{"id":1513,"date":"2018-03-19T05:56:25","date_gmt":"2018-03-19T03:56:25","guid":{"rendered":"http:\/\/dev.kim.lv\/?p=1513"},"modified":"2018-04-28T00:12:28","modified_gmt":"2018-04-27T21:12:28","slug":"evita-vasiljeva-gut-house-print-level","status":"publish","type":"post","link":"https:\/\/kim.lv\/en\/evita-vasiljeva-gut-house-print-level\/","title":{"rendered":"Evita Vasi\u013cjeva “Gut House on the Print Level”"},"content":{"rendered":"The Amsterdam-based Latvian artist\u2019s Evita Vasi\u013cjeva\u2019s solo-exhibition Gut House on the Print Level<\/em> comprises robust and fragile, seemingly moving, sculptures that have been carried over from the studio to the exhibition space, among them information disseminating devices cast in plaster, large scale prints, metal wickerwork article and pieces inspired by car interior rubber floor mats.<\/p>\n

Conversation in a temporary studio<\/p>\n

 <\/p>\n

October 3rd, 2016<\/p>\n

 <\/p>\n

Epicurus: The atoms are in continual motion through all eternity. Some of them rebound\u00a0to a considerable distance from each other, while others merely oscillate in one place\u00a0when they chance to have got entangled or to be enclosed by a mass of other atoms\u00a0shaped for entangling. This is because each atom is separated from the rest by void, which\u00a0is incapable of o ering any resistance to the rebound; while it is the solidity of the atom\u00a0which makes it rebound aer a collision, however short the distance to which it rebounds,\u00a0when it nds itself imprisoned in a mass of entangling atoms.<\/p>\n

 <\/p>\n

Zane Onckule: One part of the exhibition title is Gut House on the Print Level<\/em>. “Print” in this\u00a0case, may denote both press publications or press, as in “to press”, if we mean well, then\u00a0also the abdominal press, referring to anatomy, which is interesting as internal organs\u00a0regularly appear in your work. If we are of the same mind regarding bodily presence, what\u00a0spacetime are we talking about? Are these relics of the past or apocalypse-experienced\u00a0canisters, some post-human monuments?<\/p>\n

 <\/p>\n

Robert Smithson: The works of many of these artists celebrate what… the physicist calls\u00a0“entropy” or “energy-drain”. They bring to mind the Ice Age rather than Golden Age, and\u00a0would most likely conrm Vladimir Nabokov’s observation that, “the future is but the\u00a0obsolete in reverse.”<\/p>\n

 <\/p>\n

Evita Vasijeva: Works between the past and possible future. The uncertainty of time is\u00a0furthered by the roughness of the sculptures, this sensitive brutalism.<\/p>\n

 <\/p>\n<\/span>Z. O.: And over this robust, exposed body colour is applied like make-up on a rarely\u00a0groomed face. This choice seems very tting \u2013 oen gentle pastel tones. Is their aim to\u00a0soen the overall impression, or to distract from something?<\/p>\n

 <\/p>\n

E. V.: The colour choice and usage di ers. Sometimes, I use it to emphasize that a decision\u00a0is le halfway. Then I paint the works only partially, to indicate that I have doubts and that\u00a0I openly embrace them. For example, I paint a piece halfway pink. I try to include the\u00a0feelings that arise during the working process, and instinctively utilize them further in the\u00a0material.<\/p>\n

 <\/p>\n<\/span>Z. O.: You partake in the creation of your work from start to nish; there is almost no\u00a0division of labour. Working clothes, dirty hands, time spent in the studio. Do you consider\u00a0the economic or political gesture of making work in such a way? With today\u2019s post-studio,\u00a0computer oriented condition, such a question is not out of place.<\/p>\n

 <\/p>\n

E. V.: Yes, I\u2019m a serious proletariat \u2013 I weld and corrugate…<\/p>\n

 <\/p>\n<\/span>Kafka: These were tasks that might well have been le to a mechanic, but the officer\u00a0performed them with great zeal, whether because he was a devoted admirer of the\u00a0apparatus or because of other reasons the work could be entrusted to no one else.<\/p>\n

