Saite uz las\u012bjumiem<\/span><\/a><\/p>\n <\/p>\n
Las\u012bjumu programma<\/b>:\u00a0<\/span><\/p>\n <\/p>\n
15:00 – 15:20 <\/span>Ievads<\/b><\/p>\n15:20 – 15:50 <\/span>Hel\u0113na Demakova: <\/b>\u201cK\u0101p\u0113c Iveta?\u201d<\/span><\/p>\n15:50 – 16:20 <\/span>Santa Hir\u0161a: <\/b>\u201cMe\u017eon\u012bgo kapit\u0101lismu gaidot: Latvijas m\u0101ksla un postsoci\u0101lisma st\u0101voklis 1990. gados\u201d<\/span><\/p>\n16:20\u00a0 – 16:50<\/span> Anastasija Fjodorova: <\/b>\u201c<\/span>Adidas<\/span><\/i> padar\u012bja mani krutu\u201d<\/span><\/p>\n16:50 – 17:20 <\/span>Jana Kukaine: <\/b>\u201cBailes no feminisma Latvij\u0101\u201d<\/span><\/p>\n17:20 – 17:50 <\/span>Marks Alans \u0160v\u0113de: <\/b>\u201cPilns v\u0113ders val\u016btas, pilna pils\u0113ta \u201c\u0160anel\u201d: k\u0101 es pirku m\u0101kslu postpadomju, protokapit\u0101lisma R\u012bg\u0101\u201d<\/span><\/p>\n17:50 – 18:20 <\/span>Dace Dzenovska: <\/b>\u201c<\/span>Haosa k\u0101rt\u012bba: br\u012bv\u012bbas pieradin\u0101\u0161ana un civiliz\u0101cijas process devi\u0146desmitajos\u201d<\/span><\/p>\n18:20 – 18:50 <\/span>L\u012bna Birzaka-Priekule, Zane Onckule<\/b>: \u201cIevas Kraules-K\u016bnas person\u0101lizst\u0101des \u201cKur manas k\u0101rtis kritu\u0161as\u201d piez\u012bmes\u201d<\/span><\/p>\n <\/p>\n
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Aizg\u0101ju\u0161\u0101 gadsimta p\u0113d\u0113j\u0101 desmitgade postpadomju Baltijas teritorij\u0101 bija radik\u0101ls p\u0101rmai\u0146u laiks \u2013 reibonis politiskaj\u0101, soci\u0101laj\u0101 un ekonomiskaj\u0101 sf\u0113r\u0101, kuru, no vienas puses, pild\u012bja nacion\u0101l\u0101 pacil\u0101t\u012bba, no otras puses \u2013 bailes, nedro\u0161\u012bba un apjukums. Intens\u012bvs p\u0101rmai\u0146u periods, kur\u0101 neskait\u0101m\u0101s dz\u012bves jom\u0101s norit\u0113ja atjauno\u0161an\u0101s un p\u0101rdefin\u0113\u0161an\u0101s procesi. Vienlaic\u012bgi ar jaun\u0101s valsts koncepcijas ievie\u0161anu re\u0101laj\u0101 dz\u012bv\u0113 rad\u0101s d\u012bvaina paral\u0113l\u0101 pasaule un noteikumu apie\u0161ana. Visu bija (no jauna) j\u0101iepaz\u012bst un j\u0101pat\u0113r\u0113, (kult\u016bras) laiktelpa \u0146irb\u0113ja neorganiz\u0113t\u0101 haos\u0101, nek\u0101du kar\u0161u, ce\u013ca nor\u0101\u017eu un navig\u0101cijas r\u012bku, t\u0101 viet\u0101 \u2013 (vald\u012bja) postmodernismam piem\u012bto\u0161s vienlaic\u012bgums, main\u012bba un konteksta un p\u0113ctec\u012bbas tr\u016bkuma izrais\u012bta \u201cmiglain\u012bba\u201d. Jaun\u0101 valsts un \u201cjumts\u201d, finan\u0161u piram\u012bdas, kuku\u013ci un viltojumi, reivi un banketi, viegla pe\u013c\u0146a un vardarb\u012bba, \u0113nu ekonomika un augo\u0161a plaisa starp latviski un krieviski run\u0101jo\u0161ajiem viet\u0113jiem, da\u017e\u0101du gar\u012bgu prak\u0161u un ideolo\u0123iju uzplaukums.<\/span><\/p>\n <\/p>\n
