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saruna pagaidu studij\u0101*<\/p>\n
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3. oktobris, 2016<\/p>\n
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Epik\u016brs: Nedal\u0101mie \u0137erme\u0146i kustas nep\u0101rtraukti un m\u016b\u017e\u012bgi \u2013 vieni stipri att\u0101lin\u0101s cits no cita, bet citi turpina tr\u012bsu\u013cot vien\u0101 viet\u0101, kad tos aiztur sa\u0137er\u0161an\u0101s vai ar\u012b no \u0101rpuses ap\u0146em kop\u0101 sa\u0137\u0113ru\u0161ies nedal\u0101mie \u0137erme\u0146i. To savas \u012bpa\u0161\u0101s dabas d\u0113\u013c rada tuk\u0161ums, kas no\u0161\u0137ir nedal\u0101mos \u0137erme\u0146us citu no cita, jo nesp\u0113j tiem kalpot par atbalstu; savuk\u0101rt nedal\u0101majiem \u0137erme\u0146iem piem\u012bto\u0161ais stingrums sadursmes br\u012bd\u012b liek tiem citam no cita aiztr\u012bsu\u013cot tik t\u0101lu, cik t\u0101lu sa\u0137er\u0161an\u0101s p\u0113c sadursmes pie\u013cauj to atgrie\u0161anos iepriek\u0161\u0113j\u0101 st\u0101vokl\u012b.<\/p>\n
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Zane Onckule: Izst\u0101des nosaukuma viena puse ir Gut House on the Print Level.<\/em>\u00a0“Print<\/em>” \u0161eit var apz\u012bm\u0113t gan preses izdevumu vai presi no v\u0101rda “pres\u0113t”, ja labi gribam, tad ar\u012b v\u0113derpresi, nor\u0101dot uz anatomiju, kas ir interesanti, jo iek\u0161as regul\u0101ri par\u0101d\u0101s tavos darbos. Ja par \u0137erme\u0146a kl\u0101tb\u016btni varam b\u016bt vienispr\u0101tis, par k\u0101du laiktelpu \u0161eit ir runa? Vai tie ir pag\u0101tnes relikti vai k\u0101du apokalipsi p\u0101rdz\u012bvoju\u0161i konteineri, post-human pieminek\u013ci?<\/p>\n <\/p>\n Roberts Smitsons: Daudzu \u0161o m\u0101kslinieku darbos tiek cildin\u0101ts tas, ko zi\u0137i sauc par “entropiju” vai “ener\u0123ijas izs\u012bkumu”. Vi\u0146i dr\u012bz\u0101k liek aizdom\u0101ties par ledus laikmetu, nevis zelta laikmetu. Vi\u0146i, visticam\u0101k, apstiprin\u0101tu Vladimira Nabokova nov\u0113rojumu, ka “n\u0101kotne ir tikai otr\u0101di apgriezts pag\u0101ju\u0161ais”.<\/p>\n <\/p>\n Evita Vasi\u013cjeva: Darbi starp pag\u0101tni un iesp\u0113jamo n\u0101kotni. Laika nenoteikt\u012bbu t\u0101l\u0101k pastiprina skulpt\u016bru raupjums, t\u0101ds j\u016bt\u012bgs brut\u0101lisms (sensitive brutalism<\/em>).<\/p>\n <\/p>\n<\/span>Z. O.: Un p\u0101ri \u0161im robustajam, atsegtajam \u0137ermenim tiek kl\u0101ta kr\u0101sa k\u0101 kosm\u0113tika uz maz\u0101k koptas sejas. Kr\u0101su izv\u0113le \u0161\u0137iet \u013coti prec\u012bza, nereti maigi paste\u013cto\u0146i. Vai to m\u0113r\u0137is ir m\u012bkstin\u0101t kopiespaidu, nov\u0113rst uzman\u012bbu no kaut k\u0101?