èÂÚÂ·Û„;ËÌÒÚ‡ÎÎflˆËfl-ÚËÔÚËı “üÁ˚Í. ùÎÂÍÚË˜ÂÒÍËÈ ÒÚÛÎ.ë˜‡ÒÚÎË‚ÓÂ ‰ÂÚÒÚ‚Ó” (Í‡Ú.)“Vita nova”, É‡ÎÂÂfl óËËÒ, êË„‡; Í‡ÚËÌ‡“Ñ‚Ó”

1995 “ä‡Î‡˜Ó˛ÏÒ”. – åÂÏÓË‡Î¸Ì˚È ÏÛÁÂÈ ù.ÇÂÈ‰ÂÌ‚‡ÛÏ‡ ä‡Î‡˜Ë, ãËÂÔ‡ÈÒÍ‡fl ‚ÓÎÓÒÚ¸;ËÌÒÚ‡ÎÎflˆËfl “ìÎËˆ‡ ÇÂÈ‰ÂÌ·‡ÛÏ‡” (Í‡Ú.)èÓÒÚÓflÌÌ‡fl ÍÓÎÎÂÍˆËfl – ‚˚ÒÚ‡‚Í‡ ‚ êËÊÒÍÓÈùÍÓÌÓÏË˜ÂÒÍÓÈ ‚˚Ò¯ÂÈ ¯ÍÓÎÂ; ËÌÒÚ‡ÎÎflˆËfl “Ñ‡Ë ÌÂÚ. ê‡ÁÛ¯ÂÌÌ˚È ÍÂÒÚ”“è‡ÏflÚÌËÍ”, 3-fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ ñÂÌÚ‡ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡ – êË„‡, ëÂ‰‡„ÓÓ‰‡, êË„‡, ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ îÓÚÓ, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “çÂÓ·ÓÒÌÓ‚‡ÌÌ‡fl ‡‰ÓÒÚ¸” (·ÛÍÎÂÚ)

1994 “ÉÓÒÛ‰‡ÒÚ‚Ó” – 2-fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ SMMC-êË„‡. – êÛÌ‰‡Î¸ÒÍËÈ ‰‚ÓÂˆ; ËÌÒÚ‡ÎÎflˆËfl“êÂÍÎ‡Ï‡ (èÓÒ‚fl˘ÂÌËÂ)” (Í‡Ú.)15-fl ã‡Ú‚ËÈÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ‡Í‚‡ÂÎË,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡“Ç ÚÂÌË Á‡Èˆ‡”. – É‡ÎÂÂfl Å‡ÒÚÂÈÒ, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “äÓÏÔÎÂÍÒ ˆÂÌÌÓÒÚÂÈ”“Zoom faktors” – 1-‡fl ÂÊÂ„Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡-êË„‡ –êË„‡, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡;ËÌÒÚ‡ÎÎflˆËfl “ÅÂÁ Ì‡Á‚‡ÌËfl” (Í‡Ú.)

1993 “óÛ‚ÒÚ‚Ó N 30”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂÌ‡Î,êË„‡; Í‡ÚËÌ‡ “èÂ‚˚È ÒÌÂ„”ÇÒÂÎ‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡ÍˆËfl “˝Ô!”,Ç˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı; ËÒÛÌÓÍ “üÌÂ‰‡ÎÂÍÓ ÓÚ ÔË‡ÏË‰˚” (Í‡Ú.)“ã‡Ú˚¯ÒÍ‡fl ‡Í‚‡ÂÎ¸Ì‡fl ÊË‚ÓÔËÒ¸”,

“Opera” – 5. gadskårtéjå Sorosa Müsdienu måkslascentra-Rîga izståde. – Latvijas Dailes teåtris, Rîga;instalåcija “Dejojoßais üdens” (buklets)

1996 “Personîgais laiks. Igaunijas, Latvijas un Lietuvasmåksla 1945–1996”. – Müsdienu måkslas centrsZamek Ujazdowski, Varßava; (kat.) Centrålå izståΩuzåle ManéΩa, Sanktpéterburga; instalåcija-triptihs“Valoda. Elektriskais krésls. Laimîgå bérnîba” (kat.)“Vita nova”. – Galerija Çiris, Rîga; glezna “Pagalms”

1995 “Kalåçojums”. – E. Veidenbauma memoriålaismuzejs Kalåçi, Liepas pagasts; instalåcija“Veidenbauma iela” (kat.)Paståvîgå kolekcija – izståde Rîgas Ekonomikasaugstskolå; instalåcija “Jå un né. Izjauktais krusts”“Piemineklis” – 3. gadskårtéjå Sorosa Müsdienumåkslas centra-Rîga izståde. – Pilsétas vide, Rîga,Latvijas Foto muzejs, Rîga; instalåcija “Nepamatotsprieks” (buklets)

1994 “Valsts” – 2. gadskårtéjå SMMC-Rîga izståde. –Rundåles pils; instalåcija “Reklåma (Veltîjums)” (kat.)15. Latvijas akvare¬u izståde. – IzståΩu zåle Latvija,Rîga“Za˚a énå”. – Galerija Bastejs, Rîga; instalåcija“Vértîbu komplekss”“Zoom faktors” – 1.gadskårtéjå Sorosa Müsdienumåkslas centra-Rîga izståde. – IzståΩu zåle Latvija,Rîga; instalåcija “Bez nosaukuma” (kat.)

1993 “Sajüta Nr. 30”. – Måkslas muzejs Arsenåls, Rîga;glezna “Pirmais sniegs”Vislatvijas måkslas akcija “ep!” – grafikas izstådes33 pilsétås; zîméjums “Es netålu no piramîdas”(kat.)“Latvießu akvere¬glezniecîba”. – Lietuvas Kultürasfonda izståΩu zåle, Vi¬ña

1992 “Paaudze”. – Pori Müsdienu måkslas muzejs,Pori/Somija; instalåcija “Jütas” (kat.)“Baltijas ce¬ß” – starptautiskå akvare¬u izståde. –IzståΩu zåle Latvija, Rîga; akvare¬i “Òoti smarΩîgs”.1992, “The great outlooks I, II”. 1992 (kat.)“Ancora Vita”. – IzståΩu nams Jåña séta, Rîga;glezna “Dubultjütas”

1990 “Latvija – XX gadsimta külenis. 1940.–1990. gads”.– IzståΩu zåle Latvija, Rîga; instalåcija “Skatîßanås nomalas” (kat.)

1989 Akcija bijußås Japånas véstniecîbas garåΩå ( kopå arS.Davidovu un O.Tillbergu), Rîga19. jauno måkslinieku izståde. – Måkslas muzejsArsenåls, Rîga; akvare¬i

1988 “La Dolce Vita”. – IzståΩu nams Jåña séta, Rîga;kolåΩa (kat.)“Staburaga bérni” – performance kopå arS.Davidovu un O.Tillbergu. – Centrålås dzelzce¬astacijas gåjéju tunelis, Rîga

1987 “Cilvéki büros” – performance kopå ar S.Davidovu

un O.Tillbergu. – Filharmonijas skvérs, Rîga1986 “Telpa un més”. – Péterbaznîca, Rîga; diplomdarbs

Sarmîte MåliñaBorn in 1960 1981–1986 Latvian Academy of Art, Department ofDesign.1976–1980 Rézekne Secondary School of Applied Art.

Awards1995 Prize of the international jury for the installation

“Unjustified Happiness” in the 3rd Annual SCCA-Riga Exhibition “Monument”, Riga

Exhibitions2007 “Mobile Museum”, Andrejsala, Riga2006 “Altar” – St. Maria Magdalen church in Riga (with

K. Kalns)2002 “Nothing Personal”. – City Gallery, Bremen;

installation “Fear from Height” (cat.)2001 “Metropolis. Riga”. – Riga Stock Exchange building,

Riga (cat.)“Identity” – Riga Gallery“Reanimation” – within the framework of the Daysof Art 2001. – Zvårtava Castle, Gaujienas village,Zvårtava/Latvia“New Reality. Identification” – Exhibition within theframework of the 5th International Art Fair ARTMOSCOW programme. – Central House of Artists,Moscow

2000 “Distance”. – Exhibition Hall of Hansabank, Tallinn;installation “My Family” (cat.)“Chocolate Art”. – Gallery of the Artists’ Union ofLatvia, Riga; series of photographs “ChocolateEaters”“Social and Personal. 1984–2000”. – Museum of ArtArsenåls, Riga

1999 “Days of Art ‘99”. – Berga bazårs, Riga; installation“Juliet’s Balcony”; series of objects “Complexes ofValues”

1998 “Dense River”. – Gallery Noass, Riga; installation“Untitled” (cat.)“Ventspils Transit Terminal” – the 6th annual SCCA-Riga exhibition. – Art Propaganda Train, RegionalMuseum of History and Art, Ventspils; project“Marble” (cat.)The 2nd World-wide Latvian Contemporary ArtExhibition. – Exhibition Hall Latvija, Riga; installation“Experience” (booklet)“Spike Island ‘98”. – Spike island, Bristol;installation “Dont worry, be happy”

1997 “Window/Mirror” – Contemporary Art from Finlandand Latvia. – Exhibition Hall Taidehalli; Museum of

Art Arsenåls, Riga; installations “Sunny Day”,“Auguste”, “XXX” (booklet)“Opera” – the 5th annual SCCA-Riga exhibition. –Latvian Daile Theatre, Riga; outdoor installation“Dancing Water” (booklet)

1996 “Personal Time. Art of Estonia, Latvia and Lithuania1945–1996”. – Centre for Contemporary ArtUjazdowski Castle, Warsaw; (cat.); CentralExhibition Hall Manezh, St.Petersburg; triptych“Language. Electric Chair. Happy Childhood” (cat.)“Vita nova”. – Gallery Çiris, Riga; painting“Courtyard”

1995 “Kalåçojums”. – Memorial Museum ofE.Veidenbaums Kalåçi, the Liepa Village/Latvia;installation “The Veidenbauma Street” (cat.)“Monument” – the 3rd annual SCCA-Rigaexhibition. – City space of Riga, Latvian Museum ofPhotography, Riga; installation “UnjustifiedHappiness” (booklet)Opening of the permanent collection at the SwedishSchool of Economics in Riga; installation “Yes andNo. Disarranged Cross”

1994 “State” – the 2nd annual SCCA-Riga exhibition. –Rundåle Palace/Latvia; installation “Advertisement(Dedication)”The 15th Latvian Watercolour Exhibition. –Exhibition Hall Latvija, Riga“In the Shadow of the Hare”. – Gallery Bastejs,Riga; installation “Compex of Values”“Zoom Factor” – the 1st annual SCCA-Rigaexhibition. – Exhibition Hall Latvija, Riga; installation“Untitled” (cat.)

1993 “Sensation No. 30”. – Museum of Art Arsenåls,Riga; painting “The First Snow”All-Latvia Art Action “ep!” – graphic exhibitions in33 towns; drawing “Me Beside the Pyramid” (cat.)“Latvian Watercolour”. – Exhibition Hall of theLithuanian Culture Foundation, Vilnius

1992 “Paaudze. Sukupolvi. Generation”. – Museum ofContemporary Art, Pori/Finland; installation“Feelings” (cat.)“The Baltic Way” – International WatercolourExhibition. – Exhibition Hall Latvija, Riga (cat.)“Ancora Vita”. – Gallery Jåña séta, Riga; painting“Double Feelings” (cat.)

1990 “Latvia – the XX Century Somersault”. – ExhibitionHall Latvija, Riga; installation “Taking a DetachedView” (cat.)

1989 Action at the garage of the former JapaneseEmbassy. – Riga; together with Sergejs Davidovs andO¬egs TillbergsThe 19th Young Artists’ Exhibition . – Museum ofArt Arsenåls, Riga; watercolours

1988 “Children of Staburags” – performance together

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1982 Starptautiskå scenogråfijas kvadrinåle. – Pråga1981 Republikas 6. dizaina izståde. – Jürmalas izståΩu zåle

Vissavienîbas scenogråfu izståde. – Maskava*1978 Baltijas republiku plakåtu izståde. – Rîga*

Starptautiskå scenogråfijas kvadrinåle. – Pråga* katalogs

Leonards LaganovskisBorn 1955 in Riga.1973–1979 Latvian Academy of Art, Dept. of StageDesign1979–1989 collaboration with the artists group“Workshop for Restauration of Non-Existent Feelings”1980–1983 Set Designer Latvijas Nacionålajå operas unbaleta teåtrî1984–1988 Artist at the Workshop of City Decoration ofthe Riga City Municipality1990–1991 Curator of the exhibition of Contemporary Artfrom West Berlin “INTERFERENZEN – Kunst aus Westberlin1960–1990”Fields of activity: installations, objects, stage design, print,photography, drawing.

Scholarships and awards1996 Scholarship of the Culture Foundation Berlin1995 Scholarship of the Culture Senat Berlin1993–1994 Scholarship of Kunstwerke e. V., Berlin1992 Scholarship of the Culture Ministry of Schleswig-

Holstein1992 Scholarship of the Contemporary Art Centre in

Banff, Canada1991–1992 Scholarship of Künstlerhaus Bethanien, Berlin1989 Award of the collective farm “Låçplésis” for the best

stage design on rural theme (Lelde Stumbre “Jånis”in Valmiera Theatre)

Teaching Activities1992 Guest Professor in Muthesius Fachhochshule Kiel1996 Lecturer in Neue Berliner Kunstverein (NBK) Berlin

Solo Exhibitions2007 “Vodka, sex, perfume,Riga Gallery2005 “Rights to desire”,Riga Gallery 1997 “Standarts”,Rîga Gallery

“Gallery Owner’s Belly”, LN Gallery, RigaClub Secret Experiment, RigaIvonna Veiherte Gallery, Riga

1996 “Die Saga”,Galerie Barbara Weiss, Berlin1994 Gallery Bastejs, Riga

“Happy People Laboratory”,Dirty Windows Gallery,Berlin

1993–94 “Rostrums”, Galerie Barbara Weiss, Berlin1993 “100 and 1 Drawing”,Contemporary Art Centre,

Vilnius

1992 “Two Rooms”,Wewerka und Weiss Galerie, Berlin“Leonards Laganovskis. Works 1988–1992”,ifa-Galerie, Berlin*“Private Collection”,Künstlerhaus Bethanien, Berlin*“Kunst des 20. Jahrhunderts”. – Culture CentreSalzau, Kiel

1991 Reiterns House, RigaDole History Museum, Doles Island, Latvia

1990 Exhibition House Jåña séta, Riga* Wewerka Galerie, Berlin

1984 Exhibition Hall of the House of Knowledge, Riga*

Group Exhibitions2007 14th Tallinn Print Triennial “Political /

Poetical”,KUMU, Tallinn*“Mobile Museum” Andrejsala, Riga“Spotlight: The Collection of the LatvianContemporary Art Museum”, European CentralBank, Frankfurt am Main, Germany

2006 Autumns 2006, Latvian Railway Museum2005 group exhibition in city space of Venice2004 13th Tallinn Print Triennial, Rotermann Salt Storage,

Tallinn*; Prix of Estonial National Bank2003 Mare Balticum, Kopenhagen, National museum,

Denmark*”Imagination-Romantik”, Galway arts centre,Galway, Ireland*“Labyrinth”,Gallery Vartai, Vilnius, Lithuania“Wild Photographers”, Communication Centre“Dream Factory”, Riga

2001 “Metropolis. Rîga”, Stock Exchange Building, Riga*12th Tallinn Print Triennial, Rotermann Salt Storage,Tallinn*; Grand Prix

2000 “Image of Father in Contemporary Art”, Haus amWaldsee, Berlin

1999 “Ventspils Transit Terminal”,City space of Ventspils*1998 “2nd All-Latvian Art Exhibition”, Museum of Art

Arsenåls, Riga“11th Tallinn Print Triennial”, Rotermann SaltStorage, Tallinn*“Ventspils Transit Terminal”, Art Propaganda Train,Rehional Museum of Art and History, Ventspils*

1997 “STAD(t)T-ART – Art in 56 homeopathic doses“,Ennepetal, Nordrein-Vestphalen*“Pearls Vol.V” – dinner, sounds & flowers”, Dirtywindows Gallery exhibition in Parkhaus Gallery, Berlin*“Art of Simple Things”, Gallery Bastejs, Riga

1996 “Skin of White Lady” , Philips-Haus, Eindhoven,Holand*“Bekant-machung – Baltic Sea Biennale“,KunsthalleRostock*“Die Galerie” , 20 Years of Wewerka Galerie. –Kulturbrauerei, Berlin*

1995–96 “Memento – Art – History – Memories“, Haus

am Waldsee, Berlin; Stadtliche Galerie imSophienhof, Kiel*“Postkonceptual Painting”, Kunstwerke e.V.,Likörfabrik, Berlin*“Schöne Aussichten”, project of NGBK exhibition-competition. – U-Bahnhof Alexanderplatz, Berlin*(Landschaft) mit dem Blick der 90er Jahre. –Mittelrhein-Museum Koblenz; Museum SchossBurgk/Saale; Haus am Waldsee, Berlîne*

1993–94 “Memory of Images” – Baltic Photo Art Today. –Stadtliche Galerie im Sophienhof, Kiel; KunsthalleRostock/Germany; Exhibition Hall Latvija, Riga;Contemporary Art Centre, Vilnius; Galerie im MartinGropius-Bau, Berlin; Baltic Art Centre, Gdansk,Poland; Kunsthalle Nikolaj, Copenhagen, Denmark*“Memento – Contemporary Art of Berlin”, CityGallery, Prague, Czech Republic*“Kunst: Sprache”, Kunstwerke e.V., BerlinAll-Latvian Art Action “ep!”, Print exhibitions in 33towns*

1993 Zellermeyer Galerie, Berlin1992 “Quality ‘92”. – Exhibition Hall Latvija, Riga *

Rauma Biennale Balticum ‘92., Rauma/Finland*“Timespace”, Sculpture Project. – Sveaborg, Helsinki“Reflexion” , Contemporary art from Estonia, Latviaand Lithuania. – Walter Philips Gallery, Banff/Canada“Tierra de nadie”, Andalusia Pavilion, EXPO ’92,Sevilja*“Avantgarde & Kampagne”, Kunsthalle Düsseldorf*“Minimal Curating”, Städtisches Kaufhaus, Leipzig

1991 “Face to Face”, within the project ARS BALTICA. –Stadtliche Kunst Galerie Im Sophienhof, Kiel;Exhibition Hall Latvija, Riga; Künstlerhaus Bethanienun Kunstwerke e.V., Berlin*

1990 “Auflagenobjekte”, Galerie Wewerka, Berlin1989 “Riga – Lettische Avantgarde”, Stadtliche Kunst

Galerie Im Sophienhof, Kiel; Kunsthalle Weserburg,Bremen/Germany*“The 7th Republican Design Exhibition”, ExhibitionHall Latvija, Riga

1988 “Mies van der Rohe’s 100th Anniversary”, House ofArchitects, Riga“Riga – Lettische Avantgarde”, StadtlicheKunsthalle, West Berlin*

1987 All-Union Exhibition of Stage Designers, Moscow*1986 “Space and Us”. – Riga

“Exhibition of Stage Design”, Riga“Wind in the Willows”, House of Architects, Riga

1985 All-Union Exhibition “Environment and Design”, RîgaExhibition of Works by Young Set Designers,Republican House of Knowledge, Riga

1984 “Stage Design of the Blatic Republics”,ExhibitionHall Latvija, Riga *“Nature. Environment. Man”, St Peters Church, Riga

Leonards LaganovskisDzimis 1955. gadå1973–1979 Latvijas Måkslas akadémijas Scenogråfijasnoda¬a.No 1979. gada – sadarbîba ar måkslinieku grupu“Nebijußu sajütu restauråcijas darbnîca”1980–1983 scenogråfs Latvijas Nacionålajå operas unbaleta teåtrî1984–1988 måkslinieks Rîgas pilsétas Izpildu komitejasPilsétas noforméßanas darbnîcå1990–1991 Rietumberlînes måkslas izstådes“INTERFERENZEN – Kunst aus Westberlin 1960–1990”kuratorsNo 1993. gada dzîvo un strådå Berlîné un Rîgå.Darbîbas joma: instalåcijas, objekti, scenogråfija, grafika,fotogråfija, zîméjums.

