Ēriks Apaļais : ĒRIKS APAĻAIS
Born in Riga, Latvia, in 1981. Lives and works in Riga, Latvia
Ēriks Apaļais’ s works deal with language as culturally produced material. He creates visual models, which clarify traumatic experiences through certain linguistic formulae. His work often refers to literature and linguistics (Apaļais has studied English philology), where painterly utterances are critically investigated. Thus, similar to the sounds of speech, painterly articulation may register a diverse spectrum of intonations. His matte black large format paintings stir up chalkboard beauty, where deconstructed elements levitate on the surface as the remains of semantically emptied memories.
Kristiana Dimitere : "Kristiana`s art is live theatre, captured in mid-motion. The vivid colours conceal within themselves an omen of fate, which is also always present in the eyes of the characters and sometimes even outside of the picture."
This description by the artist`s mother, legendary Latvian actress Vija Artmane, helps understand the complicated world of Kristiana Dimitere`s art. She`s equally comfortable sculpting, painting, drawing, illustrating, and creating stage sets and animations.
The trump card of Kristiana Dimitere`s art is the plasticity of her shapes and the recognisable lines which tame the artist`s vibrant, fantastic characters so akin to the aesthetics of naïve art.
Andris Breže : Andris Breže (1958) graduated from the Art Academy of Latvia’s Design (formerly Industrial Art) Department. He has participated in exhibitions since 1977. He was one of the members of the group of Supergraphic Artists who created expressive works of graphic art in the 1980s in the medium of large format screen printing.
He was nominated for the Purvītis Prize for his most recent personal show “A Life of Peace” (Galerija Alma, 2013). Under the pseudonym Andris Žebers, Breže has published three collections of poems: “Tattoos” (Liesma, 1988) and together “Vodkas/Side Effects” (Neputns, 2007). For these, he received the Klāvs Elsbergs Prize for best debut, the Aleksandrs Čaks Prize and the Annual Literature Prize for the year’s best collection of poems.
Māra Brīvere : Māra’s painting reflects the artist’s path to liberation manifested through rejection of everything superfluous. This is characterized by emotional measurements precisely captured right down to the last millimetre, which are both personal and fragile. In hushed tones, with impressions akin to lines of chalk, and highlighting the value of simplicity and humility, Māra forms a reflection of her own subjective reality. She “portrays” signs or road signs, which help one to see clearly, without the sediment of domestic pollution or the context of the age.
Scrupulously and laboriously conceived large-format paintings or momentary vestiges tell of our unity with nature, the primordial origins of the world, the unjustifiable seismic jolts of fate and the imperceptible expanses of her roots and soul.
Barbara Gaile : Barbara Gaile is one of the more unorthodox representatives of Latvian contemporary art. The source and solution of her self-expression is in her thorough, complete and self-sufficient brand of minimalism.
THE ORGANIC WORKS OF BARBARA GAILE
It is common to break down contemporary art into various trends, to single out tendencies, establish conceptions and strategies, emphasise discourses, describe contexts, recognise conventionality and engage in other similar analytical procedures. This is normal for professional critics and art historians; it helps the audience of contemporary art to orient itself across the manifold space of the latest artistic culture. However, there are artists whose works are ill-suited for such analytic systematisation. One should also note that these are not outsiders but remarkable, talented artists. Of course, Mark Rothko, Cy Twombly, Yves Klein and Agnes Martin can be categorised as abstract artists but this does not help us much to understand their works. In addition, this inclusive definition tends to set them apart from the current trends in contemporary art but their art continues to attract us and is perceived as the best in contemporary painting.
It seems to me that the works of Barbara Gaile coincide with various conceptual strategies in contemporary art (such as field painting or salient painting) but first of all they relate to some exceptionally profound and strong artists. Besides those mentioned above, I could add other wonderful and radically different artists: Louise Bourgeois, Kaze Zimblyte, Rachel Whiteread, Mona Hatoum… Each of them features a distinctive evocative quality that is also typical of Barbara Gaile’s works. She, like the other artists mentioned, pays particular attention to the technological side of making an artwork, turning the process of creativity into an ecstatic procedure and expecting the appropriate perception from the viewer.
Barbara avoids a painterly approach, favouring texture instead; while emphasising the origin of colour in light and retaining the self-sufficient value of pigment, she preserves its “sound” but not its materiality. The materiality of Barbara’s works is recreated; it is different - like the materiality of a living organism… At the same time, the question of materiality recedes into the background; much more important is the life of that which Barbara has created and which would be difficult to call a painting in the traditional sense. It is life and interaction with us as spectators. The suggestive character of the works is so strong that they put us in a state of sustained contemplation and meditation. Barbara’s works appear to stand openly before the viewer yet at the same time they are closed in their autonomous existence. There is no open expression or narrative. It seems that we are contemplating some kind of living organisms, bodies with healed scars and opalescent skin… It is no longer either salient painting or still life but salient life – life created by the artist.