<\/p>\n <\/p>\n E. V.: Kr\u0101su izv\u0113le un izmantojums at\u0161\u0137iras. Citreiz, lai uzsv\u0113rtu, ka l\u0113mums ir atst\u0101ts pusce\u013c\u0101. Tad skulpt\u016bras nokr\u0101soju da\u013c\u0113ji, lai nor\u0101d\u012btu, ka \u0161aubos un atkl\u0101ti t\u0101s iek\u013cauju. Piem\u0113ram, darbu nokr\u0101soju l\u012bdz pusei roz\u0101. Saj\u016btas, kas rodas darba proces\u0101, m\u0113\u0123inu iek\u013caut un instinkt\u012bvi izmantot t\u0101l\u0101k materi\u0101l\u0101.<\/p>\n <\/p>\n<\/span>Z. O.: Savu darbu tap\u0161an\u0101 piedalies no s\u0101kuma l\u012bdz beig\u0101m, darba dal\u012b\u0161ana praktiski nenotiek. Darba dr\u0113bes, net\u012bras rokas, studij\u0101 pavad\u012btais laiks. Cik liel\u0101 m\u0113r\u0101 dom\u0101 par \u0161\u0101da darbu rad\u012b\u0161anas veida politisko vai ekonomisko \u017eestu? \u0160odienas post-studijas pie-datora situ\u0101cij\u0101 \u0161\u0101ds jaut\u0101jums \u0161\u0137iet viet\u0101.<\/p>\n <\/p>\n E. V.: J\u0101, es esmu rikt\u012bgs melnstr\u0101dnieks \u2013 metinu, loku..<\/p>\n <\/p>\n<\/span>Kafka: \u0160\u0101dus darbus paties\u012bb\u0101 var\u0113tu uztic\u0113t meh\u0101ni\u0137im, ta\u010du virsnieks izpild\u012bja tos ar lielu degsmi, vai nu b\u016bdams \u012bpa\u0161s \u0161\u012b apar\u0101ta piekrit\u0113js, vai ar\u012b t\u0101p\u0113c, ka \u0161o darbu k\u0101du \u012bpa\u0161u iemeslu d\u0113\u013c nevar\u0113ja uztic\u0113t nevienam citam.<\/p>\n <\/p>\n E. V.: Man j\u0101b\u016bt telp\u0101, j\u0101skat\u0101s uz sienu, j\u0101dzer vismaz ka ja, jo sm\u0113\u0137\u0113t es vairs nesm\u0113\u0137\u0113ju. Darbi n\u0101k no kaut k\u0101da iek\u0161\u0113j\u0101 st\u0101vok\u013ca, no t\u0101 mana st\u0101vok\u013ca, kas ir apk\u0101rt pa dienu, uz ielas, no visa t\u0101, ko man ir v\u0113lme izprast. Mani interes\u0113 saprast nesp\u0113ju nodot t\u0101l\u0101k inform\u0101ciju. T\u0101d\u0113\u013c man domas un, \u0161\u012bs izst\u0101des gad\u012bjum\u0101, ar\u012b pa\u0161us darbus pal\u012bdz ra\u017eot printeris. Tas dom\u0101ts, lai kaut ko nokop\u0113tu, padotu t\u0101l\u0101k, bet man\u0101 gad\u012bjum\u0101 tas kaut k\u0101 sevi atra\u017eo. Skat\u012bt\u0101js kaut ko sa\u0146em, bet ne tekstu\u0101l\u0101 form\u0101.