Ievas Kraules-K\u016bnas person\u0101lizst\u0101des \u201cKur manas k\u0101rtis kritu\u0161as\u201d ietvaros organiz\u0113tie las\u012bjumi \u201cJumts aizbraucis\u201d tie\u0161saist\u0113 pulc\u0113 teor\u0113ti\u0137us, kriti\u0137us un kuratorus, kas no da\u017e\u0101d\u0101m poz\u012bcij\u0101m un personisk\u0101 pieredz\u0113juma atskat\u012bsies un dal\u012bsies ar savu skat\u012bjumu uz lietu k\u0101rt\u012bbu \u201cneuzvar\u0113taj\u0101\u201d desmitgad\u0113 \u2013 devi\u0146desmitajos, kas v\u0113l joproj\u0101m ir <\/b>\u0161eit<\/i><\/b>.<\/b><\/p>\n
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Ieskats las\u012bjumu t\u0113m\u0101s:<\/b><\/p>\n
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Hel\u0113na Demakova \u201cK\u0101p\u0113c Iveta?\u201d<\/b><\/p>\n
Hel\u0113na Demakova refer\u0101t\u0101 “K\u0101p\u0113c Iveta?” izst\u0101st\u012bs par \u0161o nosl\u0113pumaino personu un t\u0101s nopelniem Latvijas 90.gadu m\u0101ksl\u0101. Tas viss tiks ierakst\u012bts latvie\u0161u m\u0101kslinieku starptautisko pan\u0101kumu kontekst\u0101.<\/span><\/p>\n <\/p>\n
Santa Hir\u0161a<\/b> \u201c<\/span>Me\u017eon\u012bgo kapit\u0101lismu gaidot: Latvijas m\u0101ksla un postsoci\u0101lisma st\u0101voklis 1990. gados\u201d<\/b><\/p>\n90. gadu \u0123eopolitisk\u0101s p\u0101rmai\u0146as stimul\u0113ja jaunu re\u0123ion\u0101l\u0101s un politiski ekonomisk\u0101s sist\u0113m\u0101s balst\u012btu kolekt\u012bvo identit\u0101\u0161u veido\u0161anos un \u201csevis mekl\u0113jumus\u201d. Nekritiska Rietumu un neoliber\u0101l\u0101 kapit\u0101lisma v\u0113rt\u012bbu p\u0101r\u0146em\u0161ana k\u013cuva par vienu no pag\u0101tnes traumu p\u0101rvar\u0113\u0161anas r\u012bkiem, nacion\u0101lismam mijoties ar alk\u0101m apliecin\u0101t sev un starptautiskajai auditorijai pieder\u012bbu Rietumu kult\u016bras telpai, un t\u0101d\u0113j\u0101di pak\u013caujot sevi jaunai koloniz\u0101cijai. Ar\u012b laikmet\u012bg\u0101s m\u0101kslas formas 90. gados burtiski vai metaforiski manifest\u0113ja \u0123eopolitisk\u0101s p\u0101rmai\u0146as, gan institucion\u0101li, gan stilistiski un tematiski piel\u0101gojoties Rietumu mode\u013ciem. Iepriek\u0161\u0113jo un \u201cjauno\u201d v\u0113rt\u012bbu sadursmju punkti Latvijas m\u0101kslinieku 90. gados rad\u012btajos darbos tika aktualiz\u0113ti da\u017e\u0101d\u0101s inton\u0101cij\u0101s, eksistenci\u0101li visp\u0101r\u012bg\u0101m p\u0101rdom\u0101m mijoties ar ironisku kritiku gan padomju soci\u0101lisma, gan kapit\u0101lisma virzien\u0101. Tekst\u0101 tiks apl\u016bkota laikmet\u012bg\u0101s m\u0101kslas neviennoz\u012bm\u012bg\u0101 loma 90. gadu sabiedr\u012bbas \u201cjaun\u0101s identit\u0101tes\u201d konstru\u0113\u0161an\u0101 un bie\u017ei vien nejau\u0161ie veidi, k\u0101dos Latvijas m\u0101ksl\u0101 tika reflekt\u0113ta t\u0101 laika d\u012bvain\u0101 postsoci\u0101lisma un pirmskapit\u0101lisma starptelpa. \u0145emot v\u0113r\u0101 projekta uzst\u0101d\u012bjum\u0101 svar\u012bgo personisk\u0101s pieredzes un \u201cmiglaino\u201d atmi\u0146u skatpunktu, ofici\u0101lu poz\u012bciju viet\u0101 tiks mekl\u0113tas un analiz\u0113tas nejau\u0161as paral\u0113les, atsauces un mot\u012bvi Latvijas 90. gadu m\u0101kslas darbu un publicistikas piem\u0113ros, kas izsaka dialogu ar jaunaj\u0101m est\u0113tiskaj\u0101m un \u0113tiskaj\u0101m v\u0113rt\u012bb\u0101m, k\u0101 ar\u012b savas individu\u0101l\u0101s pieredzes artikul\u0113\u0161anu pla\u0161\u0101ku v\u0113sturisko nori\u0161u kontekst\u0101.<\/span><\/p>\n <\/p>\n