I get the impression that Barbara Gaile has now reached a certain peak in her artistic development, so convincingly does she cultivate her mastery, so stable is the technological side of her painting and her organic creative position. The originality of Gaile’s creativity expands the space of Latvian contemporary art; it gives the most recent art in the world added value and undoubtedly has its audience.
Art critic, artistic director of the Russian National Centre for Contemporary Art
GolfClayderman : In a radio interview, artist Aksels Bruks from the collective GolfClayderman once remarked that in art he was only interested in friendship and love. He added that he wasn’t much into sorrow and sombre stuff. Although a statement like that coming from a contemporary artist could seem hopelessly naïve, it achieved exactly the opposite. It sounded convincing and true.
The terms ‘friendship’ and ‘love’ can also be applied to the practice of GolfClayderman. The originators of this collective, artists Aksels Bruks and Margrieta Griestiņa, lovingly revive and romanticise the aesthetics of daily life in their exhibitions, performances and multidisciplinary happenings, involving a large circle of contemporaries from different fields: other artists, teachers, rappers, musicians, DJs, florists, writers, philosophers, dancers, gymnasts etc. Instead of ironizing about the shallowness of consumer society, GolfClayderman good-heartedly embraces it in its happenings which often respond to manifestations in pop culture, reminding the viewers that pop culture and everyday experience can create a much stronger reaction than hermetically sealed, inaccessible and information-filled matter.
The collective is interested in recent history. Their references to 1980s fashion, characterised by the expressive costumes of performance collaborators and the musical setup for the happenings, are the most palpable examples. However, a further examination of GolfClayderman’s practice reveals an equally strong influence of the aesthetic language of the consumer culture from the 1990s and early 2000s. During this period, post-Soviet reality was largely shaped by attempts to advance towards the West. As Western consumer culture slowly encroached on the Eastern market and lifestyle in the 90s, new forms of pop culture, aesthetic and visual language emerged. Margrieta Griestiņa and Aksels Bruks redefine this recent aesthetic of the past.
The most common misinterpretation of GolfClayderman’s creative practice is the desire to label it as so-called ‘trash’ art. Instead, the collective’s output could be better described as a nostalgic rummaging in the bygone perceptions of glamour. It’s an attempt to get closer to post-Soviet society’s preoccupation with material prosperity and its strange notions about fashion, good taste and style, and the basics of daily life, all of which are re-interpreted by the artists with a light and warm sense of humour. The term ‘invisible field’, which is also the title of GolfClayderman’s first fashion show, elegantly describes this intention. Namely, GolfClayderman strives to capture the essence of what characterised the average eastern European. As seen in the market, on public transport and among the vast sea of inhabitants.
GolfClayderman is an unlimited company concerned with art and sport, was established relatively recently and announced itself in 2016 with the fashion show Invisible Field at 427 Gallery. Artists have sustained the creative practice of this unorthodox collective with performances, music shows, improvised TV programmes and multidisciplinary events in Latvia as well as abroad. In 2017 GolfClayderman together with seven other emerging Latvian artists represented the country at the JCE Contemporary Art Biennale.
The future of this collective remains hazy, albeit without a doubt - promising and enticing. The value of friendship, love and passion is infinite. Let’s go!
Ivars Drulle :
Ernests Kļaviņš : Through the simple / playful use of colour, drawing and animation, the intelligent provocateur has conjured up fables that make us smile and think... The titles of the works are important for decoding the connections – they serve as rejoinders.
Krišs Salmanis : Krišs Salmanis (1977) studied in the Art Academy of Latvia’s Visual Communication Sub-Department and at the Academy of Media Arts in Cologne. Having participated in exhibitions since 2001, he has twice been nominated for the Purvītis Prize for the exhibition Lost (Riga Art Space, 2009), and subsequently for the video animation “The Long Day” (Festival Survival Kit 4, 2012) and the exhibition “The Fragility of Trust” (Galerija Alma, 2012). In 2011, he was one of the finalists nominated for the prestigious Henkel Art Award. In 2013, together with artist Kaspars Podnieks, he represented Latvia at the 55th Venice Art Biennale with the pavilion North by Northeast.
Reserved, melancholic, intellectually justified and visually filigree - this briefly describes the artist Krišs Salmanis, who is no doubt one of the brightest representatives of contemporary art in Latvia.