<\/p>\n <\/p>\n<\/span>J\u0101nis Taurens: Tom\u0113r \u0161\u0101dam str\u0101d\u0101\u0161anas (ra\u017eo\u0161anas) veidam ir ar\u012b politiska noz\u012bme. T\u0101p\u0113c ar\u012b Rietumu marksisma teorij\u0101 m\u0101kslinieks ir ra\u017eot\u0101js, un tad var run\u0101t pat da\u017e\u0101diem ra\u017eo\u0161anas veidiem un ideolo\u0123ij\u0101m (visp\u0101r\u0113jo, est\u0113tisko, autora), kas to ietekm\u0113. K\u0101 m\u0113s redzam, Donalds D\u017eads s\u0101kum\u0101 savas “kastes” darin\u0101ja pats un kop\u0101 ar t\u0113vu, tad vi\u0146a darbus izgatavoja str\u0101dnieki, v\u0113l\u0101k deta\u013cas tika pas\u016bt\u012btas k\u0101d\u0101 \u0160veices r\u016bpn\u012bc\u0101.<\/p>\n <\/p>\n E. V.: Ja es ar\u012b pas\u016btu k\u0101das deta\u013cas, tad vienm\u0113r gribu b\u016bt kl\u0101t. Ja redzu, ka tur kaut kas paliek p\u0101r\u0101k sistem\u0101tisks, saku \u2013 n\u0113, apst\u0101jamies pusce\u013c\u0101.<\/p>\n <\/p>\n<\/span>Z. O.: T\u0101da intuit\u012bva sist\u0113mas kritika.<\/p>\n <\/p>\n E. V.: J\u0101, varb\u016bt.<\/p>\n <\/p>\n<\/span>J. T.: Tas, ko var nopirkt, uzreiz ir prece. Bet ko nevar nopirkt? M\u0113s redzam, ka ar\u012b 60.\u201370. gadu konceptu\u0101lisma pat\u0113rniec\u012bbas kritika tiek p\u0101rdota. (Un \u0161\u012bs kritikas kritika apgalvo, ka konceptu\u0101lo m\u0101kslu pat bija viegl\u0101k p\u0101rdot, piem\u0113ram, Seta S\u012bgeloba izst\u0101de “Kseroksa gr\u0101mata” past\u0101v\u0113ja tikai kataloga form\u0101t\u0101. San\u0101k l\u0113t\u0101k.)<\/p>\n <\/p>\n<\/span>Z. O.: M\u0101kslas tirgu k\u0101 sp\u0113les noteic\u0113ju \u0161\u012b re\u0123iona ietvaros, \u0161\u0137iet, vienm\u0113r esam vair\u0101k izt\u0113loju\u0161ies, nevis pieredz\u0113ju\u0161i vai l\u012bdz galam sapratu\u0161i t\u0101 iedarb\u012bbu un varu, jo strauj\u0101 p\u0101reja un tirgus likumu apg\u016b\u0161ana 90. gadu s\u0101kum\u0101 t\u0101 ar\u012b nenotika.<\/p>\n <\/p>\n E. V.: Vienm\u0113r visu taisu vai nu p\u0101r\u0101k lielu, p\u0101r\u0101k pl\u012bsto\u0161u vai haotisku. Maz\u0101kiem darbiem, tiem nedaudzajiem, kurus var aiznest m\u0101j\u0101s, interesenti gan m\u0113dz pieteikties. Kad str\u0101d\u0101ju pie datora, m\u0113\u0123inu apzin\u0101ti izvair\u012bties no l\u0113mumu pie\u0146em\u0161anas, kas attiecas uz darbu veido\u0161anu. Izvairos no att\u0101lin\u0101t\u0101m izv\u0113l\u0113m, domu lik\u0161anas uz saviem darbiem. Man vislab\u0101k san\u0101k, kad esmu sav\u0101 studijas vai topo\u0161\u0101s izst\u0101des telp\u0101, \u0123ip\u0161a tuvum\u0101, lai pie izv\u0113les non\u0101ktu caur pirkstiem. Nevis apzin\u0101ti, ar m\u0113r\u0137tiec\u012bgu dom\u0101\u0161anu. L\u012bdz\u012bgas attiec\u012bbas man ir ar valodu. Augu jauktaj\u0101 latvie\u0161u krievu \u0123imen\u0113. Galvenais akcents bija uz to, lai uztvertu un saprastu \u2013 t\u0101da \u013coti taust\u0101ma un tie\u0161a pieeja valodai.