Atkl\u0101\u0161ana: 7. febru\u0101r\u012b, plkst. 18.00<\/p>\n
<\/p>\n
Esej\u0101 <\/span>The Carrier Bag Theory of Fiction<\/span><\/i> rakstniece Ursula Le Gvina spekulat\u012bvi apraksta materi\u0101l\u0101s kult\u016bras pirms\u0101kumus. Pirmatn\u0113j\u0101s sabiedr\u012bbas, kas p\u0101rtika p\u0101rsvar\u0101 no augu valsts produktiem, iztiku var\u0113ju\u0161as ieg\u016bt, str\u0101d\u0101jot ap piecpadsmit stund\u0101m ned\u0113\u013c\u0101. Tas at\u013c\u0101vis daudz laika velt\u012bt cit\u0101m nodarb\u0113m un saimniecisk\u0101m r\u016bp\u0113m. Savuk\u0101rt tiem, kam saimniecisko r\u016bpju bijis maz\u0101k, bijis laiks doties med\u012bb\u0101s, m\u0101j\u0101s l\u012bdz ar med\u012bjumu p\u0101rvedot da\u017e\u0101dus st\u0101stus \u2013 st\u0101stus, kuru centr\u0101 ir drosm\u012bga varo\u0146a piedz\u012bvojums. Kontrast\u0101 ar maskul\u012bno varo\u0146a st\u0101stu Le Gvina iez\u012bm\u0113 femin\u012bno narat\u012bva modeli, kas izriet nevis no piedz\u012bvojuma, bet no ikdieni\u0161\u0137\u0101s saimnieko\u0161anas un r\u016bp\u0113m par kom\u016bnu.\u00a0<\/span><\/p>\n <\/p>\n Iedvesmojoties no Vird\u017e\u012bnijas Vulfas, Urzula Le Gvina pied\u0101v\u0101 varoni simboliski aizvietot ar tvertni jeb konteineru \u2013 priek\u0161metu, kas satur kaut ko citu. Vi\u0146a uzsver, ka tie\u0161i tvertne b\u016btu lo\u0123iski uzskat\u0101ma par pa\u0161u pirmo kult\u016bras ier\u012bci \u2013 trauks p\u0101rtikas uzglab\u0101\u0161anai, soma, kur p\u0101rtiku v\u0101kt vai kur ielikt b\u0113rnu v\u0101k\u0161anas laik\u0101. Ilgi pirms iero\u010da jeb darbar\u012bka, kas ener\u0123iju v\u0113r\u0161 \u0101rpus, tika rad\u012bts darbar\u012bks, kas ener\u0123iju v\u0113r\u0161 m\u0101ju virzien\u0101. Le Gvina v\u0101k\u0161anu raksturo k\u0101 viscilv\u0113c\u012bg\u0101ko darb\u012bbu: ielikt kaut ko, kas tev pat\u012bk \u2013 vai t\u0101p\u0113c, ka tas ir noder\u012bgs, \u0113dams, vai skaists \u2013 som\u0101 vai groz\u0101 vai iet\u012bt to koka miz\u0101 vai lap\u0101, vai matos, un p\u0101rvest to m\u0101j\u0101s, lai v\u0113l\u0101k izmantotu un dal\u012btos ar citiem. Iepretim varo\u0146a st\u0101stam, kura centr\u0101 ir iero\u010di, uzbrukumi un slepkav\u012bbas, tvertnes st\u0101sta centr\u0101 ir r\u016bpes un dz\u012bv\u012bba. Iepretim st\u0101stam, kura centr\u0101 ir konflikts, Le Gvina pied\u0101v\u0101 st\u0101stu k\u0101 somi\u0146u, kas satur kop\u0101 da\u017e\u0101das lietas.