Stipendijas un apbalvojumi1996 Kultüras fonda (Berlîne) stipendija1995 Kultüras senåta (Berlîne) stipendija1993–1994 Kunstwerke e. V. (Berlîne) stipendija1992 Ílezvigas – Holßteinas Kultüras ministrijas stipendija1992 Müsdienu måkslas centra Banff (Kanåda) stipendija1991–1992 Künstlerhaus Bethanien (Berlîne) stipendija1989 kolhoza “Låçplésis” balva par labåko scenogråfiju,

veltîtu lauku témai (Lelde Stumbre “Jånis” Valmierasteåtrî)

Pedago©iskais darbs1992 Viesprofesors Muthesius Fachhochshule îlé1996 Lekcijas Neue Berliner Kunstverein (NBK) Berlîné

Personålizstådes2007 “Vodka, seks, smarΩas”, Rîgas galerija2005 “Tiesîbas iekårot”, Rîgas galerija 1997 “Standarti”, Rîgas galerija

“Galeristes véders”. – LN galerija, RîgaKlubs Slepenais eksperiments, RîgaIvonnas Veihertes galerija, Rîga

1996 “Die Saga”, Galerie Barbara Weiss, Berlîne1994 Galerija Bastejs, Rîga

“Happy People Laboratory”, Dirty Windows Gallery,Berlin

1993–94 “Tribînes”, Galerie Barbara Weiss, Berlîne1993 “100 un 1 zîméjums”, Müsdienu måkslas centrs,

Vi¬ña1992 “Two Rooms”, Wewerka und Weiss Galerie, Berlîne

“Leonards Laganovskis. Darbi 1988 – 1992”. – ifa-Galerie, Berlîne*“Private Collection”. – Künstlerhaus Bethanien,Berlîne*“Kunst des 20. Jahrhunderts”. – Kultüras centrsSalzau, île

1991 Reiterna nams, Rîga

Doles véstures muzejs, Doles sala1990 IzståΩu nams Jåña Séta, Rîga*

Wewerka Galerie, Berlîne 1984 Zinîbu nama izståΩu zåle, Rîga*

Grupu izstådes: 2007 “Politiskais / Poétiskais”, 14. Tallinas grafikas

triennåle, Kumu, Tallina“Mobilais muzejs” Andrejsala, Rîga“Spotlight: The Collection of the LatvianContemporary Art Museum”, Eiropas Centrålajåbankå Frankfurté, Våcijå

2006 “Rudens 2006”, Latvijas Dzelzce¬a muzejå2005 grupas izståde Venécijas pilsétvidé2004 13. Tallinas grafikas triennåle. – Rotermana Såls

noliktava, Tallina*; Igaunijas Nacionålås Bankasgodalga

2003 “Mare Balticum”, Kopenhagen, National museum,Denmark*”Imagination-Romantik”, Galway arts centre,Galway, Ireland*“Labyrinth”, Gallery Vartai, Vilnius, Lithuania“Savva¬as fotogråfi”, Komunikåciju centrs “Sapñufabrika”, Rîga

2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga*Tallinas grafikas triennåle, Rotermana såls galerija,Tallina*; galvenå balva

2000 “Téva téls müsdienu måkslå” – izståΩu cikla “Tavspråts lai notiek” ietvaros. – Haus am Waldsee,Berlîne

1999 “Ventspils Tranzîts Terminåls”, Ventspils pilsétasvide*

1998 “2. Vispåréjå latvießu måkslas izståde”, Måkslasmuzejs Arsenåls, Rîga“11. Tallinas grafikas triennåle“, Rotermana sålsgalerija, Tallina*“Ventspils Tranzîts Terminåls”, Måkslas a©itvilciens,Ventspils novada véstures un måkslas muzejs,Ventspils*

1997 “STAD(t)T-ART – måksla 56 homeopåtiskås devås“,Ennepetal, Zieme¬reina–Vestfålena*“Pearls Vol.V” – dinner, sounds & flowers”, Dirtywindows gallery izståde Parkhaus galerijå, Berlîne*“Vienkårßo lietu måksla”, Galerija Bastejs, Rîga

1996 “Skin of White Lady”, Philips-Haus, Eindhoven,Holande*“Bekant-machung – Baltijas jüras biennåle“,Kunsthalle Rostock*“Die Galerie”, Wewerka galerijas 20 gadi. –Kulturbrauerei, Berlîne*

1995–96“Memento – Måksla – Vésture – Atmiñas“, Hausam Waldsee, Berlîne; pilsétas galerija imSophienhof, île*“Postkonceptual Painting”, Kunstwerke e.V.,

Likörfabrik, Berlîne*“Schöne Aussichten”, NGBK izståΩu konkursaprojekts. – U-Bahnhof Alexanderplatz, Berlin*(Landschaft) mit dem Blick der 90er Jahre. –Mittelrhein-Museum Koblenz; Museum SchossBurgk/Saale; Haus am Waldsee, Berlîne*

1993–94 “Attélu atmiña” – Baltijas fotomåksla ßodien. –pilsétas galerija im Sophienhof, île; KunsthalleRostoka/Våcija; IzståΩu zåle Latvija, Rîga; Müsdienumåkslas centrs, Vi¬ña; Berlînes galerija im MartinGropius-Bau, Berlîne; Baltijas måkslas centrs,Gdañska; Kunsthalle Nikolaj, Kopenhågena*“Memento.Müsdienu Berlînes måksla“, Prågaspilsétas galerija*“Kunst: Sprache”, Kunstwerke e.V., BerlîneVislatvijas måkslas akcija “ep!” – grafikas izstådes33 pilsétås*

1993 Zellermeyer Galerie, Berlîne1992 “Kvalitåte ‘92”, IzståΩu zåle Latvija, Rîga*

Rauma Biennale Balticum ‘92. – Rauma*“Timespace”, Sveaborg, Helsinki“Refleksija”, Walter Philips Gallery, Benfa/Kanåda“Tierra de nadie”, Andalüzijas paviljons, EXPO ’92,Sevi¬a*“Avantgarde & Kampagne”, Kunsthalle Düsseldorf*“Minimal Curating”, Städtisches Kaufhaus, Leipciga

1991 “Ar seju pret seju”, ARS BALTICA ietvaros. – pilsétasmåkslas galerija Im Sophienhof, île; izståΩu zåleLatvija, Rîga; Künstlerhaus Bethanien un Kunstwerkee.V., Berlîne*

1990 “Auflagenobjekte”, Galerie Wewerka, Berlin1989 “Riga – Lettische Avantgarde”, pilsétas måkslas

galerija Im Sophienhof, île; izståΩu zåle Weserburg,Brémene/Våcija*7. Republikas dizaina izståde, IzståΩu zåle Latvija,Rîga

1988 “Mies van der Rohe 100 gadi”, Arhitektu nams, Rîga“Riga – Lettische Avantgarde”, Valsts Kunsthalle,Rietumberlîne*

1987 Vissavienîbas scenogråfu izståde. – Maskava*1986 “Telpa un més”, Rîga

Scenogråfu izståde, Rîga“Véjß vîtolos”, Arhitektu nams, Rîga

1985 Vissavienîbas izståde “Apkårtéjå vide un dizains”,RîgaJauno scenogråfu darbu izståde. – Republikåniskaiszinîbu nams, Rîga

1984 Baltijas republiku scenogråfu izståde. – IzståΩu zåleLatvija, Rîga*“Daba. Vide. Cilvéks”, Péterbaznîca, Rîga

1983 Republikas jauno måkslinieku 15. darbu izståde,IzståΩu zåle Latvija, RîgaRîgas jauno måkslinieku darbu izståde. – Ì.EliasaJelgavas véstures un måkslas muzejs, Jelgava

111110

ùÒÚÓÌËË, ã‡Ú‚ËË Ë ãËÚ‚˚, Walter Philips Gallery,Å‡ÌÙÙ/KaÌ‡‰a“Tierra de nadie”, AÌ‰‡ÎÛ˝ÒÍËÈ Ô‡‚ËÎ¸ÓÌ, EXPO’92, ëÂ‚ËÎ¸fl*“Avantgarde & Kampagne”, “Kunsthalle”Ñ˛ÒÒÂÎ¸‰ÓÙ*“Minimal Curating”, “Städtisches Kaufhaus”,ãÂÈÔˆË„

1991 “ãËˆÓÏ Í ÎËˆÛ” – ‚ ‡ÏÍ‡ı ÔÓÂÍÚ‡ ARSBALTICA. – „ÓÓ‰ÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl „‡ÎÂÂfl“Im Sophienhof”, äËÎ¸; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl,êË„‡; “Künstlerhaus Bethanien un Kunstwerkee.V.”, ÅÂÎËÌ*

1990 “Auflagenobjekte”, É‡ÎÂÂfl “Wewerka”, ÅÂÎËÌ1989 “Riga – Lettische Avantgarde”, „ÓÓ‰ÒÍ‡fl

ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl „‡ÎÂÂfl “Im Sophienhof”, äËÎ¸;‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “Weserburg”,ÅÂÏÂÌ/ÉÂÏ‡ÌËfl*7-‡fl êÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ‰ËÁ‡ÈÌ‡,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡

1988 “Mies van der Rohe 100 gadi”. – ÑÓÏÄıËÚÂÍÚÓÓ‚, êË„‡“Riga – Lettische Avantgarde”. –ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È Kunsthalle, á‡Ô‡‰Ì˚È ÅÂÎËÌ*

1987 ÇÒÂÒÓ˛ÁÌ‡fl ‚˚ÒÚ‡‚Í‡ ÒˆÂÌÓ„‡ÙËË, åÓÒÍ‚‡*1986 “èÓÒÚ‡ÌÒÚ‚Ó Ë Ï˚”, êË„‡

Ç˚ÒÚ‡‚Í‡ ÒˆÂÌÓ„‡ÙÓ‚. – êË„‡“ÇÂÚÂ ‚ ‚Â·Û”, ÑÓÏ ÄıËÚÂÍÚÓÓ‚, êË„‡

1985 ÇÒÂÒÓ˛ÁÌ‡fl ‚˚ÒÚ‡‚Í‡ “éÍÛÊ‡˛˘‡fl ÒÂ‰‡ Ë‰ËÁ‡ÈÌ”, êË„‡Ç˚ÒÚ‡‚Í‡ ‡·ÓÚ ÏÓÎÓ‰˚ı ÒˆÂÌÓ„‡ÙÓ‚. –êÂÒÔÛ·ÎËÍ‡ÌÒÍËÈ ÑÓÏ ÁÌ‡ÌËÈ, êË„‡

1984 Ç˚ÒÚ‡‚Í‡ ÒˆÂÌÓ„‡ÙÓ‚ Å‡ÎÚËÈÒÍËı ÒˆÂÌÓ„‡ÙÓ‚,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ *“èËÓ‰‡. ëÂ‰‡. óÂÎÓ‚ÂÍ”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡

1983 15-‡fl êÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ‡·ÓÚ ÏÓÎÓ‰˚ııÛ‰ÓÊÌËÍÓ‚, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡Ç˚ÒÚ‡‚Í‡ ‡·ÓÚ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ êË„Ë,ÖÎ„‡‚ÒÍËÈ ËÒÚÓË˜ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ É.ùÎË‡Ò‡, ÖÎ„‡‚‡

1982 åÂÊ‰ÛÌ‡Ó‰Ì‡fl Í‚‡‰ËÂÌÌ‡ÎÂ ÒˆÂÌÓ„‡ÙËË,è‡„‡

1981 6-‡fl êÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ‰ËÁ‡ÈÌ‡,ûÏ‡Î¸ÒÍËÈ ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡ÎÇÒÂÒÓ˛ÁÌ‡fl ‚˚ÒÚ‡‚Í‡ ÒˆÂÌÓ„‡ÙÓ‚. – åÓÒÍ‚‡ *

1978 Å‡ÎÚËÈÒÍ‡fl ÂÒÔÛ·ÎËÍ‡ÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ÔÎ‡Í‡Ú‡,êË„‡ *åÂÊ‰ÛÌ‡Ó‰Ì‡fl Í‚‡‰ËÂÌÌ‡ÎÂ ÒˆÂÌÓ„‡ÙËË,è‡„‡

* Í‡Ú‡ÎÓ„

Evelîna Deiç[email protected] 1978. gadå2000–2007 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; MA2003 Berlînes Måkslas universitåte UDK, Vizuålåskomunikåcijas noda¬a1999 Rîgas Lietiß˚ås måkslas koledΩas Vides objektudizaina noda¬a

Personålizstådes2005 “Elpot aizliegts”, Galerija “Noass”, Rîga, Latvija

Grupu izstådes2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 “Jauno måkslinieku triennåle”, Tallina, Igaunija

Skañu måkslas izståde “Skan”, festivåla “SkañumeΩs” ietvaros F. Brîvzemnieka ielå 26/28, Rîga,Latvija“Mobilais muzejs”, Andrejsala, Rîga, Latvija“Baltijas valstis. Latvijas laikmetîgå måksla”,Kalmåras måkslas muzejs, Zviedrija “BooM”, Latvijas Måkslas akadémijas, Vizuålåskomunikåcijas absolventu izståde, Andrejsala, Rîga,Latvija“Riga Review”, NGBK, Berlîne, Våcija“Katoptron” (Direction of the Mirror glance), 2.Maskavas laikmetîgås måkslas biennåle, Maskava,Krievija

2006 Starptautiskais nepieradinåtås müzikas un filmufestivåls “Skañu meΩs”, Andrejsala, Rîga15.Sidnejas biennåle, Sidneja, Austrålija“Melting”, galerija newyorkriotokio, Berlîne, Våcija“Feuerzeug”, galerija Schweiss Laden, Berlîne,Våcija

2005 “(Un)Dressed”, Giedre Bartelt Galerie, Berlîne,Våcija“Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija

2004 “Daba. Vide. Cilvéks. 2004”, VMM izståΩu zåle“Arsenåls”, Rîga, Latvija

2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva“Tautas nobalsoßana”, laikraksta “Diena”speciålpielikums, veltîts referendumam parieståßanos Eiropas Savienîbå

2002 “Rudens 2002”, VMM izståΩu zåle “Arsenåls”, Rîga,Latvija

2000 “Optiskås zîmes”, Dekoratîvi lietiß˚ås måkslasmuzejs, Rîga, Latvija

1999 “Baltic Sea Four”, Lietiß˚ås Måkslas koledΩas izståΩuzåle, Rîga, Latvija

Evelîna Deiç[email protected] 1978 2000–2007 Latvian Academy of Art, Department of VisualCommunication; MA2003 Berlin Art University UDK, Department of VisualCommunication1999 Riga College of Applied Art, Department ofEnvironmental objects design

Solo exhibition2005 “Breathing Prohibited”, Galerie ”Noass”, Riga, Latvia

Exhibitions2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 “Triennial of Young artists”, Tallin, Estonia

Sound art project “Skan”, festival “Skañu meΩs”,Riga, Latvia“Mobile Museum”, Andrejsala, Riga, Latvia“The Baltics Part I: Contemporary Art of Latvia”,Kalmar Art Museum, Sweden“BooM”, Latvian Academy of Art, Department ofVisual Communication graduates project,Andrejsala, Rîga, Latvia“Riga Review”, NGBK, Berlin, Germany“Katoptron (Direction of the Mirror glance)”, 2ndMoscow biennial for Contemporary art, Moscow,Russia

2006 International adventurous music festival “SkañumeΩs”, Andrejsala, Rîga, Latvia15th Sidney Biennale, Sidney, Australia

2005 ”(Un)Dressed Body”, Giedre Bartelt Galerie, Berlin,Germany“Jukas”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia

2004 “Nature. Environment. Man. 2004”, Exhibition Hall“Arsenåls” of the State Museum of Art, Riga, Latvia

2003 “2 Show”, Contemporary Art Centre, Vilnius,LithuaniaReferendum, a special supplement to the daily Diena,dedicated to the accession to the European Union

2002 “Autumn 2002”, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia

2000 “Optical Ornament”, Museum of Decorative AppliedArts, Riga, Latvia

1999 “Baltic Sea Four”, Exhibition Hall of the RigaCollege of Applied Art, Riga, Latvia

ù‚ÂÎËÌ‡ ÑÂÈ˜Ï‡ÌÂ[email protected]êÓ‰ËÎ‡Ò¸ ‚ 1978 „Ó‰Û2000–2007 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl aÍ‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, MA

1983 ”15th Republican Exhibition of Works by YoungArtists”, Exhibition Hall Latvija, Riga“Exhibition of Works by Young Artists from Riga”,Ìederts Eliass Museum of History and Art, Jelgava,Latvia

1982 ”International Quadrennial of Stage Design”, Prague1981 The 6th Republican Design Exhibition”,Exhibition

Hall of Jürmala, Latvia“All-Union Exhibition of Stage Designers”, Moscow*

1978”Poster Exhibition of Artists from BalticRepublics”,Riga*“International Quadrennial of Stage Design”,Prague

* catalogue

ãÂÓÌ‡‰c ã‡„‡ÌÓ‚ÒÍËÒêÓ‰ËÎÒfl ‚ 1955 „Ó‰Û1973–1979 ã‡Ú‚ËÈÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ÒˆÂÌÓ„‡ÙËË.ë 1979 „Ó‰‡ – ÒÓÚÛ‰ÌË˜ÂÒÚ‚Ó Ò „ÛÔÔÓÈ ıÛ‰ÓÊÌËÍÓ‚“å‡ÒÚÂÒÍ‡fl ÂÒÚ‡‚‡ˆËË ÌÂÔÓ‚ÚÓËÏ˚ı Ó˘Û˘ÂÌËÈ” 1980–1983 ÒˆÂÌÓ„‡Ù ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„ÓÚÂ‡Ú‡ ÓÔÂ˚ Ë ·‡ÎÂÚ‡1984–1988 ıÛ‰ÓÊÌËÍ ÓÙÓÏËÚÂÎ¸ÒÍÓÈ Ï‡ÒÚÂÒÍÓÈêËÊÒÍÓ„Ó „ÓÓ‰ÒÍÓ„Ó àÒÔÓÎÌËÚÂÎ¸ÌÓ„Ó ÍÓÏËÚÂÚ‡1990–1991 ÍÛ‡ÚÓ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚ÒÚ‡‚ÍËá‡Ô‡‰ÌÓ„Ó ÅÂÎËÌ‡ “INTERFERENZEN – Kunst ausWestberlin 1960–1990”ë 1993 „Ó‰‡ ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ ‚ ÅÂÎËÌÂ Ë êË„Â.ëÙÂ‡ ‰ÂflÚÂÎ¸ÌÓÒÚË: ËÌÒÚ‡ÎÎflˆËfl, Ó·˙ÂÍÚ˚,ÒˆÂÌÓ„‡ÙËfl, „‡ÙËÍ‡, ÙÓÚÓ„‡ÙËfl, ËÒÛÌÓÍ.

ëÚËÔÂÌ‰ËË Ë Ì‡„‡‰˚1996 ÒÚËÔÂÌ‰Ëfl äÛÎ¸ÚÛÌÓ„Ó ÙÓÌ‰‡ (ÅÂÎËÌ)1995 ÒÚËÔÂÌ‰Ëfl ÒÂÌ‡Ú‡ äÛÎ¸ÚÛ˚ (ÅÂÎËÌ)1993–1994 ÒÚËÔÂÌ‰Ëfl Kunstwerke e. V. (ÅÂÎËÌ)1992 ÒÚËÔÂÌ‰Ëfl ÏËÌËÒÚÂÒÚ‚‡ äÛÎ¸ÚÛ˚ òÎÂÁ‚Ë„‡-

ÉÓÎ¸¯ÚÂÈÌ‡1992 ÒÚËÔÂÌ‰Ëfl ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ Banff

(KaÌ‡‰‡)1991–1992 ÒÚËÔÂÌ‰Ëfl “Künstlerhaus Bethanien”

(ÅÂÎËÌ)1989 Ì‡„‡‰‡ ÍÓÎıÓÁ‡ “ã‡˜ÔÎÂÒËÒ” Á‡ ÎÛ˜¯Û˛

ÒˆÂÌÓ„‡ÙË˛, ÔÓÒ‚fl˘ÂÌÌÛ˛ ÒÂÎ¸ÒÍÓÈ ÚÂÏÂ(ãÂÎ‰Â ëÚÛÏ·Â “üÌËÒ”, Ç‡ÎÏËÂÒÍËÈ ÚÂ‡Ú)

èÂ‰‡„Ó„Ë˜ÂÒÍ‡fl ‰ÂflÚÂÎ¸ÌÓÒÚ¸1992 èÓÙÂÒÒÓ “Muthesius Fachhochshule”, äËÎ¸1996 ãÂÍˆËË ‚ “Neue Berliner Kunstverein” (NBK),

ÅÂÎËÌ

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2007 “ÇÓ‰Í‡, ÒÂÍÒ, ‰ÛıË”, êËÊÒÍ‡fl „‡ÎÂÂfl 2005 “è‡‚Ó Ì‡ ‚ÓÊ‰ÂÎÂÌËÂ”, êËÊÒÍ‡fl „‡ÎÂÂfl1997 “ëÚ‡Ì‰‡Ú˚”, êËÊÒÍ‡fl „‡ÎÂÂfl

“Å˛ıÓ ‚Î‡‰ÂÎËˆ˚ „‡ÎÂÂË”, ãç „‡ÎÂÂfl, êË„aKÎÛ· “í‡ÈÌ˚È ˝ÍÒÔÂËÏÂÌÚ”, êË„aÉ‡ÎÂÂfl à‚ÓÌÌ˚ ÇÂÈıÂÚÂ, êË„a

1996 “Die Saga”, „‡ÎÂÂfl Å‡·‡˚ Ç‡ÈÒ, ÅÂÎËÌ1994 É‡ÎÂÂfl “Å‡ÒÚÂÈÒ”, êË„a

“Happy People Laboratory”, „‡ÎÂÂfl “DirtyWindows Gallery”, ÅÂÎËÌ

1993–94 “íË·ÛÌ˚”, „‡ÎÂÂfl Å‡·‡˚ Ç‡ÈÒ, ÅÂÎËÌ1993 “100 Ë 1 ËÒÛÌÓÍ”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó

ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò1992 “Two Rooms”, „‡ÎÂÂfl “Wewerka und Weiss”,

ÅÂÎËÌ“ãÂÓÌ‡‰ ã‡„‡ÌÓ‚ÒÍËÒ. ê‡·ÓÚ˚ 1988 – 1992”,“ifa-É‡ÎÂÂfl”, ÅÂÎËÌ *“Private Collection”, Künstlerhaus Bethanien,ÅÂÎËÌ *“Kunst des 20. Jahrhunderts”, äÛÎ¸ÚÛÌ˚È ˆÂÌÚë‡ÎÁ‡Û, äËÎ¸

1991 ÑÓÏ êÂÈÚÂÌ‡, êË„aàÒÚÓË˜ÂÒÍËÈ ÏÛÁÂÈ ÑÓÎÂÒ, ÑÓÎÂÒ Ò‡Î‡

1990 – Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„a* É‡ÎÂÂfl “Wewerka Galerie”, ÅÂÎËÌ

1984 Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ÑÓÏ‡ áÌ‡ÌËÈ, êË„a*

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË: 2007 “èÓÎËÚË˜ÂÒÍËÈ / èÓ˝ÚË˜ÂÒÍËÈ”, 14-‡fl

í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, äÛÏÛ, í‡ÎÎËÌÌ “åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, AÌ‰ÂÈÒ‡Î‡, êË„a“Spotlight: The Collection of the LatvianContemporary Art Museum”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ î‡ÌÍÙÛÚ‡, ÉÂÏ‡ÌËfl

