Kim? is closed for exhibition changeover until 22th of August.
See you on the opening day, August 22 at 6.30 pm.
Kim? is closed for exhibition changeover until 22th of August.
See you on the opening day, August 22 at 6.30 pm.
Photo: Ruth Patir, Marry, Fuck, Kill, 2019.
Kim? Contemporary Art Centre together with CCA – Centre for Contemporary Art, Tel Aviv is pleased to present “Stumbling Through the Uncanny Valley: Sculpture and Self in the Age of Computer Generated Imagery”, a group exhibition spanning the entire building of CCA, Tel Aviv, including contributions by Cory Arcangel, Aleksandra Domanović, Carmi Dror, Adi Fluman, Santa France, Nimrod Gershuni, Nir Harel, Jakub Jansa and Karolína Juříková, Haviv Kaptzon, Ronnie Karfiol, Christopher Kulendran Thomas, Daniel Landau in collaboration with Maya Magnat, Oliver Laric, Alicia Mersy, nabbteeri, Katja Novitskova, Pakui Hardware, Eva Papamargariti, Ruth Patir, Andrea Pekárková, Heather Phillipson, Seth Price, Jon Rafman, Elinor Salomon, Jacolby Satterwhite, Miri Segal, Timur Si-Qin, Jasmin Vardi, Andrew Norman Wilson, and Lu Yang.
The starting point of the exhibition is the fact that today we spend so much time looking at screens that show us images created by computers rather than cameras or humans. This new aesthetic filters through our daily lives and gives form to a new mode of visual representation. Following thesepremises, the exhibition examines the boundaries of this phenomenon through the work of 30 pioneering artists from around the globe. Furthermore, the exhibition title refers to the term “The uncanny valley,” that was coined in the 1970s to describe the unsettling feeling when androids (humanoid robots) or audio / visual representations of people closely resemble humans, but are not fully realistic or convincing. This dissonance is found today in computer-generated imagery (CGI) that now form our visual world and artists today are responding to and deconstructing the resultant visual landscape.
The exhibition is conceived as a major spotlight on this medium shift, drawing inspiration for the stream of “Post-Internet Art.” “Post-Internet” does not mean a world after the Internet, but rather work being made in a widely networked world and focusing on the visual culture that is its byproduct, a culture that has become more and more globalized and connected, bringing together artists from different regions of the world, from Asia to Central Europe, from the Middle East to Baltic Countries. These artists are not only producing art with new tools, they are looking deeply at a new world order in which synthetic images make up a large part of what we take in. In this world, mediated by technology, the physical and the virtual merge, and the Internet complicates how the self and the other meet.
“Stumbling Through the Uncanny Valley: Sculpture and Self in the Age of Computer Generated Imagery” is curated by Chen Tamir and is accompanied by a public program including roundtables, performances, and curator’s tours. Full information about the public program can be found here.
A new iteration of this project will be held at Kim? Contemporary Art Centre in Riga under the title “For a Nervous Spirit on a Dance Floor (Faktura in the Age of Post Optical.)” The exhibition will be presented in 2020 and will be curated by Zane Onckule.
Supported by: Michelle Pollak, the Ostrovsky Family Fund (OFF), ifa –Institut für Auslandsbeziehungen and Taboola; additional support has been provided by Ministry of Culture of the Republic of Latvia, the State Culture Capital Foundation, Riga City Council, Gil Brandes, the Nathan Cummings Foundation, the Lithuanian Culture Institute, Bundeskanzleramt – the Arts and Culture Division of the Federal Chancel lery of Austria, the Yehoshua Rabinovich Foundat ion for the Arts, Tel Aviv, the Czech Center in Tel Aviv and Smartwings.
