<\/p>\n
4.j\u016bnijs \u2013 23.augusts, 2020<\/p>\n
Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs, R\u012bga<\/p>\n
Kuratore: Zane Onckule<\/p>\n
<\/p>\n
1980. gados Ukrainas imigrantu str\u0101dnieki (d\u0113v\u0113ti ar\u012b par gucu\u013ciem<\/i>) tika nol\u012bgti darbam fermas celtniec\u012bb\u0101 net\u0101lu no kolhozam piedero\u0161as m\u0101jas Priz\u0113nos, Vecpiebalgas pagast\u0101, kur\u0101 vi\u0146i uztur\u0113j\u0101s. Virs m\u0101jas \u0101rdurv\u012bm vi\u0146i uzrakst\u012bja fr\u0101zi \u201c\u041b\u0423\u041f\u0410\u041d\u0410\u0420\u0418\u0419. \u041d\u0415 \u041f\u0420\u041e\u0425\u041e\u0414\u0418 \u041c\u0418\u041c\u041e. \u041c\u042b \u0423\u0416\u0415 \u0414\u041e\u041c\u0410, \u0410 \u0422\u042b \u0415\u0429\u0415 \u0412 \u0413\u041e\u0421\u0422\u042f\u0425\u201d (Bordelis. Nebrauc gar\u0101m. M\u0113s jau esam m\u0101j\u0101s, bet tu v\u0113l viesojies). 1980. gadu beig\u0101s J\u0101\u0146a Krauk\u013ca \u0123imene ieg\u0101d\u0101j\u0101s \u0161o m\u0101ju l\u012bdz ar uzrakstu re\u0123ion\u0101, kur\u0101 ir atrodamas vi\u0146u \u0123imenes saknes. Divas desmitgades v\u0113l\u0101k m\u0101ja vairs nav lab\u0101 st\u0101vokl\u012b un to n\u0101c\u0101s nojaukt. \u0160is laiks un vieta, kur reiz atrad\u0101s m\u0101ja, bet tagad vien drupas (vai kapakmens), ir pav\u0113ris ce\u013cu, lai no jauna apl\u016bkotu (vietas) kult\u016bras atmi\u0146u.<\/p>\n
<\/p>\n
\u041c\u042b \u0423\u0416\u0415 \u0414\u041e\u041c\u0410, \u0410 \u0422\u042b \u0415\u0429\u0415 \u0412 \u0413\u041e\u0421\u0422\u042f\u0425 <\/i>ir J\u0101\u0146a Krauk\u013ca pirm\u0101 person\u0101lizst\u0101de. T\u0101 apliecina m\u0101kslinieka interesi par zemi k\u0101 materi\u0101lu konceptu\u0101liem vingrin\u0101jumiem, gan medija prakses ietvaros, gan – skulptur\u0101li. Izst\u0101\u017eu telpas ierobe\u017eot\u012bb\u0101 Krauklis izt\u0113lojas un uzst\u0101da p\u0101rvietojumus un p\u0101rveidojumus, radot ne-att\u0113lojo\u0161u un reiz\u0113 dz\u012bvu sasaisti ar zemi, izmantojot augsni un citus dab\u0101 sastopamus materi\u0101lus. \u041c\u042b \u0423\u0416\u0415 \u0414\u041e\u041c\u0410, \u0410 \u0422\u042b \u0415\u0429\u0415 \u0412 \u0413\u041e\u0421\u0422\u042f\u0425<\/i> koncentr\u0113jas metod\u0113s, kuras vieno kompresija, saspie\u0161ana un sabl\u012bv\u0113\u0161ana, kam\u0113r tematiski darbi izriet no st\u0101stiem, kuras iemieso m\u0101ja. Main\u012bgais, procesu\u0101lais izst\u0101des form\u0101ts \u013cauj Krauklim m\u0113\u0123in\u0101t t\u0101s interpret\u0113t no jauna.<\/p>\n
<\/p>\n