2006 éÒÂÌ¸ 2006, ã‡Ú‚ËÈÒÍËÈ ÊÂÎÂÁÌÓ‰ÓÓÊÌ˚ÈÏÛÁÂÈ

2005 „ÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚Í‡, ÇÂÌÂˆËfl 2004 13-‡fl í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, „‡ÎÂÂfl

“ëÓÎ¸ êÓÚÂÏ‡Ì‡”, í‡ÎÎËÌÌ*; èËÁ ùÒÚÓÌÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ·‡ÌÍ‡

2003 “Mare Balticum”, äÓÔÂÌ„‡„ÂÌ, ç‡ˆËÓÌ‡Î¸Ì˚ÈÏÛÁÂÈ, Ñ‡ÌËfl*“Imagination-Romantik”, ñÂÌÚ ËÒÍÛÒÒÚ‚ É‡Î‚ÂÈ,àÎ‡Ì‰Ëfl*“Labyrinth”, É‡ÎÂÂfl “Vartai”, ÇËÎ¸Ì˛Ò, ãËÚ‚‡

2007 “Contemporary Art from Latvia”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ Ì‡ å‡ÈÌÂ,ÉÂÏ‡ÌËfl

2003 “Labyrinth”, É‡ÎÂÂfl “Vartai”, ÇËÎ¸Ì˛Ò, ãËÚ‚‡“ë‚ÓÂ‚ÓÎ¸Ì˚Â ÙÓÚÓ„‡Ù˚”, ñÂÌÚÍÓÏÏÛÌËÍ‡ˆËË “î‡·ËÍ‡ „ÂÁ”, êË„‡

2001 “åÂÚÓÔÓÎ¸. êË„a”, ÑÓÏ êËÊÒÍÓÈ ÙÓÌ‰Ó‚ÓÈ·ËÊË, êË„‡*T‡ÎÎËÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, É‡ÎÂÂfl “ëÓÎ¸êÓÚÂÏ‡Ì‡”, í‡ÎÎËÌÌ*; „Î‡‚Ì˚È ÔËÁ

2000 “í‚ÓÈ Ó·‡Á ‚ ÒÓ‚ÂÏÂÌÌÓÏ ËÒÍÛÒÒÚ‚Â” – ‚‡ÏÍ‡ı ‚˚ÒÚ‡‚Ó˜ÌÓ„Ó ˆËÍÎ‡ “í‚ÓÈ ‡ÁÛÏ ÔÛÒÚ¸

ÒÓÒÚÓËÚÒfl”, „‡ÎÂÂfl “Haus am Waldsee”, ÅÂÎËÌ1999 “ÇÂÌÚÒÔËÎÒ. í‡ÌÁËÚ. íÂÏËÌ‡Î”, ÇÂÌÚÒÔËÎÒ*1998 2-‡fl ÇÒÂÓ·˘‡fl ‚˚ÒÚ‡‚Í‡ Î‡Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡,

ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂÌ‡Î”, êË„‡11-‡fl í‡ÎÎËÌÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, É‡ÎÂÂfl“ëÓÎ¸ êÓÚÂÏ‡Ì‡”, í‡ÎÎËÌÌ*“ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏËÌ‡Î”,ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ‡„ËÚÔÓÂÁ‰, àÒÚÓË˜ÂÒÍËÈ ËıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË,ÇÂÌÚÒÔËÎÒ *

1997 “STAD(t)T-ART – ËÒÍÛÒÒÚ‚Ó ‚ 56 „ÓÏÂÓÔ‡ÚË˜ÂÒÍËı‰ÓÁ‡ı”, ùÌÌÂÔÂÚ‡Î¸, ëÂ‚ÂÌ˚È êÂÈÌ-ÇÂÒÚÙ‡ÎËfl*“Pearls Vol.V” – dinner, sounds & flowers”. –É‡ÎÂÂfl Parkhaus, ÅÂÎËÌ*“Ç˚ÒÚ‡‚Í‡ ÔÓÒÚ˚ı ‚Â˘ÂÈ”, É‡ÎÂÂfl “Å‡ÒÚÂÈÒ”,êË„a

1996 “Skin of White Lady” – ÙÓÚÓÔÓÂÍÚ, “Philips-Haus”, ùÈÌ‰ıÓÙÂÌ, ÉÓÎÎ‡Ì‰Ëfl*“Bekant-machung” – ÅËÂÌÌ‡ÎÂ Å‡ÎÚËÈÒÍÓ„ÓÏÓfl. – “Kunsthalle”, êÓÒÚÓÍ*“Die Galerie” – 20 ÎÂÚ „‡ÎÂÂÂ “Wewerka”,“Kulturbrauerei”, ÅÂÎËÌ*

1995–96 “Memento – àÒÍÛÒÒÚ‚Ó – àÒÚÓËfl – è‡ÏflÚ¸”,“Haus am Waldsee”, ÅÂÎËÌ; „ÓÓ‰ÒÍ‡fl „‡ÎÂÂfl,äËÎ¸*“Postkonceptual Painting” (èÓÒÚ-ÍÓÌˆÂÔÚÛ‡Î¸Ì‡flÊË‚ÓÔËÒ¸), “Kunstwerke e.V., Likörfabrik”,ÅÂÎËÌ*“Schöne Aussichten” – ÔÓÂÍÚ ‚˚ÒÚ‡‚Ó˜ÌÓ„ÓÍÓÌÍÛÒ‡ NGBK, U-Bahnhof Alexanderplatz,ÅÂÎËÌ*(Landschaft) mit dem Blick der 90er Jahre,Mittelrhein-Museum Koblenz; Museum SchossBurgk/Saale; Haus am Waldsee, ÅÂÎËÌ *

1993–94 “è‡ÏflÚ¸ Ó·‡Á‡” – Å‡ÎÚËÈÒÍÓÂ ÙÓÚÓËÒÍÛÒÒÚ‚ÓÒÂ„Ó‰Ìfl. – „ÓÓ‰ÒÍ‡fl „‡ÎÂÂfl “Im Sophienhof”,äËÎ¸; Kunsthalle êÓÒÚÓÍ/ÉÂÏ‡ÌËfl; Ç˚ÒÚ‡‚Ó˜Ì˚ÈÁ‡Î “ã‡Ú‚Ëfl”, êË„‡; ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò; ÅÂÎËÌÒÍ‡fl ‚˚ÒÚ‡‚Í‡ “ImMartin Gropius-Bau”, ÅÂÎËÌ; Å‡ÎÚËÈÒÍËÈ ˆÂÌÚËÒÍÛÒÒÚ‚‡, É‰‡Ì¸ÒÍ; Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “çËÍÓÎ‡È”,KÓÔÂÌ„‡„ÂÌ*“Memento”, ëÓ‚ÂÏÂÌÌÓÂ ÅÂÎËÌÒÍÓÂËÒÍÛÒÒÚ‚Ó. – è‡ÊÒÍ‡fl „ÓÓ‰ÒÍ‡fl „‡ÎÂÂfl*“Kunst: Sprache”, Kunstwerke e.V., ÅÂÎËÌÇÒÂÎ‡Ú‚ËÈÒÍ‡fl ‚˚ÒÚ‡‚Í‡ ËÒÍÛÒÒÚ‚‡ “˝Ô!” –‚˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı*

1993 “Zellermeyer Galerie”, ÅÂÎËÌ1992 “ä‡˜ÂÒÚ‚Ó ‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”,

êË„a*“Rauma Biennale Balticum ‘92”, ê‡ÛÏ‡*“Timespace”, ÒÍÛÎ¸ÔÚÛÌ˚È ÔÓÂÍÚ, ë‚Â‡·Ó„,ïÂÎ¸ÒËÌÍË“êÂÙÎÂÍÒËfl”, ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ËÁ

113112

2002 25th International Biennale of Sao Paulo, Brazil2001 “Pop-Puve”, F5 audiovisual action in the territory of

the former VEF enterprise, Riga, Latvia“Hip Hop.lv”, multimedia urban culture event, Riga,Latvia; Rotterdam, The Netherlands

2000 “Time to Jack”, video/audio edition and“Stroboscope@Stethoscope” multimedia event atArtgenda 2000, Helsinki, Finland (with Dj AG&Raitis)“Loop”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia“Open TV slideshows” in Latvian Independent TVChannel“Kristapa tapa”, Experimental and Alternative FilmFestival, Riga, Latvia;

1998–2000 Presentations at the new media festivals, VJsessions for the variety of club and music events

1999 “Fat”, Rainis Museum of Literature and Art History,Riga, Latvia“F5 DE LUX”, RoΩu Gallery, Liepåja, Latvia

1998 “Polar Circuit”, Media Art Symposium, Tornio,Finland

Famous Five (F5)ãË„‡ å‡ˆËÌÍÂ‚Ë˜‡, å‡ÚËÌ¸¯ ê‡ÚÌËÍÒ, àÂ‚‡ êÛ·ÂÁÂ[email protected]; [email protected]; [email protected]–2001 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓ„Ó ËÒÍÛÒÒÚ‚‡1998 éÒÌÓ‚‡ÌËÂ „ÛÔÔ˚ ‚Ó ‚ÂÏfl ÒËÏÔÓÁËÛÏ‡ ÏÂ‰Ë‡ËÒÍÛÒÒÚ‚ “Polar Circuit”, íÓÌËÓ, îËÌÎflÌ‰Ëfl

Ç˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl 2007 “Ç˚ÒÚ‡‚Í‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡”, ñÂÒËÒÒÍËÈ

ÙÂÒÚË‚‡Î¸ 2007, ñÂÒËÒ, ã‡Ú‚Ëfl“ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂÏ‡ÌËfl“Å‡ÎÚËÈÒÍËÂ ÒÚ‡Ì˚. ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Óã‡Ú‚ËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ,ò‚ÂˆËfl

2006 “ÇÂÏfl ÔÓÍ‡ÊÂÚ”, å‡Î˚È Á‡Î êËÊÒÍÓÈ ¯ÍÓÎ˚‰ËÁ‡ÈÌ‡ Ë ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl“ã‡ÏÔÓ˜Í‡ Ú¸Ï˚”, ûÏ‡Î¸ÒÍËÈ „ÓÓ‰ÒÍÓÈÏÛÁÂÈ, ûÏ‡Î‡, ã‡Ú‚Ëfl“ãËÌËfl ‚ÂÏÂÌË F5”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “FauxMouvement”, åÂˆ, î‡ÌˆËfl

2005 “ã‡ÏÔÓ˜Í‡ Ú¸Ï˚”, ã‡Ú‚ËÈÒÍ‡fl Ì‡ˆËÓÌ‡Î¸Ì‡fl˝ÍÒÔÓÁËˆËfl, ÇÂÌÂˆË‡ÌÒÍ‡fl ·ËÂÌÌ‡ÎÂ, 51-‡flåÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡, ÇÂÌÂˆËfl, àÚ‡ÎËfl“Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“The New Ten”, å‡Ì„ÂÈÏ, ÉÂÏ‡ÌËfl; éÒÚÂÌ‰,ÅÂÎ¸„Ëfl

2004 “The New Ten”, åÛÁÂÈ Küppersmühle, ÑÛÈÒ·Û„,ÉÂÏ‡ÌËfl; Künstlerhaus, ÇÂÌ‡, Ä‚ÒÚËfl“èËÓ‰‡. ëÂ‰‡. óÂÎÓ‚ÂÍ. 2004”, ‚˚ÒÚ‡‚Ó˜Ì˚ÈÁ‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„ÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“Faster than History”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ äË‡ÒÏ‡, ïÂÎ¸ÒËÌÍË, îËÌÎflÌ‰Ëfl

2003 “2 Show”, Ç˚ÒÚ‡‚Í‡ ã‡Ú‚ËÈÒÍËı Ë ãËÚÓ‚ÒÍËıÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡“ã‡Ú˚¯Ë ‚ ÇÂÌÂˆËË”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl“ëÓ„Îfl‰‡Ú‡Ë”, ÔÓÂÍÚ ‚ ‡ÏÍ‡ıåÂÊ‰ÛÌ‡Ó‰ÌÓ„Ó ‰Ìfl ÏÛÁÂÂ‚. ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚ÈïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl“ùÈÙÓËfl”, ÔÓÂÍÚ 50-ÓÈ åÂÊ‰ÛÌ‡Ó‰ÌÓÈ‚˚ÒÚ‡‚ÍË ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÇÂÌÂˆË‡ÌÒÍÓÈ·ËÂÌÌ‡ÎÂ“ç‡ÒÎ‡‰ËÒ¸ ÔÂÍ‡ÒÌÓÈ ÌÓ˜¸˛”, RIXC åÂ‰Ë‡ Á‡Î,êË„‡, ã‡Ú‚Ëfl

2002 “ç‡ÒÎ‡‰ËÒ¸ ÔÂÍ‡ÒÌÓÈ ÌÓ˜¸˛”, ‚ ‡ÏÍ‡ı 25·ËÂÌÌ‡ÎÂ ‚ ë‡Ì-è‡ÛÎÛ, ë‡Ì-è‡ÛÎÛ, Å‡ÁËÎËfl

2001 “Pop-Puve”, ‡Û‰ËÓ‚ËÁÛ‡Î¸Ì‡fl ‡ÍˆËfl, ÚÂËÚÓËflÁ‡‚Ó‰‡ VEF, êË„‡, ã‡Ú‚Ëfl“Hip Hop.lv”, ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚È Û·‡ÌË˜ÂÒÍËÈÍÛÎ¸ÚÛÌ˚È ÔÓÂÍÚ, êË„‡; êÓÚÚÂ‰‡Ï,çË‰ÂÎ‡Ì‰˚

2000 “Time to Jack”, ‚Ë‰ÂÓ/‡Û‰ËÓ ÔÓÂÍÚ ËStroboscope@Stethoscope ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚ÈÔÓÂÍÚ ‚ ‡ÏÍ‡ı“Artgenda 2000”, ïÂÎ¸ÒËÌÍË,îËÌÎflÌ‰Ëfl, (ÒÓ‚ÏÂÒÚÌÓ Ò Dj AG&Raitis)“Cilpa”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“Open TV slaidlugas”, ã‡Ú‚ËÈÒÍÓÂ ÌÂÁ‡‚ËÒËÏÓÂÚÂÎÂ‚Ë‰ÂÌËÂ (LNT), êË„‡, ã‡Ú‚Ëfl“Kristapa tapa”, îÂÒÚË‚‡Î¸ ˝ÍÒÔÂËÏÂÌÚ‡Î¸Ì˚ıË ‡Î¸ÚÂÌ‡ÚË‚Ì˚ı ÙËÎ¸ÏÓ‚, êË„‡, ã‡Ú‚Ëfl

1998–2000 ÔÂÁÂÌÚ‡ˆËË Ì‡ ÙÂÒÚË‚‡Îflı ÌÓ‚˚ı ÏÂ‰Ë‡,Ì‡ ÒÂÒÒËflı ‚Ë‰ÊÂÂ‚, Ì‡ ÏÛÁ˚Í‡Î¸Ì˚ı Ë ÍÎÛ·Ì˚ıÏÂÓÔËflÚËflı

1999 “ÜË”, ãËÚÂ‡ÚÛÌ˚È Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈê‡ÈÌËÒ‡“F5 DE LUX”, É‡ÎÂÂfl êÓÁ, ãËÂÔ‡fl

1998 “Polar Circuit”, ëËÏÔÓÁËÛÏ ÏÂ‰Ë‡ ËÒÍÛÒÒÚ‚‡,íÓÌËÓ, îËÌÎflÌ‰Ëfl

Kristîne Kursiß[email protected]://projects.dd.lv/kristinekursisa/Dzimusi 1979.gadå2005 Latvijas Kultüras akadémija, Kino reΩijas noda¬a2003–2005 LMA Vizuålås komunikåcijas noda¬a; MA1999–2003 LMA Vizuålås komunikåcijas noda¬a; BA1998–1999 LMA Glezniecîbas noda¬a1991–1998 J. Rozentåla Rîgas Måkslas skola

Apbalvojumi2003 LMS gada balva par veiksmîgåko multimediju

projektu

Personålizstådes2003 ”Sieviete un vilki”, (ar Miku Mitrévicu), RIXC Mediju

telpå, Rîga, Latvija

Grupu izstådes2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 ”Latvijas Laikmetîgå måksla”, Eiropas centrålå

banka, Frankfurte, Våcija ”Prågas 3. Biennåle”, Pråga, Çehija

2006 ”Art Disk Magazine”, DVD izlase, ASV2005 ”The New Ten”, Museum voor Moderne Kunst,

Oostende, Be¬©ija”Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija“The New Ten”, Kunsthalle Mannheim, Mannheim,Våcija

2004 “Riga line up”, galerija Nemo, Ekernforde, Våcija“The New Ten”, Künstlerhaus, Vîne, Austrija“The New Ten”, Museum Küppersmühle, Duisburga,Våcija“Esoterica”, galerija IBID Projects, Londona,Lielbritånija

2003 “Rudens”, VMM izståΩu zåle “Arsenåls”, Rîga”2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva ”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija

2002 “Recikls”, galerija “Çiris”, Rîga, Latvija”6. elements. Starptautiska sievießu måkslasizståde”, Viesnîca Nams 99, Rîga, Latvija

Kristine Kursiß[email protected]://projects.dd.lv/kristinekursisa/Born 1979 2005 Latvian Academy of Culture, Department of CinemaDirection2003 – 2005 Latvian Academy of Art, Department ofVisual Communication; MA1999 – 2003 Latvian Academy of Art, Department ofVisual Communication; BA

2003 ÅÂÎËÌÒÍËÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ (UDK),ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË1999 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÓÚ‰ÂÎÂÌËÂ ‰ËÁ‡ÈÌ‡ Ó·˙ÂÍÚÓ‚ ÓÍÛÊ‡˛˘ÂÈ ÒÂ‰˚

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2005 “Ñ˚¯‡Ú¸ Á‡ÔÂ˘ÂÌÓ”, É‡ÎÂÂfl “Noass”, êË„‡,

ã‡Ú‚Ëfl

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl2007“íËÂÌÌ‡ÎÂ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚”, í‡ÎÎËÌ,

ùÒÚÓÌËflÇ˚ÒÚ‡‚Í‡ Á‚ÛÍÓ‚Ó„Ó ËÒÍÛÒÒÚ‚‡ “Skan” ‚ ‡ÏÍ‡ıÙÂÒÚË‚‡Îfl “ãÂÒ Á‚ÛÍÓ‚”, êË„‡, ã‡Ú‚Ëfl, ÛÎ. î.ÅË‚ÁÂÏÌËÂÍ‡ 26/28“åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“Å‡ÎÚËÈÒÍËÂ ÒÚ‡Ì˚. ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Óã‡Ú‚ËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ,ò‚ÂˆËfl“BooM”, ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,‚˚ÒÚ‡‚Í‡ ‚˚ÔÛÒÍÌËÍÓ‚ ÓÚ‰ÂÎÂÌËfl ÇËÁÛ‡Î¸ÌÓÈÍÓÏÏÛÌËÍ‡ˆËË, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“Riga Review”, NGBK, ÅÂÎËÌ, ÉÂÏ‡ÌËfl“Katoptron” (Direction of the Mirror glance), 2åÓÒÍÓ‚ÒÍ‡fl ·ËÂÌÌ‡ÎÂ, åÓÒÍ‚‡, êÓÒÒËfl

2006 åÂÊ‰ÛÌ‡Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ÌÂÔË‚˚˜ÌÓÈÏÛÁ˚ÍË Ë ÙËÎ¸ÏÓ‚ “ãÂÒ Á‚ÛÍÓ‚”, ÄÌ‰ÂÈÒ‡Î‡,êË„‡15 ëË‰ÌÂÈÒÍ‡fl ·ËÂÌÌ‡ÎÂ, ëË‰ÌÂÈ, Ä‚ÒÚ‡ÎËfl“Melting”, „‡ÎÂÂfl “NewYorkRioTokio”, ÅÂÎËÌ,ÉÂÏ‡ÌËfl“Feuerzeug”, „‡ÎÂÂfl “Schweiss Laden”, ÅÂÎËÌ,ÉÂÏ‡ÌËfl

2005 “(Un)Dressed”, Giedre Bartelt Galerie, ÅÂÎËÌ,ÉÂÏ‡ÌËfl“Jukas”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”, êË„‡,ã‡Ú‚Ëfl

2004 “èËÓ‰‡. ëÂ‰‡. óÂÎÓ‚ÂÍ. 2004”, VMM‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl

2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“ÉÎ‡Ò Ì‡Ó‰‡”, ÒÔÂˆË‡Î¸ÌÓÂ ÔËÎÓÊÂÌËÂ „‡ÁÂÚ˚“Diena”, ÔÓÒ‚fl˘ÂÌÌÓÂ ÂÙÂÂÌ‰ÛÏÛ Ó‚ÒÚÛÔÎÂÌËË ‚ Ö‚ÓÔÂÈÒÍËÈ ëÓ˛Á

2002 “éÒÂÌ¸ 2002”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”,êË„‡, ã‡Ú‚Ëfl

2000 “éÔÚË˜ÂÒÍËÂ ÁÌ‡ÍË”, åÛÁÂÈ ‰ÂÍÓ‡ÚË‚ÌÓ-ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

1999 “Baltic Sea Four”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î äÓÎÎÂ‰Ê‡ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

Famous Five (F5)Lîga Marcinkeviça, Mårtiñß Ratniks, Ieva [email protected]; [email protected]; [email protected]–2001 Latvijas Måkslas akadémijas Vizuålås måkslasnoda¬a 1998 – Grupas nodibinåßana mediju måkslas simpozija“Polar Circuit” laikå Tornio, Somijå

Izstådes, festivåli2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, V2007 “Laikmetîgås måkslas izståde”, Césu festivåls 2007,

Césis, Latvija“Latvijas Laikmetîgå måksla”, Eiropas centrålåbanka, Frankfurte, Våcija “Baltijas valstis. Latvijas laikmetîgå måksla”,Kalmåras måkslas muzejs, Zviedrija

2006 “Laiks rådîs”,RDMV Mazajå zålé, Rîga, Latvija“Tumsas spuldze,“ Jürmalas pilsétas muzejs,Jürmala, Latvija“F5 laika lînija“, Faux Mouvement izståΩu zåle,Metz, Francija