Krišs Salmanis uses animation, video, photography, objects as well as his body, trees etc in his art. However, it is neither the media used, nor the unifying themes, but rather the employed method what characterizes his work.
In Latvian there is not an appropriate synonym for the word 'joke' to denote that the element, which in Salmanis’ work can be perceived as irony or humour, is instead mental excersise, intellectual activity, wit as a twist of thought.
Another important aspect is formulated best by the artist himself, using Kurt Vonnegut’s idea of the complicated futility. The making of Salmanis’ work is often seemingly unnecessarily time- and effort-consuming. It is a kind of self-invented craftsmanship, which, even if unnoticed by the spectator, is a vital component of the final piece. The work of Krišs Salmanis is the process of thinking and the way of passing one’s life.
Conceptual clarity and poetic polysemy co-exist in Salmanis’ art. Painstakingly elaborate, the works are thought out to the tiniest detail; they are often quite minimalist as to artistic expression and defined by their unexpected paradoxicality and intuitive quest for the truth combined with subtle irony and existential sadness.
The artist works in a variety of media, including animation, video and object installation, occasionally using his own body in his art.
Zane Tuča : ZANE TUČA
...But one can never get quiet enough...
“When I was a girl, I was terribly sure trees and flowers were the same as birds or people. That they thought things, and talked among themselves. And we could hear them if we really tried. It was just a matter of emptying your head of all other sounds. Being very quiet and listening very hard. But one can never get quiet enough...”
(A quote by Truman Capote, inspired by real life events, in the reconstructed detective novel In Cold Blood )
For the most part, attempts to depict, subjectivize or even invent silence in works of art are characterised by delicate and fine intonations. Oftentimes, hidden minutiae and details that are initially obscure are of major, nigh on decisive, importance. Art born of the material of silence strives to be unobtrusive, inconspicuous, and requires a more enduring gaze from the viewer, including when art gravitates towards a kind of durability, which is much slower and less familiar to the mind than the everyday rhythm of time. Zane Tuča’s monochrome compositions largely correspond to associations and intuitive visual archetypes about silence. At the same time, they also represent something more, something stemming from the gamma of emotions and feelings that can be contrasted to all that is noisy, challenging and dramatic in the system of binary oppositions.
The paintings in the exhibition ...But one can never get quiet enough are about that silence that can be found, not in the absence of sounds, but rather on softer information frequencies that are perceivable in less verbal ways. They tell of a time that Zane Tuča sought to stop and freeze. Perhaps, this is the only state in which silence can exist. At the simplest level, the artist depicts how various moments in time can simultaneously overlap; this physically impossible state, which has stimulated the creative imagination of so many artists and inspired numerous artistic depictions of contemporaneity, in which the present, past, future and other customary watersheds merge. The depictions of landscape that one sees in Zane Tuča’s paintings reflect this mental time zone, where different principles of space and durability prevail.
Overlays are also formed in the technical execution of the works. Areas painted in acrylic are covered with exquisite drawing, which both clarifies and tonally blends the depicted forms, as well as accentuating the minimalist colour. Thus, the fine and time-consuming working process of drawing is of major significance, because it echoes the meditative deceleration visible in the paintings, which is out of this world. The artist captures restrained laconic landscapes and studies of nature and architecture in glassy reflections, with each depicted detail doubling and toying with the effects of Northern light. Zane Tuča has also used this approach in her previous works, returning to it through various motifs. If we are seeking the classical logic of representation in these paintings, then, as in the Ancient Greek myth about Narcissus, the confluence of brilliance and an object creates a new third image, which is a symbol of transience and imperceptibility. Landscape elements are a way of thinking about moments, unravelling the mysteries of time and physically perceptible silence, which disrupt its consistently foreseeable flow.
The works in ...But one can never get quiet enough were created by Zane Tuča during her residency in Norway. In a reserved Nordic manner, she captures the locale’s instruments of silence – nature and man-made architecture. Seeking the origin of the silence visible in the paintings, one concludes that it does not lie within the anarchically charged silence of 4’33”, nor ethereal metaphysics. In Zane Tuča’s works, asceticism overlaps with the calligraphy of forms. As a result, we can observe references to some decidedly matter-of-fact traditions of photorealism and self-conceived approaches to meditation, which present vision as the content of the work of art and startle the mind through efforts to see reality anew, devoid of the layers wrought by urban urgency and noise.
Kristīne Kursiša _ Ārpus kontroles _ 26.09. - 22.10. 2009., Kristīne Kursiša _ Out Of Control _ 26.09. - 22.10. 2009.
Mūsu laika ikonas _ 27.10. - 14.12.2009., Contemporary Icons _ 27.10. - 14.12.2009.