Anastasija Fjodorova \u201c<\/b>Adidas<\/i><\/b> mani padar\u012bja krutu\u201d<\/b><\/p>\n
Prezent\u0101cijas nosaukums ir velt\u012bjums britu laikmet\u012bg\u0101 m\u0101kslinieka Marka Lekija 1999. gada video darbam \u201c<\/span>Fiorucci<\/span><\/i> mani padar\u012bja krutu\u201d<\/span> (<\/span>Fiorucci Made Me Hardcore<\/span><\/i>), kas ir gan Lielbrit\u0101nijas pagr\u012bdes klubu sc\u0113nas, gan past\u0101vo\u0161\u0101s postdigit\u0101l\u0101s nostal\u0123ijas dokument\u0101cija. K\u0101 laikmets, kas ietv\u0113ra gan PSRS sabrukumu, gan p\u0113d\u0113jos pirmsinterneta gadus, 90. bie\u017ei tiek uzl\u016bkoti ar nostal\u0123iju \u2013 ta\u010du ko \u0161\u012b nostal\u0123ija noz\u012bm\u0113 tie\u0161i Austrum- un Centr\u0101leiropai un to vietai glob\u0101laj\u0101 kult\u016br\u0101? <\/span>\u0160\u012b prezent\u0101cija aptvers t\u0101 saukto “postpadomju est\u0113tiku”, kas glob\u0101laj\u0101 mod\u0113 un popkult\u016br\u0101 par\u0101d\u012bj\u0101s 2010. gadu vid\u016b, un 90. gadu vizu\u0101lo un ideolo\u0123isko mantojumu, kas ir t\u0101s DNS pamat\u0101. T\u0101 piev\u0113rs\u012bsies ar\u012b kult\u016bras izt\u0113les neizb\u0113gamaj\u0101m politiskaj\u0101m sek\u0101m, re\u0123ion\u0101lo stereotipu notur\u012bbai un fikt\u012bvajiem “Austrumiem”, kuros laiks bija apst\u0101jies.<\/span><\/p>\n <\/p>\n
Jana Kukaine \u201cBailes no feminisma Latvij\u0101\u201d<\/b><\/p>\n
Viens no izplat\u012bt\u0101kajiem viedok\u013ciem Austrumeirop\u0101 p\u0113c 1989. gada pau\u017e, ka m\u0101kslai nav dzimuma un to nevajadz\u0113tu jaukt ar politiku. Re\u0123iona m\u0101kslas p\u0101rst\u0101vji st\u016brgalv\u012bgi atk\u0101rto, ka \u0161aj\u0101s sabiedr\u012bb\u0101s \u201cdzimtes nemiers\u201d nepast\u0101v. Centieni piem\u0113roties neoliber\u0101lisma ideolo\u0123ijai tiek apvienoti ar modernisma inerci, tostarp ideju par \u0123\u0113nija kultu un m\u0101kslu k\u0101 absol\u016btu, p\u0101rcilv\u0113cisku v\u0113rt\u012bbu. \u0160ie un citi m\u012bti stiprina re\u0123ion\u0101 valdo\u0161\u0101s bailes no feminisma, kuru izpausmes sastopamas ar\u012b m\u016bsdienu Latvij\u0101. Simpozija priek\u0161las\u012bjum\u0101 un to pavado\u0161aj\u0101 publik\u0101cij\u0101 tiks iez\u012bm\u0113ta Latvijas m\u0101kslas vides specifisk\u0101 attieksme pret feminismu, par atskaites punktu izv\u0113loties 90. gadu kult\u016bras situ\u0101ciju un tai rakstur\u012bgo (anti-\/post-) feministisko diskursu.\u00a0<\/span><\/p>\n <\/p>\n
Marks Alans \u0160v\u0113de \u201cPilns v\u0113ders val\u016btas, pilna pils\u0113ta \u201c\u0160anel\u201d: m\u0101kslas darbu ieg\u0101de postpadomju un protokapit\u0101lisma R\u012bg\u0101\u201d<\/b><\/p>\n