2005 “Tumsas spuldze“, Latvijas nacionålå ekspozîcijaVenécijas Biennåles 51. Starptautiskajå måkslasizstådé, Venécija, Itålija.“Jukas“, VMM izståΩu zåle Arsenåls, Rîga, Latvija“The New Ten“, Manheima, Våcija; Ostende, Be¬©ija

2004 “The New Ten“, Museum Küppersmühle, Duisburga,Våcija; Künstlerhaus, Vîne, Austrija“Daba. Vide. Cilvéks. 2004“, VMM izståΩu zåleArsenåls, Rîga, Latvija“Faster than History“, Müsdienu måkslas muzejsKiasma, Helsinki, Somija

2003 “2 Show“, Latvijas un Lietuvas jauno måksliniekuizståde, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva“Latvießi Venécijå“, Valsts Måkslas muzejs, Rîga,Latvija“Lüri˚i“, projekts Starptautiskås muzeju dienasietvaros. – Valsts Måkslas muzejs, Rîga, Latvija“Eiforija”, projekts Venécijas biennåles 50.Starptautiskajai Müsdienu måkslas izstådei“Baudi jauko nakti”, RIXC Médiju telpa, Rîga, Latvija

2002 “Baudi jauko nakti”, 25. Sanpaulu biennålesietvaros, Sanpaulu, Brazîlija

2001 “Pop-Puve”, audiovizuåla akcija, Rüpnîcas VEFteritorija, Rîga, Latvija“Hip Hop.lv”, multimediåls urbånås kultürasprojekts, Rîga; Roterdama, Nîderlande

2000 “Time to Jack”, video/audio projekts unStroboscope@Stethoscope, multimediåls projekts“Artgenda 2000” ietvaros, Helsinki, Somija (kopå arDj AG&Raitis)“Cilpa”, VMM izståΩu zåle Arsenåls, Rîga, Latvija

“Open TV slaidlugas”, Latvijas neatkarîgå tv (LNT),Rîga, Latvija“Kristapa tapa”, Eksperimentålo un alternatîvo filmufestivåls, Rîga, Latvija

1998–2000 prezentåcijas jauo mediju festivålos, VJ sesijåsdaΩådos klubu un müzikas pasåkumos

1999 “Tauki”, Raiña Literatüras un måksla muzejs, Rîga“F5 DE LUX“, RoΩu galerija, Liepåja

1998 “Polar Circuit”, Mediju måkslas simpozijs, Tornio,Somija

Famous Five (F5)Lîga Marcinkeviça, Mårtiñß Ratniks,Ieva [email protected]; [email protected]; [email protected]–2001 Latvian Academy of Art, Department of VisualCommunication1998 Founding of the group during the Media ArtSymposium “Polar Circuit” in Tornio, Finland

Exhibitions, Festivals2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 “Latvian Contemporary Art exhibition”, Festival of

Cesis, Cesis, Latvia“The Baltics Part I: Contemporary Art of Latvia”,Kalmar Art Museum, Sweden“Contemporary art from Latvia”, European centralbank, Frankfurt, Germany

2006 “F5 Time Line”, Faux Mouvement, Metz, France“Dark Bulb”, Jürmala’s City Museum, Jürmala,Latvia

2005 “Dark Bulb”, Latvian exposition in the 51st

International Contemporary Art Exhibition of theVenice Biennale, cat.”Jukas”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia“The New Ten“, Kunsthalle Manheim, Manheim,Germany; Ostend, Belgium

2004 “The New Ten“, Künstlerhaus, Vienna, Austria;Museum Küppersmühle, Duisburg, Germany“Nature. Environment. Man. 2004”, Exhibition Hall“Arsenåls” of the State Museum of Art, Riga, Latvia“Faster than History”, Museum of Contemporary ArtKiasma, Helsinki, Finland (with F5)

2003 “2 Show”, Contemporary Art Centre, Vilnius,Lithuania“Latvians in Venice”, F5 exhibition, State Museumof Art, Riga, Latvia“Peepers”, F5 video installation for the InternationalDay of Museums, State Museum of Art, Riga, Latvia“Euphoria”, F5 project for the 50th InternationalContemporary Art Exhibition of the Venice Biennale,general catalogue“Have a Nice Night”, RIXC Media Space, Riga, Latvia

115114

Communication; BA1999–2002 Riga Secondary School of Art and Crafts,Department of Interior Design

Exhibitions, Performances2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 “In the Beginning was the Word”, Poetic Day’s,

Riga, Latvia“Mobile Museum“, Andrejsala, Riga, Latvia“Urbanologic“, Andrejsala, Riga, Latvia“Extreme Creafts, “ CAC, Vilnius, Lithuania“RigaREWIEV“, Gallery NGBK, Berlin, Germany“Granddaddy Garage“, Dirty Deal Cafe, Riga, Latvia

2006 “MODA:KAPUT“, Andrejsala, Riga, Latvia“Language of Street #2“, Jelgava, Latvia“Feuerzug”, Berlin, Germany“Group U25 exhibition”, Contemporary Art GalleryK.Maksla, Karosta, Liepaja “Mulhouse 006”, Mulhouse, France“Acuraugs”, Gallery Betanovuss, Riga, Latvia“Group U25 exhibition”, Hotel Alberts, Riga, Latvia

2005 “Identity”, Strasbourg University of Decorative Art,France“Interflugs Street Art Workshop“, Berlin, Germany“Jukas“, Exhibition hall “Arsenåls” of the LatvianNational Museum of Art, Riga, Latvia“Odd April Cherries”, Foundations of music andperformance group

2004 “Sziget Festival“, multimedial performance of thegroup “FSHB” (Gabor Kitzinger, Paul Ooman, MaijaKurßeva) Budapest, Hungary“Bad Sheet Stories”, Performance Festival,Szentandre, Hungary

Publications2006 Jaffa Magazine, #5, Riga2005 Jaffa Magazine, #4, Riga

å‡Èfl äÛ¯Â‚‡[email protected]êÓ‰ËÎ‡Ò¸ ‚ 1981 „Ó‰Û2006 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, åÄ2004 ÅÂÎËÌÒÍËÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË2002–2006 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, ÇÄ1999–2002 êËÊÒÍ‡fl ÒÂ‰Ìflfl ¯ÍÓÎ‡ ÂÏÂÒÎÂÌÌË˜ÂÒÚ‚‡,ÓÚ‰ÂÎÂÌËÂ ‰ÂÍÓ‡ÚÓÓ‚


îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl

2007 “ÇÌ‡˜‡ÎÂ ·˚ÎÓ ÒÎÓ‚Ó”, ÑÌË ÔÓ˝ÁËË, êË„‡, ã‡Ú‚Ëfl“åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl “ì·‡ÌÓÎÓ„ËÍ‡”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“Extreme Crafts”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“RigaREWIEV”, „‡ÎÂÂfl NGBK, ÅÂÎËÌ, ÉÂÏ‡ÌËfl“ÑÂ‰Û¯ÍËÌ „‡‡Ê”, Dearty Deal Cafe, êË„‡,ã‡Ú‚Ëfl

2006 “MODA:KAPUT”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“üÁ˚Í ÛÎËˆ #2”, ÖÎ„‡‚‡, ã‡Ú‚Ëfl“Feuerzug”, ÅÂÎËÌ, ÉÂÏ‡ÌËfl“Ç˚ÒÚ‡‚Í‡ „ÛÔÔ˚ U25”, É‡ÎÂÂfl ÒÓ‚ÂÏÂÌÌÓ„ÓËÒÍÛÒÒÚ‚‡ “ä. å‡Ísla”, ä‡ÓÒÚ‡, ãËÂÔ‡fl“Mulhouse 006”, åËÎÛÁ, î‡ÌˆËfl“Acuraugs”, „‡ÎÂÂfl “Betanovuss”, êË„‡, ã‡Ú‚Ëfl“Ç˚ÒÚ‡‚Í‡ „ÛÔÔ˚ U25”, „ÓÒÚËÌËˆ‡ ÄÎ¸·ÂÚ,êË„‡, ã‡Ú‚Ëfl

2005 “Identity”, ëÚ‡Ò·Û„ÒÍ‡fl Ç˚Ò¯‡fl ¯ÍÓÎ‡‰ÂÍÓ‡ÚË‚ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, î‡ÌˆËfl“Interflugs Street Art Workshop”, ÅÂÎËÌ,ÉÂÏ‡ÌËfl“Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“ëÚ‡ÌÌ˚Â ‡ÔÂÎ¸ÒÍËÂ ‚Ë¯ÌË”, Ó·‡ÁÓ‚‡ÌËÂÏÛÁ˚Í‡Î¸ÌÓ„Ó Ë ÔÂÙÓÏ‡ÚË‚ÌÓ„Ó Ó·˙Â‰ËÌÂÌËfl

2004 “Sziget festivåls”, ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚È ÔÂÙÓÏ‡ÌÒ„ÛÔÔ˚ “FSHB”(É‡·Ó äËÚˆËÌ„Â, è‡ÛÎ éÏ‡Ì,å‡Èfl äÛ¯Â‚‡), ÅÛ‰‡ÔÂ¯Ú, ÇÂÌ„Ëfl, “Bad Sheet Stories”, ÙÂÒÚË‚‡Î¸ ÔÂÙÓÏ‡ÌÒ‡,ëÂÌÚÂÌ‰ÂÂ, ÇÂÌ„Ëfl

èy·ÎËÍ‡ˆËË2006 Jaffa Magazine, #5, êË„‡2005 Jaffa Magazine, #4, êË„‡

Semjons Hañins, Péteris DragünsRadoßå grupa “Orbîta”2007 Dzejas dienu ietvaros sarîkots 3. starptautiskais

festivåls Word in MotionOrbîtas izdotå Ingas Gailes dzejas gråmata KükuMarija sañem Dzejas dienu balvuTîkla instalåcija Cybergraffiti müsdienu kultürasforuma Baltå nakts ietvaros (Aleksandra Çaka balva)Radoßå darbnîca Dzejas vizualizéßana Ventspilsrakstnieku un tulkotåju måjå Krievijas dokumentålå kinofestivåla Kinoteatr.docRîgas sesija Dalîba Starptautiskajå Maskavas dzejnieku biennålé

2006 Lasîjumi Muzeju nakts, Baltås nakts un citupasåkumu ietvaros, dalîba starptautiskos festivålosun gråmatu gadatirgos Baltijas valstîs un Eiropå Berlînes starptautiskå dzejas video festivåla ZebraRîgas sesija Dzejas dienu ietvarosRomåna Korovina zîméjumu, foto un video darbuizståde (Fotogråfijas Gada balva)Izdots Lailas Halilovas fotoalbums 36EXP sérijå(Fotogråfijas Gada balva)

2005 Izdots multimediåls dzejas almanahs Orbîta 4: Dzeja.Müzika. Video (CD un DVD formåtå) krievu, latvießuun ang¬u valodås (Latvijas Rakstnieku savienîbasLiteratüras Gada balva) Dalîba Starptautiskajå Maskavas dzejnieku biennålé

2004 Uzståßanås vairåkos starptautiskos festivålos Baltijasvalstîs, Eiropå un Krievijå

2003 Sarîkots otrais starptautiskais festivåls Word in MotionDivvalodîgå Semjona Hañina dzejas gråmataTikko/íÓÎ¸ÍÓ ˜ÚÓDivvalodîgå Sergeja Timofejeva dzejas gråmataGandrîz fotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË

2002 Dzejas video izlase (VHS kasete) Word in Motion2001 Sarîkots pirmais starptautiskais dzejas video festivåls

Word in MotionSadarbîbå ar Rîgas jauno literåtu apvienîbu Izdotstematiskais divvalodîgais dzejas kråjumsDengi/ç‡Û‰‡. Dzeja par nauduIzdots almanahs Orbîta 3: dzeja, proza, atdzejojumi,esejas un fotogråfijas. (balva: Gada Skaiståkå gråmata)

2000 Izdots dzejas kompaktdisks O2Izdots pirmais almanahs Orbîta: dzeja, proza,atdzejojumi, esejas un fotogråfijas

1999 Dalîba Dzejas dienås Rîgå un Daugavpilî ar Rainimveltîto dzejas performanci Man vårda nav...

Semyon Khanin, Péteris DragünsCreative Group “Orbîta” (Orbit)2007 The 3rd International Poetry Film Festival Word in

Motion during the Poetry DaysPoetry collection Küku Marija of Inga Gaile,published by Orbîta (Prize of the Poetry Days)

1998 – 1999 Latvian Academy of Art, Department ofPainting 1991 – 1998 Janis Rozentåls Riga School of Art

Awards2003 Artists’ Union of Latvia Award of the Year for The

best Multimedia Project

Solo Exhibitions2003 ”Woman and Wolves”, RIXC Media space, Riga,

Latvia

Exhibitions and Projects2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 ”Contemporary Art from Latvia”, European Central

Bank, Frankfurt, Germany”Prague Biennale 3”, Prague, Czech Republic

2006 ”The Art Disk Magazine”, DVD video compilation,USA

2005 ”The New Ten”, Museum voor Moderne Kunst,Oostende, Belgium”The New Ten”, Kunsthalle Mannheim, Mannheim,Germany”Jukas”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia”The New Ten”, Künstlerhaus, Vienna, Austria

2004 ”riga line up”, Gallery Gonemo, Eckernford,Germany ”The New Ten”, Museum Küppersmühle, Duisburg,Germany”Esoterica”, Gallery IBID Project, London”2 show”, Contemporary Art Centre, Vilnius,Lithuania

2003 ”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy

2002 “Re-Cycle”, Riga, Latvia”The 6th Element. International Women ArtExhibition”, Hotel “Nams 99”, Riga, Latvia

äËÒÚËÌ‡ äÛÒË¯‡[email protected]://projects.dd.lv/kristinekursisa/êÓ‰ËÎ‡Ò¸ ‚ 1979 „Ó‰Û2005 ã‡Ú‚ËÈÒÍ‡fl ÄÍ‡‰ÂÏËfl ÍÛÎ¸ÚÛ˚, ÓÚ‰ÂÎÂÌËÂÍËÌÓÂÊËÒÒÛ˚2003–2005 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, åÄ1999–2003 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, ÇÄ1998–1999 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ Í‡ÚËÌÌÓÈ ÊË‚ÓÔËÒË1991–1998 êËÊÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ¯ÍÓÎ‡ ü.êÓÁÂÌÚ‡Îfl

Maija Kurß[email protected] 1981.gadå2006 Latvijas Måkslas akadémijas Vizuålås komunikåcijasnoda¬a; MA2004 Berlînes Måkslas universitåtes Vizuålås komunikåcijasnoda¬a2002–2006 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; BA1999–2002 Rîgas Amatniecîbas vidusskolas Dekoratorunoda¬a

Izstådes / performances2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 “Iesåkumå bija vårds”, Dzejas dienas, Rîga, Latvija

“Mobilais muzejs”, Andrejsala, Rîga “Urbanolo©ika”, Andrejsala, Rîga, Latvija“Extreme Crafts”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva“RigaREWIEV”, galerija NGBK, Berlîne, Våcija“Opîßa garåΩa”, Dearty Deal Cafe, Rîga, Latvija

2006 “MODA:KAPUT”, Andrejsala, Rîga, Latvija“Ielu valoda #2”, Jelgava, Latvija“Feuerzug”, Berlîne, Våcija“Grupas U25 izståde”, Laicîgås måkslas galerijaK.Måksla, Karosta, Liepåja “Mulhouse 006”, Milüza, Francija“Acuraugs”, galerija Betanovuss, Rîga, Latvija“Grupas U25 izståde”, viesnîca Alberts, Rîga, Latvija

2005 “Identity”, Strasbüras Dekoratîvo måkslu augstskola,Francija“Interflugs Street Art Workshop”, Berlîne, Våcija“Jukas”, LNMM izståΩu zåle “Arsenåls”, Rîga, Latvija“Savådie aprî¬a ˚irßi”, müzikas un performançuapvienîbas izveidoßana

2004 “Sziget festivåls”, grupas “FSHB”(Gabor Kitzinger,Paul Ooman, Maija Kurßeva) multimediålaperformance, Budapeßta, Ungårija; “Bad Sheet Stories”, performances festivåls,Sentendere, Ungårija

Publikåcijas2006 Jaffa Magazine, #5, Rîga2005 Jaffa Magazine, #4, Rîga

Maija Kurß[email protected] 19812006 Latvian Academy of Art, Department of VisualCommunication; MA2004 Berlin Art University UDK, Department of VisualCommunication2002–2006 Latvian Academy of Art, Department of Visual

ç‡„‡‰˚2003 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È

Û‰‡˜Ì˚È ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚È ÔÓÂÍÚ

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2003 “ÜÂÌ˘ËÌ‡ Ë ‚ÓÎÍË”, (ÒÓ‚ÏÂÒÚÌÓ Ò å. åËÚÂ-

‚Ë˜ÂÏ), ‚ ÔÓÏÂ˘ÂÌËË ÏÂ‰Ë‡ RIXC, êË„‡, ã‡Ú‚Ëfl


îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl 2007 “ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ

ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂÏ‡ÌËfl“è‡ÊÒÍ‡fl 3-fl ·ËÂÌÌ‡ÎÂ”, è‡„‡, óÂıËfl

2006 “Art Disk Magazine”, DVD ËÁ·‡ÌÌÓÂ, ëòÄ2005 “The New Ten”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,

éÒÚÂÌ‰Â, ÅÂÎ¸„Ëfl“Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“The New Ten”, Kunsthalle Mannheim,å‡ÌÌı‡ÈÏ, ÉÂÏ‡ÌËfl

2004 “Riga line up”, „‡ÎÂÂfl “Nemo”, ùÍÍÂÌÙfi‰Â,ÉÂÏ‡ÌËfl“The New Ten”, Künstlerhaus, ÇÂÌ‡, Ä‚ÒÚËfl“The New Ten”, Museum Küppersmühle, ÑÛÈÒ·Û„,ÉÂÏ‡ÌËfl“Esoterica”, „‡ÎÂÂfl IBID Projects, ãÓÌ‰ÓÌ,ÇÂÎËÍÓ·ËÚ‡ÌËfl

2003 “éÒÂÌ¸”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡“2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“la Riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl

2002 “êÂ-ˆËÍÎ”, „‡ÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl“6-È ˝ÎÂÏÂÌÚ”, åÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ÊÂÌÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, „ÓÒÚËÌËˆ‡ “Nams 99”, êË„‡,ã‡Ú‚Ëfl

117116

Projects2004 Multimedial CD semema-industrial.net; 24.05.2004

launching at the State Museum of Art, Riga, Latvia2003 Industrial music programme Sturmvilnis, Radio Naba,

Riga, Latvia2002 www.semema-industrial.net2001 Multimedial CD “semema.org/Claustrum: Isolato” ;

07.04.2001 launching at the Club “Metro”, Riga,Latvia

2000 Semema Internet radio Ozone (Clausthome industrialmix)

Exhibitions, Festivals, Projects2008 “Time Will Show”, Museumsber Flensburg,

Flensburg, Germany2006 ”Mit allem rechnen/ Face the unexpected”, Museum

am Ostwall, Dortmund, Germany”Arrivals > Latvia”, Turner Contemprorary atSubstation Project Space, Margeita, GB

2005 ”Jukas”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia

2004 ”Project F”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia”riga line up”, Gallery Gonemo, Eckernford,Germany

2003 ”2 Show”, Contemporary Art Centre, Vilnius,Lithuania ”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy”Art+Communication”, Riga, Latvia

2001 ”Forma”, Exhibition of work by graduates of theRiga Secondary School of Design, Riga, Latvia

2000 Sound Performance at the Media Festival “ArtGenda 2000”, Helsinki, Finland

1998 Graduation Exhibition, Riga Secondary School ofDesign and Art, Riga, Latvia

ÉËÚ äÓÔÒ[email protected]êÓ‰ËÎÒfl ‚ 1976 „Ó‰Û2002–2004 ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌËÂ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, åÄ1998–2002 ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌËÂ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, ÇÄ

èÓÂÍÚ˚2004 åÛÎ¸ÚËÏÂ‰ËÈÌ˚È ‰ËÒÍ semema?industrial.net/

comrades in lost, 24.05.2004-ÔÂÁÂÌÚ‡ˆËfl ‰ËÒÍ‡ ‚ã‡Ú‚ËÈÒÍÓÏ Ì‡ˆËÓÌ‡Î¸ÌÓÏ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÏÏÛÁÂÂ, êË„‡, ã‡Ú‚Ëfl

2003 ê‡‰ËÓÔÓ„‡ÏÏ‡ ËÌ‰ÛÒÚË‡Î¸ÌÓÈ ÏÛÁ˚ÍËSturmvilnis, ê‡‰ËÓ Naba, êË„‡, ã‡Ú‚Ëfl

2002 www.semema-industrial.net2001 åÛÎ¸ÚËÏÂ‰ËÈÌ˚È ‰ËÒÍ «semema.org/Claustrum:

Isolato» 07.04.2001-ÔÂÁÂÌÚ‡ˆËfl ‰ËÒÍ‡ ‚ ÍÎÛ·Â«Metro», êË„‡, ã‡Ú‚Ëfl

2000 www.semema.orgàÌÚÂÌÂÚ-‡‰ËÓ Ozone (Clausthome industrial mix)

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË Ë ÙÂÒÚË‚‡ÎË2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl 2006 “Mit allem rechnen/ Face the unexpected”, åÛÁÂÈ

ÄÏ éÒÚ‚‡Î¸, ÑÓÚÏÛÌ‰, ÉÂÏ‡ÌËfl“Arrivals > Latvia”, Turner Contemprorary atSubstation Project Space, å‡„ÂÈÚ,ÇÂÎËÍÓ·ËÚ‡ÌËfl

2005 “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”, êË„‡,ã‡Ú‚Ëfl

2004 “èÓÂÍÚ F”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Îã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„ÓÏÛÁÂfl “ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“Riga line up”, „‡ÎÂÂfl çÂÏÓ, ùÍÍÂÌÙfi‰Â,ÉÂÏ‡ÌËfl

