Participants: Patrik Aarnivaara (SE), Kasper Akh\u00f8j (DK), Christian Andersson (SE), \u0112riks Apa\u013cais (LV), Zenta Dzividzinska (LV), Elsebeth J\u00f8rgensen (DK), Flo Kasearu (EE), Cato L\u00f8land (NO), Julija Reklait\u0117 (LT), Anngjerd Rustand (NO), Shirin Sabahi (DK\/IR), O\u013ca Vasi\u013cjeva (LV\/NL), Iliana Veinberga un Ain\u0101rs Kamoli\u0146\u0161 (LV).<\/p>\n
<\/p>\n
Curated by: Maija Rudovska<\/p>\n
<\/p>\n
Whether it be a question of vestiges or the body of another person, we need to know how an object in space can become the eloquent relic of an existence; how, conversely, an intention, a thought or a project can detach themselves from the personal subject and become visible out- side him in the shape of his body, and in the environment which he builds for himself.<\/em><\/p>\n <\/p>\n Maurice Merleau-Ponty (2002)\u00a0Phenomenology of Perception, translated by Colin Smith, Routledge Classics, p. 406.<\/p>\n <\/p>\n The\u00a0Inside and Out<\/em>\u00a0started as a study of space and spatial structures, their relations, which are constituted by the historically and socially constructed assumptions, such as oppositions “center – periphery”, “global – local”, “outside – inside”, “real – imaginary “, etc. Here space is addressed as an abstract entity that is not yet structured and defined, as something we call into question and only imagine. This is a potential space – a third space, which spatially forms border cases it represents, granting certain tangibility to the interspace where the hybrid emerges and originate all of its meanings.<\/p>\n<\/span>Within the spatial choreography of this exhibition\u00a0Iliana Veinberga,\u00a0Ain\u0101rs Kamoli\u0146\u0161,\u00a0and\u00a0Elsebeth J\u00f8rgensen\u00a0explore the archives and employ the material for spatial construction of memories, working with social assumptions about the history, people, values, etc.\u00a0Christian Andersson\u00a0speculates about probable events, unknown possibilities and hidden findings, leaving open the possibility that the known is the not-yet-discovered. The work by\u00a0Anngjerd Rustand\u00a0evokes a spatial inversion: a novel by Joseph Conrad \u2013\u00a0Heart of Darkness<\/em>\u00a0(1899) \u2013 is being read from the end to the beginning. To the creation of interspace contributes also\u00a0Flo Kasearu\u2019s\u00a0video work about an Estonian girl in Texas who virtually constructs her identity via You Tube videos, implementing and experiencing her desires, while at any time precisely defining her audience and dwelling into sentimental reflections about the feeling of beingat home.<\/p>\n<\/span>O\u013ca Vasi\u013cjeva\u00a0and\u00a0Cato L\u00f8land\u00a0use socially and historically constructed artefacts, found objects and things as instruments to revise existent and create new meanings. O\u013ca\u2019s Vasi\u013cjeva\u2019s installation\u00a0Komplekts<\/em>\u00a0draws its inspiration from once-prominent brand of Latvian textile industry \u2013\u00a0Ogres trikot\u0101\u017ea<\/em>\u00a0\u2013 and emphasizes that the anonymous artisan\u2019s work remains peripheral relative to the hegemonising nature of artist\u2019s work.<\/p>\n<\/span>Shirin Sabahi\u00a0and\u00a0Kasper Akh\u00f8j\u00a0explore the architecture of a particular place, through the image and narrative posing a question: where is the boundary between documentation and fiction, between telling tales and stating facts?\u00a0Patrik Aarnivaara\u00a0in turn fuses static geometrical shapes with principles of narrative and interprets these combinations as diagrams of sequences of events and causes, treating them as cinematic effects. The principle of elements of relations and forms as an essential linguistic component in creation of certain kind of universe characterises also the work of \u00a0\u0112riks Apa\u013cais, while\u00a0Zenta\u2019s Dzividzinska\u2019s\u00a0Kontaktu burtn\u012bca\u00a0 (1) (Contact copybook)<\/em>\u00a0\u2013 a succession of photographic negative frames from 1965 \u2013 generates a peculiar effect of a stream of consciousness rendered through images, and, in spite of its subjective and poetic nature, it provides the only chance to grasp memories and, in some sense, to document history.<\/p>\n <\/p>\n Artists\u00a0Krists Pudz\u0113ns,\u00a0Reinis Hofmanis\u00a0and art historian\u00a0Alise T\u012bfent\u0101le\u00a0have contributed to the display, design, as well as visual and narrative interpretation of the artworks;\u00a0J\u016blija Reklaite\u00a0is the author of exhibition\u2019s architecture.<\/p>\n <\/p>\n Collection of essays\u00a0Inside and Out<\/em>\u00a0brings together five authors \u2013\u00a0Patrik Aarnivaara, Alise T\u012bfent\u0101le, Iliana Veinberga, Ain\u0101rs Kamoli\u0146\u0161\u00a0and\u00a0Anngjerd Rustand; editors of the publication \u2013 curators\u00a0Maija Rudovska and Zane Onckule; layout design \u2013\u00a0OAOA group\u00a0(Ola Vasiljeva). Publication is supported by\u00a0Baltic Art Center<\/em>\u00a0(BAC) and\u00a0Paths Crossing Production Residencies<\/em>.","protected":false},"excerpt":{"rendered":" Participants: Patrik Aarnivaara (SE), Kasper Akh\u00f8j (DK), Christian Andersson (SE), \u0112riks Apa\u013cais (LV), Zenta Dzividzinska (LV), Elsebeth J\u00f8rgensen (DK), Flo Kasearu (EE), Cato L\u00f8land (NO), Julija Reklait\u0117 (LT), Anngjerd Rustand (NO), Shirin Sabahi (DK\/IR), O\u013ca Vasi\u013cjeva (LV\/NL), Iliana Veinberga un Ain\u0101rs Kamoli\u0146\u0161 (LV). Curated by: Maija Rudovska Whether it be a question of […]<\/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":[29,4,26],"tags":[],"class_list":["post-2341","post","type-post","status-publish","format-standard","hentry","category-29","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"\n