K\u0101 amerik\u0101\u0146u m\u0101kslas v\u0113sturnieks, kur\u0161 devi\u0146desmito gadu s\u0101kum\u0101 ce\u013coja uz nesen atbr\u012bvoto Latviju p\u0113tniec\u012bbas nol\u016bkos, es atkl\u0101ju tikko iz\u0161\u0137\u012blu\u0161os pat\u0113r\u0113t\u0101jsabiedr\u012bbu, jaunu m\u0101kslinieku paaudzi, kas bija gatava kritiz\u0113t \u0161o jauno materi\u0101lo realit\u0101ti, un negaid\u012btu iesp\u0113ju tos abus savienot, kad man tika l\u016bgts k\u013c\u016bt par iepirkumu a\u0123entu Rietumu liel\u0101kajai priv\u0101tajai biju\u0161\u0101s PSRS neofici\u0101l\u0101s un nonkonformisma m\u0101kslas kolekcijai. \u0160aj\u0101 prezent\u0101cij\u0101 es dal\u012b\u0161os ar nepiedero\u0161a cilv\u0113ka nov\u0113rojumiem par main\u012bgo attieksmi pret viet\u0113jo komerci\u0101l\u0101s m\u0101kslas tirgu, nacion\u0101l\u0101 kult\u016bras mantojuma populariz\u0113\u0161anu vienlaikus ar nacion\u0101l\u0101s identit\u0101tes p\u0101rskat\u012b\u0161anu un par tiem neticamajiem gadiem, kad R\u012bgas ietves liecin\u0101ja par viltotu logotipu, ban\u0101nu mizu un saulesbri\u013c\u013cu UV uzl\u012bmju ielu kult\u016bras s\u0101kumiem.<\/span><\/p>\n <\/p>\n
Dace Dzenovska \u201cHaosa k\u0101rt\u012bba: br\u012bv\u012bbas pieradin\u0101\u0161ana un civiliz\u0101cijas process devi\u0146desmitajos\u201d<\/b><\/p>\n
Tie bija gadi, kad manu vec\u0101ku virtuv\u0113 par\u0101d\u012bj\u0101s olu v\u0101r\u0101m\u0101 ma\u0161\u012bna un katr\u0101 R\u012bgas kvart\u0101l\u0101 \u2013 sadz\u012bves tehnikas veikali, kas p\u0101rdeva preci uz kred\u012bta. Tie bija gadi, kad \u013caudis Polijas tirgos pirka slavenu z\u012bmolu paka\u013cdarin\u0101jumus un savos dz\u012bvok\u013cos tais\u012bja eiroremontus ar baltiem pake\u0161u logiem. Tie bija gadi, kad vairumam bija gr\u016bti at\u0161\u0137irt likum\u012bgus darba pied\u0101v\u0101jumus no \u0161aub\u012bg\u0101m \u0101tr\u0101s pe\u013c\u0146as sh\u0113m\u0101m. Tie bija gadi, kad nebija vidus\u0161\u0137iras un kad valsts vad\u012bt\u0101ji neorient\u0113j\u0101s valsts p\u0101rvald\u0113. Tie bija gadi, kad tika likti m\u016bsdienu Latvijas institucion\u0101lie un juridiskie pamati, noteikts ekonomikas politikas virziens un veidota sabiedr\u012bbas soci\u0101l\u0101 un emocion\u0101l\u0101 infrastrukt\u016bra. Tie bija gadi, kad neveiksmes un nepiln\u012bbas tika paslauc\u012btas zem \u201cpadomju mantojuma\u201d pakl\u0101ja. \u0160is pakl\u0101js nu ir iziris; postsoci\u0101lisms ir beidzies. Laiks skat\u012bties uz pa\u0161u veidoto 90. gadu mantojumu.<\/span><\/p>\n <\/p>\n
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Biogr\u0101fijas\u00a0<\/b><\/p>\n