2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl“àÒÍÛÒÒÚ‚Ó+KoÓÏÛÌËÍ‡ˆËfl”, êË„‡, ã‡Ú‚Ëfl

2001 “Forma”, Ç˚ÒÚ‡‚Í‡ ‚˚ÔÛÒÍÌËÍÓ‚ êËÊÒÍÓÈ ¯ÍÓÎ˚ÑËÁ‡ÈÌ‡ Ë àÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

2000 á‚ÛÍÓ‚ÓÈ ÔÂÙÓÏ‡ÌÒ ‚ ÙÂÒÚË‚‡ÎÂÏÛÎ¸ÚËÏÂ‰Ë‡ “Art Genda 2000”, ïÂÎ¸ÒËÌÍË,îËÌÎflÌ‰Ëfl

1998 Ç˚ÒÚ‡‚Í‡ ‰ËÔÎÓÏÌ˚ı ‡·ÓÚ êËÊÒÍÓÈ ¯ÍÓÎ˚ÑËÁ‡ÈÌ‡ Ë àÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

Katrîna [email protected] 1978. gadå 2001–2002 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; MA2000–2001 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; BA1999–2000 viesstudente Karaliskajå Måkslas akadémijåStokholmå, Zviedrijå1996–1999 Latvijas Måkslas akadémijas Måkslaspedago©ijas noda¬a

Apbalvojumi, rezidences un stipendijas2005–2006 rezidence Cite des Arts, Parîzé2002 LMS gada balva par veiksmîgåko multimediålo

projektu “6. elements” (kopå ar Moniku Pormali)2001 LMS gada balva par radoßo sasniegumu novitåti

projektå “Téjas séne”

Personålizstådes un projekti2007 Ilustråcijas bérnu gråmatai “Mazgalvîßi spélé måjås“,

sarakstîjis Pauls Bankovskis2006 Izrådes “Nakts tariffs” (autors I. Ílåpins, reΩisore M.

imele) scenogråfija, Jaunais Rîgas teåtris, Latvija2005 “Vientulîba”, Frac Ile-de-France – Le Plateau, Parîze,

FrancijaIlustråcijas bérnu gråmatai “Pasakas par bérnudzîvi”, izdevniecîba Liels un mazs, LatvijaKameroperas “Dzîvais üdens” scenogråfija unkostîmi, Latvijas Nacionålå opera, Rîga

2004 Operas “Toska” video scenogråfija, LatvijasNacionålå opera, Rîga, Latvija“No signal”, Video/Audio performance sadarbîbå arGonzo un Macrame, festivåls “Skañu meΩs”, Rîga,Latvija“Literatüras karaoke”, video performance sadarbîbåar Gonzo un Macrame, Andras Neiburgas gråmatas“Stum Stum” atvérßanas pasåkumå, galerija“Noass”, Rîga, Latvija“Selecta”, Macrame, Gonzo, video performanceMåkslas nama atvérto durvju dienå, Rîga, Latvija“Pornogråfija”, A. Çaka iela, Rîga, Latvija

2003 Operas “Klîstoßais holandietis” video scenogråfija,Latvijas Nacionålå opera, Rîga, Latvija

2002 Operas “Klîstoßais holandietis” video scenogråfija,Dalhalla, Zviedrija“T-Shroom” izståde Malmé, Zviedrija“T-Shroom” izståde, galerijå IBID, Londona, LielbritånijaVideo måksliniece Baleta festivåla noslégumapasåkumå, Latvijas Nacionålå Opera, Rîga, Latvija

Grupu izstådes, festivåli, projekti2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija

Network Installation Cybergraffiti during theContemporary Culture Forum Baltå nakts (The WhiteNight) (Prize of Aleksandrs Çaks)Creative Workshop Dzejas vizualizéßana (Visualisingthe Poetry) in the House for Writers and Translatorsin VentspilsRiga‘s Session of the Russian Documentary FilmFestival Kinoteatr.docParticipation in the International Poetry Biennal,Moscow

2006 Presentations/Readings during the events Muzejunakts (The Night of Museums) and Baltå nakts (TheWhite Night), a. o., participation in internationalfestivals and book fairs in the Baltic countries andEurope Riga‘s Session of the International Poetry FilmFestival Zebra, Berlin, in connection with the Days ofPoetryExhibition of graphics, photographs and videos ofRomåns Korovins (Photography Prize 2007)Photograph collection “36EXP“of Laila Halilova,published by Orbîta (Photography Prize 2006)

2005 Multimedia Almanac Orbîta 4: Dzeja. Müzika. Video(Orbit 4: Poetry. Music. Video) (as CD and DVD) inRussian, Latvian and English (Literature Prize 2005,awarded by the Writers/Poets’ Union of Latvia) Participation in the International Poetry Biennal,Moscow

2004 Presentations in several international festivals in theBaltic countries, Europe and Russia

2003 The 2nd International Poetry Film Festival Word inMotionBilingual Poetry collection Tikko/íÓÎ¸ÍÓ ˜ÚÓ(Recently) of Semjons HañinsBilingual Poetry collection Gandrîzfotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË (Nearlyphotographs) of Sergejs Timofejevs

2002 Poetry Film selection (VHS) Word in Motion2001 The 1st International Poetry Film Festival Word in

MotionBilingual Poetry collection Dengi/ç‡Û‰‡. Dzeja parnaudu (Poetry for money) in co-operation with theYoung Writers/Poets’ Union of RigaMultimedia Almanac Orbîta 3: dzeja, proza,atdzejojumi, esejas un fotogråfijas (Orbit 3: Poetry,Novels, Rendering, Writings and Photographs)(awarded for the most beautiful book of the year)

2000 Poetry CD O2The 1st Multimedia Almanac Orbîta: dzeja, proza,atdzejojumi, esejas un fotogråfijas (Orbit: Poetry,Novels, Renderings, Writings and Photographs)

1999 Participation in the Poetry Days in Riga andDaugavpils with the Poetry Performance Man vårdanav... (I have no name…), dedicated to Rainis

ëÂÏÂÌ ï‡ÌËÌ, èÂÚÂËÒ Ñ‡„ÛÌÒí‚Ó˜ÂÒÍ‡fl „ÛÔÔ‡ “é·ËÚ‡”2007 Ç ‡ÏÍ‡ı ÑÌÂÈ ÔÓ˝ÁËË Ó„‡ÌËÁÓ‚‡Ì 3-ËÈ

ÏÂÊ‰ÛÌ‡Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ Word in MotionàÁ‰‡ÌÌ‡fl é·ËÚÓÈ ÍÌË„‡ ÔÓ˝ÁËË àÌ„Ë É‡ÈÎÂKüku Marija ÔÓÎÛ˜ËÎ‡ ÔËÁ ÑÌÂÈ ÔÓ˝ÁËËëÂÚÂ‚‡fl ËÌÒÚ‡ÎÎflˆËfl Cybergraffiti ‚ ‡ÏÍ‡ıÙÓÛÏ‡ ÒÓ‚ÂÏÂÌÌÓÈ ÍÛÎ¸ÚÛ˚ ÅÂÎ‡fl ÌÓ˜¸(ÔËÁ ÄÎÂÒ‡Ì‰‡ ó‡Í‡)í‚Ó˜ÂÒÍ‡fl Ï‡ÒÚÂÒÍ‡fl ÇËÁÛ‡ÎËÁ‡ˆËfl ÔÓ˝ÁËËÇÂÌÚÒÔËÎÒÍËı ÔËÒ‡ÚÂÎÂÈ Ë ÔÂÂ‚Ó‰˜ËÍÓ‚ Ì‡ ‰ÓÏÛêËÊÒÍ‡fl ÒÂÒÒËfl ÓÒÒËÈÒÍÓ„Ó ‰ÓÍÛÏÂÌÚ‡Î¸ÌÓ„ÓÍËÌÓÙÂÒÚË‚‡Îfl Kinoteatr.docì˜‡ÒÚËÂ ‚ åÂÊ‰ÛÌ‡Ó‰ÌÓÏ åÓÒÍÓ‚ÒÍÓÏÔÓ˝ÚË˜ÂÒÍÓÏ ·ËÂÌÌ‡ÎÂ

2006 óÚÂÌËfl ‚ ‡ÏÍ‡ı çÓ˜¸ ÏÛÁÂÂ‚, ÅÂÎ‡fl ÌÓ˜¸ Ë ‰Û„ËıÏÂÓÔËflÚËÈ, Û˜‡ÒÚËÂ ‚ ÏÂÊ‰ÛÌ‡Ó‰Ì˚ı ÙÂÒÚË‚‡ÎflıË ÍÌËÊÌ˚ı flÏ‡Í‡ı Å‡ÎÚËÈÒÍËı ÒÚ‡Ì Ë Ö‚ÓÔ˚êËÊÒÍ‡fl ÒÂÒÒËfl ÅÂÎËÌÒÍÓ„Ó ÏÂÊ‰ÛÌ‡Ó‰ÌÓ„Ó‚Ë‰ÂÓÙÂÒÚË‚‡Îfl ÔÓ˝ÁËË áÂ·‡Ç˚ÒÚ‡‚Í‡ ËÒÛÌÍÓ‚, ÙÓÚÓ- Ë ‚Ë‰ÂÓ‡·ÓÚ êÓÏ‡Ì‡äÓÓ‚ËÌ‡ (èËÁ îÓÚÓ„‡ÙËË „Ó‰‡) àÁ‰‡Ì ÙÓÚÓ‡Î¸·ÓÏ ã‡ÈÎ˚ ï‡ÎËÎÓ‚ÓÈ ÒÂËË36EXP (èËÁ îÓÚÓ„‡ÙËË „Ó‰‡)

2005 àÁ‰‡Ì ‡Î¸Ï‡Ì‡ı ÏÛÎ¸ÚËÏÂ‰ËÈÌÓÈ ÔÓ˝ÁËË é·ËÚ‡4: èÓ˝ÁËfl. åÛÁ˚Í‡. ÇË‰ÂÓ (Ç ÙÓÏ‡ÚÂ CD Ë DVD)Ì‡ ÛÒÒÍÓÏ, Î‡Ú˚¯ÒÍÓÏ Ë ‡Ì„ÎËÈÒÍÓÏ flÁ˚Í‡ı (èËÁãËÚÂ‡ÚÛ˚ ÉÓ‰‡ ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ ÔËÒ‡ÚÂÎÂÈ)ì˜‡ÒÚËÂ ‚ åÂÊ‰ÛÌ‡Ó‰ÌÓÏ åÓÒÍÓ‚ÒÍÓÏÔÓ˝ÚË˜ÂÒÍÓÏ ·ËÂÌÌ‡ÎÂ

2004 Ç˚ÒÚÛÔÎÂÌËÂ ‚Ó ÏÌÓ„Ëı ÏÂÊ‰ÛÌ‡Ó‰Ì˚ıÙÂÒÚË‚‡Îflı ‚ Å‡ÎÚËÈÒÍËı ÒÚ‡Ì‡ı, Ö‚ÓÔÂ

2003 é„‡ÌËÁÓ‚‡Ì ‚ÚÓÓÈ ÏÂÊ‰ÛÌ‡Ó‰Ì˚È ÙÂÒÚË‚‡Î¸Word in MotionÑ‚ÛflÁ˚˜Ì‡fl ÍÌË„‡ ÔÓ˝ÁËË ëÂÏÂÌ‡ ï‡ÌËÌ‡Tikko/íÓÎ¸ÍÓ ˜ÚÓÑ‚ÛflÁ˚˜Ì‡fl ÍÌË„‡ ÔÓ˝ÁËË ëÂ„Âfl íËÏÓÙÂÂ‚‡Gandrîz fotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË

2002 ÇË‰ÂÓÒ·ÓÌËÍ ÔÓ˝ÁËË (Í‡ÒÒÂÚ‡ VHS) Word in Motion2001 é„‡ÌËÁÓ‚‡Ì ÔÂ‚˚È ÏÂÊ‰ÛÌ‡Ó‰Ì˚È

ÙÂÒÚË‚‡Î¸ Word in MotionÇ ÒÓÚÛ‰ÌË˜ÂÒÚ‚Â Ò é·˙Â‰ËÌÂÌËÂÏ ÏÓÎÓ‰˚ıêËÊÒÍËı ÎËÚÂ‡ÚÓÓ‚ ËÁ‰‡Ì ÚÂÏ‡ÚË˜ÂÒÍËÈ‰‚ÛflÁ˚˜Ì˚È Ò·ÓÌËÍ ÒÚËıÓ‚ Dengi/ç‡Û‰‡. èÓ˝ÁËflÓ ‰ÂÌ¸„‡ıàÁ‰‡Ì ‡Î¸Ï‡Ì‡ı é·ËÚ‡ 3: ÔÓ˝ÁËfl, ÔÓÁ‡, ÔÂÂ‚Ó-‰˚, ˝ÒÒÂ Ë ÙÓÚÓ„‡ÙËË. (ÔËÁ: ë‡Ï‡fl ä‡ÒË‚‡flÍÌË„‡ „Ó‰‡)

2000 àÁ‰‡Ì ÍÓÏÔ‡ÍÚ-‰ËÒÍ ÔÓ˝ÁËË é2àÁ‰‡Ì ÔÂ‚˚È ‡Î¸Ï‡Ì‡ı é·ËÚ‡: ÔÓ˝ÁËfl, ÔÓÁ‡,ÔÂÂ‚Ó‰˚, ˝ÒÒÂ Ë ÙÓÚÓ„‡ÙËË

1999 ì˜‡ÒÚËÂ ‚ ÑÌflı èÓ˝ÁËË ‚ êË„Â Ë Ñ‡Û„‡‚ÔËÎÒÂ ÒÔÂÙÓÏ‡ÌÒÓÏ ÔÓ˝ÁËË ì ÏÂÌfl ÌÂÚ ËÏÂÌË...,ÔÓÒ‚fl˘ÂÌÌ˚Ï ê‡ÈÌËÒÛ

Ìirts [email protected] 1976.gadå2002–2004 Måkslas akadémijas Vizuålåskomunikåcijasnoda¬a, MA1998–2002 Måkslas akadémijas Vizuålås komunikåcijasnoda¬a, BA1992–1998 Rîgas Dizaina un Måkslas vidusskola

Projekti2004 Multimediju disks semema–industrial.net/ comrades

in lost; 24.05.2004 diska prezentåcijas ValstsMåkslas muzejå, Rîga, Latvija

2003 Industriålås müzikas raidîjums Sturmvilnis, RadioNaba, Rîga, Latvija

2002 www.semema-industrial.net2001 Multimediju disks “semema.org/Claustrum: Isolato”;

07.04.2001 diska prezentåcija klubå “Metro”, Rîga,Latvija

2000 www.semema.org Interneta radio Ozone(Clausthome industrial mix)

Grupu izstådes un festivåli2008 “Time Will Show”, Museumsber Flensburg,

Flensburg, Germany2006 ”Mit allem rechnen/ Face the unexpected”, Museum

am Ostwall, Dortmunde, Våcija”Arrivals > Latvia”, Turner Contemprorary atSubstation Project Space, Margeita, Lielbritånija

2005 “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija

2004 “Projekts F”, VMM izståΩu zåles “Arsenåls”, Rîga,Latvija“Riga line up”, galerija Nemo, Ekernforde, Våcija

2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva ”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija”Måksla+Komunikåcijas”, Rîga, Latvija

2001 ”Forma”, Rîgas Dizaina un Måkslas vidusskolasabsolventu izståde, Rîga, Latvija

2000 Skañas performance médiju festivålå “Art Genda2000”, Helsinki, Somija

1998 Diplomdarbu izståde Rîgas Dizaina un Måkslasvidusskolå, Rîga, Latvija

Ìirts [email protected] 19762002–2004 Latvian Academy of Art, Department of VisualCommunication; MA1998–2002 Latvian Academy of Art, Department of VisualCommunication; BA1992–1998 Riga College of Applied Art

119118

bank, Frankfurt, Germany”Urbanologic”, Andrejsala, Riga, Latvia”Just what is it that makes today?”, GalleryAntjewachs, Berlin, Germany”Katoptron”(Direction of the mirror glance), specialProject of 2 Moscow biennale of contemporary art,Moscow, Russia

2006 15th Biennale of Sydney, Cairns Regional Gallery,Australia”Electrofringe 06,” A festival of digital, electronic,new media and experimental culture Newcastle NewSouth Wales, Australia”White Nights”, Contemporary art project in fiveEuropean cities, Madrid, SpainEskilstuna konstmuseum, Sweden”Femmes a’Europe, L’Ete Culturel 2006”, Saint-Tropez, France 15th Biennale of Sydney, Sydney, Australia”Trajectories”,Riga, Latvia”Face the unexpected”, Dortmund, Germany ”Video art from the Baltic States”, KunstraumDüsseldorf, Germany”Suspense”, Macedonian Modern art museum,Thessalonica, Greece”Suspense”, Hellenic-American Union, Athens, Greece”EUROPART – Contemporary Art from Europe”,Vienna, Austria

2005 ”Suspense, Gallery “Apollonia” , Strasbourg, France ”(un)Dressed Body”, Gallery Giedre Bartel, Berlin,Germany”Jukas”, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia”Instant Europe”, Villa Manin, Italy

2004 ”Pornography”, A. Çaka iela, Riga, Latvia”Welcome!”, Anthony Reynolds Gallery, London, UK

2003 ”2 Show”, Contemporary Art Centre, Vilnius,Lithuania”re:public”, International Art and Culture Project inthe suburbs of Riga, Latvia”Adaptation”, Rotermann Salt Storage, Tallinn, Estonia”Wild Photographers”, Communications Centre“Sapñu fabrika”, Riga, Latvia”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy

2002 ”Nothing Personal”, Bremen City Gallery, Bremen,Germany”The 6th Element”, International Women ArtExhibition, Hotel “Nams 99”, Riga, Latvia”Festival East Impact”, vj, St Petersburg, Russia

2001 ”Metropolis. Riga”, Riga Stock Exchange Building,Riga, Latvia”Poetic Video Festival”, Riga, Latvia12th Tallinn Print Triennial, Rotermann Salt Storage,Tallinn, Estonia

”Down the tunnelzz”, Liepåja, Latvia”Party Animals – Animal Farm”, Riga, LatviaSocial art project Teashroom popularizationcampaign of the Latvian Teashroom Growers’Association – author of the idea and videoActivities within the creative association SOYA; vj”Curriculum Vitae”, The Artists’ House, Klaipeda,Lithuania

2000 ”net.congestion”, International Transmitting MediaFestival, Amsterdam, The Netherlands”Letters to Riga”, Gallery of the Blackheads’ House,Riga, Latvia”-things”, Gallery “Noass”, Riga, Latvia”Art + Communication 4: , International New MediaFestival, Riga, Latvia; transmission of the Festivalconference from the Gallery “Noass” (with Péterisimelis) and videoperformance on the AB Dam atthe Festival conclusion“IOB – Images of Borders”, Swedish Pavilion at theEXPO 2000, Hannover, Germany; chairperson(together with Péteris imelis) of the seminar Web-TV – direct communication and interaction; Video-ART – videoperformance in the Swedish Pavilion atthe opening of IOB“Real Time Data Jokeing”, workshop (with Péterisimelis) at the International Media Workshop “PolarCircuit”. Rovanniemi, Finland“ArtGenda 2000”, Young Artists Biennial, Helsinki,Finland; video performance and Real Time “DataJokeing”, (with Péteris imelis)“Ljudgarden”, Graphic art exhibition, Gallery“Mejan”, Stockholm, Sweden“Real Time Data Jokeing”, sessions on the internetTV BEOFF, Stockholm, Sweden

ä‡ÚËÌ‡ çÂÈ·Û„‡[email protected]êÓ‰ËÎ‡Ò¸ ‚ 1978 „Ó‰Û 2001–2002 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË; åÄ2000–2001 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË; ÇÄ1999–2000 ÒÚÛ‰ÂÌÚÍ‡ äÓÓÎÂ‚ÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ‡Í‡‰ÂÏËË, ëÚÓÍ„ÓÎ¸Ï, ò‚ÂˆËfl1996–1999 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ÔÂ‰‡„Ó„ËÍË

ç‡„‡‰˚, ÂÁË‰ÂÌˆËË Ë ÒÚËÔÂÌ‰ËË2005–2006 ÂÁË‰ÂÌÚ Cité des Arts, è‡ËÊ2002 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È

Û‰‡˜Ì˚È ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚È ÔÓÂÍÚ “6-ÓÈ˝ÎÂÏÂÌÚ” (ÒÓ‚ÏÂÒÚÌÓ Ò åÓÌËÍÓÈ èÓÏ‡ÎÂ)

2001 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡Ú‚Ó˜ÂÒÍÓÂ ÌÓ‚‡ÚÓÒÚ‚Ó ÔÓÂÍÚ‡ “ó‡ÈÌ˚È „Ë·”

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË Ë ÔÓÂÍÚ˚2007 àÎÎ˛ÒÚ‡ˆËfl ‰ÂÚÒÍÓÈ ÍÌË„Ë “å‡ÎÓ„ÓÎÓ‚ËÍË

Ë„‡˛Ú ‰ÓÏ‡“, ‡‚ÚÓ è‡ÛÎÒ Å‡ÌÍÓ‚ÒÍËÒ2006 ëˆÂÌÓ„‡ÙËfl ÒÔÂÍÚ‡ÍÎfl “çÓ˜ÌÓÈ Ú‡ËÙ” (Ä‚ÚÓ

à. òÎ‡ÔËÌÒ, ÂÊËÒÒÂ M. äËÏÂÎÂ), çÓ‚˚ÈêËÊÒÍËÈ ÚÂ‡Ú, ã‡Ú‚Ëfl

2005 “é‰ËÌÓ˜ÂÒÚ‚Ó”, Frac Ile-de-France – Le Plateau,è‡ËÊ, î‡ÌˆËflàÎÎ˛ÒÚ‡ˆËË ‰ÂÚÒÍÓÈ ÍÌË„Ë “ëÍ‡ÁÍË Ó ‰ÂÚÒÍÓÈÊËÁÌË”, ËÁ‰‡ÚÂÎ¸ÒÚ‚Ó “Liels un mazs”, ã‡Ú‚ËflëˆÂÌÓ„‡ÙËfl Ë ÍÓÒÚ˛Ï˚ Í‡ÏÂÌÓÈ ÓÔÂ˚“ÜË‚‡fl ‚Ó‰‡”, ã‡Ú‚ËÈÒÍ‡fl ç‡ˆËÓÌ‡Î¸Ì‡fl éÔÂ‡,êË„‡