\u00a0<\/span><\/p>\n <\/p>\n \u0160\u012b tvertne, \u0161\u012b sievietes somi\u0146a vai p\u016bra l\u0101de \u2013 konteiners, kuru staip\u0101m sev l\u012bdzi un kas ietver visus m\u016bsu st\u0101stus, m\u016bsu svar\u012bgos priek\u0161metus, k\u0101 ar\u012b parpalas un \u0137eskas \u2013 ir Annas Malickas izst\u0101des \u201cP\u016bra l\u0101de<\/span> (((pure lady)))\u201d centr\u0101lais elements. Izv\u0113r\u0161ot ideju par p\u016bra l\u0101di k\u0101 simbolisku tvertni, Malickas izst\u0101de veidota k\u0101 atmi\u0146u telpas materializ\u0101cija, kur subjekt\u012bv\u0101 pieredze savijas ar materi\u0101lo mantojumu, vernakul\u0101ra interjera iez\u012bmes savijas ar cilv\u0113c\u012bgiem patv\u0113ruma mekl\u0113jumiem.\u00a0<\/span><\/p>\n <\/p>\n P\u016bra l\u0101de k\u0101 priek\u0161mets vistie\u0161\u0101k saist\u012bta sievietes dz\u012bvi, figur\u0113jot p\u0101rej\u0101 no meitas k\u0101rtas sievas k\u0101rt\u0101. \u0160aj\u0101 zi\u0146\u0101 p\u016bra l\u0101de ir telpa starp pag\u0101tni un n\u0101kotni. To raksturo liminalit\u0101te \u2013 \u012bpa\u0161\u012bba, kas atvedin\u0101ta no lat\u012b\u0146u v\u0101rda <\/span>limen<\/span><\/i> (latviski slieksnis) un apraksta p\u0101rejas st\u0101vokli. Annas Malickas darbos \u0161\u012b liminalit\u0101te tiek uzl\u016bkota k\u0101 person\u012bgu pieredz\u0113jumu kopums, no vienas puses, un visp\u0101r\u0113ju sabiedr\u012bbas normu un iera\u017eu mai\u0146as nov\u0113rojums, no otras. Sievietes t\u0113ls Malickas dai\u013crades kontekst\u0101 tiecas savienot tradicion\u0101l\u0101s subjektivit\u0101tes formas ar laikmet\u012bg\u0101s pasaules tieksm\u0113m, v\u0113lm\u0113m un iesp\u0113j\u0101m. M\u0101kslinieci interes\u0113 sievietes t\u0113lu stereotipu izp\u0113te \u2013 cimperl\u012bg\u0101s, v\u0113jslotas, spindzeles, sku\u0137i, mamzeles, \u010diepas, \u010dix\u012btes, saimniec\u012bbas da\u013cas vad\u012bt\u0101jas un e-zeltenes.\u00a0<\/span><\/p>\n <\/p>\n Vi\u0146as alter ego Otra Pussyte grib b\u016bt laba saimniece un rokdarbniece, bet ar\u012b m\u0101ksliniece. Vi\u0146a mekl\u0113 sap\u0146u pili, bet ce\u013c\u0101 vi\u0146u vaj\u0101 spoks-lindraks. Malickas videodarbos, kas veidoti videobloga est\u0113tik\u0101, Otra Pussyte iemieso rota\u013c\u012bgu un zin\u0101m\u0101 m\u0113r\u0101 infantiliz\u0113tu sievietes t\u0113lu, kas atg\u0101dina Veras Hitilovas varones film\u0101 \u201cMargrieti\u0146as\u201d. Iemiesojot stereotipus l\u012bdz absurdam un vadoties p\u0113c savas fant\u0101zijas pasaules noteikumiem, filmas galven\u0101s varones subvers\u012bvi g\u016bst r\u012bc\u012bbsp\u0113ju v\u012brie\u0161u domin\u0113t\u0101 pasaul\u0113. L\u012bdz\u012bg\u0101 veid\u0101 Annas Malickas dai\u013crad\u0113 tiek iep\u012btas atsauces uz subjektivit\u0101tes form\u0101m, kas rakstur\u012bgas jaunu