Atbalsojot Roberta Smitsona ne-vietas konceptu, Krauk\u013ca \u201czemes darbi\u201d tiek saprasti k\u0101 objekti un galerijas instal\u0101cija, kas l\u012bdzin\u0101s zemei un k\u0101dai pavisam noteiktai vietai. Darbi tiek veidoti ar da\u017e\u0101du mediju pal\u012bdz\u012bbu: tie\u0161raide (vebkameras projekcija galerijas telp\u0101 24\/7 straum\u0113s video no Priz\u0113niem, kas b\u016bs pieejams ar\u012b tie\u0161saist\u0113); de-konstrukcija (objekti vienl\u012bdz atsaucas uz modernisma un tradicion\u0101lo amatniec\u012bbu \u2013 br\u012bvi st\u0101vo\u0161a gr\u012bdas instal\u0101cija, ko iedvesmojusi viet\u0113j\u0101 divsl\u012bpu jumtu arhitekt\u016bra, un pelnu un augsnes kaudzes, kas ieg\u016btas no ugunskura vietas); saglab\u0101\u0161ana (lielizm\u0113ra t\u0113r\u0101rijs ar ba\u013c\u0137i no nojaukt\u0101s m\u0101jas kalpo par laika kapsulu, par\u0101dot gan sadal\u012b\u0161anos, gan dz\u012bvo organismu, piem\u0113ram, s\u016bnu un \u0137\u0113rpju, dz\u012bvotsp\u0113ju); mijiedarb\u012bba (manu\u0101li darbin\u0101ma sp\u0113\u013cu ma\u0161\u012bna, kas pieejama apmekl\u0113t\u0101jiem, lai ar to sp\u0113l\u0113tos vai ar\u012b lai, autora iedro\u0161in\u0101ti, ietriektos cietaj\u0101s putek\u013cu\/zemes form\u0101s.<\/p>\n
<\/p>\n
\u0160\u012b izst\u0101de\/dokument\u0101cija\/akcija ir iejauk\u0161an\u0101s \u0101rtelp\u0101, kas p\u0101rv\u0113rsta par ekspoz\u012bciju iek\u0161telp\u0101. To veidojot m\u0101kslinieks ir atteicies no (\u0161obr\u012bd arvien vair\u0101k izvaic\u0101t\u0101) izst\u0101\u017eu telpas past\u0101v\u012bguma un aizsarg\u0101jo\u0161\u0101 aspekta un v\u0113r\u0161 uzman\u012bbu uz pieaugo\u0161i medi\u0113to dabas pieredzi, kas tiek padar\u012bta par ier\u0101m\u0113tu, komercializ\u0113tu vien\u012bbu. Un tom\u0113r tas, ko, no vienas puses, var\u0113tu uzskat\u012bt par apzin\u0101tu izlau\u0161anos no galerijas\/institucion\u0101las sist\u0113mas un urb\u0101ni soci\u0101la konteksta kopum\u0101, paties\u012bb\u0101 dr\u012bz\u0101k l\u012bdzin\u0101s sv\u0113tce\u013cojumam. Gatavojoties \u0161im projektam, Krauklis dev\u0101s uz \u0161o vietu neskait\u0101mas reizes, net\u012b\u0161i pielietojot soci\u0101lo distanc\u0113\u0161anos \u2013 latvie\u0161u mentalit\u0101tei tik piedieno\u0161o dom\u0101\u0161anas veidu.<\/p>\n
<\/p>\n
Ko Krauk\u013ca m\u0101ksla dara ar zemi, ko vi\u0146\u0161 izmanto sav\u0101 darb\u0101, ja ne veido pievienojo\u0161as vai at\u0146emo\u0161as izmai\u0146as zemes virsm\u0101? Lai raksturotu vi\u0146a praksi (vai nu k\u0101 noteiktu m\u0101ksliniecisku \u017eestu, vai ar\u012b ko t\u0101du, kas n\u0101k no zemapzi\u0146as), j\u0101atceras, ka kop\u0161 1960. gadiem lend\u0101rts (land art<\/i>) ir rea\u0123\u0113jis