#contemporary Latvian art

[theaskew]

Egor Buimister (Latvian, b. 1997), A Tree of Night, 2021. Oil on canvas, 55 x 38 cm. (Source: Egor Buimister)

[morbidaughter]

Julia Soboleva (Latvian, born 1990)

[marejadilla]

Jana Brike, "Of the Sky and the Earth", oil on linen, 2024.

This painting was exhibited in the @beautifulbizarremagazine exhibition ‘Fable & Folklore’ at May, at LA @coprogallery. Jana Brike was born in year 1980 in Riga, Latvia.

[oncanvas]

Christmas Tree, Hyman Bloom, 1983

Oil on canvas 60 ¼ x 46 in. (153.03 x 116.84 cm)

[antoniettabrandeisova]

Edgars Vinters (Latvian, 1919 – 2014) Roses, c. 2008, cardboard, oil, 87x67 cm

[internationalemeteorologie]

Laima Laurina

Sunset in the Mountains Vase #1

[jareckiworld]

Ilona Romule — Straitjacket (ceramic sculpture; porcelain fired at gas reduction 1350˚C, 2018)

[collectionstilllife]

Dace Lapina (Latvian, b. 1954) Still Life with Peaches • n/d

[laimibas-tale]

Those who live in Kobe, Japan have an excellent opportunity to see an amazing exhibition!!

It's in Kobe's Urban Picnic lounge and its a sounding photo exhibition made by collaborating artists from Latvia and Japan!

Basically there are portraits of choir singers from both countries with Latvian ornament runes and Japanese kanji. In the background a Latvian folksong and a Japanese folksong are playing performed by all singers, but each portrait has a QR code to that person singing the songs separately!

I highly encourage to visit while you can!

[yeswearemagazine]

The Side Look of a Barcelonese #2 053 : Shadowlands photo series, Milton Keynes - Bletchley, England, 07.2018 © Maris Stiglics aka Klonatans :

The Side Look of a Barcelonese #2 053 : Shadowlands photo series, Milton Keynes - Bletchley, England, 07.2018 © Maris Stiglics aka Klonatans :

[theaskew]

Andris Eglītis (Latvian b. 1981), Dažas iztēles un matērijas tikšanās (Some encounters of imagination and matter), 2021. Oil on canvas,  74 x 64 cm.

[t-jfh]

Mark Rothko, Russian/Latvian-American (25 September 1903 - 25 February 1970)

No. 61 (Rust and Blue) 1953

Oil on canvas, 115 cm x 92 cm (45 in x 36 in)

Location: Museum of Contemporary Art, Los Angeles USA

No. 61 (Rust and Blue) is a 1953 painting by the Russian-American Abstract expressionist artist Mark Rothko. The work was first exhibited at the Museum of Modern Art, New York in 1961. In common with Rothko's other works from this period, No. 61 consists of large expanses of color delineated by uneven, hazy shades. The Rust and Blue painting was a part of the Color Field Movement because No. 61 relies on subtle tonal values that are often variations of a monochromatic hue. Rust and Blue also uses layered coloring to enrich the hues in the painting, a quality the artist Mark Rothko described as "inner light".

Rothko painted in such a way that at times paint can be seen flowing upward across the surface. This illusion is caused because Rothko would invert his painting toward the final stages of his work. This effect can be seen in No. 61.

•

[marejadilla]

Jana Brike, for her Solo exhibition "Children of the Sun" opening on November 23 at @beinartgallery, Australia.   Jana Brike was born in year 1980 in Riga, Latvia.

[oncanvas]

Night Sky #15, Vija Celmins, 2000-01

Oil on canvas 31 x 38 in. (79 x 97 cm)

[praxismatters]

THE EVENS ARTS PRIZE 2023

Exploring the critical imaginaries of AI The Evens Arts Prize 2023 is dedicated to artistic practices that challenge prevailing systems of knowledge and experiments new alliances between living beings and machines. 

The Jury is composed of Daniel Blanga Gubbay, Artistic Co-Director, Kunstenfestivaldesarts; Nicolas Bourriaud, Artistic Director, 15th Gwangju Biennale; Elena Filipovic, Director and Curator, Kunsthalle Basel; Matteo Pasquinelli, Associate Professor in Philosophy of Science, Ca’ Foscari University; Gosia Plysa, Director, Unsound. The Jury Chair is André Wilkens, Director, European Cultural Foundation. Artistic Director:  Anne Davidian, curator.