<\/p>\n <\/p>\n<\/span>Z. O.: Paturpinot par iepriek\u0161 run\u0101to \u2013 t\u0101 viet\u0101, lai sap\u0146otu vai spekul\u0113tu tirgus virzien\u0101, daudz aizraujo\u0161\u0101k ir aizdom\u0101ties par situ\u0101ciju, k\u0101d\u0101 atrodamies patlaban. Boris Groiss k\u0101d\u0101 nesen\u0101 rakst\u0101 \u017eurn\u0101lam Frieze<\/em>\u00a0raksta par p\u0113k\u0161\u0146o radik\u0101lisma uzplaukuma vilni Austrumeirop\u0101 un Rietumeirop\u0101 un k\u0101 tas rada t\u0101du spriedzes fonu, kas liek m\u0101ksliniekiem pat negribot ie\u0146emt noteiktas politiskas izv\u0113les. \u0160\u012b situ\u0101cija Austrumeirop\u0101 ir v\u0113sturiski paz\u012bstama \u2013 padomju re\u017e\u012bma laik\u0101 m\u0101kslinieki \u0161\u0101di funkcion\u0113ja vair\u0101ku dek\u0101\u017eu garum\u0101, l\u012bdz ar to “m\u016bsu” kop\u012bg\u0101 pieredze \u0161aj\u0101 jaut\u0101jum\u0101 p\u0113k\u0161\u0146i m\u016bs var padar\u012bt par pieredz\u0113ju\u0161iem, viedok\u013cu bag\u0101tiem.<\/p>\n <\/p>\n<\/span>Vitgen\u0161teins: M\u0113s varam b\u016bt sliec\u012bgi izteikties ar\u012b \u0161\u0101d\u0101 veid\u0101: m\u0113s, iesp\u0113jams, esam psiholo\u0123iska, nevis lo\u0123iska spiediena var\u0101. Un patlaban izskat\u0101s glu\u017ei t\u0101, it k\u0101 mums b\u016btu zin\u0101mi divu veidu gad\u012bjumi.<\/p>\n <\/p>\n E. V.: K\u0101ds piemin\u0113ja v\u0101rdu “psiholo\u0123ija”, par to es ar\u012b daudz dom\u0101ju; par kaut k\u0101du psiholo\u0123isko st\u0101vokli, kur\u0101 form\u0113jas izv\u0113les un t\u0101s tiek pie\u0146emtas. Piem\u0113ram, vien\u0101 dien\u0101 savu objektu varu izlemt uzskat\u012bt par pabeigtu \u0101tr\u0101k vai v\u0113l\u0101k, nek\u0101 tas b\u016btu k\u0101d\u0101 cit\u0101 dien\u0101.<\/p>\n <\/p>\n<\/span>Z. O.: Mums fon\u0101 ir r\u016bko\u0146a, un t\u0101 atg\u0101dina zob\u0101rsta lielo urbi. K\u0101d\u0101 no dien\u0101m par to tika veikta izv\u0113le?<\/p>\n <\/p>\n E. V.:\u00a0T\u0101 ir tr\u012bse. Es citreiz to pievienoju objektiem, ar\u012b \u0161eit. T\u0101 ir mana kond\u012bcija.<\/p>\n <\/p>\n<\/span>J. T.: T\u0101da tot\u0101la anest\u0113zija.<\/p>\n <\/p>\n E. V.: J\u0101, ar\u012b k\u0101das tuk\u0161as vitr\u012bnas, ledusskapji. Man regul\u0101ri prasa \u2013 ko \u0161is dara; vai tas uzp\u016bt\u012bsies vai k\u0101 cit\u0101di? Man pat\u012bk, ka funkcija ir abstrakta, nav nolas\u0101ma. Bet cilv\u0113ki m\u0113dz satraukties.