Karl\u012bnas Me\u017eeckas person\u0101lizst\u0101de
\n<\/b>\u201cVeries man\u012b\u201d \/ (<\/b>Stare Up At Me)<\/i><\/b><\/p>\n
<\/p>\n
Atkl\u0101\u0161ana: 18. j\u016bnij\u0101 plkst. 18.00\u201321.00<\/strong><\/p>\n <\/p>\n Izst\u0101des datumi: 19. j\u016bnijs – 9. augusts, 2026 <\/p>\n Palien\u0113jot zemtekstu un konceptu\u0101lo spriegojumu no Madonnas dziesmas “<\/span>Don\u2019t Tell Me<\/span><\/i>” (2000) \u2014 kantr\u012bpopa halucin\u0101cijas par apvald\u012btu iek\u0101ri, emocion\u0101lu sastingumu un erotisku ambivalenci, ko caurvij rindas \u201cLiec gultai neapgulties \/ k\u0101 kapa atv\u0113rtai mutei, \/ lai t\u0101 neskat\u0101s aug\u0161up uz mani \/ k\u0101 te\u013c\u0161, kas nometies ce\u013cos\u201d \u2014, Karl\u012bnas Me\u017eeckas l\u012bdz \u0161im v\u0113rien\u012bg\u0101k\u0101 person\u0101lizst\u0101de izv\u0113r\u0161as \u010detr\u0101s sada\u013c\u0101s: “Dz\u012bve”, “N\u0101ve”, “Dominance” un nosl\u0113dzo\u0161aj\u0101 \u2013 “P\u0113cv\u0101rds”. Caur jaunrad\u012btu skulptur\u0101lu objektu un instal\u0101ciju kopumu Me\u017eecka piev\u0113r\u0161as \u0137ermeniskajam k\u0101 nestabilai un main\u012bgai formai, kas balans\u0113 starp virspusi un iek\u0161pusi, starp materi\u0101li kl\u0101teso\u0161o un izt\u0113l\u0113 konstru\u0113to, starp to, kas atsegts skatienam, un to, kas ir vien nojau\u0161ams.<\/span><\/p>\n \u201cDominances\u201d ietvaros pacelts virs cilv\u0113ka skatpunkta, par izst\u0101des galveno t\u0113lu izvirz\u0101s kl\u012bniski baiss saaugu\u0161u teli\u0146u t\u0113ls-simbols, kur\u0101 sapl\u016bst reli\u0123iskas ikonogr\u0101fijas atbalsis, infantiliz\u0113ts priek\u0161metiskums un upur\u0137ermenis. T\u0101 monumentalit\u0101tes intence gan ne\u012bstenojas, jo materialit\u0101tes trauslums nolas\u0101ms, ar\u012b neskatoties uz objekta masu un apjomu. Teli\u0146a tuk\u0161ais skatiens past\u0101v\u012bgi nodro\u0161ina nezin\u0101mas kl\u0101tesam\u012bbas saj\u016btu telp\u0101: uzman\u012bba cirkul\u0113 bez atbildes vai risin\u0101juma, un fig\u016bra top par m\u0113mu projekcijas virsmu, kur\u0101 iesp\u0113jams ielas\u012bt vair\u0101k, nek\u0101 t\u0101 gatava atkl\u0101t.<\/span><\/p>\n Izst\u0101des pieteikums s\u0101kas ar asociat\u012bvu gultas zonu jeb horizont\u0101lu \u201cDz\u012bves\u201d vizualiz\u0101ciju, kur\u0101 tuv\u012bba, izs\u012bkums, seksualit\u0101te, slim\u012bba, atz\u012b\u0161an\u0101s un klusums uzkr\u0101ju\u0161\u0101s k\u0101 nogulsnes piekrast\u0113. T\u0101 ir l\u0113n\u012bga, dreif\u0113jo\u0161a telpa, kur \u0137ermeniskie un ment\u0101lie st\u0101vok\u013ci sabl\u012bv\u0113jas, iz\u0161\u0137\u012bst un atgrie\u017eas arvien cit\u0101s konfigur\u0101cij\u0101s. Uz \u0161\u012bs fizisk\u0101s un izt\u0113lot\u0101s virsmas izvietojusies valim l\u012bdz\u012bga skulpt\u016bra, kuras apjoms uzr\u0101da reiz\u0113 peldsp\u0113ju un iegrimi, p\u0101rvirzot telpas lo\u0123iku prom no line\u0101ra st\u0101st\u012bjuma un tuv\u0101k neatrisin\u0101tiem sprieguma, gaidu un spiediena st\u0101vok\u013ciem.