BUKET

Andris BreΩe Kristaps Ìelzis Sarmîte Måliña, Kristaps Kalns Leonards Laganovskis Evelîna Deiçmane F5 Kristîne Kursißa Maija Kurßeva Semjons Hañins Ìirts Korps Katrîna Neiburga Kaspars Podnieks Miks Mitrévics Krißs Salmanis Armands Zelçs

Buket. Latvijas laikmetîgås måkslas izståde no 8. aprî¬a lîdz 11. maijam Valsts Laikmetîgås måkslas centrå (ncca.ru) Zoologiçeskaja 13, Maskavå Buket. Exhibition of Latvian Contemporary Art from 8 April till 11 May National Centre for Contemporary Arts (ncca.ru) Zoologicheskaja 13, Moscow ÅìäÖí. B˚ÒÚ‡‚Ía ã‡Ú‚ËÈÒÍÓ„Ó cÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡. ë 8-„Ó ‡ÔÂÎfl ÔÓ 11 χfl ÉÓÒÛ‰‡ÒÚ‚ÂÌÌoÏ ñÂÌÚ CÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ (ncca.ru) áÓÓÎӄ˘ÂÒ͇fl ‰.13, åÓÒÍ‚‡

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Informatîvi atbalsta/Informative Support: STUDIJA, FotoKvartåls; BalticOutlook

Maskava–Andrejsala. 1980.– 2008.

Ce¬ß uz Laikmetîgås måkslas muzeju Heléna Demakova

2007. gadå Latvijas kultürå tika pabeigts pamatîgs darbs –

“nokratît nost” pieredzi, kas veidojås tad, kad Padomju

savulaik filozofiju studéjußais publicists, ce¬otåjs un redaktors,

Latvija atradås Padomju Savienîbå. Kad brauciens no

viens no retajiem latvießu intelektuå¬iem Uldis Tîrons no

Maskavas uz Rîgu bija brauciens “na zapad”. Vél arvien

krievu valodas uz latvießu valodu pårtulkoja Venedikta Jerofe-

notiek ßådi braucieni uz “naßa Jurmala”.

jeva romånu Maskava–Gailîßi. 1 Òaudis, kuri lasîjußi ßo romånu tålajos 80. gados, atceras, ka to sauc Moskva–Petußki.

so¬a, ja atminamies valsti un sabiedrîbu, kurå ne tikai nebija

Jau virsraksts paråda, ka latviskots var tikt daudz kas, pat

Laikmetîgås måkslas muzeja, ne tikai nebija “normålas”

vietvårds, kas ir acîmredzams absurds. Iedomåsimies latvießu

starptautiskas izståΩu aprites, bet trüka pat elementåras

ciematu Ozolnieki, kurß, runåjot par to krievu valodå, tiktu

informåcijas par måkslas norisém tålajos, “zaigojoßajos”

nosaukts par Dubovki! Vai Skrîveri tiktu nosaukti par Pisaki!

Rietumos. Padomju tvans tå ir saindéjis ¬auΩu pråtus, ka

Lai veiktu ce¬ojumu laikå, kurß kådam var ß˚ist

vairåku paaudΩu cilvéki Latvijå uzskata, ka dzîve bez

aizvésturisks, jo runa ir par padomju laiku, ßodien ir

Laikmetîgås måkslas muzeja ir normålåka nekå dzîve ar to.

nepiecießams tulkojums. Iespéjams, ka ßîs izstådes jaunajiem

Tas, iespéjams, nav påråk veiksmîgs vispårinåjums, taçu ßo

måksliniekiem tå Aizspogulija, kurå savulaik bija jådzîvo, ir

pårspriedumu kontekstå tas ß˚iet visuzskatåmåkais.

tikpat sveßa kå ßodienas Indija vai Malaizija. Garîgais attålums 5

Íîs pieredzes sekas nav tikai virtuålas. Tås sastopam ik uz

Més varam iztélé mest tematisku loku, lai iezîmétu

no Rîgas lîdz Maskavai jaunam cilvékam, kura ce¬ojumu

koordinåtes ßai Latvijas izstådei Maskavas Nacionålajå

galapunkti bijußi Venécija, Berlîne, Kasele utt., ir kå no Rîgas

Laikmetîgås måkslas centrå. Kådé¬ tas jådara? Skaidrîbai –,

lîdz Kualalumpurai.

pieméram, lai pårtulkotu to, kas tulkojams, jo citådi pat

Jaunießi tå varétu uzskatît, ja vien telpa, kurå vél arvien

vienas izstådes dalîbnieki sazinås kå caur stiklu. Tad ir citi,

fiziski un garîgi dzîvojam, nebütu nosaucama par “postpa-

“tur årå”, kas kaut vai ziñkårîbas dzîti grib pietuvoties

domju”. Pat ja latvießu jaunais måkslinieks neko nevélas

måkslas darbam; tad tie, iespéjams, pékßñi sajüt papildus

dzirdét par padomju alkoholizéto pelécîbu vai sadzîviskajåm

nepiecießamîbu iedzi¬inåties tå véstîjumå, tad såk domåt par

un ideolo©iskajåm cücîbåm, kuras tik kråßñi valodå ietérpis

daudziem måkslas darbiem kopå – izstådé vai muzejå. Tådiem

Jerofejevs, – pat tad müsu apkårtné vél arvien nav izklîdis

¬audîm vienå brîdî såk izzîméties tas, ko sauc par kontekstu.

tvans, kurß saindéja gan ¬auΩu dvéseles, gan plaßåku dzîves

Jo vairåk skaidrîbas par to, jo vieglåk kliedét vismaz to

telpu. Neviena modernå tirgzinîba, neviens lielveikals vai

postpadomju tvanu, kurß daudziem jau ß˚iet zudis.

seriåls, draugi, térpi, kafejnîcas, stilîgs dzîvoklis vai maßîna,

Ja negribas steidzinåt vésturi, nekas nav jåkliedé. Taçu, ja

slépoßana Austrijå, gråmatas vai paßa veidota raΩotne nevar

vélas kaut ko uzbüvét, pieméram, Laikmetîgås måkslas

pilnîbå attîrît paaudzém tîråmo dzîves un dvése¬u telpu.

muzeju, ir jåpiestrådå, un ne tikai kå rietumnieciskam

Arî måksla nav nekåda “˚îmiskå tîrîtava”.

mårketinga speciålistam. Jåbüvé ir tad, ja ir Ωélums pret

Tie, kas esam rosinåjußi ßo izstådi – politi˚i, arî izståΩu

bérniem, kuriem jåaug postpadomju nolemtîbå, bet ßis

nama vadîtåjs Leonîds BaΩanovs, kurß tagad ir piepulcéjies topoßå Latvijas Laikmetîgås måkslas muzeja starptautisko

Ωélums nav iepotéjams ar starptautiskå biznesa metodém.

Katram domåt griboßam cilvékam attieksme pret pagåtni

ekspertu nelielajam lokam, izstådes kurators, latvießu

caurvij tagadni, bet patosi ir daΩådi. Ir viens, ko 1990. gadå

måkslinieks Ojårs Pétersons – més nevaram kå nebijußu

mirußais padomju gruzînu filozofs Merabs Mamardaßvili ir

saucis par “manu nepiedodoßo atmiñu” 2. Kad pieminétais latvießu filozofs Uldis Tîrons viñam vaicåja: “Bet kå tu, Merab, izdzîvoji tajå laikå?” – viñß atbildéja: “Tådé¬, ka esmu gruzîns.” 3

80. gadu såkumå vairåki müsu måkslinieki, kurus tå laika valodå varétu saukt par “progresîviem”, zinåmå mérå bija

Íî ir viena iespéja, viens koordinåtu apraksts.

saistîti ar Maskavu. Tie, kuri beidzot pieredzéja “brîvlaißanu”,

Cits patoss izspéléts izcilå latvießu teåtra reΩisora Alvja

tåtad iespéju 80. gadu nogalé doties uz Rietumiem un savu

Hermaña 2007. gada iestudéjumå bez vårdiem Klusuma skañas.

Trîs stundu garumå skan tikai Saimona un Garfunkela müzika

6

pårbüves “gaißajos 5 spékos”, un varbüt labi, ka tå.

måkslu izstådît netraucéti, naudu pelnîja Maskavå.

80. gadu såkumå “latvießu avangarda” pårståvji (tå viñus

no koncerta, kurß 60. gados nekad nenotika Rîgå, jo nevaréja

nodévéja daΩi pazîstami Rietumberlînes måkslas kriti˚i 6)

notikt. Komunålajå dzîvoklî jauni cilvéki etîΩu formå izspélé

strådåja un labi pelnîja, noforméjot Vissavienîbas Tautas

savu dzîvi, kura visos laikos, visås iekårtås ir pilna mîlestîbas,

saimniecîbas sasniegumu izstådi VDNH 7. (Interesanti, lai gan

greizsirdîbas, sirsnîbas, gråmatu, bérnu, rota¬u, apdullinå-

pilnîgi citå kontekstå, ka izstådi, kas tagad no padomju

ßanås, radoßa darba. Bet tajå iekårtå ik pa brîdim bailes bija

sasniegumu lielå skatloga pårtapusi par lielveikalu virkni,

îpaßi spalgas, jo tås bija ideolo©iski radîtas, iebiedétas

savulaik un arî tagad vainago slavenå Veras Muhinas milzu

sabiedrîbas bailes. Tås uzplaiksnîja, un tad cilvéki tås iestüma

bronzas skulptüra Strådnieks un kolhozniece, arî Mosfi¬m

atmiñu kambaros. Bailes izrådé, gluΩi kå toreiz dzîvé, bija

studijas oficiålais zîmols. Tas ir zîmîgi tådé¬, ka Latvijas

marginålas. Tu klausies Rietumu müziku un tevi var “pañemt

kultürtelpå paståv îsti neverificéjams mîts par to, ka

ciet”, un tajå brîdî tev bail paßam no savas énas. Tomér

pazîstamå télniece Sta¬ina laikos esot glåbusi no iznîcinåßanas

cilvéciskais siltums ieΩüΩo spécîgåk, nekå to spéj izårdît bailes.

latvießu lielåko svétumu – Kår¬a Zåles veidoto, 1935. gadå

Arî tåda ir iespéja, viens koordinåtu apraksts.

atklåto Brîvîbas pieminekli, kuru rotå uzraksts Tévzemei un

Tådé¬ (ne jau tikai profesionålås varéßanas dé¬) topoßå

brîvîbai. Pieminek¬a un uzraksta paståvéßana visus padomju

Latvijas Laikmetîgås måkslas muzeja starptautiskajai ekspertu

gadus ir sava veida vésturiska neiespéjamîba. Pati Muhina

komisijai pievienoties ir aicinåts Maskavas Nacionålå

célusies no turîgas Rîgas tirgotåju dzimtas.)

4

Laikmetîgås måkslas centra vadîtåjs Leonîds BaΩanovs.

Daudzi mîti par tålaika Maskavas nonkonformistisko vidi

Un tad vél ir profesionålås koordinåtes – tås, kuras veidojußas

îsti nedarbojas ßo müsu måkslinieku uztveré, jo viñi bija

izstådes dalîbniekus.

pazîstami ar daudziem Maskavas kolé©iem. Svarîgi atceréties – lai kådi Ωurnåli vai gråmatas tolaik bija pieejami

Måkslas vide

par starptautiskajåm måkslas norisém, tås bija informåcijas druskas gan Rîgå, gan Maskavå. Tå bija slégta tipa

Izståde aptver trîs paaudΩu latvießu måksliniekus – no “senio-

sabiedrîba, kurå bija daudz gudru, talantîgu, radoßu un

riem” piecdesmitgadniekiem lîdz jaunajai Maijai Kurßevai.

droßu, taçu no brîvås pasaules noß˚irtu cilvéku. Doma,

Vecåkie – Andris BreΩe, Ojårs Pétersons, Leonards Laganovskis

iespéjams, spéj pårvarét jebkuras robeΩas, taçu laikmetîgajai

ir piedzîvojußi, kå padomju laika cenzüra – né, tas skan påråk

vizuålajai måkslai ir nepiecießama skatîtåja klåtbütne un tå,

abstrakti!, tå bija saujiña iebiedétu Maskavas un vietéjås

kopß 20. gadsimta såkuma klasiskå modernisma

komunistiskås partijas centrålkomitejas darboñu – slédza viñu

stråvojumiem Parîzé, Berlîné, Diseldorfå, Minhené un citur, ir

izstådes 1984. un 1985. gadå. Vélåk ßie paßi slédzéji pårtapa

bijusi starptautiska parådîba.

Grüti iedomåties, cik våjam jåbüt cilvékam, lai tikai oficiålå

darbs var tikt aplükots kå pétîjums par Marsela Dißåna uzstådî-

izglîtîbas sistéma un institucionålå måkslas vide veidotu viñu

jumu, ka jebkurß ikdieniß˚s objekts var tikt atzîts par måkslas

par måkslinieku. Ar måksliniekiem padomju un postpadomju

darbu. Darba anotåcijå Kregs-Mårtins gan izvirza jautåjumus,

vidé nemaz nav bijis tik våji. 70. gados Padomju Latvijå radås

gan sniedz atbildes, pie¬aujot to, ka pret måkslas pårveidojoßo

un, galvenais, îstenojås lieli talanti (M. Polis, B. Vasi¬evskis,

spéku vienlaikus var paust gan skepsi, gan uzticéßanos.” 8

I. Lancmanis, I. Blumbergs un citi), arî 80. un 90. gadi nav bijußi måkslås apdalîti.

Més ßodien atß˚iramies no Maskavas måkslas vides ar to,

uz Kaseles documenta vai Venécijas biennålém, Latvijå vél îsti

ka mazå valstî ir vienkårßi skaitliski mazåk måkslås sapråtîgu

nav izveidojies. Måksla maz izglîtotajai vidusß˚irai Latvijå ir

un izglîtotu cilvéku. Uz tås ass, kas bija daudzkårt aktîvåka

tikai glezniecîba, piedevåm iespéjami kråßña, estetizéta,

par Rîgas–Maskavas asi padomju laikå, proti, Tallinas–

“interesanta” 10.

Maskavas ass, skaidri saprata un arî vårdos spéja formulét to,

Vairåkums Latvijas vietéjå hierarhijå izcelto gleznotåju

ko daudzkårt privåtås sarunås uzsvéris ievérojamais måkslas

nevienu Rietumu Laikmetîgås måkslas muzeju neinteresé.

teoréti˚is Ants Juske: “Padomju laikå bija tikai trîs iespéjas –

Nevar noliegt, ka müsu glezniecîbai ir nopietna tradîcija, tå ir

sociålistiskais reålisms, salons un avangards.”

¬oti labs pamats måkslinieku akadémiskås izglîtîbas iegüßanai.

Postpadomju sekas ir smagi skårußas Latvijas vidusß˚iru.

7

Vairåk tådus cilvékus årpus måkslas vides Latvijå man nav nåcies sastapt. Tas Bildungbuergertum 9, kas Rietumos brauc

Taçu ßî glezniecîba, ar retiem izñémumiem, attîstîjusies

Cik ir to årstu, advokåtu, uzñéméju, politi˚u, filozofu,

slégtå, pat iekapsulétå sabiedrîbå un tås valodu noteikusi

spekulantu, kam pieticis paßdisciplînas, lai iedzi¬inåtos

savdabîga postimpresionistiska noskaña, kuru piekopa daudzi

sareΩ©îtås müsdienu literatüras, müzikas, teåtra, kino un

latvießu gleznotåji un kura neapßaubåmi bija “progresîvåka”

vizuålås måkslas parådîbås? Es pazîstu tikai vienu tådu

par 1940. gadå no Maskavas Latvijå ieviesto kokaino,

cilvéku, kurß sistemåtiskå darbå jau nobriedußå vecumå

ståstoßo sociålistisko reålismu. Un tomér latvießu profesors

desmit gados spéjis pårvarét postpadomju inerci un

Eduards K¬aviñß jau 90. gadu vidü ir rakstîjis par

paßapmierinåtîbu, kas raksturo visus tos, kas salonu – kas

“postimpresionistiskajåm banalitåtém un müsdienu vietéjo

pats par sevi nav nekas ¬auns, vél vairåk – ir jauka dzîves

autoritåßu virtuozo dekoratîvismu”. 11

komforta saståvda¬a – pielîdzina tai laikmetîgajai måkslai, par

Arî ßajå postimpresionistiskajå tradîcijå ir daudzi labi

kuru intereséjas nopietni skatîtåji un nopietni starptautiski

meistari, taçu nevajadzétu izvairîties no nopietnå jautåjuma,

laikmetîgås måkslas muzeju speciålisti.

cik lielå mérå viñi virzîjußi uz priekßu måkslu un izpratni par

Íis vienîgais cilvéks, nosauksim viñu par K., bieΩi runå par

to, vai arî vienkårßi nodevußies lîniju un kråsu jaukumam.

måkslas darbu Ozols, kuru viñß redzéjis Tate Modern. Ozols ir

1951. gadå ievérojamais gleznotåjs Ûans Dibifé (1901–1985)

augstu pie sienas piestiprinåts plauktiñß, uz kura atrodas

savå lekcijå Çikågas Måkslas institütå sacîja: “Es neuzskatu ßo

piepildîta üdens glåze. Darbu papildina apraksts: “Kaut arî tas

funkciju – kråsu izvietoßanu jaukos salikumos – par îpaßi

izskatås péc üdens glåzes uz plaukta, måkslinieks apgalvo, ka

cildenu. Ja glezniecîbas jéga bütu tikai ßåda, es nekad nebütu

patiesîbå tas ir ozols. Krega-Mårtina apgalvojums vérßas pie

veltîjis ßai nodarbei ne stundu no sava laika.” 12

mums ar bütiskiem jautåjumiem par to, ko més saprotam ar måkslu, un par müsu ticîbu måkslinieka spéjåm. Íis måkslas

Maskavas profesionålå måkslas vide un arî skatîtåji pårliecinåjås par vienu vérå ñemamu müsu glezniecîbas

ß˚autni paßå padomju varas beigu periodå – vienas Padomju

daudz kas vairåk par estétisku un emocionålu vienîbu

Latvijas gleznotåju paaudzes lielå izstådé Posttradicionålisms

humanitåri nesistemåtiski izglîtotu ¬auΩu labsajütå. Kas tå îsti

1989. gadå Maskavas Centrålajå måkslinieku namå (CDH).

ir un ar ko îsti nodarbojas tie måkslinieki, kurus interesé pati

Tur lielformåta darbos Jånis Mitrévics, Ieva Iltnere, Dace Lielå,

måksla lîdz tås galéji iespéjamajåm robeΩåm, nav citådi

Edgars Vérpe, Sandra Krastiña un citi 13 parådîja Perestroikas

atbildams jautåjums, kå vien pårlükojot visu Latvijas måkslas

laika iedroßinåßanos, vismaz Ωesta varenîbas ziñå.

raΩu, ne tikai kåda viena medija sasniegumus.

Salîdzinot divas latvießu måkslas izstådes, kas notika

Postpadomju vidusß˚iras pårståvji, kuri neiegulda darbu

gandrîz vienlaicîgi, proti, jau pieminéto Posttradicionålismu

paßizglîtîbå, nespéj saprast to nepiecießamo jégas nobîdi, kas

Maskavå un izstådi Rîga – latvießu avangards 1988. gadå

raksturo ne-salonu un par kuru latvießu filozofs Jånis Taurens

Rietumberlîné, jåsecina, ka pédéjå vairåk atbilda

teicis sekojoßo: “Måkslas darbs ir kå Vilhelma Tella bulta,

daudzveidîbai un müsdienîgumam, ko jau tad spéja radît

kura nomér˚éta uz puisénam – skatîtåjam, kuram jåsaprot

latvießu måksla.

bultas lidojuma virziens, – blakus nokritußo åbolu. Tå bütu

80. gadu beigås Latvijå lîdzas lielformåta glezniecîbas

8

metafora. Citiem vårdiem sakot, jaunås måkslas – kura kå

darbiem uzplauka ne mazåk konceptuåla un sociåli orientéta

savu materiålu var izmantot attélu, zîmi, priekßmetu, tekstu,

måksla kå tolaik Maskavå. O¬egs Tillbergs tolaik radîja instalå-

darbîbu, skañu utt. – valodas nozîmés ietverta nobîde no

cijas, kurås padomju ideolo©ijas zîmes, iek¬autas télainås

apkårtéjås pasaules jégveidojumiem. Íai nobîdei raksturîgi, ka

telpiskås struktürås, veidoja jaunas, daudzplåkßñainas nozîmes;

tå ir neliela, neuzkrîtoßa, bet tråpîga (tå pavésta mums kaut

pieméram, tåds ir darbs Aurora (katram kårtîgam padomju

ko bütisku, kas pasakåms tikai ar måkslu).” 14

pilsonim pazîstams kara ku©is – kreiseris, no kura Péterburgå tika raidîta pirmå zalve, såkot tå saucamo Oktobra revolüciju 1917. gadå), kurå milzu va¬a kaulu balstîja pionieru karodziñi.

Lîdzîgi pårdomåtus konceptuålus darbus veidoja Leonards

Kåds gan tam visam sakars ar latvießu måkslinieku, îpaßi, jauno måkslinieku?

Tam visam ir sakars ar tiem måksliniekiem, kuri vél veidosies, un ar tiem, kuri no tagadéjiem izß˚irsies palikt vai

Laganovskis zîméjumu un objektu sérijås, Andris BreΩe, Juris

nepalikt “pie måkslas”. Måkslas vides (art scene) fenomens

Putråms un Ojårs Pétersons lielformåta sietspiedés un

nav otrß˚irîgs apståklis, kad cilvéks pieñem lémumu sevi veltît

instalåcijås. Multimediju patriarhi Hardijs Lediñß un Juris

tik neprognozéjamai nodarbei kå måksla. Nåkotnes måkslas

Boiko jau 80. gadu såkumå izvérsås ar video un foto

vidi nevarés neietekmét topoßå Laikmetîgås måkslas muzeja

inscenéjumiem, kå arî skañu eksperimentiem.