ARCOmadrid 2010 _ Gints Gabrans _ 17. - 21.02. 2010., ARCOmadrid 2010 _ Gints Gabrans _ 17. - 21.02.2010.
Jānis Blanks _ Personālizstāde _ 27.03. - 30.04.2010., Jānis Blanks _ Solo show _ 27.03. - 30.04.2010.
Ivars Drulle _ Balstīts uz patiesiem notikumiem _ 27.04. - 10.06.2011., Ivars Drulle _ Based on True Stories _ 27.04. - 10.06.2011.
Ernests Kļaviņš _ Karš starp titāniem un rūķīšiem _ 28.11. - 02.12.2011., Ernests Kļaviņš _ War Between the Titans and Gnomes _ 28.11. - 02.12.2011.
Krišs Salmanis _ Uzticēšanās trauslums _ 28.05. - 27.07.2012., Krišs Salmanis _ The fragility of trust _ 28.05. - 27.07.2012.
Andris Breže _ Miera Dzīve _ 5.10.2012. - 09.01.2013, Andris Breže _ A Life of Peace _ 5.10.2012. - 09.01.2013
Ivars Drulle _ Jums tūlīt atlaidīs _ 22.11.2013. - 24.01.2014., Ivars Drulle _ You’ll be pardoned forthwith _ 22.11.2013. - 24.01.2014.
Molekulārās Dzīves Metamorfozes _ 20.06. - 15.08.2014, Metamorphoses of Molecular Life _ 20.06. - 15.08.2014
Aija Zariņa _ RA i nis _ 26.02. - 20.03. 2015, Aija Zariņa _ RA i nis _ 26.02. - 20.03. 2015
Andris Breže, Krišs Salmanis _ 05.05 - 05.06. 2015., Andris Breže, Krišs Salmanis _ 05.05 - 05.06. 2015.
Camille Henrot, Māra Brīvere, Daiga Grantiņa _ Haosa Harmonija _ 9.06.-5.09.2016., Camille Henrot, Māra Brīvere, Daiga Grantiņa _ The Harmony of Chaos _ 9.06.-5.09.2016.
Ēriks Apaļais _ Le Cygne _ 07.09. - 14.10.2016., Ēriks Apaļais _ Le Cygne _ 07.09. - 14.10.2016.
Ivars Drulle _ Manai Dzimtenei _ 30.11.2016. - 20.01.2017., Ivars Drulle _ To My Homeland _ 30.11.2016. - 20.01.2017.
Amalie Smith _ ΜΗΧΑΝΙΚΟΣ _ 10.04. - 19.05.2017., Amalie Smith _ ΜΗΧΑΝΙΚΟΣ _ 10.04. - 19.05.2017.
Kopā viens EVELĪNA VIDA un ANDRÉ VIDA 29. 05. – 21.07.2017., Alone Together by EVELINA VIDA and ANDRÉ VIDA 29.05. - 21.07. 2017
ĒRIKS APAĻAIS Institucionālās spēles 17.11. 2017. - 26.01.2018., ĒRIKS APAĻAIS Institutional Gambling 17.11. 2017. - 26.01.2018.
Galerija Alma tika dibināta ar mērķi popularizēt latviešu laikmetīgo mākslu, kas ir atšķirīga pasaules mākslas kontekstā, būdama ziemeļnieciski diskrēta, bet spēcīga savā identitātē, lai to kā nacionālu vērtību noformulētu un virzītu globālā apritē. Ar šādu attieksmi galerija strādā sastādot un realizējot savu programmu.
Galerija ALMA atrodas Tērbatas ielā 64 un atvērta apmeklētājiem no otrdienas līdz piektdienai no plkst. 12 līdz 18, pārējā laikā - piesakoties pa tālr. 29155572.
Iepazīstot Almas vadītāju idejas par mākslas galerijas mērķiem un uzdevumiem, nolūkiem un misiju, rodas iespaids, ka Rīgā dzimusi “nākamās paaudzes” mākslas galerija. Tik daudz ideālisma no vienas puses, un tik daudz lietišķu vērojumu.
/ Laikraksta „Kultūras Forums” galvenā redaktore Inga Šteimane./
Galerija atvērta 12 00 – 18 00
Tērbatas iela 64
31.01. - 08.03.2019.