THE ESTATE SUMMER
Opening: Saturday, August 3, 4-8pm
Dates: August 4 – September 30, 2019
Venue: Between Kuiķule and Lauvas (Salacgrīvas lauku teritorija, 4054 Latvia)
GPS: 57.729323, 24.535533
Curated by Zane Onckule
Eriks Apalais, Tristan Bera, Gerry Bibby, Drew Kahu’āina Broderick, Stefan Burger, Merlin Carpenter, Nicolas Ceccaldi, Vija Celmins, Jay Chung & Q Takeki Maeda, David Douard, Ramon Feller, Ffixxed Studios, Gina Folly, Oleg Frolov, Ryan Gander, Liam Gillick, Edgars Gluhovs, Dominique Gonzalez-Foerster, Guerilla Girls, Karl Holmqvist, Daniel Horn, Morag Keil, Emil Michael Klein, Ilya Lipkin, Fred Lonidier, Miltos Manetas, MAY, Daria Melnikova, Daniele Milvio, Jonathan Monk, Sveta Mordvskaya, Carter Mule, Kärt Ojavee, Josephine Pryde, Cinzia Ruggeri, Hinrich Sachs, Cindy Shermann, Nolan Simon, Mike E. Smith, Sarah Staton, Rikrit Tiravanija, Lucas Uhlmann, Miriam Visaczki, Danh Vo, Marie-Pascale Wellinger, Pedro Wirz, Seyoung Yoon, Artur Zmijewski.
What if an art collector—or in more modest terms, a person interested in art who from time to time also happened to purchase, exchange, and receive art works as gifts—spent summers in rural Latvia? What would that house—let’s play it grand—that Estate look like? Of what would it be reminiscent of? Would the house pay homage to the shabby chic of Anna Karenina, or the Eurodesign that dominated 1990s interiors? Would it lean towards the Soviet-esque, or stick with a pre-revolution, Baltic-German style?
THE ESTATE’s SUMMER takes place in an abandoned Latvian summerhouse and imagines a fictional art collector who (could have) lived in a remote place such as this. Different artworks, ephemera, and leftovers from artistic productions join everyday utensils in creating a portrait that engages the entire house. Looking at the displayed artworks, it becomes clear that the collection or taste of this Collector is far from blue chip, where “signature style” and “key works” prevail. It is instead inclusive of many by-products and leftovers. Smaller, earlier works provide an image of a rather eclectic but engaged collection, in which the artworks form part of what could be described as a “conversation piece”, to quote the eponymous 18th-Century English portraiture style and Luchino Visconti film (1974).
THE ESTATE’s SUMMER opens on August 3 and remains open by appointment throughout September.
For inquiries please call +371 29600916.
SAVE THE DATE
THE ESTATE / AUTUMN
Opening: Wednesday, October 16, 6pm
Dates: October 17 – December 1, 2019
Venue: Kim? Contemporary Art Centre, Riga
For its second chapter AUTUMN, THE ESTATE travels to the exhibition space of Kim? Contemporary Art Centre in Riga. Unlike the leisurely summerhouse gathering with its grand inaugural dinner, champagne and cigarettes; where conversation and gossip thrived amongst the intimacy of the endless nights, THE ESTATE at Kim? paints a darker picture, the one focused instead on the politics of the guest list. Like any collection (be it a collection of artworks, objects or a grouping of people) AUTUMN is based on exclusion. Nothing can be included without the exclusion of something else. Deaccessioning.
The exhibition space will be lacquered in black paint, celebrating the black box theatre and encouraging a movement of the exhibition visitors onto the stage. Pieces of art and furniture from the summerhouse itself will then be placed within the exhibition space. The rest of the scenery exists merely as a white painted outline, a floor plan of sorts. The ground is scattered with labels, for example, the outlined gooseberry bush is accompanied by the words “Gooseberry Bushes”, in evocation of Lars von Trier’s Dogville (2003).
Supported by: Ministry of Culture, State Culture Capital Foundation, Riga City Council, Swiss Arts Council Pro Helvetia, Engelshus, Kokmuižas alus.
The Latvian Pavilion 2019 will present a new site-specific installation by the artist Daiga Grantiņa, titled Saules Suns the exhibition is jointly curated by Inga Lāce and Valentinas Klimašauskas.
