Izst\u0101des kuratore \u2013 Zane Onckule<\/p>\n
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\u201eGrimsti, kalns! Celies, ieleja!\u2026\u201d ir fr\u0101ze no 19. gs. 30. gados popul\u0101ra romantiskus mekl\u0113jumus apdziedo\u0161a meldi\u0146a, kas n\u0101k no sensimonie\u0161u m\u016bka Talabota dzimt\u0101 novada un piesaka tik\u0161anos, kam dr\u012bz j\u0101seko.\u00a0 Vecs, smagn\u0113js aizkars ir robe\u017e\u0161\u0137irtne br\u012b\u017eiem nekonkr\u0113tajam, br\u012b\u017eiem v\u0113sturiski prec\u012bzajam ce\u013cojumam, kur\u0101 reiz izteiktas, izdzied\u0101tas, uzz\u012bm\u0113tas vai izdom\u0101tas lietas, da\u017e\u0101di objekti un mot\u012bvi pagad\u0101s ce\u013c\u0101, veido atrastus vai no jauna rad\u012btus t\u0113lus, liekot t\u0101liem un ne tik seniem laikiem atgriezties, radot v\u0101rdu kr\u0101jumu, kur\u0161 apzin\u0101ti ir nepiln\u012bgs un viet\u0101m ar sl\u0113ptu noz\u012bmi. V\u0101rdu noz\u012bme ir nezin\u0101ma vai ar\u012b atk\u0101rtojas, un atkl\u0101j tikai tik maz vai tik daudz, lai alla\u017e paliktu nosl\u0113pumaina.<\/p>\n<\/span>Ullas fon Brandenburgas izst\u0101des \u201eKalns, grimsti! Ieleja, celies!\u201d pamat\u0101 ir epizode no sensimonie\u0161u kom\u016bnas patv\u0113ruma\u00a0\u2013 fran\u010du politisk\u0101s un soci\u0101l\u0101s kust\u012bbas 19. gadsimta pirmaj\u0101 pus\u0113. Laikmets, kur\u0161 iez\u012bm\u0113 p\u0101rejas periodu tie\u0161i pirms Jaun\u0101kajiem laikiem, kad cilv\u0113ki v\u0113l paman\u012bj\u0101s tic\u0113t neredzam\u0101m vai \u0101tri gaisto\u0161\u0101m liet\u0101m, liecina par romantisku nemieru gadu desmitus pirms f<\/em>in de si\u00e8cle <\/em>(\u201elaikmeta beigas\u201d) <\/em>specifisk\u0101s un draud\u012bg\u0101s atmosf\u0113ras. Sm\u0113lusies iedvesmu utopisk\u0101 soci\u0101lista, sociolo\u0123ijas t\u0113va un \u201etrak\u0101 pare\u0123a\u201d \u2013 Sensimonas gr\u0101fa Kloda Anr\u012b de Ruvru\u0101 \u2013 idej\u0101s, izst\u0101de seko sensimonie\u0161u ideolo\u0123ijai par zin\u0101tnes un ra\u017eo\u0161anas gar\u0101 balst\u012btu n\u0101kotnes sabiedr\u012bbu, kur\u0101 katrs indiv\u012bds rad\u012bs piepild\u012bjumu sava produktivit\u0101tes potenci\u0101la realiz\u0113\u0161an\u0101 tehnokr\u0101tu p\u0101rraudz\u012bt\u0101 hierarhisk\u0101 sabiedr\u012bb\u0101.