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Hel\u0113na Demakova<\/b> (dz. 1959) ir m\u0101kslas zin\u0101tniece, kriti\u0137e, kuratore un politi\u0137e. Vi\u0146a ir bijusi daudzu laikmet\u012bg\u0101s m\u0101kslas izst\u0101\u017eu kuratore Latvij\u0101 un \u0101rvalst\u012bs (\u201cLatvija. 20. gadsimta k\u016blenis\u201d, 1990; \u201cPiemineklis\u201d, 1995, R\u012bg\u0101 Raumas bienn\u0101le <\/span>Balticum<\/span><\/i> Somij\u0101, 1994; Latvijas ekspoz\u012bcija izst\u0101d\u0113 \u201cPerson\u012bgais laiks. Igaunijas, Latvijas un Lietuvas m\u0101ksla\u201d Var\u0161av\u0101 un Sanktp\u0113terburg\u0101, 1996; Latvijas paviljons Ven\u0113cijas bienn\u0101l\u0113, 1999, 2001). Vi\u0146a ir public\u0113jusi daudzus laikmet\u012bg\u0101s m\u0101kslas tekstus, no kuriem noz\u012bm\u012bg\u0101kie apkopoti gr\u0101mat\u0101 \u201cDa\u017e\u0101das sarunas\u201d (2002). Vi\u0146a ir bijusi Ministru prezidenta \u012bpa\u0161\u0101 padomniece kult\u016bras jaut\u0101jumos un Latvijas kult\u016bras ministre (2004\u20132008).<\/span><\/p>\n <\/p>\n
Santa Hir\u0161a<\/b> ir m\u0101kslas v\u0113sturniece un kriti\u0137e, Normunda Nauma\u0146a balvas m\u0101kslas kritik\u0101 laure\u0101te (2021), autore gr\u0101mat\u0101m par Kri\u0161u Salmani (2018) un Andri Bre\u017ei (2020). Sav\u0101 profesion\u0101laj\u0101 darb\u012bb\u0101 fokus\u0113jas uz laikmet\u012bg\u0101s un padomju perioda m\u0101kslas p\u0113tniec\u012bbu, mekl\u0113jot jaunus noz\u012bmju un neviennoz\u012bm\u012bbu sl\u0101\u0146us vizu\u0101l\u0101s kult\u016bras un soci\u0101lo nori\u0161u savstarp\u0113j\u0101s attiec\u012bb\u0101s.<\/span><\/p>\n <\/p>\n
Anastasija Fjodorova<\/b> ir rakstniece un kuratore, kas dz\u012bvo un str\u0101d\u0101 London\u0101. Vi\u0146as teksti tiek regul\u0101ri public\u0113ti \u017eurn\u0101los <\/span>Dazed<\/span><\/i>, <\/span>i-D<\/span><\/i>, <\/span>GARAGE<\/span><\/i>, <\/span>Kaleidoscope Magazine<\/span><\/i>, <\/span>032c<\/span><\/i>, <\/span>SHOWstudio <\/span><\/i>un citos. P\u0113tniec\u012bb\u0101 un tekstos vi\u0146a specializ\u0113jas fotogr\u0101fij\u0101 un vizu\u0101laj\u0101 kult\u016br\u0101, modes politiskajos un soci\u0101lajos aspektos, BDSM v\u0113stur\u0113 un teorij\u0101, k\u0101 ar\u012b LGBTQ+ jaut\u0101jumos. Vi\u0146a ir platfomas <\/span>Russian Queer Revolution<\/span><\/i> dibin\u0101t\u0101ja, kas atbalsta Krievijas rado\u0161os LGBTQ+. Anastasija ir atz\u012bta speci\u0101liste vizu\u0101l\u0101s kult\u016bras un modes jom\u0101 un ir uzst\u0101jusies <\/span>ICA London<\/span><\/i>, <\/span>Barbican<\/span><\/i> un Lielbrit\u0101nijas Filmu instit\u016bt\u0101. Vi\u0146a ir bijusi vieslektore \u010celsijas M\u0101kslas koled\u017e\u0101, Londonas M\u0101kslas universit\u0101t\u0113, Birkbekas koled\u017e\u0101, Midlseksas Universit\u0101t\u0113, \u0145ujorkas Universit\u0101t\u0113 un Mi\u010diganas Universit\u0101t\u0113.<\/span><\/p>\n<\/div>\n <\/p>\n
Jana Kukaine<\/b> ir pasniedz\u0113ja Latvijas M\u0101kslas akad\u0113mij\u0101, feminisma m\u0101kslas izst\u0101\u017eu kuratore, m\u0101kslas kriti\u0137e un feminisma teoriju p\u0113tniece. \u0160obr\u012bd Latvijas M\u0101kslas akad\u0113mij\u0101 izstr\u0101d\u0101 promocijas darbu par viscer\u0101l\u0101 feminisma est\u0113tiku. Gr\u0101matas \u201cDai\u013c\u0101s m\u0101tes. Sieviete, \u0137ermenis, subjektivit\u0101te\u201d (\u201cNeputns\u201d, 2016) autore. Public\u0113jusies akad\u0113miskajos izdevumos k\u0101 \u201cLetonika\u201d, “M\u0101kslas v\u0113sture un teorija”, <\/span>Photography and Culture, The Polish Journal of Aesthetics <\/span><\/i>u. c. Janas Kukaines intere\u0161u lok\u0101 ir afektu teorija, jaunais materi\u0101lisms un postsoci\u0101lisma feminisms.<\/span><\/p>\n <\/p>\n