In her practice, Daiga Grantiņa uses a wide range of everyday materials, from the synthetic to the organic, often inverting and trespassing beyond the limits of their traditional uses, creating associative formations that direct the view in manifold ways both secluding and revealing.
The source of inspiration for the installation is the notion of light and simultaneity. Saules Suns is a multi-centred landscape that unfolds around several suns, several sources of light traversing manifold materials and shapes. As if the scene of some cosmological dawn, it opens itself up as a site and moment for the generation of possibilities. Our sense of these possibilities is strengthened by the multitude of potential paths and perspectives through the installation.
She bends metal into spirals, casts light into shadow, fluffs cotton into fuchsia purple blossoms. However, the piece is not about the materials themselves, but with the help of these elements something is expressed. Through her own unique manner of expression, her language, the artist communicates and shapes the world offering alternatives to the current state of affairs. This gains magnitude in an environment of heightened populism and fake news, when the verbal means of communication tend to fail. It reminds of arts’ fundamental characteristic – to search for an alternative language beyond words, stories and it is especially important in this moment and, of course, in the context of the Biennale.
The curators of the Latvian Pavilion, Valentinas Klimašauskas and Inga Lāce, are excited to work with Daiga Grantina, an artist they admire for her ability to combine materials in unexpected ways. By bringing together the synthetic and the organic in arrangements reminiscent of life forms and molecular structures, she develops sculptural installations that read like three-dimensional scores for imagined vibrational patterns.
The project team is composed of commissioners Zane Čulkstēna and Solvita Krese, curators Inga Lāce and Valentinas Klimašauskas, architect Dagnija Smilga (ĒTER), graphic designer Toan Vu-huu (Baldinger Vu-Huu Studio), deputy commissioner Alexey Koshkin and coordinator in Venice Alessandro Zorzetto. Project is organized by Kim? Contemporary Art Centre and Latvian Centre for Contemporary Art.
Latvia has been participating in the International Art Exhibition since 1999. The organizers of the Latvian Pavilion 2019 would like to express their gratitude to the general supporters of the project, The Ministry of Culture of the Republic of Latvia, Jānis Zuzāns, SIA Alfor and Galerie Joseph Tang and to the supporters of the exhibition – Magnetic Latvia, Delfi, Arctic Paper, Krassky Interior Showroom, Magnum NT, Mousse and Pēteris Viņķelis.
In her solo exhibition, Līga Spunde focuses on the ruthlessness hidden behind forms of everyday communication and information exchange on the internet. She analyses “hate culture” not just online, but in various forms where users exchange chillingly inhuman texts, images and videos that can sometimes also turn into real, horrifying acts.
ANONYMOUS. You first tried to chat sometime around the beginning of the 2000s when the internet also appeared in your home. It was exciting and terrifying at the same time. It was an opportunity to try out various identities, ages, genders and roles. Growing up happened fast and digitally. It was an absolute twilight zone, simultaneously a land of opportunity and new information. Here your short-sightedness was compensated by the blindness of everyone else who was there. You soon started to get to know the darker sides of human nature, learning about different perversions, hate, and obscenities in their broadest form.
ZOMBIE. You met me at a very strange time in my life.
Līga Spunde often creates her work as multimedia installations in which personal stories are closely entwined with a consciously constructed fiction. In 2014 Spunde received the Ināra Tetereva art scholarship. She received her Master’s degree in Visual Communications from the Art Academy of Latvia with her diploma work Pārgājiens. This work was highlighted by the 2016 Startpoint Prize jury as one of the top three European art school degree projects. Spunde has participated in various exhibitions and art projects in Latvia and internationally: Melos (2019, Creative Art Space, Arsenāls, Riga), Champs- Élysées (2019, Gallery 427, Riga), Interlūdija in cooperation with Alvis Misjuns (elephant stables of the Riga Circus, KVADRIFONS, Riga), Screen Age I: Self-Portrait (2018, Riga Photography Biennial, RMT, Riga), NNN (2917, LNMM, Riga), Free French Fries (2017, Gallery Komplot, Belgium), Disappearance is a trick (2016, Fotopub Festival, Slovenia).