2004 ÇË‰ÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ToÒÍa”, ã‡Ú‚ËÈÒÍ‡flç‡ˆËÓÌ‡Î¸Ì‡fl éÔÂ‡, êË„‡, ã‡Ú‚Ëfl“No signal”, ÇË‰ÂÓ/ÄÛ‰ËÓ ÔÂÙÓÏ‡ÌÒ ‚ÒÓÚÛ‰ÌË˜ÂÒÚ‚Â Ò Gonzo Ë Macrame, ÙÂÒÚË‚‡Î¸“ãÂÒ Á‚ÛÍÓ‚”, êË„‡, ã‡Ú‚Ëfl“ãËÚÂ‡ÚÛÌÓÂ Í‡‡ÓÍÂ”, ‚Ë‰ÂÓ ÔÂÙÓÏ‡ÌÒ ‚ÒÓÚÛ‰ÌË˜ÂÒÚ‚Â Ò Gonzo Ë Macrame,ÏÂÓÔËflÚËÂ, ÔÓÒ‚fl˘ÂÌÌÓÂ ‚˚ÔÛÒÍÛ ÍÌË„ËÄÌ‰˚ çÂÈ·Û„Ë “Stum Stum”, „‡ÎÂÂfl “Noass”,êË„‡, ã‡Ú‚Ëfl“Selecta”, Macrame, Gonzo, ‚Ë‰ÂÓÔÂÙÓÏ‡ÌÒ,‰ÂÌ¸ ÓÚÍ˚Ú˚ı ‰‚ÂÂÈ, êË„‡, ã‡Ú‚Ëfl“èÓÌÓ„‡ÙËfl”, ÛÎ. A. ó‡Í‡, êË„‡, ã‡Ú‚Ëfl

2003 ÇË‰ÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ãÂÚÛ˜ËÈ „ÓÎÎ‡Ì‰Âˆ”,ã‡Ú‚ËÈÒÍ‡fl ç‡ˆËÓÌ‡Î¸Ì‡fl éÔÂ‡, êË„‡, ã‡Ú‚Ëfl

2002 ÇË‰ÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ãÂÚÛ˜ËÈ „ÓÎÎ‡Ì‰Âˆ”,Ñ‡Îı‡ÎÎ‡, ò‚ÂˆËfl“T-Shroom” ‚˚ÒÚ‡‚Í‡, MaÎÏÂ, ò‚ÂˆËfl“T-Shroom” ‚˚ÒÚ‡‚Í‡, „‡ÎÂÂfl IBID, ãÓÌ‰ÓÌ,ÇÂÎËÍÓ·ËÚ‡ÌËflÇË‰ÂÓıÛ‰ÓÊÌËÍ Á‡ÍÎ˛˜ËÚÂÎ¸ÌÓ„Ó ÏÂÓÔËflÚËflÅ‡ÎÂÚÌÓ„Ó ÙÂÒÚË‚‡Îfl, ã‡Ú‚ËÈÒÍ‡fl ç‡ˆËÓÌ‡Î¸Ì‡fléÔÂ‡, êË„‡, ã‡Ú‚Ëfl

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË, ÔÓÂÍÚ˚2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl2007 “Word in motion”, ÙÂÒÚË‚‡Î¸ ‚Ë‰ÂÓÔÓ˝ÁËË, ‚Ë‰ÂÓ-

ÍÎËÔ ÒÚËıÓÚ‚ÓÂÌËfl ï‡ÌËÌ‡ “ÑË‡„ÌÓÒÚËÍ‡ ÔÓ˝ÁËË““àÌÚÂÌ‡ˆËÓÌ‡Î¸Ì˚Â ‰Ë„ËÚ‡Î¸Ì˚ÂıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Â ÔÓÂÍÚ˚”, ‚˚ÒÚ‡‚Í‡ “TheVernacular”, íÂ‡ÈÌ, Ä‚ÒÚ‡ÎËfl“ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂÏ‡ÌËfl “íËÎÓ„Ëfl ‚˚ÒÚ‡‚ÓÍ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡Å‡ÎÚËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ,ò‚ÂˆËfl“ì·‡ÌÓÎÓ„ËÍ‡”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“Ç˚ÒÚ‡‚Í‡ ÔÂ‰‚‡ËÚÂÎ¸ÌÓ„Ó ÓÚ·Ó‡ è‡ÊÒÍÓÈÒˆÂÌÓ„‡ÙË˜ÂÒÍÓÈ Í‚‡‰ËÂÌÌ‡ÎÂ”, êË„‡, ã‡Ú‚Ëfl“Just what is it that makes today?”, „‡ÎÂÂfl

2007 “Word in motion”, video dzejas festivåls, videoklipsHañina dzejolim “Dzejas diagnostika“ “Internacionålie digitålås måkslas projekti”, izstådeThe Vernacular Terrain, Austrålija“Latvijas Laikmetîgå måksla”, Eiropas centrålåbanka, Frankfurte, Våcija “Baltijas laikmetîgås måkslas izståΩu trilo©ija”,Kalmåras måkslas muzejå, Zviedrija“Urbanolo©ika”, Andrejsalå, Rîga, Latvija“Prågas scenogråfijas kvadriennåles priekßatlasesizståde“, Rîga ,Latvija“Just what is it that makes today?”, galerijaAntjewachs, Berlîne, Våcija“Katoptron” , speciålais 2. Maskavas müsdienumåkslas biennåles projekts, Maskava, Krievija

2006 15. Sidnejas biennåle, “Videos from Zones ofContact”, Cairns Regional Galery, Sidneja, Austrålija“Electrofringe 06”, Newcastle New South Walesgalerija, Austrålija“Realitåtes arheolo©ija”, Andrejsala, Rîga, Latvija“Trajektorijas”, Rîga, Latvija “Femmes a’Europe, L’Ete Culturel 2006”,Santropéza, Francija “Baltå Nakts”, müsdienu måkslas projekts, Madride,RîgaEskilstunda konstmuseum, Zviedrija “Mit allem rechnen”, Baltijas måkslinieku izstådeMuseum am Ostwall, Dortmunde, Våcija“Baltijas videomåkslas izståde”, KunstraumDüsseldorf, Diseldorfa, Våcija“Spriedze”, Hellenic American Union galerija,Aténas, Grie˚ija, Ma˚edonijas Laikmetîgås måkslasmuzejs Salonikos

2005 “EUROPART”, Contemporary Art from Europe,Austrija“(Un)Dressed Body”, Giedre Bartelt Galerie, Berlîne,Våcija“Suspense: The Rituals Gone Wrong”, Måkslascentrs “Apolonija”, Strasbüra, Francija“Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija“INSTANT EUROPE – Photography and Video fromthe New Europe”, Villa Manin Centre forContemporary Art, Codroipo, Italy

2004 “Welcome!”, Anthony Reynolds galerija, Londona,Lielbritånija

2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva“re:publika”, Starptautisks måkslas un kultürasprojekts Rîgas pilsétvidé, Latvija“Adaptåcija”, Rotermana såls galerija, Tallina, Igaunija“Savva¬as fotogråfi”, Komunikåciju centrs “Sapñufabrika”, Rîga, Latvija“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija

2002 “Nekå personîga”, Brémenes pilsétas galerija,Brémene, Våcija“6. elements”, Starptautiska sievießu måkslasizståde, Viesnîca Nams 99, Rîga, LatvijaFestivåls “East Impact”, Sanktpéterburga, Krievija

2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga,Latvija“Poétiskå video festivåls”, Rîga, Latvija12. Tallinas grafikas triennåle, Rotermana sålsgalerija, Tallina, Igaunija“Down the tunnelzz”, Liepåja, Latvija“Party Animals – Animal Farm”, Rîga, LatvijaSociåla måkslas projekta Latvijas Téjas Sénes Audzé-tåju Asociåcijas (LTSAA) téjas sénes poplarizåcijaskampaña viena no idejas un videomateriålu autoriem Darbîba radoßajå apvienîbå SOYA; vj“Curriculum Vitae”, Måkslinieku nams, Klaipéda, Lietuva

2000 “Real Face”, personålizståde galerijå “Noass”, Rîga,Latvija“Come by Immortal”, izståde sadarbîbå ar Péteriimeli galerijå “Konstakuten”, Stokholma, Zviedrija“net.congestion”, Starptautisks raidoßo medijufestivåls, Amsterdama, Nîderlande“Véstules Rîgai”, Melngalvju nams, Rîga, Latvija“-lietas”, Galerija “Noass”, Rîga, Latvija“Art + Communication 4”, Starptautiskais jaunomediju festivåls, Rîga, LatvijaIOB, “RobeΩtéli – Müsdienu augoßås kultürasizpéte”, Zviedrijas paviljons izstådé “EXPO 2000”,Hanovere, Våcija: sadarbîbå ar Péteri imeli tiekvadîts seminårs “WEB-TV: tießå komunikåcija uninterakcija”; Video-ART – videoperformanceZviedrijas paviljonå IOB atklåßanå“Real Time Data Jokeing” darbnîcas vadîßanakopdarbîbå ar Péteri imeli starptautiskajå medijudarbnîcå POLAR CIRCUIT, Rovaniemi, Somija“ArtGenda 2000, Jauno måkslinieku biennåle,Helsinki, Somija“Ljudgarden, grafikas darbu izståde galerijå“Mejan”, Stokholma, Zviedrija“Real Time Data Jokeing”, sesijas interneta TVBEOFF, Stokholma, Zviedrija

Katrîna [email protected] 1978 2001–2002 Latvian Academy of Art, Department of VisualCommunication; MA2000–2001 Latvian Academy of Art, Department of VisualCommunication; BA1999–2000 Guest student of the Royal Art Academy inStockholm, Sweden1996–1999 Latvian Academy of Art, Department of ArtEducation

Awards and Scolarships2005–2006 resident in Cite des Arts, Paris2002 Artists’ Union of Latvia Award of the Year for the

best multimedial project “The 6th Element” (withMonika Pormale)

2001 Artists’ Union of Latvia Award of the Year forcreative novelty in visual arts – for the project “T-shroom”

Solo Exhibitions and Projects2007 Illustrations for children’s book ”Mazgalvîßi spélé

måjås”, written by Pauls Bankovskis2006 Set design and costume design for play ”Night

Tariff”, New Riga Theater, Latvia 2005 Illustrations for children’s book ”Pasakas par bérnu

dzîvi”, LatviaSolitude, Gallery Le Plateau, Paris, FranceStage design, video concept, costumes for opera”Living Water”, Latvian National Opera, Riga, Latvia

2004 Video stage design for the opera ”Tosca”, LatvianNational Opera, Riga, Latvia”No signal”, Video/Audio performance togetherwith Gonzo un Macrame , Festival Sound Forest,Riga, Latvia”Literature karaoke”, video performance togetherwith Gonzo un Macrame, launching of AndraNeiburga’s book ”Stum Stum”, Gallery “Noass”,Riga, Latvia”Selecta”, Macrame, Gonzo, video performanceduring the Open Doors Day of the Artists House,Riga, Latvia

2003 Video stage design for the opera ”WanderingDutchman”, Latvian National Opera, Riga, Latvia

2002 Video stage design for the opera ”WanderingDutchman”, Dalhall, Sweden”T-Shroom” Exhibition, Malmo, Sweden”T-Shroom” Exhibition, Gallery IBID, London, UKVideo artist of the gala show of the Ballet Festival,Latvian National Opera, Riga, Latvia

2000 Solo Exhibition Real Face, Gallery “Noass”, Riga, LatviaCome by Immortal, with Péteris imelis, Gallery“Konstakuten”, Stockholm, Sweden

Exhibitions, Festivals, Projects2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 “Word in motion, video poetry festival, video for

Hanin poem “Diagnostic of poetry“”IDAprojects – presents The Vernacular Terrain“,The Block, Queensland University of Technology,Australia”The Baltics Part I: Contemporary Art of Latvia”,Kalmar Art Museum, SwedenContemporary art from Latvia, European central

121120

“Pjüçer”, Valsts Måkslas muzejs, Rîga, Latvija“Muksifons”, Dekoratîvi lietiß˚ås måkslas muzejs,Rîga, Latvija“Rudens 2001”, VMM izståΩu zåle “Arsenåls”, Rîga,Latvija

2001 “Müsu labå griba savai videi un pilsétai”, îpsalasStarptautiskais izståΩu centrs, Rîga, Latvija“Lietiß˚ås måkslas izståde”, Drusti, Latvija

2000 “Més Rîgai”, Valsts Måkslas muzejs, Rîga, Latvija1999 “Rudens ’99“, VMM izståΩu zåle “Arsenåls”, Rîga,

Latvija“Garaståvoklis”, galerija ”Laipa”, Valmiera, Latvija

1998 “Visapkårt üdens”, VMM izståΩu zåle “Arsenåls”,Rîga, Latvija“Starp varu un mîlestîbu”, Gustava Kluça piemiñasizståde, Valsts Måkslas muzejs, Rîga, Latvija

Kaspars [email protected]:// www.podnieks.lvBorn 19802001 Latvian Academy of Art, Department of VisualCommunication1996–2001 Riga College of Applied Art, Department ofWood Carving1992–1996 Césis Art School

Exhibitions, festivals2008 “Time Will Show”, Museumsberg Flensbur,

Flensburg, Germany2007 “BooM“, Latvian Academy of Art, Department of

Visual Communication graduates project,Andrejsala, Rîga“Riga Review“, NGBK, Berlin, Germany“BITE Open Art“, publicé space, Riga

2006 “Suspence”,Hellenic American Union gallery,Athens, Macedonian Museum of Contemporary Art,Thessaliki, Macedonia

2005 “Suspense”, Apollonia exhibition space,Strassbourg, France“Latvian Artists in Residence: Eriks BoΩis, KasparsPodnieks.“, Alsace, France“Jukas“, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia

2004 “White as Snow, Red as Blood“, Giedre BarteltGalerie, Berlin, GermanyVideo Festival “Waterpieces“, Gallery “Noass”, Riga,Latvia“Nature. Environment. Man. 2004“, Exhibition Hall“Arsenåls” of the State Museum of Art, Riga, Latvia“What is Important?“, the former Riga City CouncilBuilding, Latvia

2003 “2 Show“, Contemporary Art Centre, Vilnius,Lithuania

“Autumn 2003: Private Space“, Exhibition Hall“Arsenåls” of the State Museum of Art, Riga andGallery “Laipa”, Valmiera, Latvia“The Project“, Tallina Kunstihoone, Estonia“Festivity of the Piebalga District“, Drusti, Latvia“Césis Art School – 15“, Exhibition Hall of the CésisCastle, Césis, Latvia“The Project“, Latvian Academy of Art, Riga, Latvia“Zanussi Project“ Exhibition, Latvian RailwayMuseum, Riga, Latvia“la riga“, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy“Saint-Etienne, Post Factum“, Museum ofDecorative Applied Arts, Riga, Latvia

2002 International Design Biennial, Saint-Etienne, France“Freewaves“, The 8th Experimental Media ArtFestival, Los Angeles, USA“Autumn 2002“, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia“Pjüçer“, State Museum of Art, Riga, Latvia“Muxifon“, Museum of Decorative Applied Arts,Riga, Latvia“Autumn 2001“, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia

2001 “Our Goodwill for our Environment and City“,îpsala International Exhibition Centre, Riga, Latvia“Applied Art Exhibition”, Drusti, Latvia

2000 “Our Homage to Riga”, State Museum of Art, Riga,Latvia

1999 “Autumn ’99“, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia“Mood”, Gallery “Laipa”, Valmiera, Latvia

1998 “Water All Around”, Exhibition Hall “Arsenåls” ofthe State Museum of Art, Riga, Latvia; First Prize“Between Power and Love”, CommemorativeExhibition of Gustavs Klucis, State Museum of Art,Riga, Latvia

ä‡ÒÔ‡Ò èÓ‰ÌËÂÍÒ[email protected]:// www.podnieks.lvêÓ‰ËÎÒfl ‚ 1980 „Ó‰Û2001–2007 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË; MA1996–2001 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡1992–1996 ñÂÒËÒÒÍ‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ¯ÍÓÎ‡

Ç˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl2007 “BooM”, ‚˚ÒÚ‡‚Í‡ ‚˚ÔÛÒÍÌËÍÓ‚ ÓÚ‰ÂÎÂÌËfl

ÇËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË ã‡Ú‚ËÈÒÍÓÈïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ÄÌ‰ÂÈÒ‡ÎÒ, êË„‡,ã‡Ú‚Ëfl

“Riga Review”, NGBK, ÅÂÎËÌ, ÉÂÏ‡ÌËfl“BITE Open Art”, êË„‡, ã‡Ú‚Ëfl

2006 “ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl “Hellenic AmericanUnion”, ÄÙËÌ˚, å‡ÍÂ‰ÓÌÒÍËÈ ÏÛÁÂÈëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ë‡ÎÓÌËÍ‡ı

2005 “ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„ÓˆÂÌÚ‡ “Apollonia Art Exchanges”, ëÚ‡Ò·Û„,î‡ÌˆËfl“Latvian Artists in Residence: Eriks BoΩis, KasparsPodnieks”, ÄÎÒ‡ˆ, î‡ÌˆËfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl

2004 “ÅÂÎ˚È Í‡Í ÒÌÂ„, Í‡ÒÌ˚È Í‡Í ÍÓ‚¸”, „‡ÎÂÂfl“Giedre Bartelt Galerie”, ÅÂÎËÌ, ÉÂÏ‡ÌËflÇË‰ÂÓÙÂÒÚË‚‡Î¸ “äÛÒÍË ‚Ó‰˚”, É‡ÎÂÂfl “Noass”,êË„‡, ã‡Ú‚Ëfl“èËÓ‰‡. ëÂ‰‡. óÂÎÓ‚ÂÍ. 2004”, ‚˚ÒÚ‡‚Ó˜Ì˚ÈÁ‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„ÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“óÚÓ ‚‡ÊÌÓ?”, ·˚‚¯ÂÂ Á‰‡ÌËÂ êËÊÒÍÓÈ ÑÛÏ˚ ÛÎ.ä. Ç‡Î‰ÂÏ‡‡ 3, êË„‡, ã‡Ú‚Ëfl

2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“éÒÂÌ¸ 2003: ãË˜ÌÓÂ ÔÓÒÚ‡ÌÒÚ‚Ó”,‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„ÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂÌ‡Î”, êË„‡ Ë„‡ÎÂÂfl “Laipa”, Ç‡ÎÏËÂ‡“The Project”, „‡ÎÂÂfl “Tallina Kunstihoone”,í‡ÎÎËÌ, ùÒÚÓÌËfl“è‡Á‰ÌËÍ èËÂ·‡Î„ÒÍÓ„Ó Í‡fl”, ÑÛÒÚË, ã‡Ú‚Ëfl“ñÂÒËÒÒÍÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ¯ÍÓÎÂ – 15”,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ñÂÒËÒÒÍÓ„Ó Á‡ÏÍ‡, ñÂÒËÒ,ã‡Ú‚Ëfl“The Project”, ÄÍÚÓ‚˚È Á‡Î ã‡Ú‚ËÈÒÍÓÈïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, êË„‡, ã‡Ú‚Ëfl“Ç˚ÒÚ‡‚Í‡ ÔÓÂÍÚÓ‚ Zanussi”, ã‡Ú‚ËÈÒÍËÈÊÂÎÂÁÌÓ‰ÓÓÊÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl“Saint-Etienne, Post Factum”, åÛÁÂÈ‰ÂÍÓ‡ÚË‚ÌÓ-ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡,ã‡Ú‚Ëfl

2002 åÂÊ‰ÛÌ‡Ó‰Ì‡fl ·ËÂÌÌ‡ÎÂ ‰ËÁ‡ÈÌ‡, ëÂÌ-ùÚ¸ÂÌ,î‡ÌˆËfl“Freewaves”, 8 ˝ÍÒÔÂËÏÂÌÚ‡Î¸Ì˚È ÏÂ‰Ë‡-ÙÂÒÚË‚‡Î¸, ãÓÒ-ÄÌÊÂÎÂÒ, ëòÄ“éÒÂÌ¸ 2002”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“Pjüçer”, ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓÌ‡Î¸Ì˚ÈïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl“Muksifons”, åÛÁÂÈ ‰ÂÍÓ‡ÚË‚ÌÓ-ÔËÍÎ‡‰ÌÓ„ÓËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

Antjewachs, ÅÂÎËÌ, ÉÂÏ‡ÌËfl“Katoptron” , ÒÔÂˆË‡Î¸Ì˚È ÔÓÂÍÚ 2-ÓÈåÓÒÍÓ‚ÒÍÓÈ ·ËÂÌÌ‡ÎÂ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,åÓÒÍ‚‡, êÓÒÒËfl