Focus of the Evens Arts Prize 2023 The widespread use of AI applications, particularly in the form of text-to-image generators and large language models, has sparked intense scrutiny and debate. These discussions, fueled by both excitement about their potential and concerns about their biases, bring to the forefront crucial questions about human subjectivity, autonomy, and agency.

Technical systems are deeply intertwined with social systems, shaping our lived experiences, aspirations, and politics. Together with artists, how can we better understand and address the impact of AI and the broader constellation of digital technologies and algorithmic politics? What new imaginaries and alliances can we cultivate between living beings and machines?

The new edition of the Evens Arts Prize seeks to highlight artistic projects that explore alternative cosmologies and epistemologies, question human exceptionalism, and shed light on issues such as surveillance, manipulation, extractivism, digital governance, justice, care, and responsibility in the age of machine intelligence. Of particular interest are practices that experiment with AI to challenge prevailing systems of knowledge and power asymmetries, mobilise technologies towards emancipatory community outcomes, and envision democratic futures.

The laureate is selected by an independent jury from a list of nominations put forward by representatives of major European cultural institutions.

The Nominators of the Evens Arts Prize 2023 Ramon Amaro, Senior Researcher in Digital Culture, Nieuwe Instituut, Rotterdam; Zdenka Badovinac, Director, Museum of Contemporary Art, Zagreb; Lars Bang Larsen, Head of Art & Research, Art Hub, Copenhagen; Leonardo Bigazzi, Curator, Foundation In Between Art Films, Rome; Mercedes Bunz, Professor Digital Culture & Humanities, King's College, London; Francesca Corona, Artistic Director, Festival d'Automne, Paris; Julia Eckhardt, Artistic Director, Q-02, Brussels; Silvia Fanti, Artistic Director, Live Arts Week /Xing, Bologna; iLiana Fokianaki, Founder, State of Concept, Athens; Cyrus Goberville, Head of Cultural Programming, Bourse de Commerce | Pinault Collection, Paris; Stefanie Hessler, Director, Swiss Institute, New York; Mathilde Henrot, Programmer, Locarno Film Festival; Nora N. Khan & Andrea Bellini, Artistic Directors, Biennale Image en Mouvement 2024, Geneva; Peter Kirn, Director, MusicMakers HackLab, CTM Festival, Berlin; Inga Lace, Curator, Latvian Centre for Contemporary Art, Riga; Andrea Lissoni, Director, Haus der Kunst, Munich; Frank Madlener, Director, IRCAM, Paris; Anna Manubens, Director, Hangar, Barcelona; Anne Hilde Neset, Director, Henie Onstad, Høvikodden; Nóra Ó Murchú, Artistic Director, transmediale, Berlin; Maria Ines Rodriguez, Director, Walter Leblanc Foundation, Brussels; Nadim Samman, Curator for the Digital Sphere, KW Institute for Contemporary Art, Berlin; Andras Siebold, Artistic Director, Kampnagel, Hamburg; Caspar Sonnen, Head of New Media, International Documentary Film Festival (IDFA), Amsterdam; Marlies Wirth, Curator for Digital Arts, MAK, Vienna; Ben Vickers, Curator, Publisher, CTO, Serpentine Galleries, London.

The Evens Arts Prize The Evens Arts Prize honours artists who engage with contemporary challenges in Europe and shape inspirational visions for our common world. Far from reducing artistic practice to a function – whether a social balm or a political catalyst – the Evens Arts Prize supports aesthetically and intellectually powerful work that pushes the understanding of alterity, difference, and plurality in new directions, questions values and narratives, creates space for silenced or dissonant voices, and reflects on diverse forms of togetherness and belonging.

The biennial Prize is awarded to a European artist working in the fields of visual or performing arts, including cinema, theater, dance, music; it carries a sum of €15,000. The laureates are selected by an independent jury, from a list of internationally acclaimed artists, nominated by representatives of major European cultural institutions.

The 2011, 2019 and 2021 editions were curated by Anne Davidian and celebrated Marlene Monteiro Freitas, Eszter Salamon, and Sven Augustijnen as laureates of the main prize, while Eliane Radigue and Andrea Büttner received the Special Mention of the Jury.