At the centre of the exhibition Close Your Eyes and Smile* is an exploration of the correlation between individual and group responsibility. It looks at the structure of game shows and similarities between how these and national and international elections are organised whilst upholding the contemporary myth of luck alive. At her exhibition Liene Pavlovska changes the function and use of the Kim? space making it part of a performative space where staged gestures interact with visitors’ viewpoints.
* The artist has borrowed the title for her exhibition from Jānis Poruks’ poetry, and Jāzeps Vitols’ musical composition.
Liene Pavlovska was born in Latvia in 1987. She is an artist and set designer whose creative work is centred on studying individual and group responsibility in a socio-political context. She also explores the relationship between actor and viewer. Pavlovska is interested in using theatrical modes of expression and the experience of catharsis in the context of visual art. She received her Master’s degree in Scenography from the Art Academy of Latvia, and from the Sandberg Institute in Amsterdam where she studied in the department Studio for Immediate Spaces.
‘Zeno’s third paradox was about an arrow in flight. But, seeing as it stands still in any one instant of time, it remains motionless. The arrow flies forward, but does not move. It pierces the heart, and from this poems are born.’ So said Vladimir Gandelsman. This piece has arisen from multiple arrows that have pierced us. The arrow of Rīgas Laiks. The arrow of Wagner. The arrow of Auznieks. And all the other conscious and unconscious arrows of life.
ZRwhdZ is like a formula. It is like the golden ratio through which you can approach perfection in live art. Deciphering the abbreviation you get the phrase “Zum Raum hier wird die Zeit” (“Here, time becomes space”) from the libretto of Richard Wagner’s last opera Parsifal. Time and space become the frame, the legs on which the scenography moves.
A few years ago on a trip, we got a pocket-sized musical box which can fit into the palm of a hand. But a person can also fit into the music box. Something can come into existence in the space between contradiction and ambivalence, which contains childishness and its loss, or its retrieval. Art poses questions, because in creating art you have to discover the world anew.
Please, enter the exit!
Krista and Reinis Dzudzilo
Krista Dzudzilo and Reinis Dzudzilo are a married, creative tandem that work in visual art, theatre and opera. The artists use scenography in their visual art projects, such as an intense dramaturgy of space, and an active collaboration with the viewer, whereas in theatre the spaces and costumes they create carry a deeply symbolic meaning, often becoming works of art in their own right. Both have received recognition for their work, including at the Latvian Theatre Awards Spēļmaņu nakts, and at the Annual Latvian Design Awards. Krista has been nominated for the Purvītis Award for her video installation Skaidrība. In 2017 they created their first solo performance Patētiskā. Par redzamo valodu at the International Festival of Contemporary Theatre Homo Novus. In 2019 the couple represented Latvia at the Prague Quadrennial of Performance Design and Space where they also received an award.
Concept creators and artists: Krista and Reinis Dzudzilo
Composer: Krists Auznieks
Instrument expert: Aleksandrs Maijers in collaboration with Jānis Liniņš and Kaspars Putriņs
Curator: Gundega Laiviņa
Technical assistance: Dekorāciju Darbnīca, Ivars Ozols
Producers: Sandra Lapkovska, Klinta Harju, New Theatre Institute of Latvia
Producers for the Riga exhibition: Dzudzilo and Kim?
Showing the exhibition in Riga would not have been possible without believing in art, without Baiba Bože, without the ever-questioning Kim? And without the friendship of Putnadēli. We also wish to thank Sigvards Kļava, who brought us to Aleksandrs Maijers.
ZRwhdZ was shown at this year’s Prague Quadrennial of Performance Design and Space where artists Krista and Reinis Dzudzilo represented Latvia, and won Best Curatorial Concept of an Exhibit.
Culture Capital Foundation of Latvia, Ministry of Culture of the Republic of Latvia, Sporta2.