<\/p>\n<\/span>Izst\u0101des risin\u0101jums ir pak\u0101peniska inici\u0101cija caur l\u012bdz\u0146emamu sienas av\u012bzi ar bag\u0101t\u012bgu 20. gs. 20. gadu dz\u012bvesveida \u017eurn\u0101la \u201eAtp\u016bta\u201d t\u0113lu valodu un pa\u0161as m\u0101kslinieces dokument\u0113tu da\u017e\u0101du gaisto\u0161u lietu kopumu; uzrakstiem un logotipiem nokl\u0101tu tabakas kast\u012b\u0161u kr\u0101vumu; sl\u012bpu, kr\u0101sotu un apzin\u0101ti vecin\u0101tu koka skatuvi, kas prec\u012bzi atk\u0101rto galerijas gr\u012bdas kont\u016bras; atrakt\u012bviem un kr\u0101sainiem priek\u0161metiem \u2013 butaforisku aci, kastes ar lent\u012bt\u0113m, k\u0101pn\u0113m, dzirnakmeni.. un k\u0101du kl\u0101t neeso\u0161o person\u0101\u017eu diskr\u0113ti saloc\u012btiem skatuves kost\u012bmiem \u2013 viss, lai lab\u0101k sagatavotos t\u0101s galvenajam notikumam.<\/p>\n<\/span>Melnbalt\u0101 filma-performance atkl\u0101jas k\u0101 viens nep\u0101rtrauktais kadrs, kur\u0101 sensimonie\u0161us stiliz\u0113jo\u0161as fig\u016bras laista augus, izpilda horeogr\u0101fiskas kust\u012bbas, \u0123\u0113rbjas un dzied, tiem vienlaikus iemiesojot Jaun\u0101 R\u012bgas te\u0101tra aktierus, kuri \u0161o te\u0101tri apdz\u012bvo. Vi\u0146i virz\u0101s cauri te\u0101tra \u0113kai, gar\u0101m nekust\u012bgu statistu tableaux vivant (<\/em>\u201edz\u012bv\u0101 glezna\u201d), non\u0101kot uz te\u0101tra skatuves, laiv\u0113lreiz piedal\u012btos dziesmas svin\u0113\u0161anas trad\u012bcij\u0101, tik rakstur\u012bg\u0101 gan sensimonie\u0161iem, gan latvie\u0161iem. Filmas varo\u0146i bez ska\u0146as kustina l\u016bpas, atk\u0101rtojot savu iepriek\u0161 ierakst\u0101 fiks\u0113to runu un dzied\u0101jumus, ko vainago daudzbals\u012bgs aizskatuv\u0113 <\/em>eso\u0161s koris, t\u0101d\u0113j\u0101di par\u016bp\u0113joties par viegli kaitino\u0161u nob\u012bdes gaisotni un uzburot visp\u0101r\u0113ju mist\u0113rijas noska\u0146u, \u013caujot daudzajiem \u201ees\u201d reiz\u0113 izteikties.<\/p>\n<\/span>Sav\u0101 zi\u0146\u0101 iedomu t\u0113li, sensimonie\u0161i, ilgoj\u0101s p\u0113c sievietes-mesijas, \u201evied\u0101kas par v\u012brieti\u201d, kura ierastos vi\u0146us izgl\u012btot un atbr\u012bvot. Vi\u0146a <\/em>ir kl\u0101t filmas nosl\u0113guma akordos, fon Brandenburgas iez\u012bm\u0113ta, lai atkal nor\u0101d\u012btu uz zudu\u0161\u0101m un reiz\u0113m nenov\u0113rt\u0113t\u0101m ilg\u0101m p\u0113c visu veidu emancip\u0101cijas. Instal\u0101cija, po\u0113tiska un l\u012bdz\u012bga sapnim, ta\u010du piln\u012bb\u0101 nenodal\u012bta no realit\u0101tes, netie\u0161i nor\u0101da uz m\u016bsu laikmeta neskaidr\u012bbu un ba\u017e\u0101m. T\u0101 funkcion\u0113 k\u0101 teatr\u0101ls tuk\u0161ums, kas pieprasa, lai to piepilda skat\u012bt\u0101js \u2013 katra posma galven\u0101 atsl\u0113ga.