<\/p>\n <\/p>\n<\/span>Z. O.: Tie\u0161i \u0161\u012b nelietder\u012bbas, m\u0101n\u012bg\u0101 un neskaidr\u0101 noz\u012bme pal\u012bdz visai kopainai, p\u0101r\u0113jam \u0101rpusfunkcijas korim, ko kop\u012bgi veido skulpt\u016bras. Bet nedaudz kaitino\u0161i tas ir, iesp\u0113jams, t\u0101d\u0113\u013c, ka nezini, ko gaid\u012bt. Iesp\u0113jams, p\u0113k\u0161\u0146i kaut ko izdal\u012bs, k\u0101du za\u013cu kr\u0101su varb\u016bt.<\/p>\n <\/p>\n<\/span>J. T.: Un tas ir ar\u012b meh\u0101nisks, v\u012bri\u0161\u0137s.<\/p>\n <\/p>\n E. V.: Man ir viens darbs betona atl\u0113jum\u0101, kas atg\u0101dina vilni jeb t\u0101du k\u0101 burtu ar nepabeigtu met\u0101la karkasu aug\u0161pus\u0113. L\u012bdzin\u0101s k\u0101dam Kaspara D\u0101vida Fr\u012bdriha darbam, p\u0101rsteidzo\u0161i industri\u0101lam…<\/p>\n <\/p>\n<\/span>J. T.: Tagad ar\u012b uz industri\u0101laj\u0101m drup\u0101m m\u0113s s\u0101kam skat\u012bties ar t\u0101du k\u0101 romantiz\u0113tu skatu…<\/p>\n <\/p>\n E. V.: Interesanti, jo man vair\u0101ki cilv\u0113ki ir teiku\u0161i, ka esmu romantisks m\u0101kslinieks. Liekas, ka t\u0101 ir. Izmantoju klasiskus t\u0113lniec\u012bbas principus \u2013 formas uzb\u016bve, anatomija, masa, l\u012bnija, kr\u0101sa, gaism\u0113na \u2013, ar\u012b materi\u0101lus \u2013 \u0123ipsis, cements.<\/p>\n <\/p>\n<\/span>J. T.: Agr\u012bnais romantisms run\u0101 par fragmentu, kas ir aktu\u0101ls ar\u012b m\u016bsdienu m\u0101ksl\u0101. Tai zi\u0146\u0101 romantisms ir kl\u0101teso\u0161s. P\u012bters Osborns pat sal\u012bdzina Sola Levita “Teikumus par konceptu\u0101lo m\u0101kslu” ar agr\u012bn\u0101 J\u0113nas romantisma manifestu \u2013 Fr\u012bdriha \u0160l\u0113ge\u013ca “Fragmentiem”, kas public\u0113ti \u017eurn\u0101l\u0101 “Athen\u00e4um”. Radik\u0101ls sal\u012bdzin\u0101jums.<\/p>\n <\/p>\n E. V.: Man ir ar\u012b t\u0101ds darbs, kas atsaucas uz dizainu. Veidots no gatav\u0101m kr\u0113slu deta\u013c\u0101m, br\u012bvs, abstrakts objekts. Tie\u0161i tas mani interes\u0113. K\u0101 objekts var b\u016bt br\u012bvs. Es skat\u012bt\u0101ju v\u0113los atbr\u012bvot no darba las\u012b\u0161anas, t\u0101 skaidro\u0161anas. Ide\u0101li b\u016btu, ja skaties un nesaproti, no kura gala to dar\u012bt, no kura gala skat\u012bties, s\u0101kt dom\u0101t.