Andrejsalå veidols un saturs. Ståsts par tagadni un par

Lai cik vareni justos uzñéméji vai politi˚i, kuri par

utopiju laikmetîgajå latvießu måkslå lielå mérå ir ståsts par

laikmetîgo måkslu sprieΩ tikai péc bildém, ko pakarina savå

Andrejsalu. Jau pieminétais Merabs Mamardaßvili reiz sacîja,

miteklî vai birojå pie sienas vai ieliek savu banku seifos,

ka “daΩas (un acîmredzot cilvékam visbütiskåkås) domas spéj

måksla, paldies Dievam un müsu progresîvajai izglîtîbas

dzimt tikai agorås…” 15 Provinciåla postpadomju agora, kurå

sistémai Jaña Rozentåla Måkslas skolå, Rîgas Dizaina un

lémumus pieñem tikai un vienîgi salonisma pielüdzéji, nevar

måkslas koledΩå un Latvijas Måkslas akadémijå, (arî) Latvijå ir

sekmét cilvékam visbütiskåkås domas. Tießi tådé¬ likås svarîgi

daudz kas vairåk nekå tikai naudas izteiksmé un fiziskajås,

iepriekßéjås rindås runåt par to, ka postpadomju gaisotne

“pakaramajås” vienîbås izméråms kapitålisma aktîvs. Tå ir

stindzina – brîvu domu un måkslu.

Demokråtiskå sabiedrîbå nav tik bütiski, cik kuram domas

vai arî paßi ir ßo pasåkumu organizétåji. Viñu pasåkumiem

brîvas vai måksla kvalitatîva. Taçu kultürpolitiski ir svarîgi

nav elitårs, drîzåk masveida raksturs, lîdz ar to runa ir par

nepie¬aut våju, starptautiski neinteresantu muzeju, un laikus

samérå plaßu pilsétas jaunå cilvéka tipu.

ir jåidentificé ßådi provinciålisma draudi.

Andrejsala ir ßodienas Rîgas måkslas visaktîvåkå agora, tå

Andrejsalietis ir jauna parådîba, kurß sociålås dzîves “virspusé” ir parådîjies, pateicoties ßai konkrétajai vietai un

vél pagaidåm nav provinciåla, un metaforiski tießi no turienes

laikam. Andrejsala, üdensmala aiz Rîgas pasaΩieru ostas, ilgu

vilciens ir devies uz Maskavas izstådi.

laiku bija tå saucamå “slégtå industriålå” zona. Kopß 2006. gada 18. maija, Starptautiskås muzeju dienas, to oficiåli

Andrejsala un andrejsaließi

apdzîvo måkslinieku grupas, kuråm iespéju bez îres maksas izmantot ßîs teritorijas ékas un vidi uz laiku devis teritorijas

9

Jaunie cilvéki, kas piedalås izstådé Maskavå, iespéjams, nekad

attîstîtåjs Jaunrîgas attîstîbas uzñémums (turpmåk – JAU).

nav Andrejsalå izstådîjußi savus darbus, taçu jaunås måkslas

Praktiski visas ßîs måkslinieku apvienîbas vai måkslinieciskås

gaisotne no Andrejsalas izplatås uz citåm Rîgas

iniciatîvas ir paståvéjußas arî agråk, Andrejsala tåm pieß˚îrusi

institucionålåm un neinstitucionålåm måkslas ßünåm un

koncentrétu non-stop raksturu.

iestådém. Andrejsala pati ir sañémusi impulsus no visåm

Nosacîtais antropolo©iskais tips andrejsalietis izriet no

iespéjamåm ßünåm, taçu tagad to måkslinieciski veido tå

urbånås uzvedîbas formåm, sava veida jaunießu subkultüras.

saucamie andrejsaließi. Redzamåkås ir daudzu måkslinieku

Andrejsaließus raksturo visai ekstravagants un neformåls

apvienîbu rîkotås izstådes (pieméram, Laikmetîgås måkslas

©érbßanås, runas un pat Ωestikulåcijas stils, krasi atß˚irîgs no

centrs telpå ‰dnîca), izrådes (umka.lv), dzejas lasîjumi un

citådi “progresîvo” cilvéku, pieméram, jauno, veiksmîgo, bet

video demonstréjumi (Orbîta), jaunås, eksperimentålås

“klasisko” uzñéméju, mårketinga un komunikåciju

müzikas koncerti (Skañu meΩs), îsfilmu demonstréjumi

speciålistu dzîvesstila.

(Futureshorts), pat måkslinieku hostelis Singalonga utt.

Tomér andrejsaließus neraksturo tikai un vienîgi dzîvesstils

Andrejsalå virmo radoßs un eksperimentåls gars, taçu visi

(jåteic, daudziem andrejsaließiem ir pietiekami paßu vai

zina, ka tas ir îslaicîgi, tas viss te turpinåsies vél tikai daΩus

vecåku ienåkumi, ßai videi nav raksturîgs trükums); tikpat

gadus. Tad ßî industriålå teritorija tiks apbüvéta, te ienåks

svarîgas ir ßai subkultürai piemîtoßås simboliskås formas un

lielå nauda – investîcijas. Topoßå muzeja vieta ir zinåma,

uzvedîbu noteicoßås ideolo©ijas. 17

måkslinieku “kolonijåm” büs jådodas citur.

2005. gada rudenî Latvijas presé bija lasåms: “Visskaiståkå Andrejsalå ir üdensmala un jaunie cilvéki, kas to apmeklé.

Lüdzu divas jaunietes, andrejsalietes, aprakstît nosacîto jauno andrejsaließa tipu: “Manupråt, ir ¬oti grüti definét tådu Andrejsalas “tipåΩu”,

Var apgalvot, ka tießi te îså laikå izveidojies jauns

jo tas ßobrîd ir tikai tapßanas stadijå. Lîdz ar to sniegt kådu

antropolo©iskais tips, kas nedaudz vîzdegunîgi uzskata: “Ja

konkrétu raksturojumu pagaidåm nav iespéjams. Andrejsalas

tu neapmeklé Andrejsalas pasåkumus, tad tu neapmeklé

viesu saraksts ir ¬oti daudzveidîgs, bet es domåju, ka visus

vispår neko vai arî esi pilnîga séne!”” 16

Andrejsalas apmeklétåjus vieno trîs komponenti – müsdie-

Ío jaunießu vecums ir apméram no 16 lîdz 35 gadiem, viñi regulåri apmeklé Andrejsalas kultüras un måkslas pasåkumus

nîgums, aizrautîba un radoßums. Manupråt, tie ir cilvéki, kas nogurußi no vienveidîbas un noslégtîbas. Tådi, kas meklé sev

patîkamu vidi un lîdzîgi domåjoßos. Es teiktu, ka ir izveidojies

norådot uz noteiktu tipolo©iju. Müs intereséjoßå kontekstå

tåds Andrejsalas fenomens, kas radies, pateicoties

gan jåuzsver, ka “pråta piedévéßana sociålajåm grupåm” 20

Andrejsalas pieejamîbai un piedåvåto pasåkumu klåstam.

bütu aplama.

Manupråt, cilvéki dodas uz Andrejsalu jaunas un svaigas

“iedzimtie”, bet gan ir plaßåks müsdienu kultüras fenomens,

izklaidé.” (Rita, 28 gadi)

kurß izveidojies Andrejsalå, pateicoties revolucionåråm

“Rîgas ‘underground’, radoßå komüna, atdzimusî Veldzîte

pårmaiñåm, kas tur bija vérojamas 2006. un 2007. gadå ar

ir tikai daΩi no apzîméjumiem, ar kuriem var tikt raksturoti

visu andrejsaließu lîdzdalîbu. Vai andrejsaließi büs topoßå

andrejsaließi jeb pårsvarå gados jauni cilvéki, kas regulåri

Laikmetîgås måkslas muzeja auditorija? Vai viñi büs ßî

apmeklé Andrejsalu. Vienojoßais, manupråt, ir brîvdomîgie

muzeja lîdzveidotåji? Vai varbüt viñu pienesums büs

uzskati, plaßåka interese par literatüru, måkslu, müziku un

krasa konfrontåcija ar topoßo muzeju? Vai nedomåt par

manifestéjoßs vizuålais izskats – izteiksmîgas frizüras,

ßådu perspektîvu nozîmé izniekot ener©ijas lådiñu, kurß

pîrsings, koßåkas drébes. Kå likts, daudzi andrejsaließi

tik îså laikå ir uzkråjies Andrejsalå?

braukås ar veciem riteñiem, pîpés uztinamås cigaretes un

10

Te vélreiz jåatzîmé, ka andrejsaließi nav Andrejsalas

“intelektuålås barîbas” iegüßanai, kas turklåt lieliski

Jåatzîmé, ka muzejam ir paredzéta vieta Andrejsalas

klausîsies elektronisko müziku. Zîmîgi arî, ka Andrejsala ir

Zieme¬u galå, bet ßodienas måkslinieciskås aktivitåtes notiek

viena no retajåm vietåm Rîgå, kur nacionålai piederîbai nav

Dienvidu galå.

nozîmes.” (Zane, 27 gadi) Andrejsaließi tåtad ir “maiga” alternatîva tai patérétåju

Andrejsalas spékstacijas éka, kas izvéléta Latvijas Laikmetîgås måkslas muzeja celtniecîbai, büvéta 1905. gadå

sabiedrîbas da¬ai, arî jaunießiem, kuri klausås tikai

(inΩenieris Oskars fon Millers, 1855–1934, arhitekts Kårlis

ßlågermüziku un brîvo laiku pavada lielveikalos. Secinåjumi

Johans Felsko, 1813–1902), un ir bijusi pirmå Latvijas

Andrejsalas sakarå apgåΩ izplatîto tézi, ka plaßsaziñas lîdzek¬i

elektrostacija, kurå savu muzeju paredzéjußi veidot arî

ir noteicoßie dzîves stila izvélé. Èsi ßådu pieeju raksturo

ener©éti˚i, publiskai apskatei saglabåjot vértîgu aprîkojumu

sekojoßs, ß˚iet, miljoniem reiΩu tiraΩéts citåts: “Tagad

un iekårtu deta¬as.

medijiem ir izß˚iroßa loma, definéjot mums paßiem müsu

SIA “JAU”, kas ar Rîgas Brîvostas pilnvarojumu apsaim-

pieredzi. Tie mums piedåvå vispieejamåkås kategorijas, lai

nieko Andrejsalu un risina tås attîstîbas uzdevumus, ir

klasificétu sociålo pasauli.” 18 Andrejsaließu gadîjumå medijiem

pasütîjis teritorijas detålplåna izstrådi. To veido starptautiski

ir nenozîmîga loma.

pazîstams arhitektu birojs OMA (Office for Metropolitan

Andrejsaließi savukårt apstiprina îpaßo “jaunatnes kultüras” esamîbu Rietumu sabiedrîbå. Íî kultüra nav iedomåjama bez tehnolo©ijåm, globalizåcijas, multikulturålisma, populårås

Architecture, Nîderlande) pasaulslavenå arhitekta Rema Kolhåsa vadîbå. OMA jau ir izveidojusi topoßå muzeja metu 21.

To visu aktîvi atspogu¬o portåls www.andrejsala.lv.

kultüras, urbanizåcijas un citåm parådîbåm. 19 Tomér Andrejsalas gadîjumå noteicoßais ir radoßums un eksperimenti.

Kåds muzejs, tåda Latvija

Andrejsalå svarîgas ir grupas un indivîda attiecîbas. Lai arî aprakståmajiem andrejsaließiem katram piemît sava un îpaßi

Vai Laikmetîgås måkslas muzejs ir vajadzîgs tikai tådé¬, ka tå

izkopta (!) identitåte, tå tomér ir grupas identitåte, tådéjådi

nav? Vai tas ir vajadzîgs tikai valsts télam un prestiΩam? Vai

tas ir tikai jégpilnåks laika pavadîßanas piedåvåjums ©imeném

Tådéjådi kolekcija un tås izstådîßana nenozîmé vairs lineåri

ar bérniem (alternatîva garajåm stundåm lielveikalos)? Vai tå

tapußu darbu atrådîßanu, bet gan kontekstuåli iekråsotu

ir tikai nodeva vietéjai måkslas videi vai, kå saka måkslas

véstîjumu kopumu, pie tam konteksts nemitîgi mainås.

zinåtniece Laima Slava: “Es ¬oti ceru uz jauno paaudzi, kas

galvenais nav vis ziña, bet tås radîtais viedoklis, topoßajam

visa pasaule ir va¬å, taçu skaidri apzinos, ka tießi viñiem kå

muzejam vismaz vienå ziñå ir jåk¬üst revolucionåram – katru

nevienam pietrükst Laikmetîgås måkslas muzeja, kas tießi

gadu büs nevis nemitîgi jåtransformé digitålu vai citu

Latvijas måkslas nesenås parådîbas vésturiski un jédzieniski

informåcijas neséju tehnolo©ijas, bet gan jånodroßina

noliktu savås vietås, kur bütu iespéja apjégt kontekstu un –

informåcijas saglabåßana. (Pieméram, Ginta Gabråna måkslas

galu galå – tås iepazît ori©inålos. (..) Vértîbu mérauklas,

darbs Starix nevar büt tikai VHS formåta nemitîga transfor-

atskaites punktu rådîtåja loma ir neatñemama ¬oti gaidîtå

méßana, bet visu kontekstuålo komponentu informatîva

Laikmetîgås måkslas muzeja eksistences da¬a.”

saglabåßana cauri paaudzém un jauniem kontekstiem).

22

Vai Laikmetîgås måkslas muzejs ir tikai nepiecießamais

11

Nevarot izvairîties no masu sabiedrîbas spiedoga, kurå

izaugusi paßreizéjå informatîvajå laukå, kurai jau såkotnéji

Muzeja virsuzdevums ir cîña ar globålo ciematu – uzce¬ot

labums türisma industrijas attîstîbai, tådéjådi vairojot

muzeju ˆujorkå, no globålå ciemata efekta tiek pasargåta,

turîgåku un izglîtotåku Rîgas apmeklétåju skaitu (tå saucamos

pieméram, Rîga. Uzce¬ot muzeju Rîgå, no provinciålisma tiek

“kongresu türistus”) iepretim galvaspilsétas viesu sekstüristu

pasargåta arî ˆujorka. Ja neveido izcilus muzejus, viss k¬üst

kuplajam skaitam? Vai tå ir tikai tolerances vairoßanas vieta,

par globålo ciemu.

jo Laikmetîgås måkslas muzejs, ja vien tas nav pak¬auts pilnîgi

Muzejam jåtop par dubultu måcîbu iestådi:

aprobeΩotiem un banåliem ¬audîm, tomér ar savu véstîjumu

Muzeja pusamfiteåtra konferençu zåle reizé kalpo par

vairo iecietîbu pret citådo – pret etniski, seksuåli, reli©iski,

nopietnu måcîbu telpu skolåm un augstskolåm, kurå notiks

kulturåli citådo?

arî stundas un lekcijas par muzejå uzkråto, pirmo pasaulé

Tås visas ir ¬oti sociåli svarîgas muzeja darbîbas ß˚autnes.

Tomér jau tad, kad Kultüras ministrijå såkåm zîmét pirmås

pilnîgo WEB måkslas un to pavadoßo fenomenu kolekciju; Par måcîbu lîdzekli skoléniem, studentiem un ikvienam

jaunå muzeja aprises, starptautiskajai ekspertu komisijai

apmeklétåjam kalpo pati éka, kurå vértîgs industriålais

centos uzburt savu vîziju par muzeju, kas nav tießi

mantojums apvienots ar modernu arhitektonisko domåßanu –

pragmatiska:

tå büs izcili fleksibla artefaktu, måcîbu, domåßanas,

“Muzejs büs måcîßanås un tikßanås telpa caur kontekstu un diskusijåm.

Muzejs pirmkårt ir muzejs – vieta, kurå kolekcioné un

kontekstualitåtes un diskusiju måjvieta.

Tîri politiski vajadzétu atseviß˚u telpa nelielai, nemitîgi mainîgai da¬ai no Zentas Loginas gleznu kolekcijas, kura visos

izståda måkslas darbus. Taçu müsdienu Rietumu civilizåcijå

laikos atgådinåtu par måkslinieka neatkarîbu no politiskås

“tîrås” atmiñas uzglabåßana, koncentréjot måkslas darbus

varas, par iespéju strådåt, neizstådot måkslas darbus – tikai

kådå vietå, vairs nav tik viennozîmîga. Atmiñu ietekmé

kalpojot paßai måkslai. Vispårinoßi ßî telpa atgådinåtu gan

ßodiena, bet pagåtni ietekmé tagadne un nåkotne. Katrs labs

konkrétu cilvéku un viña darbu, taçu reizé arî kådu dzi¬åku

måkslas darbs k¬üst par tagadnes reprezentantu, nevis

måkslas nozîmi årpus nemitîgåm diskusijåm, kontekstualitåtes

pagåtnes informåcijas neséju.

un sabiedriskajåm attiecîbåm.” 23

Var un vajag jauno muzeju uzlükot no jaunås, radoßås

Kå izdarît neiespéjamo? Kå radît atß˚irîgo? Varianti ir

ekonomikas perspektîvas. Tajå, kå zinåms, galvenais

iespéjami, pat tådi, kas “idejiski” spétu apvienot abas

pårdoßanas kodols ir one big distinctive idea jeb lielå, atß˚irîgå

Andreja ‰˚a filmas. Viena lielå atß˚irîgå ideja un sléptå dienas

ideja. Tå nav îsti saistîta ne ar mér˚auditoriju pétîßanu, ne ar

kårtîba bütu ar muzeja kolekciju un programmåm pétît

citåm mårketinga aktivitåtém. Tå ir saistîta ar radoßumu, kas

måkslas robeΩas.

spéj radît kaut ko principiåli jaunu, par ko patérétåjam vél nav

dzîves robeΩa ir nåve (un vai tådai attieksmei nebütu

bet pietiekami plaßå kultüras båzé un lielå, ener©iskå talantå.

jånokaunas seno grie˚u priekßå?) Vai “kailå dzîvîba” ir visu

Muzeja “biznesa” modelî ßåda attieksme ir noteicoßå. Kå

vértîbu mérs, un vai vispår ßådå skatîjumå ir iespéjama kåda

lîdz tam nok¬üt? DiemΩél tie, kuri veidos lîdz galam muzeju kå

diskusija par vértîbåm? Vai varbüt arî ßai diskusijai ir robeΩas?

“produktu”, iespéjams, nesapratîs, ka muzeja “sléptå” dienas

Vai “atvérta sabiedrîba” ir vienîgais sabiedrîbas modelis,

kårtîba veidos tå publisko télu ne mazåkå mérå KÅ LIELÅ

kurå iespéjams diskutét par visu augßminéto? Cik ¬oti mainås

IDEJA. Biznesa ideja darbosies tikai tad, kad muzeja nekomer-

robeΩu izpratne?

ciålå, måkslinieciskå, pat revolucionårå komponente büs tikpat

12

Cik ¬oti måkslas robeΩas sasaucas ar dzîves robeΩåm? Vai

nojausmas, un kas sakñojas ne tikai aptaujås un modeléßanå,

Muzejå un sabiedrîbå, kura neizbégami büs Latvijå

spécîga kå “pårdodamais produkts”. Muzeja télu neveido tikai

dzîvojoßa måkslinieka “måli”, izpratne paredz konfrontåciju

apmeklétåji, bet arî viedok¬u lîderi un labi måkslinieki, kuri

ar jebkuru citu izpratni, bet måkslinieks tikmér var modelét

Vakareiropas kultürå vél ir saglabåjußi veselo sapråtu.

savas iespéjamås pasaules, gluΩi kå ßîs izstådes dalîbniece

Varétu muzeja uzdevumu duålismu, gluΩi kå Andrejsalas duålismu (lielå måksla un lielå nauda) salîdzinåt ar viena cilvéka radîtiem diviem artefaktiem. Íî cilvéka vårds ir Andrejs,

måksliniece Katrîna Neiburga pirms kåda laika ir uzprogramméjusi savu, pilnîgu jaunu valodu.

Vai muzejs/Latvijas sabiedrîba/måkslinieks büs pietiekami

viñß ir radîjis vismaz divas ievérîbas cienîgas filmas. Vienas

brîvi un spécîgi konfliktam un izlîgumam, gréksüdzei un

nosaukums ir Ce¬ojums uz Tukumu (1987), un to ir redzéjußi

izaicinåjumam?

krietni påris simti skatîtåju. Man personîgi un cilvékiem, kuru

Íobrîd ir iespéjams dot jaunus impulsus nedaudz stagnéjo-

viedoklis man ir dårgs, ßî filma ß˚iet viens no izcilåkajiem

ßajai laikmetîgås måkslas videi Latvijå. Tas, ka Latvijå darbojas

Latvijas laikmetîgås måkslas darbiem. Ío filmu pazîst labi ja

labi måkslinieki, nav priekßnoteikums dzîvîgai un spilgtai

300 cilvéku. Otra Andreja filma – Rîgas sargi (2007) ir pulcé-

måkslas videi. Vérienîgi notikumi/izstådes, kuros pårdomåti

jusi vislielåko skatîtåju skaitu kopß Latvijas neatkarîbas atjau-

un pårliecinoßi parådås labåkais un progresîvåkais, ko pédéjå

noßanas, lielåku nekå iepriekßéjai Latvijas skatîtåju rekordistei,

laikå radîjußi Latvijas måkslinieki, pagaidåm tiek marginalizéts

Holivudas Titånikam. Vai abåm filmåm ir kas kopîgs?

vai notiek årzemés – kå ßî izståde Maskavå, kå februårî

Kåda te paraléle ar topoßo muzeju? Í˚istu, ka muzejam neiespéjamå veidå, gluΩi kå nåkotnes Andrejsalai, gluΩi kå Latvijas sabiedrîbai bütu jåspéj sasniegt abus mér˚us un satikties nesasniedzamajå – bizneså, ¬auΩu aktivitåté plus

notikusî Latvijas laikmetîgås måkslas izståde Time Will Show – Laiks rådîs. Jaunå Latvijas måksla Flensburgas muzejå Våcijå.