 <\/p>\n

E. V.: …I have to be in the space, I have to look at the wall, have to at least drink that coffee,\u00a0as I don\u2019t smoke anymore. The work comes from some inner state, from the state that I am\u00a0in during the day, on the street, that which I have an aspiration to comprehend. Currently,\u00a0and with this exhibition, I have an interest in understanding the inability to pass on\u00a0information. And thus my thoughts, and in the case of this exhibition, also the production\u00a0of the work itself, is assisted by a printer. Its purpose is to copy something, to pass it on,\u00a0but in my case the work also somehow reproduces itself. A viewer receives something, but\u00a0not in a textual format.<\/p>\n

 <\/p>\n<\/span>Janis Taurens: Yet, this way of working (production) also holds political signicance.\u00a0Therefore the artist, according to Western Marxist theory, is the producer, and thus we can\u00a0discuss the various types of production and ideologies (general, aesthetic, of the author)\u00a0what inuences him. At the beginning, Donald Judd created his own “boxes” or together\u00a0with his father, aerwards a workforce produced his work, and later components were\u00a0ordered from a factory in Switzerland.<\/p>\n

 <\/p>\n

E. V.: Whenever I order some component, I like to be present\u2026 if I see that something is\u00a0becoming too systematic, I say\u2026 no, and we stop halfway.<\/p>\n

 <\/p>\n<\/span>Z. O.: Such an intuitive critique of the system.<\/p>\n

 <\/p>\n

E.V.: Yes, perhaps.<\/p>\n

 <\/p>\n<\/span>J. T.: That, which can be bought, is immediately a commodity. Today, evidently conceptual\u00a0criticism of consumerism of the 60s-70s is also being sold. (And the critique of this\u00a0criticism states that conceptual art was easier to be sold, for instance, Seth Siegelaub\u2019s\u00a0exhibition Xerox Book only existed in the format of a catalogue. It\u2019s cheaper that way.)<\/p>\n<\/span>Z. O.: In the context of this region, we have always imagined the art market as the master\u00a0of the game, more than actually experienced it, or fully grasped its inuence and power;\u00a0given that the rapid transition and mastering of market laws never took place in the early\u00a090s.<\/p>\n

 <\/p>\n

 <\/p>\n

Evita Vasi\u013cjeva<\/span> (born in 1985) is a Netherlands-based Latvian artist. Graduated from the Fine Arts program at the Amsterdam Gerrit Rietveld Academie (in 2012), worked at the artist residency De Ateliers<\/em> (2014-2016), Amsterdam. Latest solo-exhibitions: Nothing Lost, Nothing Found<\/em>, Gallery 427, Riga (2016);\u00a0Form X<\/em>, V240, Amsterdam (2016) and Parallel to Vertical,\u00a0<\/em>Kim? Contemporary Arts Centre, Riga (2013); group exhibitions: Potlach, De Ateliers <\/em>graduate exhibition, Amsterdam (2016);\u00a0A Bigger Peace, a Smaller Peace<\/em>, the Latvian Museum of Railway History in Riga (2015); Lily\u2019s Pool<\/em>, Art in General, New York (2015), New Participants, De Ateliers<\/em>, Amsterdam (2014), Aspen-Kemmern,\u00a0<\/em>Kim? Contemporary Art Centre, Riga (2014); Vortex<\/em>, Project Space Garage, Moscow (2014), NF Presents: from A to Be to SEE to D,\u00a0<\/em>Kim? Contemporary Art Centre, Riga (2014), Monograms<\/em>, Vita Kuben Gallery, Ume\u00e5 (2014); Indian Summer<\/em>, Gallery Fons Welters, Amsterdam (2013).","protected":false},"excerpt":{"rendered":"

The Amsterdam-based Latvian artist\u2019s Evita Vasi\u013cjeva\u2019s solo-exhibition Gut House on the Print Level comprises robust and fragile, seemingly moving, sculptures that have been carried over from the studio to the exhibition space, among them information disseminating devices cast in plaster, large scale prints, metal wickerwork article and pieces inspired by car interior rubber floor mats. […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[7,4,26],"tags":[],"class_list":["post-1513","post","type-post","status-publish","format-standard","hentry","category-2016-exhibitions","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"\nEvita Vasi\u013cjeva "Gut House on the Print Level" - Kim? 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