sievie\u0161u pasaules atainojumam postinterneta kontekst\u0101, kur meiten\u012bgums lietots gan k\u0101 apliecino\u0161s, gan subvers\u012bvs izteiksmes l\u012bdzeklis. T\u0101m ar\u012bdzan rakstur\u012bga liminalit\u0101te \u2013 k\u0101 Britnijas Sp\u012brsas v\u0101rdos <\/span>I\u2019m not a girl, not yet a woman<\/span><\/i>;<\/span> meiten\u012bgums k\u0101 vieta, kur patverties no spriedzes, ko raisa sabiedr\u012bbas uzspiesti standarti. Malickas dai\u013crade rota\u013c\u012bgi atspogu\u013co \u0161o sievietes lomu problem\u0101tiku, mekl\u0113jot jaunas identit\u0101tes formas.<\/span><\/p>\n <\/p>\n Annas Malickas vizu\u0101l\u0101 valoda sasaucas ar est\u0113tikas kategorij\u0101m \u201cd\u012bvainais\u201d, \u201cm\u012bl\u012bgais\u201d un \u201cinteresantais\u201d, ko gr\u0101mat\u0101 <\/span>Our Aesthetic Categories. Zany, Cute, Interesting<\/span><\/i> apraksta Sianne Ngai. \u0160\u012bs est\u0113tikas kategorijas saist\u0101mas ne vien ar subjekt\u012bvo pieredzi un izj\u016bt\u0101m, bet ar\u012b ar attiec\u012bb\u0101m un soci\u0101laj\u0101m strukt\u016br\u0101m. M\u012bl\u012bguma kategorija, kas ierasti saist\u012bta ar fem\u012bno un infantilo, atkl\u0101j varas asimetriju. T\u0101 vienm\u0113r ietver subjekta varas poz\u012bciju p\u0101r m\u012bl\u012bgo objektu. Savuk\u0101rt d\u012bvainais, kas visbie\u017e\u0101k sastopams caur komiska t\u0113la lietojumu performat\u012bvos \u017eestos, k\u0101 kategorija atspogu\u013co intens\u012bvu, pat haotisku piep\u016bli, uzsverot afekt\u012bvo darbu, kas nepiecie\u0161ams soci\u0101lo strukt\u016bru navig\u0113\u0161anai kapit\u0101lisma ietvaros. T\u0101 ir kempam radniec\u012bga hiperaktivit\u0101tes est\u0113tika, kur\u0101 robe\u017ea starp darbu un rota\u013cu tiek m\u0113r\u0137tiec\u012bgi izpludin\u0101ta un kur\u0101 humors mask\u0113 nogurumu no pras\u012bb\u0101m p\u0113c pieaugo\u0161as produktivit\u0101tes.<\/span><\/p>\n <\/p>\n Laikmet\u012bg\u0101s kult\u016bras ietvaros pla\u0161i nov\u0113rojama atgrie\u0161an\u0101s pie rokdarbiem k\u0101 preto\u0161an\u0101s kapit\u0101lisma strukt\u016br\u0101m un norm\u0101m. Amatniec\u012bba, ko raksturo ilgsto\u0161s darba process un cie\u0161a saikne ar materi\u0101lu, k\u013c\u016bst par alternat\u012bvu pat\u0113r\u0113t\u0101ju kult\u016bras tendenc\u0113m. Kam\u0113r tradicion\u0101li rokdarbu trad\u012bcij\u0101s ar\u012bdzan mekl\u0113jamas starpkult\u016bru apmai\u0146as iez\u012bmes, to p\u0101rnese lok\u0101los materi\u0101los un est\u0113tikas izpratn\u0113, m\u016bsdienu interneta kult\u016bra pa\u0123\u0113r \u0101tr\u0101ku un pla\u0161\u0101ku zin\u0101\u0161anu un prasmju apriti. T\u0101 viet\u0101, lai simboliski saist\u012btos ar lok\u0101lo identit\u0101ti, k\u0101 ierasts tos v\u0113sturiski uzl\u016bkot, rokdarbi laikmet\u012bgaj\u0101 kult\u016br\u0101 ir saist\u012bti ar postnacion\u0101l\u0101m, hibr\u012bd\u0101m kult\u016bras tendenc\u0113m.