\u00a0\u00a0<\/span><\/p>\n L\u012bdz\u0101s \u0161ai materi\u0101lajai lo\u0123ikai darbojas ar\u012b specifiska Me\u017eecku uzrun\u0101jo\u0161a vizu\u0101l\u0101 valoda, kura veidojusies padomju cenz\u016bras apst\u0101k\u013cos, kad seksualit\u0101te un \u0137ermeniska tuv\u012bba tika sistem\u0101tiski apspiestas, tom\u0113r kino, fotogr\u0101fij\u0101 un literat\u016br\u0101 turpin\u0101ja past\u0101v\u0113t m\u0101jienpiln\u0101s, p\u0101rvietot\u0101s un p\u0101rveidot\u0101s form\u0101s \u2013 k\u0101 lietus l\u0101ses uz stikla, zem \u016bdens lauzta gaisma vai miglas ieskautas cilv\u0113ku fig\u016bras piekrast\u0113. \u0160\u0101d\u0101 sist\u0113m\u0101 iek\u0101re netiek att\u0113lota tie\u0161i; t\u0101 par\u0101d\u0101s pastarpin\u0101ti \u2014 caur \u016bdeni, laikapst\u0101k\u013ciem un atsp\u012bdumiem, kas caur \u0161o pieeju tiek le\u0123itimiz\u0113ti un k\u013c\u016bst par pie\u013caujamu \u0137ermenisk\u0101 un emocion\u0101l\u0101 kontakta atspogu\u013cojuma veidu.\u00a0<\/span><\/p>\n No \u0161\u012bs pieklusin\u0101t\u0101s tonalit\u0101tes izst\u0101de p\u0101riet uz \u201cN\u0101vi\u201d k\u0101 p\u0101rdales un transform\u0101cijas procesu. Gaismu izstarojo\u0161a gr\u012bda-pamatne \u201cier\u0101m\u0113\u201d keramikas darbus, sasaucoties ar relikv\u0101rijiem, dzi\u013cj\u016bras organismiem, arheolo\u0123iskiem atradumiem, k\u0101 ar\u012b v\u0113sturisku muzeju ekspoz\u012bciju utlilit\u0101ro est\u0113tiku. Ja \u201cDz\u012bvi\u201d raksturo horizont\u0101ls skat\u012bjums, bet \u201cDominanci\u201d \u2014 aug\u0161upv\u0113rsts, tad \u201cN\u0101ve\u201d p\u0101rk\u0101rto uztveri skatienam uz leju, novietojot skat\u012bt\u0101ju virs ekspon\u0113tajiem darbiem. Gaisma sl\u012bd p\u0101ri to virsm\u0101m un izlau\u017eas cauri materi\u0101lam, iz\u0161\u0137\u012bdinot robe\u017eas starp keramisko un miner\u0101lo, \u0137ermenisko un spokaino.<\/span><\/p>\n Neatkar\u012bgi no izmantot\u0101 materi\u0101la Me\u017eeckas darbos nemit\u012bgi norisin\u0101s dialogs starp nosl\u0113gt\u012bbu un p\u0101rr\u0101vumu. Keramika, stikls, met\u0101ls un instal\u0101cijas-strukt\u016bras funkcion\u0113 k\u0101 savstarp\u0113ji saist\u012btas sist\u0113mas, kuras veido p\u0101rnese, infiltr\u0101cija un iek\u0161\u0113js spiediens. M\u0101kslinieces izstr\u0101d\u0101t\u0101 tehnika \u2014 kaus\u0113ta stikla p\u016b\u0161ana ar pa\u0161as rok\u0101m veidot\u0101s keramikas veidn\u0113s \u2014 rada formas, kas \u0161\u0137iet izaugu\u0161as no iek\u0161ienes, it k\u0101 elpa vai k\u0101da \u0101r\u0113jo sp\u0113ku kl\u0101tb\u016btne b\u016btu papla\u0161in\u0101jusi to iek\u0161\u0113jos dobumus, padarot ornamentu un p\u0101rr\u0101vumu par vienas un t\u0101s pa\u0161as virsmas neat\u0146emam\u0101m da\u013c\u0101m.