uz masu medijiem ar performat\u012bv\u0101m darb\u012bb\u0101m, neliela m\u0113roga, efem\u0113riem m\u0101kslas darbiem un izt\u0113lot\u0101m, ta\u010du nerealiz\u0113t\u0101m p\u0101rv\u0113rt\u012bb\u0101m. Risinot da\u017e\u0101dus zemes izmanto\u0161anas jaut\u0101jumus, \u0161\u012b m\u0101ksla ir piev\u0113rsusies ar\u012b t\u0101d\u0101m t\u0113m\u0101m k\u0101 okup\u0101cija un pierobe\u017eas re\u0123ionu politika (Alighiero e Boetti, Oj\u0101rs Feldbergs), kodolizm\u0113\u0123in\u0101jumi (Tingel\u012b), ekolo\u0123isk\u0101s probl\u0113mas (Vides aizsardz\u012bbas klubs, Adriana Paipere, \u0145\u016btons un Hel\u0113na Meijere Harisona) un run\u0101 par \u0161\u012b laikmeta strauji augo\u0161aj\u0101m pils\u0113tas telp\u0101m (M\u0113rija Miss, Kl\u0101ss Oldenburgs). Lend\u0101rts ir ar\u012b apl\u016bkojis cilv\u0113ku attiec\u012bbas ar dabu, att\u0113lojot t\u0113mas, s\u0101kot no feminisma l\u012bdz kult\u016bras identit\u0101tei (Agnese Denesa, Andris Egl\u012btis, Katr\u012bna Neiburga, Mierle Landermana Ukulesa, Ana Mandieta, Aija Zari\u0146a).<\/p>\n
<\/p>\n
Nosl\u0113gum\u0101, v\u0113r\u0161oties pie izst\u0101des nosaukuma \u2013 tas ir krievvalod\u012bgo kopien\u0101 (Krievijas pareiztic\u012bgo bazn\u012bc\u0101) izplat\u012bts teiciens, ko \u0123imenes velt\u012b miru\u0161am tuviniekam, uz kapa pieminek\u013ca atst\u0101jot v\u0101rdus, aizg\u0101j\u0113jam it k\u0101 tos izrun\u0101jot: \u201cM\u0113s jau esam m\u0101j\u0101s, bet tu v\u0113l viesojies.\u201d Vienlaic\u012bgi apz\u012bm\u0113jot cilv\u0113ka dz\u012bves ciklisko dabu, viet\u0113j\u0101 kontekst\u0101 \u0161ie v\u0101rdi kop\u0101 ar ironisko piebildi \u201cBordelis. Nepabrauc gar\u0101m\u201d ar\u012b nor\u0101da uz maz\u0101k ac\u012bmredzamo realit\u0101ti, kas reiz norisin\u0101j\u0101s vis\u0101 Padomju Savien\u012bb\u0101. Uz pastor\u0101l\u0101s Latvijas ainavas fona \u0161ie sve\u0161zemju str\u0101dnieki noteikti jut\u0101s k\u0101 \u201cviesi\u201d. Paturot pr\u0101t\u0101 v\u0113trainos v\u0113stures notikumus un traumatisk\u0101s atmi\u0146as, kas vaj\u0101 \u0161o tautu\/vietu\/zemi, nav p\u0101rsteigums redz\u0113t \u0161o vienk\u0101r\u0161o \u017eestu (graffiti tipa uzrakstu) k\u0101 kaut ko, kas smalki atg\u0101din\u0101ja par savdab\u012bgaj\u0101m attiec\u012bb\u0101m (apspied\u0113js-apspiestais…) starp da\u017e\u0101du etnisko grupu un rasu p\u0101rst\u0101vjiem no cit\u0101di ofici\u0101li \u201cdraudz\u012bgaj\u0101m\u201d padomju republik\u0101m.<\/p>\n
<\/p>\n