\u00a0<\/span><\/p>\n <\/p>\n P\u016bru, kas Latvijas materi\u0101l\u0101s kult\u016bras kontekst\u0101 saist\u012bts galvenok\u0101rt ar koka l\u0101d\u0113m vai t\u012bn\u0113m un tekstila izstr\u0101d\u0101jumiem, Annas Malickas interpret\u0101cij\u0101 raksturo tradicion\u0101lo tehniku netradicion\u0101ls lietojums. P\u016bra l\u0101d\u0113 atrodamie tekstila darbi iemieso atmi\u0146u un identit\u0101ti; tie saist\u012bti ar m\u0101j\u0101m un m\u0101ju veido\u0161anu. Tekstils ir \u0137ermenim tuvs materi\u0101ls. Tas pasl\u0113pj, izce\u013c, apkl\u0101j, iesp\u012bl\u0113, rot\u0101, pasarg\u0101, sasilda, nosusina, un daudzos citos veidos darbojas simbioz\u0113 ar \u0137ermeni. Tekstila elementi, kas tradicion\u0101li lietoti iek\u0161telpu rot\u0101\u0161anai, izst\u0101des \u201cP\u016bra l\u0101de<\/span> (((pure lady)))\u201d ietvaros \u0161o funkcionalit\u0101ti saglab\u0101, rot\u0101jot telpisku instal\u0101ciju, kas veidota k\u0101 iedomu vai atmi\u0146u telpas atveidojums.\u00a0<\/span><\/p>\n <\/p>\n Ar \u0161o izst\u0101di m\u0101ksliniece turpina <\/span>uNrEaL EsTaTe<\/span><\/i> A\u0123ent\u016bras <\/span><\/i>tematiku savas prakses ietvaros, pozicion\u0113jot instal\u0101ciju telp\u0101 k\u0101 infrastrukt\u016bru, kas savieno re\u0101lo ar nere\u0101lo. Gr\u0101mat\u0101 \u201cTelpas po\u0113tika\u201d fran\u010du filosofs Gastons Ba\u0161l\u0101rs m\u0101jas uzl\u016bko k\u0101 telpas, kur\u0101s ne vien m\u0101jojam m\u0113s, bet kuras m\u0101jo m\u016bsos \u2013 m\u0113s t\u0101s veidojam, bet t\u0101s vienlaikus veido m\u016bs. Telpas k\u0101 po\u0113tiskas vien\u012bbas ietver saj\u016btas, atmi\u0146as, sap\u0146us un p\u0101rdz\u012bvojumus; t\u0101s ir izt\u0113les konteineri, kuros ietverts tas, kas sav\u0101 b\u016bt\u012bb\u0101 ir neaprakst\u0101ms, bet ir \u012bsts un uztverams. Gan iedomu telpas elements, gan Malickas darbiem rakstur\u012bg\u0101 asemisk\u0101 rakst\u012bba aktiviz\u0113 \u0161o po\u0113tisko uztveri, rosinot las\u012bt telpu l\u012bdz\u012bgi, k\u0101 tiek las\u012bts teksts.