Manupråt, izcilåkais 2007. gada notikums Latvijas måkslå bija andrejsaließa, festivåla Skañu meΩs rîkotåja un reizé

pråtå sakñotå, unikålå måkslinieciskå radoßumå. Vai Ce¬ojums

laikraksta Diena korespondenta Viestarta Gailîßa kürétå izståde

uz Tukumu maz bütu kaut kå jåsaméro ar Rîgas sargiem?

vél “neapgütå” Rîgas industriålå teritorijå – tå bija skañu

måkslas izståde Skan! kådreizéjå Pårdaugavas cigoriñu un ma-

nevis tikai gaidît muzeju. Tåtad task force: politologi, måkslas

karonu fabrikå. Tå bija îpaßi marginåla no sabiedriskås domas

zinåtnieki, uzñéméji, reklåmisti, humanitårie akadémi˚i,

viedok¬a un pat netika izvirzîta Dienas gada balvai kultürå.

pedagogi. Tas, ka ir nobriedusi augsne cita lîmeña publiskåm

Pat Andrejsalas Dienvidu gala radoßums nevar kompensét

debatém, apliecina jaunais intelektuålis un viedok¬u lîderis

paßreizéjo vériena un konteksta izjütas trükumu. Ir

jaunå, radoßå vidé Reinis Tukißs: “Manupråt, Latvijas publiskajå

nepiecießams muzejs, un ßo izstådi Maskavå var uzlükot kå

telpå par lietåm ßobrîd ir liels paßpårliecinåtîbas trükums. Ja

pieturvietu ceΠuz to.

cilvékiem pajautå, ar ko viñi nodarbojas, lielåkå da¬a nemåk

1999. gadå ßîs izstådes kurators Ojårs Pétersons Ωurnålam

atbildét.” Turpat viñß saka arî: “Sevi es uzskatu par ¬oti

Studija rakstîja, ka måksla beidzot ir atjégusies, atradusi savu

konservatîvu cilvéku, un man ir grüti dzîvot valstî, kurå nav

vietu reålajå dzîvé . Tagad pienåcis laiks, lai atjégsme notiktu

nekådu nopietni ñemamu kultüras tradîciju”. 25

24

viedok¬u lîderu, lémumu pieñéméju, naudas devéju galvås. Te

Arî visas iepriekßéjås ßî raksta rindas ir rakstîjis konser-

diemΩél Maskava mums ir priekßå – pat Kandinska balvas

vatîvs cilvéks, jo uzskatu, ka Vakareiropas konservatîvisma

nominantu izståde, kuru atbalsta lielais Krievijas bizness un

tradîcijå vieni no vissvarîgåkajiem jédzieniem ir izcilîba un

kuras norise Rîgå plånota gandrîz vienlaicîgi ar ßo müsu

personîgå atbildîba.

izstådi Maskavå, ir nesalîdzinåmi profesionålåka un visådi citådi progresîvåka par jebkuru privåtu kolekciju Latvijå. Tas ir 13

Rezuméjums

paradokss – varenå Krievijas komercija liek uzsvaru uz måkslas garîgåm, nekomerciålåm vértîbåm, savukårt relatîvi

Sañemot dåvanå gråmatu Maskava–Gailîßi no tås tulkotåja,

kuslais Latvijas bizness dod priekßroku komerciålajai pusei.

ieraudzîju, ka viñß titullapå ierakstîjis vienu Venedikta

Atjégsme Latvijå nevar notikt tikai intuitîvå lîmenî. Filozofis-

(Veñiçkas) Jerofejeva teikumu: “Visam pasaulé jånotiek lénåm

ki, pedago©iski, kultürkritiski, kultürpolitiski, antropolo©iski un

un nepareizi, lai cilvéks nek¬ütu lepns, lai cilvéks bütu skumjß

citi jautåjumi, kas saistîti ar måkslas izpratni, nevar kompensét

un apjucis.”

provinciålo kolekcionéßanas un izstådîßanas praksi.

Paraléli måkslas vides aktivizéßanai ce¬å uz topoßo muzeju var pétît bîstamîbas, kuras var raksturot ar daudziem “p” – populisms, proletårisms, piekåpîgums, pragmatisms, provinciålisms, pieticîba, pårpraßana, principu trükums, pasivitåte, paternålisms. Kas ir ßo “p” pretstati?

Paßreizéjå laika nogrieznî nepiecießams intelektuåls ieråmé-

Aktîva domu apmaiña agorå, kuru uzsvéra kultürå “ierakstîtais” Merabs Mamardaßvili, centieni pårvarét provinciålismu un radît labu måkslas vidi tomér nav centrålais jautåjums, ja més runåjam par paßu måkslu.

Bütiskåka ir noskaña jeb, kå raksta Maskavas–Gailîßu tulks Uldis Tîrons: “intonåcija, kuru Veñiçka bija ieguvis apmaiñå pret pasauli.” 26 Neviens, pat vislabåkais muzejs, vislabåkå

jums, lai pårvarétu to provinciålo måkslas uztveri, kas daΩbrîd

sabiedrîba, vislabåkå måkslas vide nespéj radît tådu sajütu.

k¬uvusi pat naidîga. Pieméram, Valsts kontrole vél iepriekßéjå

To spéj tikai måkslinieks.

valsts kontroliera laikå 2003. gadå nopéla Latvijas Laikmetîgås måkslas centra paßu måkslas darbu saturisko bütîbu.

Såkumå, pirms nav tapis Laikmetîgås måkslas muzejs, mér˚auditorija ir viedok¬u lîderi – tie, kas varétu idejas skaidrot,

Uzlükojot pasauli ar skumjåm, tik tießåm nav svarîgi, vai apkårtéjå sabiedrîba ir vai nav postpadomju fenomens. Svarîgi tas ir ce¬å no Andrejsalas uz Maskavu, pat ja ßo braucienu raksturo pårmérîgs, labam måksliniekam nepiemîtoßs optimisms.

1

sagat. Laura Krastiña. Republika.lv, Nr.32, 2006, 22./28.sept., 16.-17.lpp. ISSN

Jerofejevs, Venedikts. Maskava-Gailîßi. No krievu valodas tulkojis Uldis Tîrons. Rîga :

1691-2756.

Liepnieks & Rîtups, 2007. 357, [2] lpp. ISBN 9789984960937.

2

Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs

17

9984928810.

un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga : Spektrs, 1994. 201 lpp. ISBN 9984900223.

3

Mamardaßvili, Merabs. Ce¬ß, aiz kura paveras lîdzens prieka lauks : [ståsta gruzînu

4

Starptautiskås ekspertu padomes ekspertu komisija: komisijas priekßsédétåjs Ernests

filoz.]. Pierakst. un iev. sarakst. Uldis Tîrons. Kentaurs XXI, Nr.1, 1992, 17.lpp.

Bernis (Latvija); komisijas locek¬i: Maaretta Jaukkuri (Somija); Norbert Weber (Våcija);

18

19

20

Ashgate, 2006, p. 94. ISBN 9780754653496.

21

7

ISSN 1407-1290.

23

8

24

Elefanten Press, 1988. 84 S. : Ill.

25

Craig-Martin, Michael (1941). An Oak Tree (1973). Glass, water, shelf and printed sculpture. Sk. Tate Modern : [online]. Available : http://www.tate.org.uk/servlet/ViewWork?workid=27072

9

Izglîtotais pilsoñu slånis (våcu val.)

10

Sk. Ítokenbergs, Aigars. Vîtoliñß [Andris] nepazudîs : [saruna ar LR re©ionålås attîstîbas un paßvaldîbu lietu ministru, gleznu kolekcionåru]. Pierakst. Inese Zandere.

Rîgas Laiks, Nr.9, 2007, sept., [24.]-29., 69.lpp. ISSN 1407-1622.

K¬aviñß, Eduards. Imants Lancmanis. In: Personal time Art of Estonia, Latvia and Lithuania, 1945-1996 : Exhibition catalogue, 9.Sept.-13.Oct.1996, Warszawa : [In 3 pt.]. Latvia. Ed. Helena Demakova et al. Warszaw : The Zacheta Gallery of Contemporary Art, 1996, p.48. ISBN 8386277548.

12

Debifé, Ûans. Antikulturålas pozîcijas : [par pårmaiñåm måkslå]. No ang¬u val. tulk.

13

èÓÒÚ‡‰ËˆËÓ̇ÎËÁÏ. Ç˚ÒÚ‡‚͇ ‡·ÓÚ „ÛÔÔ˚ ÏÓÎÓ‰˚ı ÊË‚ÓÔË҈‚ ã‡Ú‚ËÈÒÍÓÈ

Heléna Demakova. Kentaurs XXI, Nr.2, 1992, 22.lpp. ëëê : ä‡Ú‡ÎÓ„. Ä‚Ú. ÚÂÍÒÚ‡ Ä. éÒχÌËÒ. åÓÒÍ‚‡ : ëÓ˛Á ıÛ‰ÓÊÌËÍÓ‚ ëëëê, 1988.

60 Ò.: ËÎ.

14

2 show : latvießu un lietuvießu jauno måkslinieku izståde Laikmetîgås måkslas centrå (CAC) Vi¬ñå = Young art from Latvia and Lithuania, Contemporary Art Centre, Vilnius. Sast. un galv. red. Heléna Demakova. Rîga : Kultüras pilotprojekti, 2003, 19.lpp. ISBN 9984973107.

15

Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga : Spektrs, 1994. 32. lpp. ISBN 9984900223.

16

Visradoßåkå vieta jaunießiem : [par måkslas projektu rîkoßanu Andrejsalå]. Mater.

Ojårs Pétersons : [saruna]. Pierakst. Heléna Demakova. Studija, Nr.6, 1999, 20. lpp.

Tukißs, Reinis. Vai provokatîvai komunikåcijai ir nozîme? Dizaina Studija, Nr.11 (janv./febr), 2008, 33.lpp.

ÇÑçï (Ç˚ÒÚ‡‚͇ ‰ÓÒÚËÊÂÌËÈ Ì‡Ó‰ÌÓ„Ó ıÓÁ‡ÈÒÚ‚‡) – 1959.g. izveidots izståΩu

text

11

11.06.2005 materiålus.

24.7.-24.8.1988]. Neue Gesellschaft für bildende Kunst (Hrsg.). Berlin (West) :

PSRS.

Topoßå Laikmetîgås måkslas muzeja vîzija, ko raksta autore sagatavoja muzeja starptautiskajai ekspertu padomei. Sk. Starptautiskås ekspertu padomes sédes Nr. 2,

Riga : Lettische Avantgarde = Latvießu avangards : [anlässlich einer Ausst., Berlin,

paviljonu komplekss, kura uzdevums bija propagandét daΩådu nozaru sasniegumus 14

Slava, Laima. Vizuålå måksla un jaunie mediji. : [runa 2.Latvijas Kultüras darbin.

Forumå]. Diena, Nr.245, 2007, 19.okt., 12.lpp. (Piel. “Kultüras nåkotne Latvijå”).

20.gs. 80.g. beigås par “gaißajiem spékiem” dévéja komunistiskås partijas vadoßos centienus, tomér viñu darbîba vértéta pretrunîgi.

6

OMA Designs Latvia’s Museum of Centemporary Art : News : [tießsaiste] [skatîts 2007.25.III]. Pieejams : http://www.oma.nl

22

ministrijå. darbiniekus, kuri atbalstîja pårmaiñas sabiedrîbå un vélåk arî Latvijas neatkarîbas

Sheehy, Paul. The Influance and Significance of Social Groups. In: Sheehy, Paul. The Reality of Social Groups. Aldershot, Hampshire, England; Burlington, VT, USA :

Laikmetîgås måkslas muzeja kråjuma starptautiskås ekspertu komisijas saståvu” : LR

5

Sk. Youth culture. In : Encyclopedia of Globalization. New York; London : Routledge, 2007, Vol.4, pp.1319-1321. ISBN 0415973147.

Leonards Laganovskis (Latvija); Raitis Ímits (Latvija); Ieva Astahovska (Latvija); Heléna

Kultüras ministrijas rîkojums Nr.2.1.-25-148 (23.10.2007) : pieejams LR Kultüras

Hebdige, Dick. Subculture : the Meaning of Style. London ; New York : Routledge, 1998, p. 85 p. ISBN 0415039495.

Sirje Helme (Igaunija); Raminta Jurenaite (Lietuva); Leonîds BaΩanovs (Krievija); Demakova (Latvija); Måra Ådiña (Latvija); Astrîda Rogule (Latvija). Sk. “Par

Sk. Gîrcs, Klifords. Kultüru interpretåcija. Rîga : AGB, 1998. 478 lpp. ISBN

26

Tîrons, Uldis. Jums manas skumjas nesaprast. Rîgas Laiks, Nr.9, 2007, 51.lpp.

Moscow – Andrejsala. 1980 – 2008. The Road to the Museum of Contemporary Art Heléna Demakova

2007 saw a lot of hard work invested in Latvia’s culture –

Latvian Museum of Contemporary Art, the exhibition curator

philosopher, journalist, traveller and editor, one of the rare

Latvian painter Ojårs pétersons – cannot simply write off the

Latvian intellectuals Uldis Tîrons translated Venedikt

experience we gained while Soviet Latvia was in the Soviet

Yerofeyev’s novel Moscow – Petushki 1 into Latvian giving it

Union as if it never happened. This was the time when a trip

the title of Maskava – Gailîßi.

from Moscow to Riga was a trip “na zapad” (to the West)

2

The title alone shows that many things can be “Latvianised”, even the names of places, which is obviously absurd. Imagine a Latvian village called Ozolnieki (Little Oaks), which, if were

(our Jürmala).

The consequences of this experience are not only virtual –

to speak about it in Russian, would be called Dubovki! And

we encounter them at every step. Let us remember that we

would Skrîveri (literally “Scribes”) be called Pisaki?

lived in a state and society where there was not only no

To make a journey back to a time, which some may

17

and even now there are still such trips to “nasha Jurmala”

Museum of Contemporary Art, not only no “normal”

consider pre-historic because we are referring to soviet times,

international exhibition circuits, there wasn’t even any

today we need a translation. It is possible that for some of

elementary information on what was happening in art in the

the young artists taking part in this exhibition the Beyond-

far-off “shining” West. The minds of people have been so

the-looking-glass land we once had to live in is just as alien

poisoned by soviet fumes that many of them in Latvia from

as today’s India or Malaysia. For a young person whose

several generations regard life without a Museum of

hitherto destinations have been Venice, Berlin, Kassel and so

Contemporary Art as being more normal than life with it.

on, the spiritual distance from Riga to Moscow is similar to

This, perhaps, is not too successful a generalisation, but in

that between Riga and Kuala Lumpur.

the context of these reflections it seems to be the most valid.

Young artists could very well think so were it not for the

We can draw an imaginary thematic circle in order to

fact that the space we live in now is still physically and

mark out the coordinates for Latvia’s exhibition at Moscow’s

spiritually referred to as “post-soviet”. Even if a young

National Centre for Contemporary Art. Why should we do

Latvian artist does not wish to know or hear about the

this? For the sake of clarity; for example, in order to translate

alcohol-ridden soviet greyness or the everyday and

what has to be translated because otherwise communication,

ideological nonsense that Yerofeyev describes in such

even for those taking part in the same exhibition, is like

colourful language, even then our surroundings still carry the

talking through glass. Then there are others “out there” who

fumes that poisoned both people’s souls and the wider living

even just out of curiosity would like to get closer to an

space. No modern marketing, no supermarket or soap opera,

artwork; then, possibly, they suddenly feel an additional need

friends, clothes or cafés, stylish apartment or car, skiing in

to find out more about its message and then even more

Austria, books or self-made business can completely disinfect

suddenly they begin to think about many works of art

the physical and spiritual space – this will take generations.

together – in an exhibition or in a museum. For these people

And art too is no dry cleaners’.

at one moment what may be called the context will begin to

Those of us who proposed this exhibition – politicians, the

make its mark. The more clarity about the context, the easier

head of this art centre Leonid Bazhanov who has now joined

it is to disperse those post-soviet fumes, which many

the small circle of international experts on the budding

illusorily seem to think have already gone.

If you don’t wish to hurry history, then nothing has to be

It is on this basis (and not just because of his professional

dispersed. However, if you want to build something, for

skills), that the head of National Centre for Contemporary

example, a Museum of Contemporary Art, then you have to

Art in Moscow Leonid Bazhanov has been invited to join the

work at it and not just like a western marketing specialist.

international group of experts with the forthcoming Latvian

You have to build if you have any pity for the children who

Museum of Contemporary Art. 5

have to grow up in post-soviet fatalism but this pity cannot be implanted using international business methods.

And then there are the professional co-ordinates – those that have shaped the participants in the exhibition.

For any thinking person, his attitude to the past permeates the present but the pathos differs. There’s one

The Art Scene

situation, which the Soviet Georgian philosopher Merab

18

Mamardashvili (d.1990) called “my unforgiving memory”. 3

The exhibition embraces three generations of Latvian artists –

When the above-mentioned Latvian philosopher Uldis Tîrons

from the 50 year-old “seniors” to the young Maija Kurßeva.

asked him: “But Merab, how did you survive in those days?”

The oldest, Andris BreΩe, Ojårs Pétersons and Leonards

he replied: “Because I am a Georgian.” 4

Laganovskis have experienced how the soviet censorship –

This is one possibility, one set of co-ordinates.

no, that sounds too abstract! It was a handful of timid

Another pathos is played out in the 2007 wordless

Moscow and local Communist Party Central Committee

production Sounds of Silence by the outstanding Latvian

functionaries – closed down their exhibitions in 1984 and

director Alvis Hermanis. For three hours the audience hears

1985. Later these very same functionaries-censors

only music by Simon and Garfunkel from a concert that never

transformed into the “forces of light” 6 of perestroika and

took place in Riga in the 1970s because it couldn’t take

that is probably just as well.

place. In a series of short studies, young people in a

At the beginning of the 80s several of our artists who by

communal apartment play out their lives, which at all times

the standards of the time could be deemed to be “progres-

and under all regimes are full of love, jealousy, sincerity,

sive” were, to a certain extent, connected with Moscow.

books, children, toys, intoxication, creative work. But under

Those who finally experienced “liberation” i.e. the possibility

that regime, every now and then, fear was especially acute

at the end of the 80s to travel to the West and exhibit their

because it was ideologically created and it was the fear of an

art without hindrance, earned money in Moscow.

intimidated society. Fears flared up and then people shut

At the beginning of the 80s representatives of the Latvian

them away in their memories. The fears in the performance,

“avant-garde” 7 (so called by some well known West Berlin art

just as in life in those days, were marginal. You listen to

critics 8) earned good money decorating the All-Union

Western music and you could be “taken away” and at that

Exhibition of Economic Achievement (VDNKh). 9 (It is interesting

moment you’re even frightened of your own shadow.

to note, although in a completely different context, that the

However, the power of human warmth to lull is greater than

entrance to the VDNKh, which has now been transformed

that of fear to destroy this warmth.

from a shop window of Soviet achievement into a chain of

And this is another possibility, a description of another set of co-ordinates.

supermarkets, was then and still is graced by Vera Mukhina’s famous huge bronze monument Worker and Kolkhoz Woman

that also became the symbol of the Mosfilm studios. This is

towards them. Those on the Tallinn – Moscow axis, which

significant because in the Latvian cultural space there is an

was far more active than the Riga – Moscow axis, understood

unverifiable legend that in Stalin’s time, the well known

and could clearly formulate that which the notable Estonian

sculptor saved the Latvians’ most sacred symbol, the Freedom

art theoretician Ants Juske has emphasised in many private

Monument with its inscription For Fatherland and Freedom,

conversations: “In soviet times there were only three

which was designed by Kårlis Zåle and opened in 1935. The

possibilities – socialist realism, salon and avant-garde.”

survival of the monument and its inscription through all the

negative effect on the middle class. How many doctors,

herself was born in Riga to a wealthy family of merchants.)

lawyers, businessmen, politicians, philosophers, speculators

Many myths about the Moscow non-conformist scene of

19

In Latvia the post-soviet consequences have had a very

soviet years is something of an historical impossibility. Mukhina

have had the self-discipline to examine in depth the most

the time don’t really work on the perception of our artists

complex phenomena of contemporary literature, music,

because they knew many of their Moscow colleagues. It is

theatre, cinema or visual art? I know of only one such person

important to remember that whatever magazines or books on

who, at an already mature age, undertook a systematic

the international art scene that were available at the time,

examination and who, over a period of ten years, has

this was only fragmentary information in Riga as well as

managed to overcome the post-soviet inertia and self-

Moscow. This was a closed circle in which there were many

satisfaction that characterises all those who would compare

clever, talented, creative and courageous people but who

salon (not in itself anything bad and a pleasant component

were nevertheless isolated from the free world. Thought

of life’s comforts), with contemporary art that is the subject

might possibly be able to overcome any boundaries but

of interest for the serious viewer and serious international

contemporary visual art needs the presence of the viewer and ever since the early 20 th century classical modernism

contemporary art museum specialists.

movements in Paris, Berlin, Dusseldorf, Munich and

Michael Craig-Martin’s work An Oak Tree that he saw in the

elsewhere, this has been an international phenomenon.