Pār augsto, tumšo klinšu sienu kā trausls pavediens lejup vijas balta dzīsla. Kluss, mierpilns, pazemīgs un tāls. Vien tuvumā sasniegts, trauslais pavediens ar biedējošu un bijību iedvesošu spēku triecas pret zemi. Noteikti un nelokāmi. Pārliecība. Ūdenskritumu tuvumā mājojot Nøkken. Tas vilina, spēlējot skaistu mūziku. Aizmirsis visu citu, tu novērsies no sava ceļa un dodies turp. Sagūstīts. Ūdens apņemts, lēnām grimsti. Tomēr vēl izzušanas mirklī tālumā ieraugi baltu pavedienu. Trauslu, bet savā trauslumā spēcīgu. Pārliecība liek attapties un nenogrimt.
Dažkārt sevī novēroju īpatnēju baiļu un satraukuma stāvokli – tādu, kurā es skaidri zinu, ka nekas ļauns ar mani nevar notikt, bet spēcīgas aizdomas par tuvojamies draudiem nepamet. To varētu raksturot kā visai izplatītu psiholoģisku trauksmi, taču blakne, kas padara to pavisam dīvainu, ir racionālā prāta klātesamība, kas liek šo trauksmi apzināties, izvērtēt un pārvarēt. Lielākajā daļā gadījumu racionalizēšana nez kāpēc nepalīdz, bet gan trauksmi pastiprina.
Cenšos saprast, vai Zanes Tučas jaunajās gleznās šis trauksmes stāvoklis ir apzināti ietverts, vai tas parādās tikai iztēlē. Viņas monohromās ainavas pārņem ar savu nosvērtību, bet tajā pašā laikā padara skatītāju pazemīgu. Tas tāpēc, ka viņas gleznu objekti – kalnu grēdas, ūdenskritums, neizmērāms zemes ceļš sniegotā ainavā – pārsteidz ar savu vērienu. Rodas vēlme piedēvēt redzamajam īpašības un radīt asociācijas ar kaut ko piedzīvotu. Šoreiz asociāciju virknē visizteiktāk iezīmējas viena. Izstādes darbus gribas salīdzināt ar dziļu, tumšu ūdeni. Ar bailēm no nezināmā vai nenosakāmā, kas liek uzvesties piesardzīgi, apdomājot katru nākamo soli. Skatoties uz Zanes Tučas gleznām, liekas, ka no filigrāni veidotajām ainavām varētu iznirt kas draudīgs, lai arī tiešā veidā nekas par to neliecina.
Ģermāņu mitoloģijā šo sajūtu precīzi atspoguļo leģendas par ūdens gariem, kuri, ieņemot dažādas formas un manipulējot ar ārējo izskatu, cenšas cilvēkus ievilināt ūdens dzīlēs. Skandināvu folklorā tos apzīmē ar vārdu Nøkken. Izteiksmīgs to attēlojums parādās norvēģu gleznotāja un pasaku ilustratora Teodora Kittelsena darbos. Duļķainā ezerā, kura virsma noklāta ar ūdensrozēm un egļu siluetu atspulgu, pavīd ērmīgs svešķermenis. Izbāzis galvu no ūdens tiktāl, lai varētu saskatīt kādu atpūtnieku vai pastaigā devušos meiteni, tas apbur garāmgājējus ar saldām dziesmām, lai pēc tam viņus varētu noslīcināt. Kamēr grieķu mitoloģija vai romantisma laikmeta operas vairo fantāzijas par daiļām ūdens nimfām, kas stāsta varonim pavēstī kādu liktenīgu atziņu, Kittelsena gleznās ūdens un tajā mītošās radības viennozīmīgi ievieš bailes un satraukumu. Viennozīmīgi tāpēc, ka nav šaubu par viņu nodomiem.
Zane Tuča, šķiet, izjūt tuvību ar Kittelsenu gan noskaņas, gan formas un it kā pieklusinātās krāsu izjūtas ziņā. Pacietīgi gleznotie laukumi nemanāmi saplūst ar zīmuļa grafīta filigrānajiem nospiedumiem. Kaut kas no augšminētajām baismām pastāv arī viņas mākslā, bet skatīšanos intriģējošu padara tieši darbu nenoteiktība. Viņa apzinātā veidā nekoķetē ar spokainumu un necenšas savos darbos pašmērķīgi uzburt, tā sakot, "atmosfērisku noskaņu". Nav skaidrs, kas slēpjas šajos darbos, un tieši šī fakta apzināšanās neļauj no tiem novērsties. Neviennozīmība izraisa psiholoģisku trauksmi, kas ir vienlaikus nomācoša un uzmanību noturoša, jo paveras iespējas sākt analizēt paša psiholoģisko stāvokli.
Zane Tuča attālina ainavu no šī jēdziena triviālās izpratnes. Viņa to reducē līdz simboliskai matērijai, kuru ir vēlme piepildīt ar asociācijām.