Marks Alans \u0160v\u0113de<\/b> ir Ohaio Universit\u0101tes Kolumbusas M\u0101kslas v\u0113stures katedras vec\u0101kais pasniedz\u0113js un pasniedz multidisciplin\u0101raj\u0101 OSU filmu studiju programm\u0101. Divdesmit gadus vi\u0146\u0161 ieg\u0101d\u0101j\u0101s latvie\u0161u laikmet\u012bgo m\u0101kslu Nortona un Nensijas Dod\u017eu Padomju Savien\u012bbas nonkonformisma m\u0101kslas kolekcijai, kas tagad atrodas Rutgersa Universit\u0101tes Zimmerli m\u0101kslas muzej\u0101, \u0161\u012bm p\u016bl\u0113m kulmin\u0113jot 2002. gad\u0101 izst\u0101d\u0113 un gr\u0101mat\u0101 \u201cBaltijas m\u0101ksla. C\u012b\u0146a par m\u0101ksliniecisk\u0101s izteiksmes br\u012bv\u012bbu padomju varas laik\u0101, 1945\u20131991.\u201d Vi\u0146\u0161 ir public\u0113jis daudzus rakstus, tie\u0161saistes tekstus un katalogu esejas par 20. gadsimta latvie\u0161u m\u0101kslu, kino, vizu\u0101lo un materi\u0101lo kult\u016bru. Vi\u0146\u0161 organiz\u0113ja un produc\u0113ja Andra Grinberga 1972. gada pagr\u012bdes filmas \u201cPa\u0161portrets\u201d restaur\u0101ciju Antolo\u0123ijas Filmu arh\u012bv\u0101 \u0145ujork\u0101, k\u0101 ar\u012b darbojies starptautiskaj\u0101 Purv\u012b\u0161a balvas \u017e\u016brij\u0101.<\/span><\/p>\n <\/p>\n
Dace Dzenovska <\/b>ir Oksfordas Universit\u0101tes asoci\u0113t\u0101 profesore migr\u0101cijas antropolo\u0123ij\u0101. Vi\u0146a ir gr\u0101matas \u201cEiropeiskuma skola: tolerance un citas politisk\u0101 liber\u0101lisma m\u0101c\u012bbas Latvij\u0101\u201d (<\/span>Cornell<\/span><\/i>, 2018) autore. Pa\u0161laik Dzenovska vada projektu \u201cTuk\u0161ums: kapit\u0101lisms un demokr\u0101tija p\u0113c postsoci\u0101lisma.\u201d Sav\u0101 zin\u0101tniskaj\u0101 darb\u012bb\u0101 Dzenovska apskata main\u012bg\u0101s attiec\u012bbas starp cilv\u0113kiem, teritoriju, valsti un kapit\u0101lu Austrumeirop\u0101 un biju\u0161aj\u0101 Padomju Savien\u012bb\u0101.\u00a0<\/span><\/p>\n <\/p>\n
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L\u012bna Birzaka-Priekule<\/b> ir m\u0101kslas zin\u0101tniece, Latvijas Nacion\u0101l\u0101 m\u0101kslas muzeja izst\u0101\u017eu kuratore. Ieguvusi ma\u0123istra gr\u0101du Latvijas M\u0101kslas akad\u0113mij\u0101, m\u0101kslas v\u0113stures un teorijas apak\u0161nozar\u0113 (2018), \u0161obr\u012bd stud\u0113 doktorant\u016br\u0101. Kop\u0161 2016. gada regul\u0101ri veido m\u0101kslinieku person\u0101lizst\u0101des un grupas izst\u0101des da\u017e\u0101d\u0101s Latvijas m\u0101kslas telp\u0101s. Veidojusi Lara Strunkes, V\u012bnes akcionista Herma\u0146a Ni\u010da, Ievas Epneres, Amandas Ziemeles u.c. izst\u0101des. Izstr\u0101d\u0101 doktora disert\u0101ciju, kas velt\u012bta Latvijas laikmet\u012bgajai m\u0101kslai un soci\u0101lpolitiskajai kritikai. L\u012bna Birzaka-Priekule ir Purv\u012b\u0161a balvas komisijas priek\u0161s\u0113d\u0113t\u0101ja, k\u0101 ar\u012b ir viena no Kult\u016bras ministrijas Vizu\u0101l\u0101s m\u0101kslas padomes locekl\u0113m.<\/span><\/p>\n <\/p>\n