J\u0101\u0146a Krauk\u013ca pr\u0101t\u0101 un darb\u012bb\u0101, p\u0101rmai\u0146as, migr\u0101cija, saglab\u0101\u0161ana un evol\u016bcija sakr\u012bt ar p\u0101rliec\u012bbu, ka laukus tik tie\u0161\u0101m var\u0113tu uzskat\u012bt par radik\u0101lu vietu (Politiz\u0113jiet laukus! De-romantiz\u0113jiet laukus!), kur celt jauna veida videi draudz\u012bg\u0101ku un maz\u0101k resursus pat\u0113r\u0113jo\u0161u pasauli.<\/p>\n
<\/p>\n
Ja\u0304nis Krauklis <\/b>(1993, Ri\u0304ga). 2019. gada\u0304 absolve\u0304jis Latvijas Ma\u0304kslas akade\u0304mijas Vizua\u0304la\u0304s komunika\u0304cijas nodal\u0327u. Studiju gados papildina\u0304jis zina\u0304s\u030canas Roterdama\u0304, Vilema de Ku\u0304ninga akade\u0304mija\u0304 un Antverpene\u0304, Karaliskaja\u0304 Antverpenes akade\u0304mija\u0304. 2017. gada\u0304 k\u013cuva par vienu no Ina\u0304ras Teterevas stipendi\u0101tiem ma\u0304ksla\u0304. Krauklis ir viens no c\u030cetriem ma\u0304kslinieku grupas \u201c3\/8\u201d dibina\u0304ta\u0304jiem. Kop\u0161 2014. gada izst\u0101d\u012bjis savus darbus grupu izst\u0101d\u0113s – “Black Market”, Kim?, “NNN” un “Piez\u012bmes par pa\u0161saprotam\u0101m liet\u0101m” Latvijas Nacion\u0101laj\u0101 M\u0101kslas muzej\u0101, “Sist\u0113mas” Latvijas Nacion\u0101laj\u0101 bibliot\u0113k\u0101, ar\u012b “Private\/Public” Gallerie Mitte Br\u0113men\u0113, V\u0101cij\u0101 u.c. 2019.gad\u0101 Krauklis tika atz\u012bts par Open Kim? Call 2020<\/i> laure\u0101tu, kas sniedza vi\u0146am iesp\u0113ju sadarboties ar un veidot izst\u0101di Kim?.<\/p>\n
<\/p>\n
Patroni: Vita Liberte, K\u0101rlis \u0136irsis<\/p>\n
<\/p>\n
Atbalst\u012bt\u0101ji: Latvijas Republikas Kult\u016bras ministrija, Valsts kult\u016brkapit\u0101la fonds, R\u012bgas dome, Latvijas M\u0101kslas akad\u0113mija, KRASSKY, Satori, Arterritory.com, Green Print, Kokmui\u017eas alus, Gardu muti.","protected":false},"excerpt":{"rendered":"
“M\u0113s jau esam m\u0101j\u0101s, bet tu v\u0113l viesojies\u201d 4.j\u016bnijs \u2013 23.augusts, 2020 Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs, R\u012bga Kuratore: Zane Onckule 1980. gados Ukrainas imigrantu str\u0101dnieki (d\u0113v\u0113ti ar\u012b par gucu\u013ciem) tika nol\u012bgti darbam fermas celtniec\u012bb\u0101 net\u0101lu no kolhozam piedero\u0161as m\u0101jas Priz\u0113nos, Vecpiebalgas pagast\u0101, kur\u0101 vi\u0146i uztur\u0113j\u0101s. Virs m\u0101jas \u0101rdurv\u012bm vi\u0146i uzrakst\u012bja fr\u0101zi \u201c\u041b\u0423\u041f\u0410\u041d\u0410\u0420\u0418\u0419. \u041d\u0415 […]<\/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":[4,1],"tags":[],"class_list":["post-5785","post","type-post","status-publish","format-standard","hentry","category-kim-exhibitions","category-uncategorized"],"acf":[],"yoast_head":"\n