<\/span><\/p>\n Paral\u0113li ekspoz\u012bcijai izskan nep\u0101rtraukta tr\u012bsda\u013c\u012bga ska\u0146u kompoz\u012bcija, kur\u0101 tum\u0161u noska\u0146u ambient\u0101s tonalit\u0101tes savijas ar \u016bdens \u0161alk\u0101m un stikla un met\u0101la \u0161\u0137indo\u0146u. Ska\u0146u kask\u0101des caurvij izst\u0101des semantisko lauku, savienojot atsevi\u0161\u0137\u0101s ekspoz\u012bcijas zonas un sabiezinot laiku, padarot to par sl\u0101\u0146ainu vienlaic\u012bbu, kur\u0101 l\u012bdzpast\u0101v pag\u0101tnes, tagadnes un n\u0101kotnes temporalit\u0101tes.<\/span><\/p>\n Izst\u0101des \u201cVeries man\u012b\u201d nosl\u0113guma telpa iez\u012bm\u0113jas k\u0101 kopsavilkums jeb \u201cP\u0113cv\u0101rds\u201d, kur\u0101 turpina rezon\u0113t iepriek\u0161 sastaptie t\u0113li, formas un st\u0101vok\u013ci. Kol\u0101\u017eveid\u012bgu fotogr\u0101fiju fragmentu \u0101d\u0101m apaugu\u0161ie vertik\u0101lie vitr\u012bnu st\u0101vi atsedz \u0137erme\u0146u studijas, skeletveida formas un skulptur\u0101lus nos\u0113dumus; uz mirkli sastingu\u0161i uzman\u012bbas lauk\u0101, tie vienlaikus sev\u012b uztur p\u0101rtap\u0161anas potenci\u0101lu. Ar\u012b \u0161eit virmo nep\u0101rtrauktas transform\u0101cijas atmosf\u0113ra, kur\u0101 \u0137ermeniskais sv\u0101rst\u0101s starp dz\u012bvniecisko un sakr\u0101lo, juteklisko un atsve\u0161in\u0101to, miegu un izn\u012bc\u012bbu, iez\u012bm\u0113jot p\u0101rejas st\u0101vok\u013cus un virz\u012bbu uz v\u0113l neatkl\u0101t\u0101m form\u0101m, topo\u0161\u0101m materialit\u0101t\u0113m un n\u0101kam\u012bb\u0101m \u2014 to visu, k\u0101 \u0161obr\u012bd v\u0113l nav un kas past\u0101v tikai k\u0101 iesp\u0113jam\u012bba.<\/span><\/p>\n <\/p>\n Karl\u012bna Me\u017eecka<\/b> (dz. 1995, R\u012bga, Latvija) kop\u0161 2021. gada dz\u012bvo un str\u0101d\u0101 London\u0101. Latvijas M\u0101kslas akad\u0113mij\u0101 vi\u0146a ieguvusi bakalaura gr\u0101du keramik\u0101, kam sekoja ma\u0123istra gr\u0101ds Londonas Karaliskaj\u0101 m\u0101kslas koled\u017e\u0101. Starp vi\u0146as nesen\u0101kaj\u0101m solo un dubultizst\u0101d\u0113m ir “Trausluma arh\u012bvs” Kim? Laikmet\u012bg\u0101s m\u0101kslas centr\u0101, R\u012bg\u0101 (2024) un “<\/span>Security Patterns<\/span><\/i>” LOW galerij\u0101, R\u012bg\u0101 (2022). Vi\u0146a piedal\u012bjusies t\u0101d\u0101s grupas izst\u0101d\u0113s k\u0101 <\/span>“RTRU*”<\/span><\/i> m\u0101kslas telp\u0101 KAJE, \u0145ujork\u0101 (2026); “<\/span>Dry Cleaning<\/span><\/i>“,<\/span> Max Radford Gallery<\/span><\/i>, London\u0101 (2025) un “<\/span>Gradient Descent<\/span><\/i>” m\u0101kslas telp\u0101 “<\/span>Gossamer Fog<\/span><\/i>“, London\u0101 (2024). Vi\u0146as darbi atrodas kolekcij\u0101s Odunpazari Modernaj\u0101 muzej\u0101 (OMM), Eski\u0161ehir\u0101; \u201c<\/span>VV Foundation\u201d<\/span><\/i>, R\u012bg\u0101; \u201c<\/span>BTA Collection\u201d<\/span><\/i>, R\u012bg\u0101 un \u201c<\/span>Roche Collection\u201d<\/span><\/i>, R\u012bg\u0101.