Zane Onckule <\/b>(dz. 1982, Latvija) ir kuratore un Kim? Laikmet\u012bg\u0101s m\u0101kslas centra programmas direktore (2010\u20132017, k\u0101 ar\u012b kop\u0161 2020). Vi\u0146a ir bijusi 13. Baltijas trienn\u0101les (2018) l\u012bdzkomis\u0101re un Latvijas paviljona l\u012bdzkomis\u0101re 55. Ven\u0113cijas bienn\u0101l\u0113 (2013). K\u016br\u0113to solo izst\u0101\u017eu izlase: Sofija T\u016bna un Zenta Dzividzinska, Kim? (2021), Tobiass Kaspars, Kim? (2019), Rodrigo Ernandess, Kim? (2017); Ieva Epnere, <\/span>Art in General<\/span><\/i>, \u0145ujorka, 2017; Ulla fon Brandenburga, Kim?, 2015; Ola Vasi\u013cjeva, <\/span>Art in General<\/span><\/i>, \u0145ujorka, 2014\u00a0 un grupu izst\u0101des, \u201cFakt\u016bra nervozajam garam\u201d, Kim?, 2020; , <\/span>Le Fragole del Baltico<\/span><\/i> (kop\u0101 ar Simone Menegoi), <\/span>CareOf<\/span><\/i>, Mil\u0101na, 2015; <\/span>Vortex<\/span><\/i> Laikmet\u012bg\u0101s m\u0101kslas muzej\u0101 \u201cGar\u0101\u017ea\u201d, Maskava, 2014; \u201cMaz\u0101 Vera\u201d Sanjas Kantarovska un Ellas Krug\u013canskajas duo-izst\u0101de Kim?, 2014. Vi\u0146a stud\u0113jusi m\u0101kslas v\u0113sturi Latvijas M\u0101kslas akad\u0113mij\u0101, komunik\u0101cijas zin\u0101tni Latvijas Universit\u0101t\u0113 un fotogr\u0101fiju C\u012brihes M\u0101kslas universit\u0101t\u0113, k\u0101 ar\u012b ieguvusi bakalaura gr\u0101du Banku augstskol\u0101 Latvij\u0101. 2019. gada maij\u0101 vi\u0146a pabeidza Kuratori\u0101lo studiju centra programmu B\u0101rda koled\u017e\u0101, \u0145ujork\u0101, ieg\u016bstot ma\u0123istra gr\u0101du par teoretiz\u0113jo\u0161u rakstveida darbu, kas aptv\u0113ra \u0123eopolitisko, kult\u016bras un vizu\u0101lo identit\u0101\u0161u anal\u012bzi \u0161\u012bbr\u012b\u017ea Baltijas re\u0123ion\u0101 un k\u016br\u0113jot grupas izst\u0101di <\/span>Balticana<\/span><\/i> Hesela m\u0101kslas muzej\u0101, \u0145ujork\u0101 (2019).Vi\u0146as raksti un recenzijas ir public\u0113ti izdevumos: <\/span>Artforum<\/span><\/i>, <\/span>Art Monthly<\/span><\/i>, <\/span>MoMA Post<\/span><\/i>, <\/span>Arterritory<\/span><\/i> un citos.\u00a0<\/span><\/p>\n <\/p>\n
Ieva Kraule-K\u016bna <\/b>(dz. 1987, R\u012bga) ieguvusi ma\u0123istra gr\u0101du t\u0113lot\u0101jm\u0101ksl\u0101 Sandberga instit\u016bt\u0101<\/span> Amsterdam\u0101. Galvenok\u0101rt veido skulptur\u0101lus objektus, izmantojot da\u017e\u0101dus materi\u0101lus (keramika, akmens, met\u0101ls u.c.), un papildina tos ar \u012bsiem st\u0101stiem, kuros absurdi fikt\u012bvu t\u0113lu piedz\u012bvojumi mijas ar a\u010dg\u0101rni interpret\u0113tiem v\u0113stures faktiem. Savos darbos Kraule-K\u016bna atsaucas uz feti\u0161ismu, v\u0113sturi, amatniec\u012bbu un padomju laika