Tate Modern museum. The work consists of a glass of water

It’s hard to imagine how weak a person must be so that the official education system and the institutional artistic environment could make an artist of them. But the situation

This one person, let’s call him K., often speaks about

on a shelf high on the wall. The work is accompanied by a description: “While this appears to be a glass of water on a shelf, the

with artists has not been so poor in the soviet and post-

artist states that it is in fact an oak tree. Craig-Martin’s

soviet environment. In the 1970s Soviet Latvia saw the emer-

assertion addresses fundamental questions about what we

gence but what is more important, the realisation of great

understand to be art and our faith in the power of the artist.

talents (Miervaldis Polis, Bruno Vasi¬evskis, Imants Lancbergs,

The work can be seen as an exploration of Marcel Duchamp’s

Ilmårs Blumbergs and others) and both the 80s and 90s have

declaration that any existing object can be declared a work

been no less productive as far as the arts were concerned.

of art. In his accompanying text, Craig-Martin provides the

Today we differ from the Moscow art scene in the fact

questions as well as the answers, allowing the simultaneous

that in a small country there are simply fewer people who

expression of scepticism and belief regarding the

have been educated in the arts and have a sensible attitude

transformative power of art.” 10

Outside the art scene itself I practically haven’t met any other

format works Jånis Mitrévics, Ieva Iltnere, Dace Lielå, Edgars

people like that in Latvia. The Bildungbuergertum 11 who in

Vérpe, Sandra Krastiña and others 15 displayed the coura-

the West travels to the Kassel documenta or Venice biennales

geousness of the time of perestroika, at least in terms of the

hasn’t really developed yet in Latvia. Art for the poorly

mightiness of the gesture.

educated middle class is only painting, moreover as colourful, aestheticised and “interesting” as possible. 12

tionalism in Moscow and the exhibition Riga – the Latvian

The majority of painters revered by the local Latvian hierarchy are of no interest to Western museums of contem-

avant-garde in West Berlin (1988), we have to admit that the

porary art. Undoubtedly our painting tradition is in general

latter was more representative of the diversity and con-

a serious one; it is a very good basis for the academic educa-

temporaneity that Latvian art was already then capable of.

tion of the budding artists. Equally, it cannot be denied that

20

If we compare two exhibitions of Latvian art that were held almost at the same time, the abovementioned Posttradi-

At the end of the 80s, alongside the large-format works by

with rare exceptions, this painting developed in a closed,

painters, Latvia also saw the blossoming of art that was no

even encapsulated society. Its language was determined by

less conceptual or socially oriented than in Moscow at the

a particular post-impressionistic mood that was pursued by

time. In those days O¬egs Tillbergs created installations where

most Latvian artists and was undoubtedly more “progressive”

symbols of soviet ideology were integrated into figurative

than the wooden, narrative socialist-realism introduced into

spatial structures resulting in new, multilayered meanings. For

Latvia from Moscow in 1940. But already in the 90s professor

example, the work Aurora (every self-respecting soviet citizen

Eduards K¬aviñs of the Latvian Academy of Art wrote on the

knows the battleship of the same name in Petersburg that

“Post-impresionist platitudes and the virtuoso decorativism of

fired the first salvo beginning the October revolution in 1917)

the local authorities on art today”. 13

consisted of a huge whalebone resting on pioneer flags.

These post-impressionistic traditions also had many good

There were similarly thought out conceptual works are the

masters but the serious person should not avoid asking the

series of drawings and objects by Leonards Laganovskis, the

question – to what extent did they advance art itself and the

installations and large format screen prints by Andris BreΩe,

understanding of it or did they simply engage in the joy of line

Juris Putråms and Ojårs Pétersons. Back in the early 1980s,

and colour? In his 1951 lecture at the Chicago Art Institute,

the Latvian multi-media patriarchs Hardijs Lediñß and Juris

painter Jean Dubuffet (1901-1985) said: “I do not regard this

Boiko became known with their staged video and photo

function – the placement of colours in pretty arrangements –

events as well their experiments with sound.

However mighty those businessmen and politicians may

as especially noble. If this was the only point of painting, I wouldn’t have spent an hour of my time on this activity.”

14

Moscow’s professional art circles and the viewers too

feel who pronounce on contemporary art only through the pictures they hang on the walls of their homes or office or

became convinced about an important facet of our painting

keep in bank safes, art, thank God and our progressive

during the final period of soviet rule when they were treated

education at the Janis Rozentåls art school, the Riga College

to the large-scale Posttraditionalism exhibition of works by

of Art and Design and the Latvian Academy of Art, in Latvia

one generation of artists from Soviet Latvia in Moscow’s

(too) is something much more than a balance sheet asset

Central House of Artist (TsDKh) in 1989. With their large-

that can be measured in terms of money and physical,

“hangable” units. It is much more than an aesthetic and

where decisions are taken solely by aficionados of salonism,

emotional unit for the wellbeing of people with a

cannot be conducive to man’s most essential thoughts. This

humanitarian yet unsystematic education. The question of

is exactly why it seemed important in the preceding lines to

what it really is and what are those artists really engaged in

speak of how the post-soviet atmosphere freezes free

who are interested in art itself right up to its very limits

thought and art.

cannot be answered in any other way than by examining the

In a democratic society it wouldn’t matter so much how

whole production of Latvian art and not just the

free someone’s thought are or how high the quality of the

achievements of individual media.

art. However, in culture policy terms it is important not to

Thos representatives of the post-soviet middle class who don’t invest time and effort in their self-education cannot

permit a week, internationally uninteresting museum and we have to identify these threats of provincialism very early.

understand the necessary shift in meaning that characterises

Andrejsala today is the most active agora for Riga’s art.

non-salon and of which the Latvian philosopher said: “A work

It is for now, still not provincial and metaphorically speaking,

of art is like William Tell’s bolt aimed at the boy-viewer who

the train has come straight from there to the exhibition in

must understand the direction of its flight next to a fallen

Moscow.

apple. That would be a metaphor. In other words, the new art, which for its material may use images, signs, objects, 21

Andrejsala and the Andrejsalites

text, action, sound and so on, in terms of language contain a shift away from the meaning formations of the surrounding

The young people taking part in the Moscow exhibition have

world. Characteristic of this shift is that it is small, unobtru-

possible never shown their work at Andrejsala, however, its

sive bet poignant (it tells us something essential that can

new art atmosphere spreads to other cells of art in Riga,

only be told through art).”

institutional and non-institutional. Andrejsala itself has

16

What has all this got to do with a Latvian artist, especially

received many impulses from all manner of cells but now it is being artistically formed by the so-called Andrejsalites. The

a young one?

It all has to do with those artists who will still develop

most visible things going on are the exhibitions organised by

and with those current artists who will decide to stay or not

art groups (for example, the Centre for Contemporary Art

stay “with art”. The phenomenon of the art scene is not

space “Canteen”), shows (umka.lv), poetry readings and

some secondary consideration when a person decides to

video performances (Orbita), concerts of new experimental

dedicate himself to such an unpredictable activity as art. The

music (Sound Forest), short film screenings (Future Shots) and

art scene of the future cannot but be influenced by the form

there’s even an artists’ hostel (Singalonga). Andrejsala

and content of the nascent Museum of Contemporary Art at

vibrates with a creative and experimental atmosphere but

Andrejsala. The story about the present and utopia in Latvian

everyone knows this is temporary, that this can only go on

contemporary art is largely the story about Andrejsala. The

for a couple of more years. Then this industrial territory will

abovementioned Merab Mamardashvili once said, “some (and

be built on, a lot of money - investment will come in. The

obviously for people the most essential) thoughts can only

site of the future museum is known but the artists’

be born in agorae…”

“colonies” will have to move elsewhere.

17

The provincial post-soviet agora,

In the autumn of 2005, there was a claim in the Latvian press

that most of them have their own reasonable income or can

that, “the most beautiful thing at Andrejsala is the waterfront

rely on their parents; poverty is not a characteristic of this

and the young people that frequent it. We can say that right

scene); equally important are the ideologies pertaining to this

here in a short space of time, we have seen the emergence of

subculture that determine its symbolic form and behaviour. 20

a new anthropological type with the somewhat snobbish view: “If you don’t go to Andrejsala events, then you don’t go to anything at all, either that or you’re a total mushroom!” 18 Andrejsalites are a special breed of people. Their age is

“I think it is very difficult to define the Andrejsala “type” because it is currently emerging. This means it is impossible

generally between 16 and 35, they either regularly attend

to offer a specific characterisation. The Andrejsala guest

the Andrejsala culture and art events or they or the event

book is highly diverse but I think all the Andrejsala visitors

organisers. These events are not elitist but rather mass events

have three components in common – contemporaneity,

in character and this means we may speak of a broad range

enthusiasm and creativity. I think they are people who are

of the city’s young people.

tired of uniformity and isolation and are looking for pleasant

Andrejsalites are a new phenomenon, which has appeared

22

I asked two young Andrejsala women to describe, what we might call the Andrejsalites:

surroundings and like-minded people. I’d say that we have

or visibly consolidated on the “surface” of social life thanks

seen the birth of a kind of Andrejsala phenomenon, which

to this specific place and time. For a long time Andrejsala

has been created thanks to its accessibility and the range of

and the waterfront behind Riga’s passenger terminal was a

events on offer. I think people go to Andrejsala to find new

so-called “closed industrial” zone. Since 18 May 2006

and fresh “nourishment for the intellect”, which is great

(International Museum Day) it has been officially occupied by

entertainment at the same time.” (Rita, 28)

these artists’ groups who have been given temporary rent

“The Riga ‘underground’, a creative commune, Veldzîte 21

free use of the territory’s buildings and surroundings by the

reborn, are only a few of the epithets that could be used to

developer “Jaunrîgas Attîstîbas Uzñémums” 19 or JAU to use

describe the Andrejsalites or the mainly young people that

its acronym. Practically all these artists’ societies and art

regularly frequent Andrejsala. What they have in common I

initiatives have also existed before but Andrejsala has given it

think are free-thinking views, a broader interest in literature,

all a concentrated, non-stop character.

art, music, and a manifest visual appearance – expressive

What we might call the anthropological type Andrejsalite

hairstyles, piercing and the brightest of clothes. As you’d

comes from urban forms of behaviour, a kind of youth sub-

expect, many Andrejsalites ride old bicycles, smoke roll-ups

culture. Andrejsalites are characterised by a sufficiently

and listen to electronic music. It is also significant that

extravagant and informal style of dress, speech and even

Andrejsala is one of the few places in Riga where nationality

gesticulation that differs sharply from the lifestyle of

plays no role.” (Zane, 27)

otherwise “progressive” people for example, the lifestyle of

And so Andrejsalites are the “gentle” alternative to that

the young and successful yet “classical” businessmen,

part of society (including the youth) that listens only to

marketing and communication specialists and other lifestyles.

Schlager music and spends its free time in the supermarkets

However, we cannot reduce the Andrejsalites to the simple common denominator of lifestyle (it has to be said

that have sprung up like mushrooms after the rain. The Andrejsala example overturns the widely disseminated thesis

that the mass media exert the greatest influence in the

The Andrejsala power station that has been selected for the

choice of lifestyle. This approach can be briefly described by

new museum was built in 1905 (architects – Otto von Miller

this quote that has been heard millions of times: “Now, the

and Johann Felsko). This was the first power station in Latvia

media play a crucial role in defining our experience for us.

that was envisaged as a museum by energy workers in order

They provide us

to preserve its valuable fixtures and fittings for public view.

with the most available categories for

classifying out the social

world.” 22 In the case of the

Andrejsalites the role of the media is insignificant.

The Andrejsalites do, however, confirm the existence of a

The JAU company mentioned above that manages Andrejsala on behalf of the Riga Free Port and is responsible for its development, has commissioned the design of a

special “youth culture” in Western Europe. This culture

detailed plan for the territory. This is being done by the

cannot be imagined without technologies, globalisation,

internationally recognised Dutch architects’ office OMA

multiculturalism, pop culture, urbanisation and other

(Office for Metropolitan Architecture) under the leadership of

phenomena. 23 However, in the case of Andrejsala, the

world famous architect Rem Koolhaas. OMA has already

determining factors are creativity and experiments.

produced sketches for the future museum. 25

Individual and group relationships are important in Andrejsala. Although the Andrejsalites described all have

This is all actively reflected in the Andrejsala portal www.andrejsala.lv.

their own specific and specially thought out (!) identity, it is 23

nevertheless a group identity, which thus points to a specific

The museum as a reflection of Latvia

typology. However, within the context we are interested in, it should be stressed that, “ascribing reason to social groups” 24

Do we need a Museum of Contemporary Art only because

would be a mistake.

there isn’t one? Is it only required for the image and prestige

It should be noted once again that the Andrejsalites are

of the state? Is it only a more meaningful way of spending

not Andrejsala “aborigines” but a broader phenomenon of

time for families with children (as opposed to spending hours

contemporary culture that appeared at Andrejsala thanks to

in the supermarket)? Is it just a token gesture for the local

the revolutionary transformations that could be observed

art scene or, as art scholar Laima Slava puts it: “I have a lot

there with the participation of all the Andrejsalites in 2006

of faith in the young generation that has grown up in the

and 2007. Are the Andrejsalites the future audience of

current information space, for whom the whole world was

the Museum of Contemporary Art? Will they participate

open from the beginning. However, I’m fully aware that it is

in its formation? Or perhaps their contribution might be

they more than anyone else that need the Museum of

a sharp confrontation with the future museum?

Contemporary Art that would place the recent phenomena of

Wouldn’t ignoring this prospect be a waste of that

Latvian art in their historical and conceptual place, where

charge of energy that has accumulated in Andrejsala in

there would be the possibility of understanding the context

such a short space of time?

and, in the end, to see the original works. [..] The role of a

It should be noted that the site of the new museum is

measure of values and reference point indicator is an

planned for the northern end of Andrejsala while today’s

inalienable and very much expected part of the existence of

artistic activities take place at the southern end.

the Museum of Contemporary Art.” 26

Is the Museum of Contemporary Art only a necessary amenity

example, Gints Gabråns’ work Starix cannot be just the

for the development of the tourism industry thus increasing

constant transformation of the VHS format but the informa-

the number of more educated and well-off visitors to Riga

tive preservation of all the contextual components for

(the so-called “conference tourists”) as opposed to all the sex

generations and contexts yet to come.)

tourists? Is it only a place for increasing tolerance? After all,

The chief task of the museum is the battle against the

with its message, the Museum of Contemporary Art, as long

global village – building a museum in New York, Riga, for

as it is not under the control of the totally banal and narrow-

example, is protected from the effect of the global village.

minded, increases tolerance of the other – the ethnically,

By the same token, building a museum in Riga also protects

sexually, religiously, culturally and otherwise different?

New York from provincialism. If we don’t build outstanding

These are all socially very important facets of a museum’s operations. However, when we began to draw the first outlines of the museum in the Ministry of Culture, for the

24

museums everything becomes a global village.

The museum has to become an institution of twofold learning:

international commission of experts I tried to conjure up a

The museum’s semi-amphitheatre conference hall simul-

vision of the museum that wasn’t entirely pragmatic: “The

taneously serves as a serious place of learning for schools and

museum will be a place for learning and meeting through

colleges where, among other things, there will be courses on

context and discussion.”

the museum’s complete collection of WEB art and its

A museum is primarily a museum – a place where works of art are collected and exhibited. However, today and

accompanying phenomena – the first of its kind in the world.

The building itself, where the valuable industrial heritage

tomorrow in the civilisation we call the West, the preserva-

has been combined with modern architectural thinking serves

tion of “pure” memory through the concentration of art

as a learning aid for schools, colleges and every visitor, will

works in a single place is no longer as unequivocal as it may

be an outstanding and flexible home for artefacts, learning,

seem. Memory itself is influenced by today but the past

thinking and contextuality.

influences the present and the future. Every good work of art

In purely political terms there would have to be a small

becomes a representative of the present and not a carrier of

space for a small, constantly changing selection from the

information about the past.

collection of paintings by Zenta Logina, which at all times

Thus the collection and its display no longer means

would serve as a reminder of the artist’s independence from

showing works that were produce in linear succession but as

political power, of the possibility to work without exhibiting

a body of contextually coloured messages where the context

the results – just serving art itself. Generally speaking, this

is constantly changing.

space would be a reminder both of a concrete person and

Because it cannot avoid the stamp of mass society where the main thing is not the message but the opinion it creates, the future museum must become revolutionary at least in

their work as well as some deeper meaning of art outside the constant discussion, contextuality and public relations.” 27 The museum can and should be seen from the perspective

one sense – every year we will no longer have to replace the

of the new, creative economy. The core selling point of this,

digital or other information carrier technologies but we will

as we know, is “one big distinctive idea”. This idea is not

have to ensure the longevity of the information. (For

really tied to target audience research nor with any other

marketing activities. It is tied to a type of creativity that is

unique artistic creativity based on reason. Do we even have to

able to come up with something completely new of which

somehow correlate Journey to Tukums with Rîgas Sargi?

the consumer still has no inkling. This creativity is based not

There are possible variations, even those that could, on an “idea”

broad cultural basis and on great, energetic talent.

level, combine both of Andrejs’ films. One possible different

This kind of attitude is decisive for the museum’s “business” model. But how do we get there? Unfortunately, the people who would go all the way in having the museum

25

How to do the impossible? How to create the different?

only on surveys and modelling but also on a sufficiently

idea and hidden agenda could be to research the boundaries of art using the museum’s collection and programmes.

To what degree do the boundaries of art correspond with

as a “product” may not, perhaps, understand that the

the boundaries of life? Is death the boundary of life (and

museum’s “hidden” agenda will shape its public image just as

shouldn’t this approach be shameful in the eyes of the

much as the BIG IDEA. The business idea will only work when

ancient Greeks)? Is “bare life” the measure of all values and

the museum’s non-commercial, artistic and even revolutionary

from this point of view can there be any discussion on values

component is just as powerful as the “saleable product”. The

at all? Or perhaps there are boundaries to this discussion too?

museum’s image is formed not only by its visitors but also by

Is the “open society” the only model of society in which it

the opinion makers and good artists who in Western

is possible to discuss all the above? To what extent does the

European culture have still retained their common sense.

understanding of boundaries change?

We could compare the dualism of the museum’s task, just

The “clay” of the artist living in Latvia will unavoidably be

like the dualism of Andrejsala (big art and big money), with

in the museum and society and here, understanding foresees

two artefacts created by a single person. This person is called

confrontation with any other understanding. But the artist,

Andrejs and he has made at least two noteworthy films. One

meanwhile, can model his possible world(s) just like Katrîna

is called Journey to Tukums (1987) and has been seen by a

Neiburga (also participating in this exhibition) did some time

couple of hundred people. For me personally and for those

ago when she programmed her own, completely new language.

whose opinion I value greatly, this film is one of the most

Will the museum/Latvian society/artist be sufficiently free

outstanding works of Latvian contemporary art. This film is

and strong enough for conflict and reconciliation, confession

known by 300 people, if that. Andrejs’ other film with the

and challenge?

title of Rîgas Sargi (2007) has been the biggest box-office hit

Today we have the possible preconditions for giving fresh

since the restoration of Latvia’s independence, bigger even

impulses to the somewhat stagnating contemporary art scene

than the previous record holder in Latvia, the Hollywood

in Latvia. That there are good artists working in Latvia is not a

blockbuster Titanic. Do these two films by Andrejs have

precondition for a lively and vivid art scene. Ambitious events/

anything in common?

exhibitions that thoughtfully and convincingly demonstrate the

What is the parallel here with the future museum? It

best and most progressive output recently created by Latvian

would seem that in some impossible way, the museum,

artists are currently marginalised or they take place abroad –

just like Andrejsala of the future, just like Latvia’s

such as this exhibition in Moscow or the exhibition of Latvian

society, should be capable of achieving both aims and meet in

contemporary art Time Will Show – the new Latvian art that

the unattainable – in business, the activity of the people plus

was held in Flensburg, Germany in February of this year.

In my opinion the art event of 2007 in Latvia was the sound

pragmatism, provincialism, lack of pretension, lack of princi-

art project Skan! curated by the Sound Forest festival

ples, paternalism. How do we counter these “p” words?

From today’s aspect what is required is an intellectual

organiser, Andrejsalite and one-time daily newspaper Diena correspondent Viestarts Gailîtis in one of the still “virgin”

framework in order to overcome that provincial perception of

Riga industrial territories – the former chicory and macaroni

art that has sometimes even taken hostile form. For example,

factory. From the point of view of public opinion this was an

in 2003, the State Audit Office (then headed by a different

especially marginal event and wasn’t even nominated for the

Auditor General) lambasted the essence of the content of

Diena annual culture prize.

works of the Latvian Centre for Contemporary Art.