<\/p>\n <\/p>\n Ullas fon Brandenburgas<\/span> darbus raksturo izmantoto mediju da\u017e\u0101d\u012bba, kas savuk\u0101rt izv\u0113r\u0161as tematiskaj\u0101 koncentr\u0113t\u012bb\u0101. Noteikti mot\u012bvi par\u0101d\u0101s da\u017e\u0101dos kontekstos, performances atsaucas uz sienu gleznojumu idej\u0101m, z\u012bm\u0113jumi izr\u0101d\u0101s esam p\u0113t\u012bjumi topo\u0161\u0101m film\u0101m, un filmu rekviz\u012bti k\u013c\u016bst par patst\u0101v\u012bgiem objektiem. Savuk\u0101rt te\u0101tra iestud\u0113jumos un performanc\u0113s ideja par karnev\u0101lu k\u0101 sabiedr\u012bbas k\u0101rt\u012bbas le\u0123it\u012bmu p\u0101rk\u0101p\u0161anas veidu satiekas ar maskas j\u0113dzienu k\u0101 v\u0113lmi p\u0113c jaunas identit\u0101tes un \u012bsten\u012bbas un \u0161\u0137ietam\u012bbas sajaukumu.<\/p>\n <\/p>\n Dzimusi 1974. gad\u0101 Karlsr\u016b\u0113, Ulla fon Brandenburga (Ulla von Brandenburg<\/em>) dz\u012bvo un str\u0101d\u0101 Par\u012bz\u0113. Vi\u0146as darbi ir tiku\u0161i izst\u0101d\u012bti Mus\u00e9e National d\u2019Art Moderne<\/em> Pompid\u016b centr\u0101, Par\u012bz\u0113; Fisher Landau Center For Art,<\/em> Longailend\u0101, \u0145ujork\u0101; Tate Modern,<\/em> London\u0101; The Israel Museum, <\/em>Jeruzalem\u0113; Galleria d\u2019Arte Moderna e Contemporanea<\/em>, Torino; FRAC Piemonte<\/em>, Torino; Kadist Art Foundation,<\/em> Par\u012bz\u0113; Fondation Louis Vuitton pour la Creation,<\/em> Par\u012bz\u0113; FRAC Ile-de-France,<\/em> Par\u012bz\u0113; FRAC Aquitaine,<\/em> Bordo; Frac Pays de la Loire,<\/em> Karkef\u016b. Izst\u0101\u017eu izlase: MAMCO<\/em>, \u017den\u0113va; Kunstverein<\/em>, Hannovere (2014); Die Strasse Art: Concept<\/em>, Par\u012bze (2013-2014); Secession<\/em>, V\u012bne (2013), Instal\u0101cija Death of a King<\/em>, Palais de Tokyo,<\/em> Par\u012bze (2012-2013); Frac Ile de France<\/em>, Par\u012bze (2011); Irish Museum of Modern Art<\/em>, Dublina (2008).","protected":false},"excerpt":{"rendered":" Izst\u0101des kuratore \u2013 Zane Onckule \u201eGrimsti, kalns! Celies, ieleja!\u2026\u201d ir fr\u0101ze no 19. gs. 30. gados popul\u0101ra romantiskus mekl\u0113jumus apdziedo\u0161a meldi\u0146a, kas n\u0101k no sensimonie\u0161u m\u016bka Talabota dzimt\u0101 novada un piesaka tik\u0161anos, kam dr\u012bz j\u0101seko.\u00a0 Vecs, smagn\u0113js aizkars ir robe\u017e\u0161\u0137irtne br\u012b\u017eiem nekonkr\u0113tajam, br\u012b\u017eiem v\u0113sturiski prec\u012bzajam ce\u013cojumam, kur\u0101 reiz izteiktas, izdzied\u0101tas, uzz\u012bm\u0113tas vai izdom\u0101tas lietas, […]<\/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":[8,4,26],"tags":[],"class_list":["post-1993","post","type-post","status-publish","format-standard","hentry","category-2015-exhibitions","category-kim-exhibitions","category-past-exhibitions"],"acf":[],"yoast_head":"\n