<\/span><\/p>\n <\/p>\n Ska\u0146as dizains:<\/b> Aleksejs Apo\u013cskis (<\/span>VoidCells, Spoild<\/span><\/i>)<\/span> <\/p>\n Atbalst\u012bt\u0101ji:<\/b> Latvijas Republikas Kult\u016bras ministrija, Valsts kult\u016brkapit\u0101la fonds, R\u012bgas dome, \u201cKokmui\u017ea\u201d, <\/span>Media Port<\/span><\/i><\/p>\n <\/p>\n Kim? Laikmet\u012bg\u0101s m\u0101kslas centra un izst\u0101des komanda:<\/b> Karl\u012bnas Me\u017eeckas person\u0101lizst\u0101de \u201cVeries man\u012b\u201d \/ (Stare Up At Me) Atkl\u0101\u0161ana: 18. j\u016bnij\u0101 plkst. 18.00\u201321.00 Izst\u0101des datumi: 19. j\u016bnijs – 9. augusts, 2026 Norises vieta: Kim? Laikmet\u012bg\u0101s m\u0101kslas cents Kuratore: Zane Onckule Palien\u0113jot zemtekstu un konceptu\u0101lo spriegojumu no Madonnas dziesmas “Don\u2019t Tell Me” (2000) \u2014 kantr\u012bpopa halucin\u0101cijas par apvald\u012btu iek\u0101ri, emocion\u0101lu sastingumu […]<\/p>\n","protected":false},"author":2,"featured_media":9449,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"footnotes":""},"categories":[64,5,4,24,38],"tags":[],"class_list":["post-9448","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-2026-exhibitions","category-kim-events","category-kim-exhibitions","category-featured-homepage","category-news"],"acf":[],"yoast_head":"\n
\nNorises vieta: Kim? Laikmet\u012bg\u0101s m\u0101kslas cents<\/span>
\n<\/span>Kuratore: Zane Onckule<\/span><\/p>\n
\n<\/span>Fotogr\u0101fija sadarb\u012bb\u0101 ar:<\/b> Klaudiju Avoti\u0146u<\/span>
\n<\/span>P\u0113capstr\u0101de:<\/b> Ivo Pauls<\/span>
\n<\/span>M\u0101kslinieces pateic\u012bbas:<\/b> Laura Me\u017eecka, <\/span>Rochester Square <\/span><\/i>un Evel\u012bna Bartkovska, Glasremis Studio<\/span><\/p>\n
\n<\/b>Izpilddirektore:<\/b> Evita Goze<\/span>
\n<\/span>Programmas direktore:<\/b> Zane Onckule<\/span>
\n<\/span>Komunik\u0101cijas vad\u012bt\u0101ja:<\/b> Kristi\u0101na B\u0113rza<\/span>
\n<\/span>P\u0101rdo\u0161anas direktore:<\/b> D\u0101rta Purvl\u012bce<\/span>
\n<\/span>Mediatores:<\/b> Em\u012blija Austra Lodi\u0146a, Alise Sedleniece, Betija Briede, Linda \u0160terna, Po\u013cina Gasparovi\u010da<\/span>
\n<\/span>Tehnisk\u0101 komanda:<\/b> Aldis Bu\u0161s, Andris Mara\u010dkovskis<\/span>
\n<\/span>Dizains:<\/b> Anna Ceipe<\/span>
\n<\/span>Latvie\u0161u valodas korekt\u016bra:<\/b> Ilze Jansone
\n<\/span>Tulkojums latvie\u0161u valod\u0101<\/b>: Valts Mi\u0137elsons<\/span>
\n<\/span>Ang\u013cu valodas korekt\u016bra:<\/b> Will Mawhood<\/span><\/p>","protected":false},"excerpt":{"rendered":"