Even the creativity of the southern end of Andrejsala

Until the Museum of Contemporary Art has begun

cannot compensate for the lack of a sense of ambition and

operations, the target audience in the early stages is the

context. We need a museum and this exhibition in Moscow

opinion makers – those could explain ideas instead of just

may be regarded as a stop on the way.

waiting for the museum, a task force if you will: political

In 1999 the curator of this exhibition Ojårs Pétersons

26

scientists, art scholars, businessmen, advertising executives,

wrote in the magazine Studija that art had at last come to its

academics, social scientists, pedagogues. That the ground

senses and found its place in the real world.

has been prepared for public debate on a different level is

28

The time has

come for this to happen in the minds of the opinion leaders,

confirmed by Reinis Tukißs, a young intellectual and opinion

decision makers and those holding the purse strings. Here

maker in the specific, new creative environment: “I think

I’m afraid Moscow is ahead of us – even the exhibition of

there is a distinct lack of self-confidence today about things

works by Kandinsky Prize nominees, which is supported by

in Latvia’s public space. If you ask people what they do, most

big Russian business and is planned to take place almost

of them don’t know how to reply.” 29 Elsewhere he says: “I

simultaneously with our exhibition in Moscow, is incompa-

regard myself as a very conservative person and I find it

rably more professional and more progressive in every other

difficult to live in a country where are no cultural traditions

way than any private collection in Latvia. There is a paradox

that can be taken seriously”. 30

here; where mighty Russian commerce emphasises the

All the previous lines have also been written by a

spiritual and non-commercial values of art, Latvia’s relatively

conservative person because in my opinion, two of the most

feeble business favours the commercial side.

important notions in the Western European tradition of

Coming to one’s senses in Latvia cannot happy only on an

conservatism are excellence and personal responsibility.

intuitive level. Philosophical, pedagogical, culture-critical, culture-political, anthropological and other questions related

,

,

Resume

to the understanding of art cannot compensate for provincial acquisitions and exhibition practice.

On the road to the future museum, in parallel with the

When I was presented with the book “Moscow – Petushki” by its translator, I noticed that he’d included a sentence by Vene-

activation of the art scene, we should also examine the

dikt (Venichka) Yerofeyev in the title page: “Everything in the

threats that may be described by many words beginning with

world must take place slowly and wrongly so that man does

“p” – populism, proletarianism, passivity, lack of perception,

not become proud, so that man will be sad and confused.” 31

Any active exchange of thoughts in the agora as emphasised

by Merab Mamardashvili, who has himself been inscribed in

constructed in 1959 whose purpose was the propaganda of the achievements of various branches of the Soviet economy.

10

Craig-Martin, Michael (1941). An Oak Tree (1973). Glass, water, shelf and printed text

11

German lang. Educated citizen

12

Ítokenbergs, Aigars. Vîtoliñß [Andris] nepazudîs : [interview with the Latvian Minister for

the annals of culture, and any attempts to overcome provincialism and create a good art environment is neverthe-

sculpture. Tate Modern [online]. http://www.tate.org.uk/servlet/ViewWork?workid=27072

less the central issue, if we are speaking about art itself.

The most important thing is the mood or, as the translator of “Moscow – Petushki” Uldis Tîrons wrote, “the

Regional Development and Local Government Affairs, collector of paintings]. Compiled by Inese Zandere. Rîgas Laiks, No.9, 2007, Sept., [24.]-29., p. 69. ISSN 1407-1622 13

1945-1996 : Exhibition catalogue, 9.Sept.-13.Oct.1996, Warszawa : [In 3 pt.]. Latvia. Ed.

intonation that Venichka had received in exchange for the world.” No one, not even the ideal museum, the ideal society

Helena Demakova et al. Warsaw: Zacheta Gallery of Contemporary Art, 1996, p.48. ISBN 8386277548.

14

or the ideal art scene can create this feeling. This can only be done by the artist with his one head.

If we look at the world with sadness, then it really doesn’t matter whether the society around us is a post-soviet phenomenon or not. This is important on the way from Andrejsala to Moscow, even if this journey is characterised by

1

Literally translated from the Russian word for rooster - transl.

2

Jerofejev, Venedikt. Maskava-Gailîßi. [Moskva-Petushki] Translated from the Russian by Uldis Tîrons. Riga: Liepnieks & Rîtups, 2007. p. 357 [2]. ISBN 9789984960937

3

1992. p. 22.

15

Posttraditsionalizm. Vystavka rabot gruppy molodykh zhivopisstev Latviiskoi SSR. A.

16

2 SHOW. Young art from Latvia and Lithuania, Contemporary Art Centre, Vilnius. Comp.

17

Mamardashvili, Merab. The Joy of Thinking, op cit p. 32.

18

The most creative place for young people: [on organising art projects at Andrejsala]

Osmanis. Moscow: Soyuz khudozhnikov SSSR, 1988. p. 60: ill. and ed. Heléna Demakova. Riga. Kultüras pilotprojekti, 2003, p. 19. ISBN 9984973107

Comp. by Krastiña, Laura. Republika.lv. No. 32, 22-28.09.2006, pp. 16-17. ISSN 1691-2756 19

New Riga Development Enterprise (transl.)

20

Geercs, Clifford. Kultüru interpretåcija [The interpretation of cultures]. Riga. AGB, 1998.

21

Place near the Philharmonic building in Old Riga, where in the 80ies and 90ies young

22

Hebdige, Dick. Subculture : the Meaning of Style. London ; New York : Routledge, 1998,

23

See: Youth culture. In : Encyclopedia of Globalization. New York; London : Routledge,

24

Sheehy, Paul. The Influence and Significance of Social Groups. In: Sheehy, Paul. The

p. 478. ISBN 9984928810

Mamardashvili, Merab. Domåtprieks [The Joy of Thinking]: [philosophical writings, essays, conversations]. Compiled and afterword by Ansis Zunde; Latvian Academy of Science,

people and artists used to gather p. 85. ISBN 0415039495.

Institute of Philosophy and Sociology. Riga: Spektrs, 1994. p. 20. ISBN 9984900223.

4

Mamardashvili, Merab. Ce¬ß, aiz kura paveras lîdzens prieka lauks [The path beyond

2007, Vol.4, pp.1319-1321. ISBN 0415973147.

which opens up a level field of joy]: [A Georgian philosopher speaks]. Compiled and introduced by Uldis Tîrons. Kentaurs XXI, No.1, 1992, p. 17.

5

Reality of Social Groups. Aldershot, Hampshire, England; Burlington, VT, USA : Ashgate,

Expert commission of the International Council of Experts: Chair - Ernests Bernis (Latvia);

2006, p. 94. ISBN 9780754653496..

Members of the commission: Maaretta Jaukkuri (Finland); Norbert Weber (Germany); Sirje Helme (Estonia); Raminta Jurenaite (Lithuania); Leonid Bazhanov (Russia); Leonards

25

OMA Designs Latvia’s Museum of Centemporary Art. News. http://www.oma.nl (Accessed

26

Slava, Laima. Vizuålå måksla un jaunie mediji. (Visual art and the new media). [paper

25.03.2007)

Laganovskis (Latvia); Raitis Ímits (Latvia); Ieva Astahovska (Latvia); Heléna Demakova (Latvia); Måra Ådiña (Latvia); Astrîda Rogule (Latvia). See the Ministry of Culture order

6

“On the composition of the expert commission on the collection of the Museum of

given at the 2nd Forum of Cultural Workers]. Diena, No.245, 19.10.2007,

Contemporary Art” No.2.1.-25-148 (23.10.2007): Available at the Ministry of Culture.

12.lpp. (Supplement: “Kultüras nåkotne Latvijå”). ISSN 1407-1290.

Vision of the future Museum of Contemporary Art written by the author for the

28

Ojårs Pétersons : [conversation]. Noted by Heléna Demakova in Studija, No.6, 1999,

29

Tukißs, Reinis. Vai provokatîvai komunikåcijai ir nozîme? (Is there any point to

Riga : Lettische Avantgarde: [anlässlich einer Ausst., Berlin, 24.7.-24.8.1988]. Neue

30

Ibid.

Gesellschaft für bildende Kunst (Hrsg.). Berlin (West): Elefanten Press, 1988. p.84, ill..

31

Tîrons, Uldis. Jums manas skumjas nesaprast. [Not for you to understand my sadness]

light”. However, opinion their activities is divided.

international council of experts. See the minutes of the 2nd meeting on 11.06.2005. p. 20.

Regularly working there was a “brigade” consisting of Henriks Vorkals, Andris BreΩe, Juris Putråms, Ojårs Pétersons. They were also joined on occasion by Leonîds Mauriñß and

provocative communication?) Dizaina Studija, No.11 (Jan/Feb), 2008, p. 33.

Ingrîda Zåbere who was a very young student at the time.

8

9

p.

27

At the end of the 1980s the leading members of the Communist Party who supported social change and later Latvia’s drive for independence were known as the “forces of

7

Dubuffet, Jean. Antikulturålas pozîcijas : [par pårmaiñåm måkslå]. (Anticultural positions – On changes in art) translated from the English by Heléna Demakova. Kentaurs XXI, No.2,

a level of optimism unusual for a good artist.

27

K¬aviñß, Eduards. Imants Lancmanis. In: Personal time Art of Estonia, Latvia and Lithuania,

Vystavka Dostizhenii Narodnogo Khozyaistvo – a complex of exhibition pavilions

Rîgas Laiks, No.9, 2007, p. 51.

åÓÒÍ‚‡–Ä̉ÂÈ҇·. 1980 –2008. èÛÚ¸ Í åÛÁ² ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ïÂÎÂ̇ ÑÂχÍÓ‚‡

Ç 2007 „Ó‰Û ·˚· Á‡‚Â¯Â̇ ÒÛ˘ÂÒÚ‚ÂÌ̇fl ‰Îfl ·Ú˚¯-

̇ Î˚ʇı ‚ Ä‚ÒÚËË, ÍÌË„Ë ËÎË Ò‡ÏÓÒÚÓflÚÂθÌÓ ÒÓÁ‰‡Ì-

ÒÍÓÈ ÍÛθÚÛ˚ ‡·ÓÚ‡: ìΉËÒ íËÓÌÒ – ÔÛ·ÎˈËÒÚ, ÔÛÚÂ-

ÌÓ ÔÓËÁ‚Ó‰ÒÚ‚Ó Ì ÏÓÊÂÚ Ó˜ËÒÚËÚ¸ ÊËÁÌÂÌÌÓÂ Ë ‰Û-

¯ÂÒÚ‚ÂÌÌËÍ, ‰‡ÍÚÓ, ‚ Ò‚Ófi ‚ÂÏfl ËÁÛ˜‡‚¯ËÈ ÙËÎÓ-

ıÓ‚ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó, ÍÓÚÓÓ ̇‰Ó ·Û‰ÂÚ Ó˜Ë˘‡Ú¸

ÒÓÙ˲, Ó‰ËÌ ËÁ ‰ÍËı ·Ú˚¯ÒÍËı ËÌÚÂÎÎÂÍÚÛ‡ÎÓ‚ –

ÔÓÍÓÎÂÌËflÏË.

ÔÂ‚fiΠ̇ ·Ú˚¯ÒÍËÈ flÁ˚Í ÓÏ‡Ì ÇẨËÍÚ‡ ÖÓÙ‚‡

à ËÒÍÛÒÒÚ‚Ó ÚÓÊ Ì “ıËϘËÒÚ͇”.

“åÓÒÍ‚‡–èÂÚÛ¯ÍË”, ‚ ÔÂ‚Ӊ Á‚Û˜‡˘ËÈ Í‡Í

í ËÁ ̇Ò, ÍÚÓ ÒÔÓÒÓ·ÒÚ‚Ó‚‡Î ÒÓÁ‰‡Ì˲ ˝ÚÓÈ ‚˚ÒÚ‡‚ÍË –

“Maskava–Gailîßi” .

1

ìÊ ËÁ ̇Á‚‡ÌËfl ‚ˉÌÓ, ˜ÚÓ Ôˉ‡Ú¸ ·Ú˚¯ÒÍÓÂ

ŇʇÌÓ‚, ÔËÒÓ‰ËÌË‚¯ËÈÒfl Í Ì·Óθ¯ÓÏÛ ÍÛ„Û ÏÂʉÛ-

Á‚Û˜‡ÌË ÏÓÊÌÓ ÏÌÓ„Ó ˜ÂÏÛ, ‰‡Ê ̇Á‚‡Ì˲ ÏÂÒÚ‡, ˜ÚÓ

̇Ó‰Ì˚ı ˝ÍÒÔÂÚÓ‚ ·Û‰Û˘Â„Ó ã‡Ú‚ËÈÒÍÓ„Ó åÛÁÂfl ÒÓ‚Â-

fl‚ÎflÂÚÒfl Ә‚ˉÌ˚Ï ‡·ÒÛ‰ÓÏ. è‰ÒÚ‡‚ËÏ Ò·Â, ˜ÚÓ

ÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ·Ú˚¯ÒÍËÈ ıÛ‰ÓÊÌËÍ éflÒ èÂÚÂ-

·Ú˚¯ÒÍËÈ ÔÓÒfiÎÓÍ éÁÓÎÌËÂÍË ‚ ‡Á„Ó‚Ó ̇ ÛÒÒÍÓÏ

ÒÓÌÒ, – Ï˚ Ì ÏÓÊÂÏ “ÒÚflıÌÛÚ¸” Í‡Í Ì ÒÛ˘ÂÒÚ‚Ó‚‡‚¯ËÈ

flÁ˚Í ·˚Î ·˚ ̇Á‚‡Ì “ÑÛ·Ó‚ÍË”! àÎË ÑÁËÌÚ‡Ë

ÚÓÚ ÓÔ˚Ú, ÍÓÚÓ˚È Ì‡Í‡ÔÎË‚‡ÎÒfl ÚÓ„‰‡, ÍÓ„‰‡ ëÓ‚ÂÚÒ͇fl

̇Á˚‚‡ÎËÒ¸ ·˚ “üÌÚ‡Ë”.

ã‡Ú‚Ëfl ‚ıӉ˷ ‚ ÒÓÒÚ‡‚ ëÓ‚ÂÚÒÍÓ„Ó ëÓ˛Á‡. äÓ„‰‡

óÚÓ·˚ ̇˜‡Ú¸ ÔÛÚ¯ÂÒÚ‚Ë ‚Ó ‚ÂÏfl, ÍÓÚÓÓ ÍÓÏÛ-ÚÓ ÏÓÊÂÚ ÔÓ͇Á‡Ú¸Òfl ‰ÓËÒÚÓ˘ÂÒÍËÏ, Ú‡Í Í‡Í ˜¸ ˉfiÚ Ó ÒÓ‚ÂÚÒÍÓÏ ‚ÂÏÂÌË, Ò„ӉÌfl ÌÛÊÂÌ ÔÂ‚Ӊ. ÇÓÁÏÓÊÌÓ, 29

ÔÓÎËÚËÍË, ÛÍÓ‚Ó‰ËÚÂθ ‚˚ÒÚ‡‚Ó˜ÌÓ„Ó ‰Óχ ãÂÓÌˉ

ÔÓÂÁ‰Í‡ ËÁ åÓÒÍ‚˚ ‚ êË„Û ·˚· ÔÓÂÁ‰ÍÓÈ “̇ á‡Ô‡‰”. ÑÓ ÒËı ÔÓ ÔÓËÒıÓ‰flÚ Ú‡ÍË ÔÓÂÁ‰ÍË ‚ “̇¯Û ûχÎÛ”. èÓÒΉÒÚ‚Ëfl ˝ÚÓ„Ó ÓÔ˚Ú‡ Ì ÚÓθÍÓ ‚ËÚۇθÌ˚. éÌË

‰Îfl ˜‡ÒÚË ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ÔËÌËχ˛˘Ëı Û˜‡ÒÚËÂ

‚ÒÚ˜‡˛ÚÒfl ̇ ͇ʉÓÏ ¯‡„Û, ÂÒÎË ‚ÒÔÓÏÌËÚ¸ „ÓÒÛ‰‡-

‚ ˝ÚÓÈ ‚˚ÒÚ‡‚ÍÂ, ˝ÚÓ á‡ÁÂ͇θÂ, ‚ ÍÓÚÓÓÏ ÍÓ„‰‡-ÚÓ

ÒÚ‚Ó Ë Ó·˘ÂÒÚ‚Ó, ‚ ÍÓÚÓÓÏ Ì ·˚ÎÓ Ì ÚÓθÍÓ åÛÁÂfl

ÔËıÓ‰ËÎÓÒ¸ ÊËÚ¸, Ú‡ÍÓ Ê ˜ÛÊÓÂ, Í‡Í à̉Ëfl ËÎË

ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, Ì ÚÓθÍÓ “ÌÓχθÌÓ„Ó”

å‡Î‡ÈÁËfl. ÑÛıÓ‚ÌÓ ‡ÒÒÚÓflÌË ÓÚ êË„Ë ‰Ó åÓÒÍ‚˚ ‰Îfl

Ó·ÓÓÚ‡ ÏÂʉÛ̇Ó‰Ì˚ı ‚˚ÒÚ‡‚ÓÍ, ÌÓ Ì ı‚‡Ú‡ÎÓ ‰‡ÊÂ

ÏÓÎÓ‰Ó„Ó ˜ÂÎÓ‚Â͇, ‰Îfl ÍÓÚÓÓ„Ó ˆÂÎflÏË ÔÛÚ¯ÂÒÚ‚ËÈ

˝ÎÂÏÂÌÚ‡ÌÓÈ ËÌÙÓχˆËË Ó ÚÓÏ, ˜ÚÓ ÔÓËÒıÓ‰ËÎÓ

·˚ÎË ÇÂ̈Ëfl, ÅÂÎËÌ, ä‡ÒÒÂθ Ë Ú‡Í ‰‡ÎÂÂ, ÒıÓ‰Ì˚

‚ ËÒÍÛÒÒڂ ̇ ‰‡ÎÂÍÓÏ, “ÒËfl˛˘ÂÏ” á‡Ô‡‰Â. ëÓ‚ÂÚÒÍËÈ

Ò ÚÂÏ Ê ‡ÒÒÚÓflÌËÂÏ ÓÚ êË„Ë ‰Ó äۇ·-ãÛÏÔÛ.

˜‡‰ Ú‡Í ÓÚ‡‚ËΠβ‰ÒÍË ÛÏ˚, ˜ÚÓ Î˛‰Ë ÌÂÒÍÓθÍËı ÔÓÍÓ-

åÓÎÓ‰fiʸ ÏÓÊÂÚ Ú‡Í ÔÓ·„‡Ú¸, ÂÒÎË ·˚ ÚÓθÍÓ ÔÓ-

ÎÂÌËÈ ‚ ã‡Ú‚ËË Ò˜ËÚ‡˛Ú, ˜ÚÓ ÊËÁ̸ ·ÂÁ åÛÁÂfl ÒÓ‚ÂÏÂÌ-

ÒÚ‡ÌÒÚ‚Ó, ‚ ÍÓÚÓÓÏ Ï˚ ÒÂȘ‡Ò ÙËÁ˘ÂÒÍË Ë ‰ÛıÓ‚ÌÓ

ÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÌÓχθÌÂÂ, ˜ÂÏ ÍÓ„‰‡ ÓÌ ÂÒÚ¸. ùÚÓ, ‚ÓÁ-

ÊË‚fiÏ, Ì ÌÛÊÌÓ ·˚ÎÓ ·˚ Ò˜ËÚ‡Ú¸ “ÔÓÒÚÒÓ‚ÂÚÒÍËÏ”.

ÏÓÊÌÓ, Ì ҇ÏÓ ۉ‡˜ÌÓ ӷӷ˘ÂÌËÂ, Ӊ̇ÍÓ ‚ ÍÓÌÚÂÍ-

чÊ ÂÒÎË ÏÓÎÓ‰ÓÈ Î‡Ú˚¯ÒÍËÈ ıÛ‰ÓÊÌËÍ ÌË˜Â„Ó ÌÂ

ÒÚ ˝ÚËı ‡ÒÒÛʉÂÌËÈ ÓÌÓ Í‡ÊÂÚÒfl ̇˷ÓΠ̇„Îfl‰Ì˚Ï.