More about the Prize

📷 from Atlas of Anomalous AI, edited by Ben Vickers and K Allado-McDowell, Ignota Books, 2020

[burpenterprisejournal]

MYRIAM VAN IMSCHOOT AND MAT POGO AT THE SURVIVAL KIT FESTIVAL

2024/09/28-29 Survival Kit NATURE Workshop by MYRIAM VAN IMSCHOOT and MAT POGO Gallery Smilga Riga - LV

Myriam van Imschoot and Mat Pogo were invited to hold a workshop for 'Nature', the third episode of four in this year's 15th edition of the Survival Kit Contemporary Art Festival in Riga, organised by the Latvian Centre for Contemporary Art. The workshop will take place over two days, Saturday and Sunday 28 and 29 September Check the programme here For the 15th time this autumn the Latvian Centre for Contemporary Art will host the Survival Kit festival in Riga - one of the most notable annual contemporary art events in the Baltics. The exhibition "Measures", curated by the festival's artistic director Jussi Koitela, will be open from 6 September to 6 October at three locations on both banks of the River Daugava - 4 Amatu Street, 34a E. Smiļģa Street and 4 Strazdu Street. As every year, the festival will be accompanied by an extensive public and educational programme, keeping in mind the accessibility of contemporary art to different groups of society. A separate programme of events will also take place within the framework of the contemporary culture forum "White Night".Continuing the theme of the exhibition "Measures", the public programme of the festival invites artists and thinkers to reflect on the different forms of knowledge produced by the city and its communities. Gundega Laiviņa, curator of the Survival Kit 15 public programme, says: "The programme is designed to remind people of their right to access the city's resources, their right to change the city and to change themselves. It invites us to see the city not as a fixed and finished environment to navigate, but rather as a porous and ever-changing space where things become possible."

The Survival Kit 15 public programme, curated by Gundega Laiviņa, is divided into four episodes - "Artist" (11 September), "Place" (21 September), "Nature" (29 September) and "Future" (5 October) - held at all festival's exhibition addresses and throughout Riga.

The third episode of the public programme, "Nature", will reveal the inextricable, complex relationship between the city and nature in the form of a collective ritual - two chirping sessions led by the Flemish artist Myriam van Imschoot. https://lcca.lv/en/events/survival-kit-15-programme-announced/

THE THIRD EPISODE: NATURE Saturday, September 28 18.00-21.00 Sunday, September 29, 6.30-9.30 Meeting place: Gallery Smilga at Eduarda Smiļģa street 34a In our consciousness and communication, the city and the country seem to be two separate spaces. The third episode of the public programme will break down this invisible boundary and reveal the inextricable, complex, and fluid relationship between the city and nature.

The episode will focus on the idea of the city as a habitat for diverse organisms and communities. How to build a city that respects every being, and its right to space and life? Who is destined and allowed to survive in the city? The answer to this question will be sought not in theory, but in a collective ritual - in two cricketing sessions, during which the voice and the body will be used to get closer to the knowledge of more-than-humans. We will gather at sunrise and sunset to listen to the city and gradually become a choir of grasshoppers, cicadas, crickets, and locusts.  

The sessions will be led by Berlin-based improviser and producer Mat Pogo and Myriam van Imschoot, a Flemish artist who works with sound, exploring yodelling, crying, nature sounds and new polyphonies created by the fusion of human and more-than-human sounds, with the city humming in the background.

In this session we will develop a particular sounding and listening practice that Myriam Van Imschoot developed over the last ten year based on studies of sonic ecology and biomimicry. Inspired by the stridulation of insects (the rubbing of wings and other body parts), the artists developed a set of techniques for humans to ‘chorus’ together like insects. Cricketing proposes to practice as a ‘sonic community’ the subtleties of vibrational listening, the complexities of rhythmical pulsations and the pleasure of diving in and out of noise within an environmental dialogue with nature. The overall collective composition emerges from the many small interactions that happen on site amongst the participants. The Session encompasses warm-ups, listening moments, cricket practice and improvisational scores.

Open for anyone who is a nature lover, a keen listener, a person who loves sound or has a curiosity for new sound techniques. Enlist by sending your prefered Session time, a couple of sentences about yourself and how this Session speaks to you to the e-mail: info@lcca.lv.

Depending on the weather conditions the Session will happen outdoors or as a mixture of indoor and outdoor moments. Participants will be guided in English. https://lcca.lv/en/survival-kit-15/programme-sk15/