2006 15-‡fl ëË‰ÌÂÈÒÍ‡fl ·ËÂÌÌ‡ÎÂ, “Videos from Zones ofContact”, Cairns Regional Galery, ëË‰ÌÂÈ, Ä‚ÒÚ‡ÎËfl“Electrofringe 06”, Newcastle New South Wales„‡ÎÂÂfl, Ä‚ÒÚ‡ÎËfl“ÄıÂÓÎÓ„Ëfl Â‡Î¸ÌÓÒÚË”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡,ã‡Ú‚Ëfl“í‡ÂÍÚÓËË”, êË„‡, ã‡Ú‚Ëfl“Femmes a’Europe, L’Ete Culturel 2006”, ë‡Ì-íÓÔÂÁ, î‡ÌˆËfl “ÅÂÎ‡fl çÓ˜¸”, ÔÓÂÍÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,å‡‰Ë‰, êË„‡; Eskilstunda konstmuseum, ò‚ÂˆËfl “Mit allem rechnen”, Ç˚ÒÚ‡‚Í‡ ıÛ‰ÓÊÌËÍÓ‚Å‡ÎÚËË, Museum am Ostwall, ÑÓÚÏÛÌ‰,ÉÂÏ‡ÌËfl“Ç˚ÒÚ‡‚Í‡ ‚Ë‰ÂÓËÒÍÛÒÒÚ‚‡ Å‡ÎÚËË”, KunstraumDüsseldorf, Ñ˛ÒÒÂÎ¸‰ÓÙ, ÉÂÏ‡ÌËfl“ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl “Hellenic AmericanUnion”, ÄÙËÌ˚, ÉÂˆËfl, åÛÁÂÈ å‡ÍÂ‰ÓÌÒÍÓ„ÓëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ë‡ÎÓÌËÍ‡ı

2005 “EUROPART”, ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó Ö‚ÓÔ˚,Ä‚ÒÚËfl“(Un)Dressed Body”, Giedre Bartelt Galerie,ÅÂÎËÌ, ÉÂÏ‡ÌËfl“Suspense: The Rituals Gone Wrong”, ñÂÌÚËÒÍÛÒÒÚ‚‡ “Apolonija”, ëÚ‡Ò·Û„, î‡ÌˆËfl“Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“INSTANT EUROPE – Photography and Video fromthe New Europe”, Villa Manin Centre forContemporary Art, Codroipo, àÚ‡ÎËfl

2004 “Welcome!”, „‡ÎÂÂfl “Anthony Reynolds”,ãÓÌ‰ÓÌ, ÇÂÎËÍÓ·ËÚ‡ÌËfl

2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“re:publika”, åÂÊ‰ÛÌ‡Ó‰Ì˚È ÔÓÂÍÚ ËÒÍÛÒÒÚ‚‡Ë ÍÛÎ¸ÚÛ˚, êË„‡, ã‡Ú‚Ëfl“A‰‡ÔÚ‡ˆËfl”, „‡ÎÂÂfl “ï‡ÌËÎË˘Â ëÓÎËêÓÚÂÏ‡Ì‡”, í‡ÎÎËÌ, ùÒÚÓÌËfl“ÑËÍËÂ ÙÓÚÓ„‡Ù˚”, ñÂÌÚ äÓÏÏÛÌËÍ‡ˆËË“î‡·ËÍ‡ „ÂÁ”, êË„‡, ã‡Ú‚Ëfl“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl

2002 “çË˜Â„Ó ÎË˜ÌÓ„Ó”, ÅÂÏÂÌÒÍ‡fl „ÓÓ‰ÒÍ‡fl„‡ÎÂÂfl, ÅÂÏÂÌ, ÉÂÏ‡ÌËfl“6-È ˝ÎÂÏÂÌÚ”, åÂÊ‰ÛÌ‡Ó‰Ì‡fl ‚˚ÒÚ‡‚Í‡ÊÂÌÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, ÉÓÒÚËÌËˆ‡ “Nams 99”, êË„‡,ã‡Ú‚ËflîÂÒÚË‚‡Î¸ “East Impact”, ë‡ÌÍÚ-èÂÚÂ·Û„,êÓÒÒËfl

2001 “åÂÚÓÔÓÎ¸. êË„‡”, ÑÓÏ êËÊÒÍÓÈ îÓÌ‰Ó‚ÓÈ·ËÊË, êË„‡, ã‡Ú‚Ëfl“èÓ˝ÚË˜ÂÒÍËÈ ‚Ë‰ÂÓÙÂÒÚË‚‡Î¸”, êË„‡, ã‡Ú‚Ëfl12-‡fl í‡ÎÎËÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, „‡ÎÂÂfl “ï‡ÌËÎË˘Â ëÓÎË êÓÚÂÏ‡Ì‡”, í‡ÎÎËÌ, ùÒÚÓÌËfl“Down the tunnelzz”, ãËÂÔ‡fl, ã‡Ú‚Ëfl“Party Animals – Animal Farm”, êË„‡, ã‡Ú‚Ëflé‰Ì‡ ËÁ ‡‚ÚÓÓ‚ Ë‰ÂË Ë ‚Ë‰ÂÓÏ‡ÚÂË‡ÎÓ‚ÒÓˆË‡Î¸ÌÓ-ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÔÓÂÍÚ‡, Í‡ÏÔ‡ÌËËÔÓÔÛÎflËÁ‡ˆËË ˜‡ÈÌÓ„Ó „Ë·‡ ã‡Ú‚ËÈÒÍÓÈ‡ÒÒÓˆË‡ˆËË ÍÛÎ¸ÚË‚‡ÚÓÓ‚ ˜‡ÈÌÓ„Ó „Ë·‡ì˜‡ÒÚËÂ ‚ ‡·ÓÚÂ Ú‚Ó˜ÂÒÍÓ„Ó Ó·˙Â‰ËÌÂÌËflSOYA; ‚Ë‰ÊÂÈ“Curriculum Vitae”, ÑÓÏ ıÛ‰ÓÊÌËÍÓ‚, äÎ‡ÈÔÂ‰‡,ãËÚ‚‡

2000 “Real Face”, ÔÂÒÓÌ‡Î¸Ì‡fl ‚˚ÒÚ‡‚Í‡, „‡ÎÂÂfl“Noass”, êË„‡, ã‡Ú‚Ëfl“Come by Immortal”, ‚˚ÒÚ‡‚Í‡ ‚ ÒÓÚÛ‰ÌË˜ÂÒÚ‚ÂÒ èÂÚÂËÒÓÏ äËÏÂÎÂÏ, „‡ÎÂÂfl “Konstakuten”,ëÚÓÍ„ÓÎ¸Ï, ô‚ÂˆËfl“net.congestion”, åÂÊ‰ÛÌ‡Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ÏÂ‰Ë‡ Ú‡ÌÒÎflˆËÈ, ÄÏÒÚÂ‰‡Ï, çË‰ÂÎ‡Ì‰˚“èËÒ¸Ï‡ êË„Â”, ÑÓÏ óÂÌÓ„ÓÎÓ‚˚ı, êË„‡, ã‡Ú‚Ëfl“-‚Â˘Ë”, É‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl“Art + Communication 4”, åÂÊ‰ÛÌ‡Ó‰Ì˚ÈÙÂÒÚË‚‡Î¸ ÌÓ‚˚ı ÏÂ‰Ë‡, êË„‡, ã‡Ú‚ËflIOB, “É‡ÌË˜Ì˚Â Ó·‡Á˚ – ËÒÒÎÂ‰Ó‚‡ÌËÂÒÓ‚ÂÏÂÌÌÓÈ ‡ÒÚÛ˘ÂÈ ÍÛÎ¸ÚÛ˚”, ‚˚ÒÚ‡‚Í‡¯‚Â‰ÒÍÓ„Ó Ô‡‚ËÎ¸ÓÌ‡ “EXPO 2000”, É‡ÌÌÓ‚Â,ÉÂÏ‡ÌËfl, ‚ ÒÓÚÛ‰ÌË˜ÂÒÚ‚Â Ò èÂÚÂËÒÓÏäËÏÂÎËÒÓÏ ·˚Î ÔÓ‚Â‰ÂÌ ÒÂÏËÌ‡ “WEB-TV:ÔflÏ‡fl ÍÓÏÏÛÌËÍ‡ˆËfl Ë ËÌÚÂ‡ÍˆËfl”; Video-ART – ‚Ë‰ÂÓÔÂÙÓÏ‡ÌÒ Ì‡ ÓÚÍ˚ÚËËò‚Â‰ÒÍÓ„Ó Ô‡‚ËÎ¸ÓÌ‡ IOB“Real Time Data Jokeing”, ÛÍÓ‚Ó‰ÒÚ‚ÓÏ‡ÒÚÂÒÍÓÈ, ÒÓÚÛ‰ÌË˜ÂÒÚ‚Ó Ò èÂÚÂËÒÏäËÏÂÎËÒÓÏ, ÏÂÊ‰ÛÌ‡Ó‰Ì‡fl ÏÂ‰Ë‡-Ï‡ÒÚÂÒÍ‡flPOLAR CIRCUIT, êÓ‚‡ÌËÂÏË, îËÌÎflÌ‰Ëfl“ArtGenda 2000”, ÅËÂÌÌ‡ÎÂ ÏÓÎÓ‰˚ııÛ‰ÓÊÌËÍÓ‚, ïÂÎ¸ÒËÌÍË, îËÌÎflÌ‰Ëfl“Ljudgarden”, ‚˚ÒÚ‡‚Í‡ „‡ÙË˜ÂÒÍËı ‡·ÓÚ,„‡ÎÂÂfl “Mejan”, ëÚÓÍ„ÓÎ¸Ï, ò‚ÂˆËfl“Real Time Data Jokeing”, ËÌÚÂÌÂÚ-ÒÂÒÒËfl TVBEOFF, ëÚÓÍ„ÓÎ¸Ï, ò‚ÂˆËfl

Kaspars [email protected]:// www.podnieks.lvDzimis 1980. gadå2001– 2007 Latvijas Måkslas akadémija, Vizuålåskomunikåcijas noda¬a; MA1996–2001 Rîgas Lietiß˚ås måkslas koledΩa1992–1996 Césu Måkslas skola

Izstådes, festivåli2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 “BooM“, Latvijas Måkslas akadémijas, Vizuålås

komunikåcijas absolventu izståde, Andrejsala, Rîga,Latvija“Riga Review“, NGBK, Berlîne, Våcija“BITE Open Art“, pilsétvide, Rîga, Latvija

2006 “Spriedze“, Hellenic American Union galerija,Aténas, Ma˚edonijas Laikmetîgås måkslas muzejsTesalonikos

2005 “Spriedze”, Apollonia Art Exchanges måkslas centragalerija. – Strasbüra, Francija“Latvian Artists in Residence: Eriks BoΩis, Kaspars Podnieks”, Alsace, France“Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija

2004 “Balts kå sniegs, sarkans kå asinis”, Giedre BarteltGalerie, Berlîne,Våcija“Videofestivåls Ëdensgabali”, Galerija “Noass”, Rîga, Latvija“Daba. Vide. Cilvéks. 2004”, VMM izståΩu zåle“Arsenåls”, Rîga, Latvija“Kas ir svarîgi?“, bij. Rîgas domes éka K.Valdemåraielå 3, Rîga, Latvija

2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva“Rudens 2003: Privåtå telpa”, VMM izståΩu zåle“Arsenåls”, Rîga un galerija “Laipa”, Valmiera“The Project”, Tallina Kunstihoone, Igaunija“Piebalgas novada svétki”, Drusti, Latvija“Césu måkslas skolai – 15”, Césu pils izståΩu zåle,Césis, Latvija“The Project”, Latvijas Måkslas akadémija aula,Rîga, Latvija“Zanussi projektu izståde”, Latvijas Dzelzce¬amuzejs, Rîga, Latvija“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija“Saint-Etienne, Post Factum”, Dekoratîvi lietiß˚åsmåkslas muzejs, Rîga, Latvija

2002 Starptautiskå dizaina biennåle, Senetjéna, Francija“Freewaves”, 8. eksperimentålo mediju måkslasfestivåls, LosandΩelosa, ASV“Rudens 2002”, VMM izståΩu zåle “Arsenåls”, Rîga,Latvija

123122

åËÍÒ åËÚÂ‚Ëˆ[email protected]://projects.dd.lv/miksmitrevics/êÓ‰ËÎÒfl ‚ 1980 „Ó‰Û2003-2005 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, MA1999–2003 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË, ÇA1992–1999 ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ¯ÍÓÎ‡ ËÏ. ü. êÓÁÂÌÚ‡Îfl

ç‡„‡‰˚2003 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È

Û‰‡˜Ì˚È ÏÛÎ¸ÚËÏÂ‰ËÈÌ˚È ÔÓÂÍÚ

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2006 “ëÓÁÂˆ‡ÚÂÎ¸”, ÑË„ËÚ‡Î¸Ì‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl

„‡ÎÂÂfl èËÚÂ·ÓÓ, ÄÌ„ÎËfl“É‰Â-ÚÓ Á‰ÂÒ¸”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, í‚Ó˜ÂÒÍ‡fl Ï‡ÒÚÂÒÍ‡fl, êË„‡,ã‡Ú‚Ëfl

2003 “åÓÚÂÎ¸”, RIXC ÏÂ‰Ë‡ Á‡Î, êË„‡, ã‡Ú‚Ëfl

Ç˚ÒÚ‡‚ÍË, ÔÓÂÍÚ˚2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl2007 “åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡

“ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂÏ‡ÌËfl“íËÎÓ„Ëfl ‚˚ÒÚ‡‚ÓÍ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡Å‡ÎÚËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ,ò‚ÂˆËfl

2006 “á‡·˚Ú˚Â ‚ÓÒÔÓÏËÌ‡ÌËfl”, KünstlerhausBüchsenhausen, àÌÒ·ÛÍ, Ä‚ÒÚËfl

2005 “î‡·ËÍ‡ Ù‡ÌÚ‡ÒÏ‡„ÓËË”, èÓÎ¸¯‡“Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“Kristaps lüko”, ÙÂÒÚË‚‡Î¸ ‡Î¸ÚÂÌ‡ÚË‚Ì˚ıÙËÎ¸ÏÓ‚, êË„‡, ã‡Ú‚Ëfl“rainis_2005.lv”, ÇËÁÛ‡Î¸Ì‡fl ËÌÚÂÔÂÚ‡ˆËflÍÓÎÎÂÍˆËË ÔÓ˝ÁËË ê‡ÈÌËÒ‡

2004 “7-fl ‚˚ÒÚ‡‚Í‡ Ï‡Î˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”,êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl“Riga line up”, É‡ÎÂÂfl “Nemo”, ùÍÍÂÌÙfi‰Â,ÉÂÏ‡ÌËfl

2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“àÎÎ˛ÏËÌ‡ˆËfl”, „‡ÎÂÂfl “Noass”, êË„‡,ã‡Ú‚Ëfl“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl

2002 “éÒÂÌ¸ 2002”,VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl

“êÂ-ˆËÍÎ”, É‡ÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl2001 “VKN intro”, ËÌÚÂÌÂÚ-ÔÓÂÍÚ

http://www.vkn.lv/“ç‡È‰Ë ÒÂ·fl!”, ËÌÚÂÌÂÚ-ÔÓÂÍÚ http://re-lab.lv/atrodisevi/

2000 “éÒÂÌ¸ 2000”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl“ArtGenda 2000”, ïÂÎ¸ÒËÌÍË, îËÌÎflÌ‰ËflÇ˚ÒÚ‡‚Í‡ “Stroboscope@Stethoscope”, êË„‡,ã‡Ú‚Ëfl

Krißs [email protected] 1977. gadå1997–2003 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; MA1995–1997 Latvijas Ev. lut. Kristîgås akadémijasMåkslas noda¬a1993–1995 Whitgift School Londonå, Anglija

Apbalvojumi2004 13. Tallinas grafikas triennåles laureåts2003 Izstådes “Rudens 2003: Privåtå telpa” laureåts1997 1. un 2. vieta konkurså “EX LIBRIS” Kanådå

Personålizstådes2006 ”Sudrabs, zelts, plastilîns.”, (kopå ar D.Krüzi), Rîga,

Latvija2004 ”100 % vilßanås“, (kopå ar D. Krüzi), Rîga, Latvija1999 ”Veçi“, Mencendorfa nams, Rîga, Latvija

Grupu izstådes, festivåli2008 “Time Will Show“, Museumsberg Flensburg,

Flensburga, Våcija2007 ”Mobilais muzejs“, Andrejsala, Rîga

”Samtids Video Mønstringen 2007“, KunstiBadet,Bergena, Norvé©ija ”Urbanolo©ika“, Andrejsala, Rîga, Latvija”Latvijas Laikmetîgå måksla“, Eiropas centrålåbanka, Frankfurte, Våcija ”Baltijas valstis. Latvijas laikmetîgå måksla“,Kalmåras måkslas muzejs, Zviedrija ”Prague Biennale3“, Pråga, Çehija

2006 “Mit Allem rechnen“, Museum am Ostwall,Dortmunde, Våcija“Amsterdam Film eXperience“, Amsterdama,Nîderlande “ermeña Spéks“, Rîgas galerija, Rîga, Latvija“Art Moscow“, Maskava, Krievija“Blinks“, Saloniki, Grie˚ija“Lettra 2006“, Krakovas grafikas triennåle, Polija“Emergency Biennale“, topoßå Pilsétas izståΩu zåle,Rîga, Latvija

2005 “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija2004 13. Tallinas grafikas triennåle, Rotermana Såls

galerija, Tallina, Igaunija“Talking to me?“,Rauma Biennale Balticum 2004,Rauma, SomijaVideofestivåls ”Trampoline“, Berlîne, Våcija”Videoex“, Experimentalfilm&Video Festival, Cîrihe,Íveice”Kas ir svarîgi?“, bij. Rîgas domes éka K.Valdemåraielå 3, Rîga, Latvija”7. Mazo formu måkslas izståde“, Rîgas galerija,Rîga, Latvija

“éÒÂÌ¸ 2001”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl

2001 “ç‡¯‡ ‰Ó·‡fl ‚ÓÎfl – ‰Îfl ÓÍÛÊ‡˛˘ÂÈ ÒÂ‰˚ Ë„ÓÓ‰‡”, åÂÊ‰ÛÌ‡Ó‰Ì˚È ‚˚ÒÚ‡‚Ó˜Ì˚È ˆÂÌÚÌ‡ äËÔÒ‡ÎÂ, êË„‡, ã‡Ú‚Ëfl“Ç˚ÒÚ‡‚Í‡ ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡”, ÑÛÒÚË,ã‡Ú‚Ëfl

2000 “å˚ êË„Â”, ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓÌ‡Î¸Ì˚ÈïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl

1999 “éÒÂÌ¸ ’99”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”, êË„‡,ã‡Ú‚Ëfl“ç‡ÒÚÓÂÌËÂ”, „‡ÎÂÂfl “Laipa”, Ç‡ÎÏËÂ‡,ã‡Ú‚Ëfl

1998 “äÛ„ÓÏ ‚Ó‰‡”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”,êË„‡, ã‡Ú‚Ëfl“åÂÊ‰Û ‚Î‡ÒÚ¸˛ Ë Î˛·Ó‚¸˛”, ‚˚ÒÚ‡‚Í‡,ÔÓÒ‚fl˘ÂÌÌ‡fl Ô‡ÏflÚË ÉÛÒÚ‡‚‡ äÎÛˆËÒ‡,ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓÌ‡Î¸Ì˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl

Miks Mitré[email protected]://projects.dd.lv/miksmitrevics/Dzimis 19802003–2005 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; MA1999–2003 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; BA1992–1999 Jaña Rozentåla Rîgas Måkslas skola

Apbalvojumi2003 LMS gada balva par veiksmîgåko multimediju projektu

Personålizstådes2006 “Vérotåjs“, Pîterboro digitålas måkslas galerija,

Anglija“Kaut kur tepat“, LNMM izståΩu zåle ”Arsenåls”Radoßå darbnîca, Rîga, Latvija

2003 “Motelis”, RIXC Mediju telpa, Rîga, Latvija

Izstådes, projekti2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 “Mobilais muzejs”, Andrejsala, Rîga

“Latvijas Laikmetîgå måksla”, Eiropas centrålåbanka, Frankfurte, Våcija “Baltijas laikmetîgås måkslas izståΩu trilo©ija”,Kalmåras måkslas muzejå, Zviedrija

2006 “Aizmirstås atmiñas”, Künstlerhaus Büchsenhausen,Insbruka, Austrija

2005 “Fantasmagorijas fabrika”, Polija“Jukas“, VMM izståΩu zåle ”Arsenåls”, Rîga“Kristaps lüko”, alternatîvo filmu festivåls, Rîga,Latvija“rainis_2005.lv”, Raiña dzejas kolekcijas vizuålåinterpretåcija

2004 “7. Mazo formu måkslas izståde”, Rîgas galerija,Rîga, Latvija“Riga line up“, galerija Nemo, Ekernforde, Våcija

2003 “2 Show“, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva“Iluminåcijas“, galerija “Noass”, Rîga, Latvija“la riga“, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija

2002 “Rudens 2002“, VMM izståΩu zåle “Arsenåls”, Rîga,Latvija“Re-cikls“, Galerija “Çiris”, Rîga, Latvija

2001 “VKN intro”, interneta projekts http://www.vkn.lv/“Atrodi sevi! “, interneta projekts http://re-lab.lv/atrodisevi/

2000 “Rudens 2000“, Måkslas muzejs “Arsenåls”, Rîga,Latvija“ArtGenda 2000“, Helsinki, SomijaIzståde “Stroboscope@Stethoscope”, Rîga, Latvija

Miks Mitré[email protected]://projects.dd.lv/miksmitrevics/Born 19802003–2005 Latvian Academy of Art, Department ofVisual Communication; MA1999–2003 Latvian Academy of Art, Department of VisualCommunication; BA1992–1999 Janis Rozentåls Riga School of Art

Awards, Scholarships2003 Artists’ Union of Latvia Award of the Year for the

best multimedial project

Solo Exhibitions2006 “Observer“,Peterborough Digital Arts gallery, England

“Somewhere Nearby“, Creative Laboratory in theExhibition Hall “Arsenåls” of the Latvian NationalMuseum of Art, Riga, Latvia

2003 “Motel“, RIXC Media space, Riga, Latvia

Exhibitions, Projects2008 “Time Will Show”, Museumsberg Flensburg,

Flensburg, Germany2007 “Mobile Museum”, Andrejsala, Riga, Latvija

“Contemporary art from Latvia“, European centralbank, Frankfurt, Germany“The Baltics Part I: Contemporary Art of Latvia“,Kalmar Art Museum, Sweden