Ê·ÂÚ ÌË Á̇ڸ, ÌË ÒÎ˚¯‡Ú¸ Ó ÒÓ‚ÂÚÒÍÓÈ ÒÂÓÒÚË ‚ÍÛÔÂ

Ç ‚ÓÓ·‡ÊÂÌËË Ï˚ ÏÓÊÂÏ ÔÓ‚ÂÒÚË ÚÂχÚ˘ÂÒÍÛ˛

Ò ‡ÎÍÓ„ÓÎËÁÏÓÏ, ËÎË Ó ·˚ÚÓ‚ÓÏ Ë Ë‰ÂÓÎӄ˘ÂÒÍÓÏ Ò‚ËÌ-

‰Û„Û, ˜ÚÓ·˚ Ó·ÓÁ̇˜ËÚ¸ ÍÓÓ‰Ë̇Ú˚ ˝ÚÓÈ Î‡Ú‚ËÈÒÍÓÈ

ÒÚ‚Â, ÍÓÚÓ˚Â Ú‡Í Í‡ÒÓ˜ÌÓ Ó·ÎÂÍ ‚ ÒÎÓ‚‡ ÖÓÙ‚, –

‚˚ÒÚ‡‚ÍË ‚ åÓÒÍÓ‚ÒÍÓÏ Ì‡ˆËÓ̇θÌÓÏ ˆÂÌÚ ÒÓ‚Â-

‰‡Ê ‚ Ú‡ÍÓÏ ÒÎÛ˜‡Â ‚ ̇¯ÂÏ ÓÍÛÊÂÌËË Â˘Â Ì ‡ÒÒÂflÎ-

ÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡. ᇘÂÏ ˝ÚÓ ÌÛÊÌÓ? ÑÎfl flÒÌÓÒÚË, –

Òfl ÚÓÚ ˜‡‰, ÍÓÚÓ˚È ÓÚ‡‚ËÎ Ë Î˛‰ÒÍË ‰Û¯Ë, Ë ·ÓÎÂÂ

̇ÔËÏÂ, ‰Îfl ÚÓ„Ó, ˜ÚÓ·˚ ÔÂ‚ÂÒÚË ÚÓ, ˜ÚÓ ÌÛÊÌÓ

¯ËÓÍÓ ÔÓÒÚ‡ÌÒÚ‚Ó ÊËÁÌË. çË͇ÍÓÈ ÒÓ‚ÂÏÂÌÌ˚È

ÔÂ‚ÂÒÚË, ÔÓÒÍÓθÍÛ Ë̇˜Â ‰‡Ê ۘ‡ÒÚÌËÍË Ó‰ÌÓÈ

χÍÂÚËÌ„, ÌË Ó‰ËÌ ÒÛÔÂχÍÂÚ ËÎË ÒÂˇÎ, ‰ÛÁ¸fl,

‚˚ÒÚ‡‚ÍË Ó·˘‡˛ÚÒfl, ·Û‰ÚÓ ÒÍ‚ÓÁ¸ ÒÚÂÍÎÓ. Ö˘fi ÂÒÚ¸ ‰Û-

Ó‰Âʉ‡, ͇ÙÂ, ÒÚËθ̇fl Í‚‡ÚË‡ ËÎË Ï‡¯Ë̇, ͇ڇÌËÂ

„ËÂ, “Ú‡Ï, Ò̇ÛÊË”, ÍÓÚÓ˚ ıÓÚfl ·˚ ËÁ β·ÓÔ˚ÚÒÚ‚‡

ıÓÚflÚ ÔË·ÎËÁËÚ¸Òfl Í ÔÓËÁ‚‰ÂÌ˲ ËÒÍÛÒÒÚ‚‡; ÚÓ„‰‡

Ë„ۯ͇ÏË, Ó‰ÛχÌË‚‡ÌËÂÏ, Ú‚Ó˜ÂÒÚ‚ÓÏ. çÓ ÔË ÚÓÏ

ÓÌË, ‚ÓÁÏÓÊÌÓ, ‚ÌÂÁ‡ÔÌÓ Ó˘Û˘‡˛Ú ‰ÓÔÓÎÌËÚÂθÌÛ˛

ÒÚÓ ÒÚ‡ı ‚ÂÏÂ̇ÏË ·˚Î ÓÒÓ·ÂÌÌÓ ÔÓÌÁËÚÂÎÂÌ,

ÌÂÓ·ıÓ‰ËÏÓÒÚ¸ ÔÓ„ÛÁËÚ¸Òfl ‚ ÚÓ, Ó ˜ÂÏ ÓÌÓ ÔÓ‚ÂÒÚ‚ÛÂÚ,

ÔÓÒÍÓθÍÛ ˝ÚÓ ·˚Î ÒÓÁ‰‡ÌÌ˚È Ë‰ÂÓÎÓ„ËÂÈ ÒÚ‡ı Á‡ÔÛ„‡Ì-

‡ ÔÓÚÓÏ Ì‡˜Ë̇˛Ú ‰Ûχڸ Ë Ó ÏÌÓ„Ëı ÔÓËÁ‚‰ÂÌËflı

ÌÓ„Ó Ó·˘ÂÒÚ‚‡. éÌ ‚ÒÔ˚ıÌÛÎ, ‡ ÔÓÚÓÏ Î˛‰Ë Á‡‰‚ËÌÛÎË

ËÒÍÛÒÒÚ‚‡ ‚ÏÂÒÚ – ̇ ‚˚ÒÚ‡‚Í ËÎË ‚ ÏÛÁÂÂ. ÑÎfl Ú‡ÍËı

Â„Ó ‚ Á‡ÍÓÛÎÍË Ô‡ÏflÚË. ëÚ‡ı ‚ ÒÔÂÍÚ‡ÍÎÂ, Ú‡Í Ê ͇Í

β‰ÂÈ ‚ ͇ÍÓÈ-ÚÓ ÏÓÏÂÌÚ Ì‡˜Ë̇ÂÚ ‚˚ËÒÓ‚˚‚‡Ú¸Òfl ÚÓ,

Ë ÍÓ„‰‡-ÚÓ ‚ ÊËÁÌË, ·˚Πχ„Ë̇ÎÂÌ. í˚ ÒÎÛ¯‡Â¯¸ Á‡Ô‡‰-

˜ÚÓ Ì‡Á˚‚‡ÂÚÒfl ÍÓÌÚÂÍÒÚÓÏ. óÂÏ ·Óθ¯Â ˝ÚÓ flÒÌÓ, ÚÂÏ

ÌÛ˛ ÏÛÁ˚ÍÛ Ë Ú·fl ÏÓ„ÛÚ “Á‡ÏÂÒÚË”, Ë ‚ ˝ÚÓÚ ÏÓÏÂÌÚ Ú˚

΄˜Â ·ÎÛʉ‡Ú¸ ‚ ÚÓÏ ÔÓÒÚÒÓ‚ÂÚÒÍÓÏ ˜‡‰Û, ÍÓÚÓ˚È

·Ó˯¸Òfl ÒÓ·ÒÚ‚ÂÌÌÓÈ ÚÂÌË. é‰Ì‡ÍÓ ˜ÂÎӂ˜ÂÒÍÓ ÚÂÔÎÓ

ÏÌÓ„ËÏ Í‡ÊÂÚÒfl ÛÊ ËÒ˜ÂÁÌÛ‚¯ËÏ.

Û·‡˛ÍË‚‡ÂÚ ÒËθÌÂÂ, ˜ÂÏ ÏÓÊÂÚ ËÁÏÓÚ‡Ú¸ ÒÚ‡ı.

ÖÒÎË ÌÂÚ Ê·ÌËfl ÚÓÓÔËÚ¸ ËÒÚÓ˲, ÚÓ Ì˘„ÓË ÌÂ

30

ÖÒÚ¸ Ë Ú‡Í‡fl ‚ÓÁÏÓÊÌÓÒÚ¸, ‰Û„Ó ÓÔËÒ‡ÌË ÍÓÓ‰Ë̇Ú.

̇‰Ó ‡ÒÒÂË‚‡Ú¸. é‰Ì‡ÍÓ ÂÒÎË ıÓ˜ÂÚÒfl ˜ÚÓ-ÚÓ ÔÓÒÚÓËÚ¸,

èÓ˝ÚÓÏÛ (‡ Ì ÚÓθÍÓ ËÁ-Á‡ ÔÓÙÂÒÒËÓ̇θÌ˚ı

̇ÔËÏÂ, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÌÂÓ·ıÓ‰ËÏÓ

ÒÔÓÒÓ·ÌÓÒÚÂÈ) ÔËÒÓ‰ËÌËÚ¸Òfl Í ÏÂʉÛ̇Ó‰ÌÓÈ

ÔÓÚÛ‰ËÚ¸Òfl, Ë Ì ÚÓθÍÓ ‚ ͇˜ÂÒÚ‚Â Á‡Ô‡‰ÌÓ„Ó

˝ÍÒÔÂÚÌÓÈ ÍÓÏËÒÒËË 4 ÒÓÁ‰‡‚‡ÂÏÓ„Ó ã‡Ú‚ËÈÒÍÓ„Ó åÛÁÂfl

ÒÔˆˇÎËÒÚ‡ ÔÓ Ï‡ÍÂÚËÌ„Û. ëÚÓËÚ¸ ÌÂÓ·ıÓ‰ËÏÓ, ÂÒÎË

ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ·˚Î Ô˄·¯fiÌ ÛÍÓ‚Ó‰ËÚÂθ

ʇθ ‰ÂÚÂÈ, ÍÓÚÓ˚ ‰ÓÎÊÌ˚ ‡ÒÚË ‚ ÔÓÒÚÒÓ‚ÂÚÒÍÓÈ

åÓÒÍÓ‚ÒÍÓ„Ó ç‡ˆËÓ̇θÌÓ„Ó ˆÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó

Ó·˜fiÌÌÓÒÚË, ÌÓ ˝Ú‡ ʇÎÓÒÚ¸ Ì ÏÓÊÂÚ ·˚Ú¸ ÔË‚ËÚ‡

ËÒÍÛÒÒÚ‚‡ ãÂÓÌˉ ŇʇÌÓ‚.

ÏÂÚÓ‰‡ÏË ÏÂʉÛ̇Ó‰ÌÓ„Ó ·ËÁÌÂÒ‡.

Ä Â˘fi ÂÒÚ¸ ÔÓÙÂÒÒËÓ̇θÌ˚ ÍÓÓ‰Ë̇Ú˚ – ÚÂ, ÍÓÚÓ-

éÚÌÓ¯ÂÌËÂ Í‡Ê‰Ó„Ó ‰Ûχ˛˘Â„Ó ˜ÂÎÓ‚Â͇ Í ÔÓ¯ÎÓÏÛ

˚ ÒÙÓÏËÓ‚‡ÎË Û˜‡ÒÚÌËÍÓ‚ ‚˚ÒÚ‡‚ÍË.

ÔÓÌË͇ÂÚ ‚ ̇ÒÚÓfl˘ÂÂ, ÌÓ Ô‡ÙÓÒ ·˚‚‡ÂÚ ‡ÁÌ˚È. é‰ËÌ – ÚÓÚ, ÍÓÚÓ˚È ÒÓ‚ÂÚÒÍËÈ „ÛÁËÌÒÍËÈ ÙËÎÓÒÓÙ, ÛÏÂ¯ËÈ

ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl Ò‰‡

‚ 1990-Ï „Ó‰Û, ̇Á˚‚‡Î “ÏÓfl ÌÂÔÓ˘‡˛˘‡fl Ô‡ÏflÚ¸” .

2

äÓ„‰‡ ÛÊ ÛÔÓÏflÌÛÚ˚È Î‡Ú˚¯ÒÍËÈ ÙËÎÓÒÓÙ ìΉËÒ

Ç˚ÒÚ‡‚͇ Óı‚‡Ú˚‚‡ÂÚ ÚË ÔÓÍÓÎÂÌËfl ·Ú˚¯ÒÍËı ıÛ‰ÓÊ-

íËÓÌÒ ÒÔÓÒËΠ„Ó: “çÓ Í‡Í Ú˚, åe‡·, ‚˚ÊËÎ ‚ ÚÓ

ÌËÍÓ‚ – ÓÚ ÔflÚˉÂÒflÚËÎÂÚÌËı “‚ÂÚÂ‡ÌÓ‚” ‰Ó ÏÓÎÓ‰ÓÈ

‚ÂÏfl?” – ÚÓÚ ÓÚ‚ÂÚËÎ: “èÓÚÓÏÛ ˜ÚÓ fl „ÛÁËÌ” 3.

å‡ÈË äÛ¯Â‚ÓÈ. ë‡Ï˚ ÒÚ‡¯Ë – Ä̉ËÒ ÅÂÊÂ, éflÒ

ùÚÓ Ó‰Ì‡ ËÁ ‚ÓÁÏÓÊÌÓÒÚÂÈ, Ó‰ÌÓ ÓÔËÒ‡ÌË ÍÓÓ‰Ë̇Ú.

èÂÚÂÒÓÌÒ, ãÂÓ̇‰ ㇄‡ÌÓ‚ÒÍËÒ – ÔÂÂÊËÎË ‚ÂÏÂ̇,

ÑÛ„ÓÈ ‚ˉ Ô‡ÙÓÒ‡ ‡Á˚„‡Ì ‚ ÒÔÂÍÚ‡ÍΠ“á‚ÛÍË

ÍÓ„‰‡ ÒÓ‚ÂÚÒ͇fl ˆÂÌÁÛ‡ (ÌÂÚ, ˝ÚÓ Á‚Û˜ËÚ ÒÎ˯ÍÓÏ

Ú˯ËÌ˚” – Ô‰ÒÚ‡‚ÎÂÌËË ·ÂÁ ÒÎÓ‚, ÔÓÒÚ‡‚ÎÂÌÌÓÏ ‚ 2007

‡·ÒÚ‡ÍÚÌÓ! – ˝ÚÓ ·˚· „ÓÒÚ͇ Á‡ÔÛ„‡ÌÌ˚ı ÏÓÒÍÓ‚ÒÍËı

„Ó‰Û ‚˚‰‡˛˘ËÏÒfl ·Ú˚¯ÒÍËÏ Ú‡Ú‡Î¸Ì˚Ï ÂÊËÒÒÂÓÏ

Ë ÏÂÒÚÌ˚ı ‡·ÓÚÌËÍÓ‚ ˆÂÌÚ‡Î¸ÌÓ„Ó ÍÓÏËÚÂÚ‡ ÍÓÏÏÛ-

Ä΂ËÒÓÏ ïÂχÌËÒÓÏ. ç‡ ÔÓÚflÊÂÌËË Úfiı ˜‡ÒÓ‚ Á‚Û˜ËÚ

ÌËÒÚ˘ÂÒÍÓÈ Ô‡ÚËË) Á‡Í˚‚‡Î‡ Ëı ‚˚ÒÚ‡‚ÍË ‚ 1984-Ï

ÚÓθÍÓ ÏÛÁ˚͇ ËÁ ÍÓ̈ÂÚ‡ ë‡ÈÏÓ̇ Ë É‡ÙÛÌÍÂÎfl,

Ë 1985-Ï „Ó‰‡ı. èÓÁ‰Ì ڠʠ҇Ï˚ β‰Ë, ˜ËÌÓ‚ÌËÍË,

ÍÓÚÓ˚È ‚ 60-ı „Ó‰‡ı ÌËÍÓ„‰‡ Ì ÔÓıÓ‰ËÎ ‚ êË„Â, Ú‡Í

Ô‚‡ÚËÎËÒ¸ ‚ “Ò‚ÂÚÎ˚ ÒËÎ˚”5 ÔÂÂÒÚÓÈÍË, ÌÓ, ‚ÓÁÏÓÊ-

Í‡Í Ì ÏÓ„ ÒÓÒÚÓflÚ¸Òfl. Ç ÍÓÏÏÛ̇θÌÓÈ Í‚‡ÚËÂ

ÌÓ, ˝ÚÓ Ë Í ÎÛ˜¯ÂÏÛ. Ç Ì‡˜‡Î 80-ı „Ó‰Ó‚ ÏÌÓ„Ë ̇¯Ë

ÏÓÎÓ‰˚ β‰Ë ‚ ‚ˉ ˝Ú˛‰Ó‚ ‡Á˚„˚‚‡˛Ú Ò‚Ó˛ ÊËÁ̸,

ıÛ‰ÓÊÌËÍË, ÍÓÚÓ˚ı, ‚˚‡Ê‡flÒ¸ flÁ˚ÍÓÏ ÚÂı ÎÂÚ, ÏÓÊÌÓ

ÍÓÚÓ‡fl ‚Ó ‚Ò ‚ÂÏÂ̇, ÔË Î˛·ÓÏ ÒÚÓ ̇ÔÓÎÌÂ̇

·˚ÎÓ ·˚ ̇Á‚‡Ú¸ “ÔÓ„ÂÒÒË‚Ì˚ÏË”, ‚ ÓÔ‰ÂÎfiÌÌÓÈ ÏÂÂ

β·Ó‚¸˛, ‚ÌÓÒÚ¸˛, ÒÂ‰Â˜ÌÓÒÚ¸˛, ÍÌË„‡ÏË, ‰ÂÚ¸ÏË,

·˚ÎË Ò‚flÁ‡Ì˚ Ò åÓÒÍ‚ÓÈ. íÂ, ÍÚÓ Ì‡ÍÓ̈-ÚÓ ‰Óʉ‡ÎËÒ¸

“ÓÚÔÛ˘ÂÌËfl ̇ ‚Óβ”, ËÌ˚ÏË ÒÎÓ‚‡ÏË, ‚ ÍÓ̈ 80-ı

ÔÂÓ‰ÓÎÂÚ¸ ‚Ò Ô„‡‰˚, Ӊ̇ÍÓ ÒÓ‚ÂÏÂÌÌÓÏÛ

„Ó‰Ó‚ ÏÓ„ÎË ‚˚ÂÁʇڸ ̇ á‡Ô‡‰ Ë ‚˚ÒÚ‡‚ÎflÚ¸ Ò‚Ófi ËÒÍÛÒ-

‚ËÁۇθÌÓÏÛ ËÒÍÛÒÒÚ‚Û ÌÂÓ·ıÓ‰ËÏÓ ÔËÒÛÚÒÚ‚Ë ÁËÚÂÎfl,

ÒÚ‚Ó ·ÂÒÔÂÔflÚÒÚ‚ÂÌÌÓ, ‰Â̸„Ë Á‡‡·‡Ú˚‚‡ÎË ‚ åÓÒÍ‚Â.

Ë ÓÌÓ, ̇˜Ë̇fl Ò Ú˜ÂÌËÈ Í·ÒÒ˘ÂÒÍÓ„Ó ÏÓ‰ÂÌËÁχ

Ç Ì‡˜‡Î 80-ı Ô‰ÒÚ‡‚ËÚÂÎË “·Ú˚¯ÒÍÓ„Ó ‡‚‡Ì„‡‰‡” (Ú‡Í Ëı ̇Á˚‚‡ÎË Á̇ÍÓÏ˚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ÍËÚËÍË ËÁ

å˛ÌıÂÌÂ Ë ‰Û„Ëı ˆÂÌÚ‡ı, ‚Ò„‰‡ ·˚ÎÓ ÏÂʉÛ̇Ó‰-

á‡Ô‡‰ÌÓ„Ó ÅÂÎË̇) 6 ‡·ÓÚ‡ÎË Ë ÌÂÔÎÓıÓ Á‡‡·‡Ú˚‚‡ÎË,

Ì˚Ï fl‚ÎÂÌËÂÏ.

ÓÙÓÏÎflfl Ç˚ÒÚ‡‚ÍÛ ‰ÓÒÚËÊÂÌËÈ Ì‡Ó‰ÌÓ„Ó ıÓÁflÈÒÚ‚‡ (ÇÑçï) 7. àÌÚÂÂÒÌÓ, ıÓÚfl Ë ‚ ÒÓ‚Â¯ÂÌÌÓ ËÌÓÏ ÍÓÌÚÂÍÒÚÂ,

ëÎÓÊÌÓ Ô‰ÒÚ‡‚ËÚ¸, ͇ÍËÏ Ò··˚Ï ‰ÓÎÊÂÌ ·˚Ú¸ ˜ÂÎÓ‚ÂÍ, ˜ÚÓ·˚ ÚÓθÍÓ ÓÙˈˇθ̇fl ÒËÒÚÂχ Ó·‡ÁÓ‚‡ÌËfl Ë ËÌÒÚËÚÛˆËÓ̇θ̇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl Ò‰‡ ÏÓ„ÎË

‚ÒÔÓÏÌËÚ¸ ÚÓÚ Ù‡ÍÚ, ˜ÚÓ ‚˚ÒÚ‡‚ÍÛ, ÍÓÚÓ‡fl ÚÂÔÂ¸ ËÁ

҉·ڸ ËÁ ÌÂ„Ó ıÛ‰ÓÊÌË͇. é‰Ì‡ÍÓ Ò ıÛ‰ÓÊÌË͇ÏË ‚

·Óθ¯ÓÈ ‚ËÚËÌ˚ ÒÓ‚ÂÚÒÍËı ‰ÓÒÚËÊÂÌËÈ Ô‚‡ÚË·Ҹ

ÒÓ‚ÂÚÒÍÓÈ Ë ÔÓÒÚÒÓ‚ÂÚÒÍÓÈ Ò‰ ·˚ÎÓ ÌÂ Ú‡Í ÛÊ Ë Ò··Ó.

‚ ‚ÂÂÌËˆÛ ÒÛÔÂχÍÂÚÓ‚, ‚ Ò‚Ófi ‚ÂÏfl, Í‡Í Ë ÚÂÔÂ¸,

ä‡Í ‚ 70- „Ó‰˚ ‚ ëÓ‚ÂÚÒÍÓÈ ã‡Ú‚ËË ÔÓfl‚ÎflÎËÒ¸ Ë, „·‚-

‚Â̘‡Î‡ Á̇ÏÂÌËÚ‡fl „Ë„‡ÌÚÒ͇fl ·ÓÌÁÓ‚‡fl ÒÍÛθÔÚÛ‡

ÌÓÂ, ‡ÎËÁÓ‚˚‚‡ÎË Ò·fl ·Óθ¯Ë ڇ·ÌÚ˚ (åËÂ‚‡Î‰ËÒ

ÇÂ˚ åÛıËÌÓÈ “ꇷӘËÈ Ë ÍÓÎıÓÁÌˈ‡”, ÒÎÛÊË‚¯‡fl

èÓÎËÒ, ÅÛÌÓ Ç‡ÒË΂ÒÍËÒ, àχÌÚÒ ã‡ÌˆÏ‡ÌËÒ, àÎχÒ

Ú‡ÍÊ ÓÙˈˇθÌ˚Ï ÒËÏ‚ÓÎÓÏ ÒÚÛ‰ËË “åÓÒÙËθϔ.