<\/p>\n <\/p>\n<\/span>J. T.: Da\u013c\u0101 postkonceptu\u0101l\u0101s m\u0101kslas valda neskaidr\u012bba. Ir kaut k\u0101di objekti, nosaukums un tad ir teksti, ko uzraksta kurators vai m\u0101kslinieks. Tie ir paskaidrojumi, ar kuriem pa\u0161am objektam nereti ir sare\u017e\u0123\u012btas attiec\u012bbas. At\u0161\u0137ir\u012bb\u0101 no lingvistisk\u0101 konceptu\u0101lisma, kur pats teksts ir m\u0101ksla. Teksts var b\u016bt k\u0101 \u017eests, bet nepast\u0101v nenoteikt\u012bba (iz\u0146emot semantisko), kas liek jaut\u0101t: vai teksts ir darba sast\u0101vda\u013ca vai nav? L\u012bdz\u012bgi b\u016btu j\u0101b\u016bt jebkur\u0101 izst\u0101d\u0113, ja vien t\u0101s koncepcija nav robe\u017eas starp m\u0101kslas darbu un kuratora paskaidrojumu sapludin\u0101\u0161na.<\/p>\n <\/p>\n<\/span>Z. O.: Tiek piemin\u0113ta nenoteikt\u012bba, person\u012bgs favor\u012bts. Vai tas var\u0113tu b\u016bt laikmeta dikt\u0101ts? Nenoteikt\u012bba noteikti past\u0101v ar\u012b Evitas darbos.<\/p>\n <\/p>\n<\/span>J. T.: Atk\u0101pe \u2013 nesen izlas\u012bju Petera Birgera 1973. gad\u0101 public\u0113to “Avangarda teoriju”. Birgers uzskata, ka 60. gadu avangards, ko vi\u0146\u0161 d\u0113v\u0113 par \u201cneoavangardu\u201d, piem\u0113ram, da\u017e\u0101die hepeningi, vairs nesp\u0113j sasniegt dadaisma kritisk\u0101 \u017eesta v\u0113rt\u012bbu. Savuk\u0101rt \u0161odien, skatoties uz laikmet\u012bg\u0101s m\u0101kslas valdo\u0161aj\u0101m praks\u0113m, kuras ta\u010du pretend\u0113 b\u016bt turpin\u0101jums se\u0161desmito gadu kust\u012bb\u0101m (m\u0113s gan vair\u0101k tiecamies lietot apz\u012bm\u0113jumu “post”, nevis “neo”), gribas teikt l\u012bdz\u012bgi, ka “nesp\u0113j sasniegt…”, ar l\u012bdz\u012bgu nostal\u0123iju bals\u012b. Ta\u010du \u2013 un tas b\u016btu iesp\u0113jam\u0101 pretargumenta s\u0101kums… \u2013 m\u0101ksliniecisk\u0101s ra\u017eo\u0161anas veids un est\u0113tisk\u0101s ideolo\u0123ijas (turpinot piemin\u0113to marksistisko terminolo\u0123iju) 20. gadsimta s\u0101kum\u0101, 60.\u201370. gados un 21. gadsimta s\u0101kum\u0101 ir at\u0161\u0137ir\u012bgi.<\/p>\n <\/p>\n<\/span>Z. O.: Evita, Tu \u0161obr\u012bd s\u0113di uz L\u012b Lozano gr\u0101matas. Iespringstot uz sakar\u012bb\u0101m, tai noteikti ir k\u0101da noz\u012bme. Vai ir?<\/p>\n <\/p>\n E. V.: Es to m\u0113dzu palas\u012bt momentos, kad j\u016btu, ka iespr\u016bstu.<\/p>\n <\/p>\n<\/span>J. T.: Uz labu laimi uz\u0161\u0137ir?<\/p>\n <\/p>\n E. V.: J\u0101.<\/p>\n <\/p>\n Rauls Hausmans uz\u0161\u0137ir “Za\u013co Heinrihu” un lasa: “Afra Cigonija esot aizce\u013cojusi uz Saksiju, kur tik\u0161ot uz\u0146emta hernh\u016btie\u0161u br\u0101\u013cu draudz\u0113 un palik\u0161ot tur visu m\u016b\u017eu. “Tas ir mans sapnis!” vi\u0146\u0161 nodom\u0101ja.<\/p>\n <\/p>\n E. V.: Interesanta ir pati valodas forma, nenoteiksmes. Man no darb\u012bbas v\u0101rdiem pat\u012bk lab\u0101k izveidot lietv\u0101rdus. Tas, kas bija darb\u012bba, k\u013c\u016bst par lietu.