2006 “Forgotten Memories“, Project presentation,Künstlerhaus Büchsenhausen, Innsbruck, Austria

2005 “Factory of Phantasmagoria“, Exhibition, Poland“Jukas“, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija“Kristaps lüko”, The alternative film festival, Riga, Latvia“rainis_2005.lv”, The visual interpretation ofRainis’s collection of poems

2004 “7th Small Size Art Exhibition”, Riga Gallery, Riga,Latvia“riga line up”, Exhibition, Gonemo gallery,Eckernford, Germany

2003 “2 Show“, Contemporary Art Centre, Vilnius, Lithuania“Illuminations“, Gallery “Noass”, Riga, Latviala riga, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy

2002 “Autumn 2002“, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia“Re-cycl“e, Gallery “Çiris”, Riga, Latvia

2001 “VKN intro“, internet project http://www.vkn.lv/“Find Yourself! “, internet project http://re-lab.lv/atrodisevi/

2000 “Autumn 2000“, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia“ArtGenda 2000“, Helsinki, FinlandExhibition “Stroboscope@Stethoscope”, Riga, Latvia

125124

2007 “åÓ·ËÎ¸Ì˚È ÏÛÁÂÈ”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡“Samtids Video Mønstringen 2007”, KunstiBadet,ÅÂ„ÂÌ, çÓ‚Â„Ëfl “ì·‡ÌÓÎÓ„ËÍ‡”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“ëÓ‚ÂÏÂÌÌÓÂ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂÏ‡ÌËfl“Å‡ÎÚËÈÒÍËÂ ÒÚ‡Ì˚. ã‡Ú‚ËÈÒÍÓÂ ÒÓ‚ÂÏÂÌÌÓÂËÒÍÛÒÒÚ‚Ó”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ÈÏÛÁÂÈ, ò‚ÂˆËfl“è‡ÊÒÍ‡fl ·ËÂÌÌ‡ÎÂ 3”, è‡„‡, óÂıËfl

2006 “Mit Allem rechnen”, åÛÁÂÈ am Ostwall,ÑÓÚÏÛÌ‰, ÉÂÏ‡ÌËfl“Amsterdam Film eXperience”, ÄÏÒÚÂ‰‡Ï,çË‰ÂÎ‡Ì‰˚ “ëËÎ‡ ÚÂÎ‡”, “êËÊÒÍ‡fl „‡ÎÂÂfl”, êË„‡, ã‡Ú‚Ëfl“Art Moscow”, åÓÒÍ‚‡, êÓÒÒËfl“Blinks”, ë‡ÎÓÌËÍË, ÉÂˆËfl“Lettra 2006”, ä‡ÍÓ‚ÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË,èÓÎ¸¯‡“Emergency Biennale”, ÒÓÁ‰‡‚‡ÂÏ˚È ÉÓÓ‰ÒÍÓÈ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î, êË„‡, ã‡Ú‚Ëfl

2005 “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„ÓÌ‡ˆËÓÌ‡Î¸ÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl“ÄÒÂÌ‡Î”, êË„‡, ã‡Ú‚Ëfl

2004 13 í‡ÎÎËÌÒÍ‡fl ÚËÂÌÌ‡ÎÂ „‡ÙËÍË, „‡ÎÂÂfl“ï‡ÌËÎË˘Â ÒÓÎË êÓÚÂÏ‡ÌÌ‡”, í‡ÎÎËÌÌ,ùÒÚÓÌËfl“Talking to me?”, Rauma Biennale Balticum 2004,ê‡ÛÏ‡, îËÌÎflÌ‰ËflÇË‰ÂÓÙÂÒÚË‚‡Î¸ “Trampoline”, ÅÂÎËÌ,ÉÂÏ‡ÌËfl“Videoex”, Experimentalfilm&Video Festival,ñ˛Ëı, ò‚ÂÈˆ‡Ëfl“óÚÓ ‚‡ÊÌÓ?”, ·˚‚¯ÂÂ Á‰‡ÌËÂ êËÊÒÍÓÈ ÑÛÏ˚, ÛÎ.ä. Ç‡Î‰ÂÏ‡‡ 3, êË„‡, ã‡Ú‚Ëfl“7-‡fl ‚˚ÒÚ‡‚Í‡ Ï‡Î˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”, êËÊÒÍ‡fl„‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl

2003 “éÒÂÌ¸ 2003: ó‡ÒÚÌÓÂ ÔÓÒÚ‡ÌÒÚ‚Ó”,‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓÌ‡Î¸ÌÓ„ÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “AÒÂÌ‡Î”, êË„‡“2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡,ÇËÎ¸Ì˛Ò, ãËÚ‚‡“13 Í‚‡ÚË‡”, Á‰‡ÌËÂ ãÓ¯‡‰ËÌÓÈ ÔÓ˜Ú˚, êË„‡,ã‡Ú‚Ëfl“6-‡fl ‚˚ÒÚ‡‚Í‡ Ï‡Î˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”, êËÊÒÍ‡fl„‡ÎÂÂfl, êË„‡“la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, åËÎ‡Ì, àÚ‡ÎËfl

2002 “Re-cikls”, É‡ÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl“ÇÓ‰ÓÒÌ‡·ÊÂÌËÂ”, è‡Í ËÒÍÛÒÒÚ‚‡ èÂ‰‚‡ÎÂ,ë‡·ËÎÂ“The BigM”, ÄÌ„ÎËfl“É‡ÙÓÏ‡ÌËfl”, Brand Sellers DDB, êË„‡

2001 “ìÎÏ‡ÌËÒ ‚ Ì‡¯Ëı ÒÂ‰ˆ‡ı”, ã‡Ú‚ËÈÒÍ‡fl

ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl, êË„‡, ã‡Ú‚Ëfl“ê‡ÁÏ˚¯Îflfl Ó ÔÓ¯ÎÓÏ, ‰Ó·‡‚Îflfl ·Û‰Û˘ÂÂ”,ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡,ã‡Ú‚Ëfl“Break 21”, ã˛·ÎflÌ‡, ëÎÓ‚ÂÌËfl“ë‡ı‡Ì‡fl ‚‡Ú‡”, åÛÁÂÈ ã‡Ú‚ËÈÒÍÓÈ ÊÂÎÂÁÌÓÈ‰ÓÓ„Ë, êË„‡, ã‡Ú‚Ëfl“é„ÌÂÌÌ‡fl ÁÂÏÎfl”, è‡Í ËÒÍÛÒÒÚ‚‡ èÂ‰‚‡ÎÂ,ë‡·ËÎÂ, ã‡Ú‚Ëfl“ãËˆÓ „‡ÙËÍË”, êËÊÒÍ‡fl „‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl“Parnu Vilm & Fideo Festival”, Academia NonGrata, èflÌÛ, ùÒÚÓÌËfl

2000 “éÒÂÌ¸ 2000”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂÌ‡Î”,êË„‡, ã‡Ú‚Ëfl“èËÒ¸Ï‡ ËÁ êË„Ë”, É‡ÎÂÂfl ÑÓÏ‡ óÂÌÓ„ÓÎÓ‚˚ı,êË„‡, ã‡Ú‚Ëfl“-‚Â˘Ë”, „‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl“ã‡·Ó‡ÚÓËfl ÔÂÈÁ‡Ê‡”, è‡Í ËÒÍÛÒÒÚ‚‡èÂ‰‚‡ÎÂ, ë‡·ËÎÂ, ã‡Ú‚Ëfl“U turn me on”, á‰‡ÌËÂ ãÓ¯‡‰ËÌÓÈ ÔÓ˜Ú˚, êË„‡,ã‡Ú‚Ëfl“Genesis”, É‡ÎÂÂfl “Bastejs”, êË„‡, ã‡Ú‚Ëfl

1999 “èË. åÂ˜Ú˚ ùÈÌ¯ÚÂÈÌ‡”, á‰‡ÌËÂ ãÓ¯‡‰ËÌÓÈÔÓ˜Ú˚, êË„‡, ã‡Ú‚Ëfl“èËÚ‡ÌËÂ”, ìÌË‚ÂÏ‡„ “ñÂÌÚ”, êË„‡, ã‡Ú‚Ëfl

1998 “è‡Á‰ÌËÍ èÂÒÌË”, ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl‡Í‡‰ÂÏËfl, êË„‡, ã‡Ú‚Ëfl“Suitcases”, äÓÚÍ‡, Somija

1997 “éÒÂÌ¸ 97”, êË„‡, ã‡Ú‚Ëfl“ê‡·ÓÚ˚ Î‡Ú˚¯ÒÍËı ÒÚÛ‰ÂÌÚÓ‚”, ÄÏ¸ÂÌ, î‡ÌˆËfl

Armands Zelç[email protected] 1978.gadå2007 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a2003–2007 Latvijas Måkslas akadémijas Vizuålåskomunikåcijas noda¬a; BA1999–2003 Rîgas Lietiß˚ås Måkslas koledΩa 1985–1997 Rîgas 2. vidusskola

Izstådes un projekti2008 “Time Will Show”, Museumsberg Flensburg,

Flensburga, Våcija2007 “RîgaREVIEW“, galerija NGBK, Berlîne, Våcija

“BooM“, Andrejsala, Rîga, Latvija“Future Shorts White Trash“

2006 Ikméneßa îsfilmu skates “FUTURE SHORTS“

Armands Zelç[email protected] 19782007 Latvian Academy of Art, Department of VisualCommunication

2003–2007 Latvian Academy of Art, Department of VisualCommunication; BA

1999–2003 Riga Design and Art School

1985–1997 Riga 2nd Secondary School

Exhibitions and Projects

2008 “Time Will Show”, Museumsberg Flensburg,Flensburg, Germany

2007 “BooM“, Andrejsala, Riga, Latvia“RigaREVIEW“, Gallery NGBK, Berlin, Germany“Future Shorts White Trash“

2006 Monthly Short Films Program “FUTURE SHORTS”

ÄÏ‡Ì‰Ò áÂÎ˜[email protected]êÓ‰ËÎÒfl ‚ 1978 „Ó‰Û2007 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË2003–2007 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË; ÇA1999–2003 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍÎ‡‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡ 1985–1997 2-‡fl êËÊÒÍ‡fl ÒÂ‰Ìflfl ¯ÍÓÎ‡

Ç˚ÒÚ‡‚ÍË Ë ÔÓÂÍÚ˚2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl2007 “RîgaREVIEW”, „‡ÎÂÂfl NGBK, ÅÂÎËÌ, ÉÂÏ‡ÌËfl

“BooM”, ÄÌ‰ÂÈÒ‡Î‡, êË„‡, ã‡Ú‚Ëfl“Future Shorts White Trash”

2006 ÖÊÂÏÂÒfl˜Ì˚È ÒÏÓÚ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ıÙËÎ¸ÏÓ‚ “FUTURE SHORTS”

2003 ”Rudens 2003: Privåtå telpa“, VMM izståΩu zåle“Arsenåls”, Rîga, Latvija“2 Show”, Laikmetîgås måkslas centrs, Vi¬ña,Lietuva“13. dzîvoklis“, Zirgu pasts, Rîga, Latvija“6. Mazo formu måkslas izståde“, Rîgas galerija,Rîga “la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milåna, Itålija

2002 ”Re-cikls”, Galerija “Çiris”, Rîga, Latvija”Ëdensapgåds“, Pedvåles måkslas parks, Sabile”The BigM”, Anglija”Grafomånija”, Brand Sellers DDB, Rîga

2001 ”Ulmanis müsu sirdîs”, Latvijas Måkslas akadémija,Rîga, Latvija”Apcerot pagåtni, pievienojot nåkotni”, ValstsMåkslas muzejs, Rîga, Latvija”Break 21”, Òub¬ana, Slovénija”Cukurvate”, Latvijas Dzelzce¬a muzejs, Rîga, Latvija”Ugunszeme”, Pedvåles måkslas parks, Sabile,Latvija”Grafikas seja”, Rîgas galerija, Rîga, Latvija”Parnu Vilm & Fideo Festival”, Academia Non Grata,Pérnava, Igaunija

2000 “Rudens 2000”, VMM izståΩu zåle “Arsenåls”, Rîga,Latvija“Véstules no Rîgas”, Melngalvju nama galerija, Rîga,Latvija“-lietas”, galerija “Noass”, Rîga, Latvija“Ainavas laboratorija”, Pedvåles måkslas parks,Sabile, Latvija”U turn me on”, Zirgu pasts, Rîga, Latvija”Genesis”, Galerija “Bastejs”, Rîga, Latvija

1999 ”Dzîres. Einßteina sapñi”, Zirgu pasts, Rîga, Latvija”Barîba”, Universålveikals “Centrs“, Rîga, Latvija

1998 ”Dziesmusvétki”, Latvijas Måkslas akadémija, Rîga,Latvija”Suitcases”, Kotka, Somija

1997 ”Rudens 97”, Rîga, Latvija”Latvießu studentu darbi”, Amjéna, Francija

Krißs [email protected] 1977 1997–2003 Latvian Academy of Art, Department ofVisual Communication; MA1995–1997 Latvian Ev. lut. Christian Academy,Department of Art1993–1995 Whitgift School in London, UK

Awards2004 Laureate of the 13th Tallinn Print Triennial2003 Laureate of the exhibition “Autumn 2003: Private

Space”

1997 1st and 2nd Prize at the competition “EX LIBRIS” inCanada

Solo Exhibitions2006 ”Silver, gold, plasticine (with D.Krüzi), Riga2004 ”100% Disappointment, with D. Krüze, Riga, Latvia1999 ”Mates”, Mencendorfs House, Riga, Latvia

Exhibitions2008 “Time Will Show“, Museumsber Flensburg,

Flensburg, Germany2007 ”Mobile Museum, Andrejsala, Riga

”Samtids Video Mønstringen 2007, KunstiBadetBergen, Norway ”Urbanologic, Andrejsala, Riga”Contemporary art from Latvia, European centralbank, Frankfurt, Germany”The Baltics Part I: Contemporary Art of Latvia,Kalmar Art Museum, Sweden”Prague Biennale 3, Prague, Czech Republik

2006 ”Mit Allem rechnen, Museum am Ostwall,Dortmund, Germany”Amsterdam Film eXperience, Amsterdam, TheNetherlands”Body Power, Rîgas Gallery, Riga, Latvia”Art Moscow, Mocow, Russia”Blinks, Saloniki, Greece”Lettra 2006, Graphic Triennale of Krakov, Polija”Emergency Biennale, Rîga, Latvia

2005 ”Jukas, Exhibition Hall “Arsenåls” of the StateMuseum of Art, Riga, Latvia

2004 13th Tallinn Print Triennial, Rottermann SaltStorage, Tallinn, Estonia”Talking to me” – Rauma Biennale Balticum 2004,Rauma, FinlandVideo Festival ”Trampoline”, Berlin, Germany”Videoex”, Experimentalfilm&Video Festival, Zurich,Switzerland”What is Important?”, the former Riga City CouncilBuilding, Riga, Latvia ”The Small is Beautiful” – 7th Small Size ArtExhibition, Riga Gallery, Riga, Latvia

2003 ”Autumn 2003: Private Space”, Exhibition Hall“Arsenåls” of the State Museum of Art, Riga, Latvia”2 Show”, Contemporary Art Centre, Vilnius,Lithuania”Apartment No. 13”, Zirgu pasts, Riga, Latvia”6th Small Size Art Exhibition”, Riga Gallery, Riga,Latvia”la riga”, Fabbrica del Vapore, C/O Careof &VIAFARINI, Milano, Italy

2002 ”Re-cycle”, Gallery “Çiris”, Riga, Latvia”Water-supply”, Pedvåle Art Park, Sabile, Latvia”The BigM”, England

”Grafomania”, Brand Sellers DDB, Riga, Latvia2001 ”Ulmanis in Our Hearts”, Latvian Academy of Art,

Riga, Latvia”Reflecting on the Past, Adding the Future”, StateMuseum of Art, Riga, Latvia”Break 21”, Ljubljana, Slovenia”Candyfloss”, Latvian Railway Museum, Riga, Latvia”Fireland”, Pedvåle Art Park, Sabile, Latvia”The Face of Graphic”, Riga Gallery, Riga, Latvia”Parnu Vilm & Fideo Festival”, Academia Non Grata,Parnu, Estonia

2000 ”Autumn 2000”, Exhibition Hall “Arsenåls” of theState Museum of Art, Riga, Latvia”Letters from Riga”, Gallery of the BlackheadsHouse, Riga, Latvia”-things”, Gallery “Noass”, Riga, Latvia”Landscape Laboratory”, Pedvåle Art Park, Sabile,Latvia”U turn me on”, Zirgu pasts, Riga, Latvia”Genesis”, Gallery “Bastejs”, Riga, Latvia

1999 ”Fiest, Einstein’s Dreams”, Zirgu pasts, Riga, Latvia”Food”, Department store “Centrs“, Riga, Latvia

1998 ”Song Festival”, Latvian Academy of Art, Riga,Latvia”Suitcases”, Kotka, Finland

1997 “Autumn 97”, Riga, Latvia“Works of Latvian Students”, Amiens, France

äË¯Ò ë‡ÎÏ‡ÌËÒ[email protected]êÓ‰ËÎÒfl ‚ 1977 „Ó‰Û1997–2003 ã‡Ú‚ËÈÒÍ‡fl ïÛ‰ÓÊÂÒÚ‚ÂÌÌ‡fl ‡Í‡‰ÂÏËfl,ÓÚ‰ÂÎÂÌËÂ ‚ËÁÛ‡Î¸ÌÓÈ ÍÓÏÏÛÌËÍ‡ˆËË; åÄ1995–1997 ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÂ ÓÚ‰ÂÎÂÌËÂ ã‡Ú‚ËÈÒÍÓÈïËÒÚË‡ÌÒÍÓÈ ‡Í‡‰ÂÏËË1993–1995 òÍÓÎ‡ ìËÚ„ËÙÚ‡ (Whitgift School), ãÓÌ‰ÓÌ,ÄÌ„ÎËfl

ç‡„‡‰˚2004 ã‡ÛÂ‡Ú 13-ÓÈ í‡ÎÎËÌÒÍÓÈ ÚËÂÌÌ‡ÎÂ „‡ÙËÍË2003 ã‡ÛÂ‡Ú ‚˚ÒÚ‡‚ÍË “éÒÂÌ¸ 2003: ãË˜ÌÓÂ

ÔÓÒÚ‡ÌÒÚ‚Ó” 1997 1 Ë 2 ÏÂÒÚÓ ‚ ÍÓÌÍÛÒÂ “EX LIBRIS” ‚ ä‡Ì‡‰Â

èÂÒÓÌ‡Î¸Ì˚Â ‚˚ÒÚ‡‚ÍË2006 “ëÂÂ·Ó, ÁÓÎÓÚÓ, ÔÎ‡ÒÚËÎËÌ.”, (ÒÓ‚ÏÂÒÚÌÓ Ò Ñ.

äÛÁÂ), êË„‡, ã‡Ú‚Ëfl2004 “100 % ‡ÁÓ˜‡Ó‚‡ÌËÂ”, (ÒÓ‚ÏÂÒÚÌÓ Ò Ñ. äÛÁÂ),

êË„‡, ã‡Ú‚Ëfl1999 “ëÚ‡ËÍË”, ‰ÓÏ åÂÌˆÂÌ‰ÓÙ‡, êË„‡, ã‡Ú‚Ëfl

ÉÛÔÔÓ‚˚Â ‚˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË2008 “Time Will Show”, Museumsberg Flensburg,

îÎÂÌÒ·Û„, ÉÂÏ‡ÌËfl

Izdevéjs Publisher àÁ‰‡ÚÂÎ¸

Biennåle 2005

Redakcija Editing êÂ‰‡ÍˆËfl

Ojårs Pétersons, Lîga Marcinkeviça

Dizains Design ÑËÁ‡ËÌ

Ingrîda Zåbere

Tulkojumi Translations èÂÂ‚Ó‰˚

Dace Akmene, Marina Gehta, Andris Mellakauls, Stella Pelße

Foto Photocredits îÓÚÓ

måkslinieki, the artists, ıÛ‰ÓÊÌËÍË

Production Iespiedéjs èÂ˜‡ÚÌËÍ

a/s “Preses nams”

©

Teksti Texts íÂÍÒÚ˚

the authors, autori, ‡‚ÚÓ˚

©

Reproducétie darbi Reproduced Works êÂÔÓ‰ÛˆËÓ‚‡ÌÌ˚Â ‡·ÓÚ˚

måkslinieki, the artists, ıÛ‰ÓÊÌËÍË

Izståde Exhibition B˚ÒÚ‡‚Ía

08.04.–11.05.2008

VLMC Zoologiçeskaja 13, Maskava

NCCA Zoologicheskaja 13, Moscow www.ncca.ru

Éñëà áÓÓÎÓ„Ë˜ÂÒÍ‡fl ‰.13, åÓÒÍ‚‡

Buket. Latvijas laikmetîgås måkslas izståde

no 8. aprî¬a lîdz 11. maijam

Valsts Laikmetîgås måkslas centrå (ncca.ru)

Zoologiçeskaja 13, Maskavå

Buket. Exhibition of Latvian Contemporary Art

from 8 April till 11 May

National Centre for Contemporary Arts (ncca.ru)

Zoologicheskaja 13, Moscow

ÅìäÖí. B˚ÒÚ‡‚Ía ã‡Ú‚ËÈÒÍÓ„Ó cÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡.

ë 8-„Ó ‡ÔÂÎfl ÔÓ 11 Ï‡fl

ÉÓÒÛ‰‡ÒÚ‚ÂÌÌoÏ ñÂÌÚÂ CÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (ncca.ru)

áÓÓÎÓ„Ë˜ÂÒÍ‡fl ‰.13, åÓÒÍ‚‡

Documents

Organizé/Organize: Atbalsta/Support: STUDIJA, FotoKvartåls; … · “tur årå”, kas kaut vai ziñkårîbas dzîti grib pietuvoties måkslas darbam; tad tie, iespéjams, pékßñi