\u00a0<\/span><\/p>\n <\/p>\n Anna Malicka<\/span> (1995, LV) ir multimediju m\u0101ksliniece, kas rada darbus tekstila un z\u012bm\u0113juma materialit\u0101t\u0113s, k\u0101 ar\u012b audiovizu\u0101l\u0101s m\u0101kslas un performances form\u0101tos. Malickas darbos amatniec\u012bbas, rokdarbu un ornament\u0101l\u0101s abstrakcijas elementi savijas ar interneta kult\u016bru un est\u0113tiku. Malicka pa\u0161laik dz\u012bvo un str\u0101d\u0101 R\u012bg\u0101. Absolv\u0113jusi Latvijas M\u0101kslas akad\u0113mijas starpdisciplin\u0101ro noda\u013cu POST (2023) un <\/span>ACADEMIA<\/span><\/i> balvas ietvaros 2024. gad\u0101 rezid\u0113jusi London\u0101 <\/span>ACME Studios Early Career<\/span><\/i> programm\u0101. Nesen\u0101k\u0101s izst\u0101des iek\u013cauj: solo prezent\u0101cijas <\/span>lint weaver<\/span><\/i> telp\u0101 <\/span>Middlesex Presents <\/span><\/i>(Londona, 2024), <\/span>sTiTcHeS of iTcHeS TUR telp\u0101<\/span><\/i> (R\u012bga, 2023), duo izst\u0101des <\/span>Stardoll Heaven<\/span><\/i> galerij\u0101 <\/span>KOMPLOT<\/span><\/i> (kop\u0101 ar Julie De Kezel, Brisele, 2024), <\/span>Armours<\/span><\/i> galerij\u0101 <\/span>Collega<\/span><\/i> (kop\u0101 ar Rikke Diemer, Kopenh\u0101gena, 2024), grupas izst\u0101des <\/span>Groundwork<\/span><\/i> galerij\u0101 <\/span>Kupfer<\/span><\/i> (Londona, 2024), \u201cIek\u0101res v\u0101rd\u0101\u201d Latvijas Nacion\u0101laj\u0101 m\u0101kslas muzej\u0101 (R\u012bga, 2024), <\/span>Sardines<\/span><\/i> galerij\u0101 <\/span>Garage<\/span><\/i> (Pr\u0101ga, 2023).<\/span><\/p>\n <\/p>\n Sirsn\u012bgs paldies Egaram Macul\u0113vi\u010dam, Martai Kalni\u0146ai, Ievai Filatovai, Patr\u012bcijai Vilsonei, Karl\u012bnai Martai Zvirbulei, El\u012bnai Mek\u0161ai, El\u017ebetai V\u012bti\u0146ai, Lienei Rumpei, Danielam \u0160atalovam, J\u0101nim \u0160neideram, Maksimilianam Kotovi\u010dam, Annai Fogelei, Latv\u0101nijai, POST, Pro_Bistro, K5\u00c6K un Gundegai Malickai.<\/p>\n <\/p>\n Atbalsta: Kult\u016bras ministrija, Valsts kult\u016brkapit\u0101la fonds, R\u012bgas dome, Absolut, Valmiermui\u017ea, KRASO","protected":false},"excerpt":{"rendered":" Annas Malickas person\u0101lizst\u0101de \u201cP\u016bra l\u0101de (((pure lady)))\u201d Kuratore: Anna Laganovska Atkl\u0101\u0161ana: 7. febru\u0101r\u012b, plkst. 18.00 Esej\u0101 The Carrier Bag Theory of Fiction rakstniece Ursula Le Gvina spekulat\u012bvi apraksta materi\u0101l\u0101s kult\u016bras pirms\u0101kumus. Pirmatn\u0113j\u0101s sabiedr\u012bbas, kas p\u0101rtika p\u0101rsvar\u0101 no augu valsts produktiem, iztiku var\u0113ju\u0161as ieg\u016bt, str\u0101d\u0101jot ap piecpadsmit stund\u0101m ned\u0113\u013c\u0101. Tas at\u013c\u0101vis daudz laika velt\u012bt cit\u0101m […]<\/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-8518","post","type-post","status-publish","format-standard","hentry","category-kim-exhibitions","category-uncategorized"],"acf":[],"yoast_head":"\n