<\/p>\n <\/p>\n<\/span>J. T.: Tas ir b\u012bstami, jo, zini \u2013 kad saka, ka m\u012bl, tas ir skaidri, bet kas ir “m\u012blest\u012bba”?<\/p>\n <\/p>\n *Saruna vair\u0101k\u0101s bals\u012bs, piedaloties Evitai Vasi\u013cjevai, J\u0101nim Taurenam, Zanei Onckulei u. c. norisin\u0101j\u0101s \u012bslaic\u012bg\u0101 studijas situ\u0101cij\u0101. T\u0101s atmosf\u0113ra t\u0101l\u0101k ienesta \u0161eit, izst\u0101d\u0113.<\/p>\n <\/p>\n <\/p>\n Evita Vasi\u013cjeva<\/span> (1985) ir N\u012bderland\u0113 dz\u012bvojo\u0161a latvie\u0161u m\u0101ksliniece. Absolv\u0113jusi Amsterdamas Gerita Rietvelda akad\u0113mijas T\u0113lot\u0101jm\u0101kslas programmu (2012), str\u0101d\u0101jusi m\u0101kslinieku rezidenc\u0113 De Ateliers <\/em>(2014\u20132016), Amsterdam\u0101. Jaun\u0101k\u0101s person\u0101lizst\u0101des: Nothing Lost, Nothing Found<\/em>, galerija “427” R\u012bg\u0101 (2016) un “Paral\u0113le vertik\u0101lei”, Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs R\u012bg\u0101 (2013); grupu izst\u0101des: Potlach, De Ateliers<\/em> absolventu izst\u0101de Amsterdam\u0101 (2016); Form X<\/em>, galerija V240 Amsterdam\u0101 (2016); “Liel\u0101ks miers, maz\u0101ks miers”, Latvijas Dzelzce\u013ca v\u0113stures muzejs R\u012bg\u0101 (2015); Lily\u2019s Pool, Art in General<\/em> \u0145ujork\u0101 (2015); New Participants, De Ateliers<\/em> Amsterdam\u0101 (2014); “Aspena \u2013 \u0136emeri”, Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs R\u012bg\u0101 (2014); Vortex, Project Space Garage<\/em> Maskav\u0101 (2014); “NF pied\u0101v\u0101: no A uz B uz C l\u012bdz D\u0112” Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs R\u012bg\u0101 (2014); Monograms, Vita Kuben <\/em>\u016ameo (2014); Indian Summer, Gallery Fons Welters <\/em>Amsterdam\u0101 (2013).<\/p>\n <\/p>\n ","protected":false},"excerpt":{"rendered":" Amsterdam\u0101 dz\u012bvojo\u0161\u0101s latvie\u0161u m\u0101kslinieces Evitas Vasi\u013cjevas person\u0101lizst\u0101d\u0113 “L\u012bdz pusei roz\u0101” no studijas uz izst\u0101des telpu p\u0101rnestas robust\u0101s un trausl\u0101s, \u0161\u0137ietam\u0101 kust\u012bb\u0101 eso\u0161\u0101s skulpt\u016bras, piem\u0113ram, \u0123ips\u012b atlieta inform\u0101cijas pavairo\u0161anas ier\u012bce, lielizm\u0113ra izdrukas, met\u0101la pinumu izstr\u0101d\u0101jums un darbi, kas tapu\u0161i, iespaidojoties no automa\u0161\u012bnas iek\u0161\u0113j\u0101 salona gumijas pakl\u0101jiem. saruna pagaidu studij\u0101* 3. oktobris, 2016 Epik\u016brs: […]<\/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":"\n