est\u0113tiku, vienlaikus izsekojot gan personisko, gan kolekt\u012bvo est\u0113tisko kodu izcelsmi. Piedal\u012bjusies grupu un duo-izst\u0101d\u0113s R\u012bg\u0101, \u0145ujork\u0101, Par\u012bz\u0113, Vi\u013c\u0146\u0101, Maskav\u0101. Kraule-K\u016bna ir ar\u012b \u201cKim? Rezidences balvas 2017\u201d ieguv\u0113ja sadarb\u012bb\u0101 ar <\/span>Gasworks<\/span><\/i> London\u0101, k\u0101 ar\u012b viena no \u201cPurv\u012b\u0161a balva 2021\u201d fin\u0101list\u0113m. Kraule-K\u016bna ir galerijas \u201c427\u201d jeb <\/span>Four To Seven<\/span><\/i> (R\u012bg\u0101) l\u012bdzdibin\u0101t\u0101ja un kuratore (2014\u20132016), k\u0101 ar\u012b viena no galerijas \u201cLOW\u201d vad\u012bt\u0101j\u0101m.<\/span><\/p>\n <\/p>\n
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Las\u012bjumi norisin\u0101sies latvie\u0161u un ang\u013cu valod\u0101. Pas\u0101kumam nosl\u0113dzoties, las\u012bjumu ieraksts b\u016bs pieejams publikai.\u00a0<\/b><\/p>\n
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Pla\u0161\u0101ka inform\u0101cija par Ievas Kraules-K\u016bnas izst\u0101di:<\/b> www.kim.lv<\/span><\/a><\/p>\n <\/p>\n
Projektu atbalsta: Latvijas Republikas Kult\u016bras ministrija, Valsts kult\u016brkapit\u0101la fonds, R\u012bgas dome, Knauf, Tikkurila, VV Foundation, Latvijas m\u0101kslas akad\u0113mija, Zivju audz\u0113tava \u201cTome\u201d, R\u012bgas Nacion\u0101lais zoolo\u0123iskais d\u0101rzs, Latvijas Nacion\u0101l\u0101 bibliot\u0113ka, Latvijas Laikmet\u012bg\u0101s m\u0101kslas centrs, Jauno mediju kult\u016bras centrs RIXC, R\u012bgas pa\u0161vald\u012bbas policija, Arctic Paper, KRASSKY, Satori, Arterritory.com, Green Print, Kokmui\u017eas alus, Gardu muti.<\/span><\/p>\n<\/div>","protected":false},"excerpt":{"rendered":"Kim? Laikmet\u012bg\u0101s m\u0101kslas centrs aicina uz Ievas Kraules-K\u016bnas person\u0101lizst\u0101des \u201cKur manas k\u0101rtis kritu\u0161as\u201d ietvaros organiz\u0113tajiem las\u012bjumiem \u201cJumts aizbraucis\u201d tie\u0161saist\u0113 \u0161.g. 3. decembr\u012b no plkst. 15:00 l\u012bdz 19:00. Dal\u012bbnieki: Hel\u0113na Demakova, Dace Dzenovska, Anastasija Fjodorova (Anastasiia Fedorova), Santa Hir\u0161a, Jana Kukaine, Marks Alans \u0160v\u0113de (Mark Allen Svede) Programmas autores: L\u012bna Birzaka-Priekule, Zane Onckule Organiz\u0113: Kim? […]<\/p>\n","protected":false},"author":2,"featured_media":6431,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[5],"tags":[],"class_list":["post-6430","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-kim-events"],"acf":[],"yoast_head":"\n
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Dal\u012bbnieki: Hel\u0113na Demakova, Dace Dzenovska, Anastasija Fjodorova (Anastasiia Fedorova), Santa Hir\u0161a, Jana Kukaine, Marks Alans \u0160v\u0113de (Mark Allen Svede) Programmas autores: L\u012bna Birzaka-Priekule, Zane Onckule Organiz\u0113: Kim? […]","og_url":"https:\/\/kim.lv\/en\/lasijumi-tiessaiste-jumts-aizbraucis\/","og_site_name":"Kim? 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