ÅÎÛÏ·Â„Ò Ë ‰Û„ËÂ), Ú‡Í Ë 80-Â Ë 90- „Ó‰˚ Ì ·˚ÎË

ùÚÓ ‚‡ÊÌÓ ÔÓÚÓÏÛ, ˜ÚÓ ‚ ÍÛθÚÛÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â 31

̇˜‡Î‡ 20-„Ó ‚Â͇ ‚ è‡ËÊÂ, ÅÂÎËÌÂ, Ñ˛ÒÒÂθ‰ÓÙÂ,

ã‡Ú‚ËË ÒÛ˘ÂÒÚ‚ÛÂÚ ÌÂÔÓ‰Ú‚ÂʉÂÌÌ˚È ÏËÙ Ó ÚÓÏ, ˜ÚÓ

Ó·‰ÂÎÂÌ˚ ËÒÍÛÒÒÚ‚ÓÏ. ë„ӉÌfl Ï˚ ÓÚ΢‡ÂÏÒfl ÓÚ ÏÓÒÍÓ‚ÒÍÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌ-

Á̇ÏÂÌËÚ˚È ÒÍÛθÔÚÓ ‚ ÒÚ‡ÎËÌÒÍË ‚ÂÏÂ̇ ÒÔ‡Ò· ÓÚ

ÌÓÈ Ò‰˚ ÚÂÏ, ˜ÚÓ ‚ ̇¯ÂÈ Ï‡ÎÂ̸ÍÓÈ ÒÚ‡Ì ÔÓÒÚÓ

ÛÌ˘ÚÓÊÂÌËfl ‚Â΢‡È¯Û˛ ·Ú˚¯ÒÍÛ˛ Ò‚flÚ˚Ì˛ – ÒÓÁ‰‡Ì-

˜ËÒÎÂÌÌÓ ÏÂ̸¯Â Ó·‡ÁÓ‚‡ÌÌ˚ı Ë ‡Á·Ë‡˛˘ËıÒfl ‚

Ì˚È ä‡ÎËÒÓÏ á‡ÎÂ Ë ÓÚÍ˚Ú˚È ‚ 1935 „Ó‰Û è‡ÏflÚÌËÍ

ËÒÍÛÒÒڂ β‰ÂÈ. ç‡ ÚÓÈ ÓÒË, ÍÓÚÓ‡fl ·˚· ̇ÏÌÓ„Ó

ë‚Ó·Ó‰˚, ÍÓÚÓ˚È ÛÍ‡¯‡ÂÚ Ì‡‰ÔËÒ¸ “éÚ˜ÂÒÚ‚Û Ë Ò‚Ó-

‡ÍÚË‚Ì ÓÒË êË„‡ – åÓÒÍ‚‡ ‚ ÒÓ‚ÂÚÒÍÓ ‚ÂÏfl, ÚÓ ÂÒÚ¸

·Ó‰Â”. ëÛ˘ÂÒÚ‚Ó‚‡ÌË ҇ÏÓ„Ó Ô‡ÏflÚÌË͇ Ë ˝ÚÓÈ Ì‡‰ÔËÒË

ÓÒ¸ í‡ÎÎËÌÌ – åÓÒÍ‚‡, ˜fiÚÍÓ ÔÓÌflÎË Ë ÒÏÓ„ÎË ÒÙÓÏÛ-

̇ ÔÓÚflÊÂÌËË ‚ÒÂ„Ó ÒÓ‚ÂÚÒÍÓ„Ó ‚ÂÏÂÌË – ‚ Ò‚ÓÂÏ Ó‰Â

ÎËÓ‚‡Ú¸ ‚ ÒÎÓ‚‡ı ÚÓ, ˜ÚÓ ‚ ˜‡ÒÚÌ˚ı ‡Á„Ó‚Ó‡ı ÔÓ‰˜Â-

ËÒÚÓ˘ÂÒ͇fl Ì‚ÂÓflÚÌÓÒÚ¸. ë‡Ï‡ Ê åÛıË̇

ÍË‚‡Î ‚˚‰‡˛˘ËÈÒfl ÚÂÓÂÚËÍ ËÒÍÛÒÒÚ‚‡ ÄÌÚÒ ûÒÍÂ: “Ç ÒÓ-

ÔÓËÒıӉ˷ ËÁ Ó‰‡ Á‡ÊËÚÓ˜Ì˚ı ËÊÒÍËı ÍÛÔˆÓ‚.

‚ÂÚÒÍÓ ‚ÂÏfl ·˚ÎÓ ÚÓθÍÓ ÚË ‚ÓÁÏÓÊÌÓÒÚË – Òӈˇ-

åÌÓ„Ë ÏËÙ˚ Ó ÏÓÒÍÓ‚ÒÍÓÈ ÌÓÌÍÓÌÙÓÏËÒÚÒÍÓÈ Ò‰ ÚÓ„Ó ‚ÂÏÂÌË Ì ‡·ÓÚ‡˛Ú ‚ ‚ÓÒÔËflÚËË ˝ÚËı

ÎËÒÚ˘ÂÒÍËÈ ‡ÎËÁÏ, Ò‡ÎÓÌÌÓ ËÒÍÛÒÒÚ‚Ó Ë ‡‚‡Ì„‡‰”. Ç ã‡Ú‚ËË ÔÓÒΉÒÚ‚Ëfl ÒÓ‚ÂÚÒÍÓ„Ó ÒÚÓfl ÚflÊÂÎÓ ÓÚ‡-

̇¯Ëı ıÛ‰ÓÊÌËÍÓ‚, Ú‡Í Í‡Í ÓÌË ·˚ÎË Á̇ÍÓÏ˚ ÒÓ ÏÌÓ„Ë-

ÁËÎËÒ¸ ̇ Ò‰ÌÂÏ Í·ÒÒÂ. ëÍÓθÍËÏ ‚‡˜‡Ï, ‡‰‚Ó͇ڇÏ,

ÏË ÏÓÒÍÓ‚ÒÍËÏË ÍÓÎ΄‡ÏË. LJÊÌÓ ÔÓÏÌËÚ¸ – ͇ÍË ·˚

Ô‰ÔËÌËχÚÂÎflÏ, ÔÓÎËÚË͇Ï, ÙËÎÓÒÓÙ‡Ï, ÒÔÂÍÛÎflÌ-

ÊÛ̇Î˚ ËÎË ÍÌË„Ë Ó ÏÂʉÛ̇Ó‰Ì˚ı ÒÓ·˚ÚËflı ‚

Ú‡Ï Ì ı‚‡ÚËÎÓ Ò‡ÏÓ‰ËÒˆËÔÎËÌ˚, ˜ÚÓ·˚ ÔÓ„ÛÁËÚ¸Òfl

ËÒÍÛÒÒÚ‚Â Ì ·˚ÎË ‰ÓÒÚÛÔÌ˚, ˝ÚÓ ·˚ÎË Î˯¸ Ó·˚‚ÍË

‚ ÒÎÓÊÌ˚ fl‚ÎÂÌËfl ÒÓ‚ÂÏÂÌÌÓÈ ÎËÚÂ‡ÚÛ˚, ÏÛÁ˚ÍË,

ËÌÙÓχˆËË, Í‡Í ‚ åÓÒÍ‚Â, Ú‡Í Ë ‚ êË„Â. ùÚÓ ·˚ÎÓ

Ú‡Ú‡, ÍËÌÓ Ë ‚ËÁۇθÌÓ„Ó ËÒÍÛÒÒÚ‚‡? ü Á̇˛ ÚÓθÍÓ

Ó·˘ÂÒÚ‚Ó Á‡Í˚ÚÓ„Ó ÚËÔ‡, ‚ ÍÓÚÓÓÏ ·˚ÎÓ ÏÌÓ„Ó ÛÏÌ˚ı,

Ó‰ÌÓ„Ó Ú‡ÍÓ„Ó ˜ÂÎÓ‚Â͇, ÍÓÚÓ˚È ÔÛÚfiÏ ÒËÒÚÂχÚË-

ڇ·ÌÚÎË‚˚ı, Ú‚Ó˜ÂÒÍËı Ë ÒÏÂÎ˚ı, Ӊ̇ÍÓ ÓÚ‰ÂÎÂÌÌ˚ı

˜ÂÒÍÓÈ ÔÓÁ̇‚‡ÚÂθÌÓÈ ‡·ÓÚ˚ ÛÊ ‚ ÁÂÎÓÏ ‚ÓÁ‡ÒÚÂ

ÓÚ Ò‚Ó·Ó‰ÌÓ„Ó ÏË‡ β‰ÂÈ. ÇÂÓflÚÌÓ, Ï˚Òθ ÏÓÊÂÚ

‚ Ú˜ÂÌË ‰ÂÒflÚË ÎÂÚ ÒÏÓ„ ÔÂÓ‰ÓÎÂÚ¸ ÔÓÒÚÒÓ‚ÂÚÒÍÛ˛

ËÌÂˆË˛ Ë Ò‡ÏÓ‰Ó‚ÓθÒÚ‚Ó, ÍÓÚÓÓ ı‡‡ÍÚÂÌÓ ‰Îfl

̇¯‡ ÊË‚ÓÔËÒ¸ ËÏÂÂÚ ÒÂ¸ÂÁÌÛ˛ Ú‡‰ËˆË˛, Ó̇ fl‚ÎflÂÚÒfl

‚ÒÂı ÚÂı, ÍÚÓ Ò‡ÎÓÌÌÓ ËÒÍÛÒÒÚ‚Ó (ÍÓÚÓÓ ҇ÏÓ ÔÓ Ò·Â

Ó˜Â̸ ıÓÓ¯ÂÈ ÓÒÌÓ‚ÓÈ ‰Îfl ‡Í‡‰ÂÏ˘ÂÒÍÓ„Ó Ó·‡ÁÓ‚‡-

Ì fl‚ÎflÂÚÒfl ÁÎÓÏ, ·ÓΠÚÓ„Ó, fl‚ÎflÂÚÒfl ÔËflÚÌ˚Ï ÍÓÏ-

ÌËfl ıÛ‰ÓÊÌËÍÓ‚. é‰Ì‡ÍÓ ˝Ú‡ ÊË‚ÓÔËÒ¸ Á‡ ‰ÍËÏË

ÔÓÌÂÌÚÓÏ ÍÓÏÙÓÚÌÓÈ ÊËÁÌË) ÒÚ‡‚ËÚ Ì‡ Ó‰ÌÛ ÒÚÛÔÂ̸

ËÒÍβ˜ÂÌËflÏË ‡Á‚Ë‚‡Î‡Ò¸ ‚ Á‡Í˚ÚÓÏ, ‰‡Ê “Á‡Í‡ÔÒÛ-

Ò ÚÂÏ ÒÓ‚ÂÏÂÌÌ˚Ï ËÒÍÛÒÒÚ‚ÓÏ, ÍÓÚÓ˚Ï ËÌÚÂÂÒÛ˛ÚÒfl

ÎËÓ‚‡ÌÌÓÏ” Ó·˘ÂÒÚ‚Â, Ë Âfi flÁ˚Í ·˚Î Ó·ÛÒÎÓ‚ÎÂÌ

ÒÂ¸fiÁÌ˚ ÁËÚÂÎË Ë ÒÂ¸fiÁÌ˚ ÏÂʉÛ̇Ó‰Ì˚Â

Ò‚ÓÂ„Ó Ó‰‡ ÔÓÒÚËÏÔÂÒÒËÓÌËÒÚÒÍËÏ Ì‡ÒÚÓÂÌËÂÏ,

ÏÛÁÂÈÌ˚ ÒÔˆˇÎËÒÚ˚ ÔÓ ÒÓ‚ÂÏÂÌÌÓÏÛ ËÒÍÛÒÒÚ‚Û.

ÍÓÚÓÓ ÍÛθÚË‚ËÓ‚‡ÎË ÏÌÓ„Ë ·Ú˚¯ÒÍË ÊË‚ÓÔËÒˆ˚

ùÚÓÚ Â‰ËÌÒÚ‚ÂÌÌ˚È ˜ÂÎÓ‚ÂÍ, ̇ÁÓ‚fiÏ Â„Ó ä., ˜‡ÒÚÓ „Ó‚ÓËÚ Ó ÔÓËÁ‚‰ÂÌËË “ÑÛ·”, ÍÓÚÓÓ ÓÌ ‚ˉÂÎ ‚ „‡-

˜ÂÏ ‚ Á‡‚ÂÁfiÌÌ˚È 1940-Ï „Ó‰Û ‚ ã‡Ú‚˲ ËÁ åÓÒÍ‚˚

ÎÂ “Tate Modern”. “ÑÛ·” Ô‰ÒÚ‡‚ÎflÎ ÒÓ·ÓÈ ÔÓÎÓ˜ÍÛ,

‰Â‚flÌÌ˚È, ÔÓ‚ÂÒÚ‚Ó‚‡ÚÂθÌ˚È ÒӈˇÎËÒÚ˘ÂÒÍËÈ

ÔËÍÂÔÎfiÌÌÛ˛ ‚˚ÒÓÍÓ Ì‡ ÒÚÂÌÂ, ̇ ÍÓÚÓÓÈ ÒÚÓflÎ

‡ÎËÁÏ. à ‚ÒÂ-Ú‡ÍË Î‡Ú˚¯ÒÍËÈ ÔÓÙÂÒÒÓ ù‰Û‡‰

Òڇ͇Ì, ̇ÔÓÎÌÂÌÌ˚È ‚Ó‰ÓÈ. ꇷÓÚÛ ‰ÓÔÓÎÌflÎÓ ÓÔËÒ‡-

äÎfl‚Ë̸¯ ÛÊ ‚ ÒÂ‰ËÌ 90-ı „Ó‰Ó‚ ÔËÒ‡Î Ó “ÔÓÒÚËÏ-

ÌËÂ: “ïÓÚfl ˝ÚÓ Ë ‚˚„Îfl‰ËÚ Í‡Í ÒÚ‡Í‡Ì ‚Ó‰˚ ̇ ÔÓÎÍÂ,

ÔÂÒÒËÓÌËÒÚÒÍËı ·‡Ì‡Î¸ÌÓÒÚflı Ë ‚ËÚÛÓÁÌÓÈ ‰ÂÍÓ‡ÚË‚-

ıÛ‰ÓÊÌËÍ ÛÚ‚Âʉ‡ÂÚ, ˜ÚÓ Ì‡ Ò‡ÏÓÏ ˝ÚÓ ‰ÂΠ‰Û·.

ÌÓÒÚË ÒÓ‚ÂÏÂÌÌ˚ı ÏÂÒÚÌ˚ı ‡‚ÚÓËÚÂÚÓ‚ ËÒÍÛÒÒÚ‚‡” 11.

ìÚ‚ÂʉÂÌË äÂÈ„‡-å‡ÚË̇ ÔÓ‰ÌËχÂÚ 32

Ë ÍÓÚÓÓÂ, ÌÂÒÓÏÌÂÌÌÓ, ·˚ÎÓ ·ÓÎÂÂ “ÔÓ„ÂÒÒË‚Ì˚Ï”,

à ‚ ˝ÚÓÈ ÔÓÒÚËÏÔÂÒÒËÓÌËÒÚÒÍÓÈ Ú‡‰ËˆËË ÏÓÊÌÓ

ÙÛ̉‡ÏÂÌڇθÌ˚ ‚ÓÔÓÒ˚ Ó ÚÓÏ, ˜ÚÓ Ï˚ ÔÓÌËχÂÏ

̇Á‚‡Ú¸ ÏÌÓ„Ó ıÓÓ¯Ëı χÒÚÂÓ‚, Ӊ̇ÍÓ ÌÂθÁfl

ÔÓ‰ ËÒÍÛÒÒÚ‚ÓÏ, Ë Ó Ì‡¯ÂÈ ‚Â ‚ ÒÔÓÒÓ·ÌÓÒÚË ıÛ‰ÓÊÌË-

ËÁ·Â„‡Ú¸ ÒÂ¸fiÁÌÓ„Ó ‚ÓÔÓÒ‡: ‚ ͇ÍÓÈ ÏÂ ÓÌË ‰‚Ë„‡ÎË

͇. ùÚÓ ÔÓËÁ‚‰ÂÌË ËÒÍÛÒÒÚ‚‡ ÏÓÊÂÚ ‡ÒÒχÚË‚‡Ú¸Òfl

‚ÔÂfi‰ ËÒÍÛÒÒÚ‚Ó Ë Â„Ó ÔÓÌËχÌËÂ, ËÎË Ê ÓÌË ÔÓÒÚÓ

Í‡Í ËÒÒΉӂ‡ÌË ÛÚ‚ÂʉÂÌËfl å‡ÒÂÎfl Ñ˛¯‡Ì‡, ˜ÚÓ

ÓÚ‰‡ÎËÒ¸ ÔÂÎÂÒÚË ÎËÌËÈ Ë Í‡ÒÓÍ. Ç 1951 „Ó‰Û ËÁ‚ÂÒÚÌ˚È

β·ÓÈ Ó·˚‰ÂÌÌ˚È Ô‰ÏÂÚ ÏÓÊÂÚ ·˚Ú¸ ÔËÁÌ‡Ì ÔÓËÁ-

ıÛ‰ÓÊÌËÍ Ü‡Ì Ñ˛·˛ÙÙ (1901–1985) ‚ Ò‚ÓÂÈ ÎÂ͈ËË

‚‰ÂÌËÂÏ ËÒÍÛÒÒÚ‚‡. Ç ‡ÌÌÓÚ‡ˆËË Í Ò‚ÓÂÈ ‡·ÓÚ äÂÈ„-

‚ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÏ àÌÒÚËÚÛÚ óË͇„Ó Ò͇Á‡Î: “ü ÌÂ

å‡ÚËÌ Ë Á‡‰‡ÂÚ ‚ÓÔÓÒ˚, Ë ‰‡ÂÚ ÓÚ‚ÂÚ˚, ‰ÓÔÛÒ͇fl, ˜ÚÓ

Ò˜ËÚ‡˛ ˝ÚÛ ÙÛÌÍˆË˛ – ‡ÒÔÓÎÓÊÂÌË ˆ‚ÂÚÓ‚ ‚ ÔËflÚÌ˚ı

ÔÓ ÓÚÌÓ¯ÂÌ˲ Í ÔÂÓ·‡ÁÛ˛˘ÂÈ ÒËΠËÒÍÛÒÒÚ‚‡ ÏÓÊÌÓ

ÒÓ˜ÂÚ‡ÌËflı – ÓÒÓ·ÂÌÌÓ ·Î‡„ÓÓ‰ÌÓÈ. ÖÒÎË ·˚ ÒÏ˚ÒÎ

‚˚‡Ê‡Ú¸ Ó‰ÌÓ‚ÂÏÂÌÌÓ Í‡Í ÒÍÂÔÒËÒ, Ú‡Í Ë ‰Ó‚ÂË” 8.

ÊË‚ÓÔËÒË ·˚Î ÚÓθÍÓ ‚ ˝ÚÓÏ, fl ·˚ ÌËÍÓ„‰‡ Ì ÔÓÒ‚flÚËÎ

ÅÓθ¯Â Ú‡ÍËı β‰ÂÈ ‚Ì ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ Ò‰˚

˝ÚÓÏÛ Á‡ÌflÚ˲ ÌË ˜‡Ò‡ Ò‚ÓÂ„Ó ‚ÂÏÂÌË” 12. èÓÙÂÒÒËÓ-

ã‡Ú‚ËË ÏÌ ‚ÒÚ˜‡Ú¸ Ì ‰Ó‚Ó‰ËÎÓÒ¸. íÓÚ Bildung-

̇θ̇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÏÓÒÍÓ‚Ò͇fl Ò‰‡, ‡ Ú‡ÍÊÂ

buergertum , ÍÓÚÓ˚È Ì‡ á‡Ô‡‰Â ÂÁ‰ËÚ Ì‡ ͇ÒÒÂθÒÍËÂ

ÁËÚÂÎË Û·Â‰ËÎËÒ¸ ‚ ÒÛ˘ÂÒÚ‚Ó‚‡ÌËË Ó‰ÌÓÈ ËÁ ‰ÓÒÚÓÈÌÓÈ

‚˚ÒÚ‡‚ÍË documenta ‚ ËÎË Ì‡ ‚Â̈ˇÌÒÍË ·¸ÂÌ̇ÎÂ,

‚ÌËχÌËfl „‡ÌË Ì‡¯Â„Ó ËÒÍÛÒÒÚ‚‡ ‚ Ò‡ÏÓÏ ÍÓ̈ ÒÛ˘ÂÒ-

¢fi ÚÓÎÍÓÏ Ì ÒÙÓÏËÓ‚‡ÎÒfl. àÒÍÛÒÒÚ‚Ó ‰Îfl

Ú‚Ó‚‡ÌËfl ÒÓ‚ÂÚÒÍÓÈ ‚·ÒÚË – ̇ ·Óθ¯ÓÈ ‚˚ÒÚ‡‚ÍÂ

χÎÓÓ·‡ÁÓ‚‡ÌÌÓ„Ó Ò‰ÌÂ„Ó Í·ÒÒ‡ – ˝ÚÓ ÚÓθÍÓ

Ó‰ÌÓ„Ó ÔÓÍÓÎÂÌËfl ıÛ‰ÓÊÌËÍÓ‚ ëÓ‚ÂÚÒÍÓÈ ã‡Ú‚ËË – “èÓÒÚ-

ÊË‚ÓÔËÒ¸, Í ÚÓÏÛ Ê ÔÓ ‚ÓÁÏÓÊÌÓÒÚË ÓÒÍӯ̇fl,

Ú‡‰ËˆËÓ̇ÎËÁÏ”, Ôӯ‰¯ÂÈ ‚ 1989 „Ó‰Û ‚ ÏÓÒÍÓ‚ÒÍÓÏ

˝ÒÚÂÚËÁËÓ‚‡Ì̇fl, “ËÌÚÂÂÒ̇fl” 10.

ñÂÌÚ‡Î¸ÌÓÏ ‰ÓÏ ıÛ‰ÓÊÌË͇ (ñÑï). Ç ‡Ï͇ı ˝ÚÓÈ

9

ÅÓθ¯ËÌÒÚ‚Ó ıÛ‰ÓÊÌËÍÓ‚, ‚˚‰ÂÎÂÌÌ˚ı ‚ ÏÂÒÚÌÓÈ

‚˚ÒÚ‡‚ÍË ‚ ÍÛÔÌÓÙÓχÚÌ˚ı ‡·ÓÚ‡ı üÌËÒ åËÚ‚ˈ,

·ڂËÈÒÍÓÈ ËÂ‡ıËË, Ì ËÌÚÂÂÒÛÂÚ ÌË Ó‰ËÌ Á‡Ô‡‰Ì˚È

à‚‡ àÎÚÌÂÂ, чˆÂ ãË·, ù‰„‡ ÇÂÔÂ, ë‡Ì‰‡

ÏÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡. çÂθÁfl ÓÚˈ‡Ú¸, ˜ÚÓ

ä‡ÒÚËÌfl Ë ‰Û„Ë 13 ÔÓ͇Á‡ÎË ‰‡ÎÂÍÓ Ë‰Û˘ËÂ, ‚Ó ‚ÒflÍÓÏ

ÒÎÛ˜‡Â, Ò ÚÓ˜ÍË ÁÂÌËfl ¯ËÓÚ˚ ÊÂÒÚ‡, ÒÚÂÏÎÂÌËfl

·Î‡„Ó‰‡fl ̇¯ÂÈ ÔÓ„ÂÒÒË‚ÌÓÈ ÒËÒÚÂÏ ӷۘÂÌËfl ‚

‚ÂÏfiÌ ÔÂÂÒÚÓÈÍË.

ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ¯ÍÓΠËÏ. ü. êÓÁÂÌÚ‡Îfl, ‚ êËÊÒÍÓÏ

ë‡‚ÌË‚‡fl ‰‚ ‚˚ÒÚ‡‚ÍË Î‡Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡,

Ä͇‰ÂÏËË ıÛ‰ÓÊÂÒÚ‚, fl‚ÎflÂÚÒfl Ë ‚ ã‡Ú‚ËË ˜ÂÏ-ÚÓ

ÛÔÓÏflÌÛÚÛ˛ ‚˚ÒÚ‡‚ÍÛ “èÓÒÚÚ‡‰ËˆËÓ̇ÎËÁÏ” ‚ åÓÒÍ‚Â

·Óθ¯ËÏ, ˜ÂÏ ÔÓÒÚÓ ‡ÍÚË‚, ÍÓÚÓ˚È ËÁÏÂflÂÚÒfl ÚÓθÍÓ

Ë ‚˚ÒÚ‡‚ÍÛ “êË„‡ – ·Ú˚¯ÒÍËÈ ‡‚‡Ì„‡‰”, ÒÓÒÚÓfl‚¯Û˛Òfl

‚ ‰ÂÌÂÊÌÓÏ ˝Í‚Ë‚‡ÎÂÌÚÂ Ë ‚˚‡Ê‡ÂÚÒfl ‚ ÙËÁ˘ÂÒÍËı

‚ 1988 „Ó‰Û ‚ á‡Ô‡‰ÌÓÏ ÅÂÎËÌÂ, ÔËıӉ˯¸ Í ‚˚‚Ó‰Û,

“ÔÓ‰‚¯˂‡ÂÏ˚ı” ‰ËÌˈ‡ı.

˜ÚÓ ÔÓÒΉÌflfl ·Óθ¯Â ÓÚ‡Ê‡Î‡ ÚÓ ÏÌÓ„ÓÓ·‡ÁË Ë

ùÚÓ Ì˜ÚÓ „Ó‡Á‰Ó ·Óθ¯ÂÂ, ÌÂÊÂÎË ˝ÒÚÂÚ˘ÂÒ͇fl

ÒÓ‚ÂÏÂÌÌÓÒÚ¸, ÍÓÚÓÓ ÛÊ ÚÓ„‰‡ ÏÓ„ÎÓ ÒÓÁ‰‡Ú¸

Ë ˝ÏÓˆËÓ̇θ̇fl ‰ËÌˈ‡ ‰Îfl ÔËflÚÌÓ„Ó Ò‡ÏÓ˜Û‚ÒÚ‚Ëfl

·Ú˚¯ÒÍÓ ËÒÍÛÒÒÚ‚Ó.

β‰ÂÈ, Ì ÔÓÒ‚Â˘ÂÌÌ˚ı ‚ „ÛχÌËÚ‡ÌÓÈ ÒÙÂÂ. ç‡

Ç ÍÓ̈ 80-ı „Ó‰Ó‚ ‚ ã‡Ú‚ËË Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò ÍÛÔÌÓ-

‚ÓÔÓÒ, ˜ÚÓ Ê ˝ÚÓ Ú‡ÍÓÂ Ë ˜ÂÏ Á‡ÌËχ˛ÚÒfl ıÛ‰ÓÊÌËÍË,

ÙÓχÚÌ˚ÏË ÊË‚ÓÔËÒÌ˚ÏË ‡·ÓÚ‡ÏË ‡Òˆ‚ÂÎÓ ÌÂ

ÍÓÚÓ˚ı ËÌÚÂÂÒÛÂÚ Ò‡ÏÓ ËÒÍÛÒÒÚ‚Ó, ‰ÓıÓ‰fl˘Â ‰Ó Ò‚ÓËı

ÏÂÌ ÍÓ̈ÂÔÚۇθÌÓÂ Ë ÒӈˇθÌÓ ÓËÂÌÚËÓ‚‡ÌÌÓÂ

Í‡ÈÌËı ‚ÓÁÏÓÊÌ˚ı „‡Ìˈ, Ì‚ÓÁÏÓÊÌÓ ÓÚ‚ÂÚËÚ¸

ËÒÍÛÒÒÚ‚Ó, ˜ÂÏ ‚ ÚÓ Ê ‚ÂÏfl ‚ åÓÒÍ‚Â. é΄ íËÎηÂ„

Ë̇˜Â, Í‡Í ÚÓθÍÓ Ô˂‰fl ‚ÂÒ¸ ÛÓÊ‡È ËÒÍÛÒÒÚ‚‡

‚ ÚÓ ‚ÂÏfl ÒÓÁ‰‡‚‡Î ËÌÒÚ‡ÎÎflˆËË, ‚ ÍÓÚÓ˚ı ÒÓ‚ÂÚÒÍËÂ

ã‡Ú‚ËË, ‡ Ì ÚÓθÍÓ ‰ÓÒÚËÊÂÌËfl Ó‰ÌÓ„Ó ËÁ Â„Ó ‚ˉӂ.

ˉÂÓÎӄ˘ÂÒÍË Á̇ÍË, ‚Íβ˜fiÌÌ˚ ‚ Ó·‡ÁÌ˚ ÔÓ33

ÍÓÎΉʠ‰ËÁ‡È̇ Ë ËÒÍÛÒÒÚ‚‡, ‡ Ú‡ÍÊ ‚ ã‡Ú‚ËÈÒÍÓÈ

Ôӯ‰¯Ë ÔÓ˜ÚË Ó‰ÌÓ‚ÂÏÂÌÌÓ, ‡ ËÏÂÌÌÓ, ÛÊÂ

í Ô‰ÒÚ‡‚ËÚÂÎË ÔÓÒÚÒÓ‚ÂÚÒÍÓ„Ó Ò‰ÌÂ„Ó Í·ÒÒ‡,

ÒÚ‡ÌÒÚ‚ÂÌÌ˚ ÒÚÛÍÚÛ˚, ÔÓÓʉ‡ÎË ÌÓ‚˚ ÏÌÓ„Ó„‡Ì-

ÍÓÚÓ˚ Ì ‚Í·‰˚‚‡˛Ú ÚÛ‰ ‚ Ò‡ÏÓÓ·‡ÁÓ‚‡ÌËÂ, ÌÂ

Ì˚ Á̇˜ÂÌËfl; Ú‡ÍÓ‚‡, ̇ÔËÏÂ, ‡·ÓÚ‡ “Ä‚Ó‡” (Á̇-

ÏÓ„ÛÚ ÔÓÌflÚ¸ ÚÓÚ ÌÂÓ·ıÓ‰ËÏ˚È Ò‰‚Ë„ Ò‡ÏÓ„Ó ÒÏ˚Ò·,

ÍÓÏ˚È Í‡Ê‰ÓÏÛ ÔÓfl‰Ó˜ÌÓÏÛ ÒÓ‚ÂÚÒÍÓÏÛ „‡Ê‰‡ÌËÌÛ

ı‡‡ÍÚÂËÁÛ˛˘ËÈ ÌÂ-Ò‡ÎÓÌÌÓ ËÒÍÛÒÒÚ‚Ó Ë Ó ÍÓÚÓÓÏ

‚ÓÂÌÌ˚È ÍÓ‡·Î¸ – ÍÂÈÒÂ, Ò ÍÓÚÓÓ„Ó ‚ èÂÚÂ·Û„Â

·Ú˚¯ÒÍËÈ ÙËÎÓÒÓÙ üÌËÒ í‡ÛÂÌÒ Ò͇Á‡Î ÒÎÂ‰Û˛˘ÂÂ:

·˚Î ‚˚ÔÛ˘ÂÌ ÔÂ‚˚È Á‡ÎÔ, ̇˜‡‚¯ËÈ Ú‡Í Ì‡Á˚‚‡ÂÏÛ˛

“èÓËÁ‚‰ÂÌË ËÒÍÛÒÒÚ‚‡ Í‡Í ÒÚ· ÇËθ„Âθχ íÂÎÎfl,

éÍÚfl·¸ÒÍÛ˛ ‚ÓβˆË˛ 1917 „Ó‰‡), ‚ ÍÓÚÓÓÈ Ó„ÓÏ̇fl

̇Ô‡‚ÎÂÌ̇fl ̇ χθ˜Ë͇ – ÁËÚÂÎfl, ÍÓÚÓ˚È ‰ÓÎÊÂÌ

ÍËÚÓ‚‡fl ÍÓÒÚ¸ ÔÓ‰‰ÂÊË‚‡Î‡Ò¸ ÔËÓÌÂÒÍËÏË Ù·Ê͇ÏË.

ÔÓÌflÚ¸ ˆÂθ ÔÓÎfiÚ‡ ÒÚÂÎ˚, – ÛÔ‡‚¯Â fl‰ÓÏ fl·ÎÓÍÓ. ùÚÓ

í‡ÍË Ê ÔÓ‰ÛχÌÌ˚ ÍÓ̈ÂÔÚۇθÌ˚ ‡·ÓÚ˚

·˚· ·˚ ÏÂÚ‡ÙÓ‡. àÌ˚ÏË ÒÎÓ‚‡ÏË, ˝ÚÓ Ò‰‚Ë„ ‚ ̇Ô‡‚-

ÒÓÁ‰‡‚‡ÎË ãÂÓ̇‰ ㇄‡ÌÓ‚ÒÍËÒ ‚ ÒÂËflı ËÒÛÌÍÓ‚

ÎÂÌËË ÓÚ ÒÏ˚ÒÎÓ‚˚ı ÔÓÌflÚËÈ ÓÍÛʇ˛˘Â„Ó ÏË‡, Á‡Íβ-

Ë Ó·˙ÂÍÚÓ‚, Ä̉ËÒ ÅÂÊÂ, ûËÒ èÛÚ‡ÏÒ Ë éflÒ èÂÚÂ-

˜fiÌÌ˚È ‚ flÁ˚ÍÓ‚˚ı Á̇˜ÂÌËflı ÌÓ‚Ó„Ó ËÒÍÛÒÒÚ‚‡, ÍÓÚÓÓÂ

ÒÓÌÒ ‚ ÍÛÔÌÓÙÓχÚÌ˚ı ¯ÂÎÍÓ„‡ÙËflı Ë ËÌÒÚ‡ÎÎflˆËflı.

‚ ͇˜ÂÒÚ‚Â Ò‚ÓÂ„Ó Ï‡ÚÂˇ· ÏÓÊÂÚ ËÒÔÓθÁÓ‚‡Ú¸

è‡ÚˇıË ÏÛθÚËωˇ ï‡‰ËÈÒ ã‰Ë̸¯ Ë ûËÒ ÅÓÈÍÓ

ËÁÓ·‡ÊÂÌËÂ, Á̇Í, Ô‰ÏÂÚ, ÚÂÍÒÚ, ‰ÂÈÒÚ‚ËÂ, Á‚ÛÍ Ë Ú.‰..

ÛÊ ‚ ̇˜‡Î 80-ı „Ó‰Ó‚ ÔÓ͇Á˚‚‡ÎË ‚ˉÂÓ- Ë ÙÓÚÓ

ÑÎfl ˝ÚÓ„Ó Ò‰‚Ë„‡ ı‡‡ÍÚÂÌÓ ÚÓ, ˜ÚÓ ÓÌ Ì·Óθ¯ÓÈ, ÌÂ

ËÌÒˆÂÌËÓ‚ÍË, ‡ Ú‡ÍÊ ˝ÍÒÔÂËÏÂÌÚ˚ ÒÓ Á‚Û͇ÏË.

·ÓÒ‡ÂÚÒfl ‚ „·Á‡, ÌÓ ÏÂÚÍËÈ (ÓÌ ÒÓÓ·˘‡ÂÚ Ì‡Ï Ó ˜fiÏ-ÚÓ

ç‡ÒÍÓθÍÓ ·˚ ÌË ˜Û‚ÒÚ‚Ó‚‡ÎË Ò·fl ӷ·‰‡˛˘ËÏË ‚·ÒÚ¸˛ Ú Ô‰ÔËÌËχÚÂÎË Ë ÔÓÎËÚËÍË, ÍÓÚÓ˚ ÒÛ‰flÚ Ó ÒÓ‚ÂÏÂÌÌÓÏ ËÒÍÛÒÒÚ‚Â ÚÓθÍÓ ÔÓ Í‡ÚË̇Ï, ‡Á‚¯ÂÌÌ˚Ï Ì‡ ÒÚÂ̇ı Ëı ‰ÓÏÓ‚ Ë ÓÙËÒÓ‚, ËÎË ÒÔflÚ‡ÌÌ˚Ï ‚ ·‡ÌÍÓ‚ÒÍËı ÒÂÈÙ‡ı, ËÒÍÛÒÒÚ‚Ó, Ò·‚‡ ·Ó„Û,

‚‡ÊÌÓÏ, ˜ÚÓ ÏÓÊÂÚ ‚˚‡ÁËÚ¸ ÚÓθÍÓ ËÒÍÛÒÒÚ‚Ó)” 14. ä‡Í‡fl Ê Á‰ÂÒ¸ Ò‚flÁ¸ Ò Î‡Ú˚¯ÒÍËÏ ıÛ‰ÓÊÌËÍÓÏ, ÓÒÓ·ÂÌÌÓ Ò ÏÓÎÓ‰˚Ï? ùÚÓ ‚Ò ËÏÂÂÚ ÓÚÌÓ¯ÂÌËÂ Í ÚÂÏ ıÛ‰ÓÊÌË͇Ï, ÍÓÚÓ˚ ¢fi ÚÓθÍÓ ·Û‰ÂÚ ÙÓÏËÓ‚‡Ú¸Òfl, Ë Ò ÚÂÏË ËÁ

Ò„ӉÌfl¯ÌËı Ô‰ÒÚ‡‚ËÚÂÎÂÈ ˝ÚÓÈ Ò‰˚, ÍÚÓ ‚˚·ÂÂÚ,

‡·ÓÚ˚ ̇ Ä̉ÂÈÒ‡ÎÂ, Ӊ̇ÍÓ ‰Ûı ÌÓ‚Ó„Ó ËÒÍÛÒÒÚ‚‡

ÓÒÚ‡Ú¸Òfl ËÎË ÌÂÚ “Ò ËÒÍÛÒÒÚ‚ÓÏ”. îÂÌÓÏÂÌ ıÛ‰ÓÊÂÒ-

ÓÚÚÛ‰‡ ‡ÒÔÓÒÚ‡ÌflÂÚÒfl ̇ ‰Û„Ë ËÌÒÚËÚÛˆËÓ̇θÌ˚ Ë

Ú‚ÂÌÌÓÈ Ò‰˚ (art scene) Ì fl‚ÎflÂÚÒfl ‚ÚÓÓ‡Áfl‰Ì˚Ï

ÌÂËÌÒÚËÚÛˆËÓ̇θÌ˚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ‰ËÌˈ˚ Ë

Ó·ÒÚÓflÚÂθÒÚ‚ÓÏ, ÍÓ„‰‡ ˜ÂÎÓ‚ÂÍ ÔËÌËχÂÚ ¯ÂÌËÂ

Û˜ÂʉÂÌËfl êË„Ë.

ÔÓÒ‚flÚËÚ¸ Ò·fl Ú‡ÍÓÏÛ ÌÂÔÓ„ÌÓÁËÛÂÏÓÏÛ Á‡ÌflÚ˲

˜ËÎ ÏÌÓÊÂÒÚ‚Ó ËÏÔÛθÒÓ‚ ÓÚ ‚ÒÂı ‚ÓÁÏÓÊÌ˚ı ÍÎÂÚÓÍ,

ÒÏÓÊÂÚ Ì ‚ÎËflÚ¸ Ó·ÎËÍ Ë ÒÓ‰ÂʇÌË åÛÁÂfl ÒÓ‚Â-

Ӊ̇ÍÓ ÒÂȘ‡Ò Â„Ó ÒÓÒÚ‡‚Îfl˛Ú Ó·ËÚ‡ÚÂÎË ÓÒÚÓ‚‡. ç‡Ë·Ó-

ÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÒÓÁ‰‡˛˘Â„ÓÒfl ̇ Ä̉ÂÈÒ‡ÎÂ

ΠÁ‡ÏÂÚÌ˚ÏË fl‚Îfl˛ÚÒfl ‚˚ÒÚ‡‚ÍË, Ó„‡ÌËÁÓ‚‡ÌÌ˚Â

(Ä̉‚ÒÍÓÏ ÓÒÚÓ‚Â).

‡Á΢Ì˚ÏË Ó·˙‰ËÌÂÌËflÏË ıÛ‰ÓÊÌËÍÓ‚ (̇ÔËÏÂ,

ê‡ÒÒ͇Á Ó Ì‡ÒÚÓfl˘ÂÏ Ë Ó· ÛÚÓÔËË ‚ ÒÓ‚ÂÏÂÌÌÓÏ

ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ÔÓÏ¢ÂÌËË “ëÚÓÎÓ-

·Ú˚¯ÒÍÓÏ ËÒÍÛÒÒÚ‚Â – ‚ ·Óθ¯ÓÈ ÏÂ ˝ÚÓ ‡ÒÒ͇Á Ó·

‚ÓÈ”), Ô‰ÒÚ‡‚ÎÂÌËfl (“umka.lv”), ÔÓ˝Ú˘ÂÒÍË ˜ÚÂÌËfl

Ä̉ÂÈÒ‡ÎÂ. ìÊ ÛÔÓÏflÌÛÚ˚È åÂ‡· å‡Ï‡‰‡¯‚ËÎË

Ë ‰ÂÏÓÌÒÚ‡ˆËfl ‚ˉÂÓ‡·ÓÚ (“Orbita”), ÍÓ̈ÂÚ˚ ˝ÍÒÔÂ-

Ӊ̇ʉ˚ Ò͇Á‡Î, ˜ÚÓ “ÌÂÍÓÚÓ˚ (Ë, Ә‚ˉÌÓ, Ò‡Ï˚Â

ËÏÂÌڇθÌÓÈ ÏÛÁ˚ÍË (“Skañu meΩs” – “ãÂÒ Á‚ÛÍÓ‚”),

‚‡ÊÌ˚ ‰Îfl ˜ÂÎÓ‚Â͇) Ï˚ÒÎË ÏÓ„ÛÚ Óʉ‡Ú¸Òfl ÚÓθÍÓ Ì‡

‰ÂÏÓÌÒÚ‡ˆËfl ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚ (“Future-

‡„Ó‡ı…” èÓ‚Ë̈ˇθ̇fl ÔÓÒÚÒÓ‚ÂÚÒ͇fl ‡„Ó‡, ̇

shorts”), ‰‡Ê ıÓÒÚÂÎ ‰Îfl ıÛ‰ÓÊÌËÍÓ‚ “Singalonga”

ÍÓÚÓÓÈ ¯ÂÌËfl ÔËÌËχÎËÒ¸ ÚÓθÍÓ Ë Â‰ËÌÒÚ‚ÂÌÌÓ

Ë ÏÌÓ„Ó ‰Û„ÓÂ. ç‡ Ä̉ÂÈ҇Πˆ‡ËÚ ‰Ûı Ú‚Ó˜ÂÒÚ‚‡

ÔË‚ÂÊÂ̈‡ÏË Ò‡ÎÓÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, Ì ÏÓÊÂÚ ‚˚Á˚‚‡Ú¸

Ë ˝ÍÒÔÂËÏÂÌÚÓ‚, Ӊ̇ÍÓ ‚Ò Á̇˛Ú, ˜ÚÓ ˝ÚÓ ÒÍÓÓÚ˜ÌÓ,

Ò‡Ï˚ ‚‡ÊÌ˚ ‰Îfl ˜ÂÎÓ‚Â͇ Ï˚ÒÎË. àÏÂÌÌÓ ÔÓ˝ÚÓÏÛ

‚Òfi ˝ÚÓ ÔÓ‰ÎËÚÒfl Á‰ÂÒ¸ ¢fi ÚÓθÍÓ ÌÂÒÍÓθÍÓ ÎÂÚ.

‚ Ô‰˚‰Û˘Ëı ÒÚÓ͇ı ·˚ÎÓ ‚‡ÊÌÓ Ò͇Á‡Ú¸ Ó ÚÓÏ, ͇Í

èÓÚÓÏ ˝Ú‡ Ë̉ÛÒÚˇθ̇fl ÚÂËÚÓËfl ·Û‰ÂÚ Á‡ÒÚÓÂ̇,

ÔÓÒÚÒÓ‚ÂÚÒÍËÈ ‰Ûı Û„ÌÂڇΠ҂ӷӉÌÛ˛ Ï˚Òθ Ë ËÒÍÛÒÒÚ‚Ó.

‚ ÌÂfi ·Û‰ÛÚ ‚ÎÓÊÂÌ˚ ·Óθ¯Ë ‰Â̸„Ë – ËÌ‚ÂÒÚˈËË.

15

34

ë‡Ï ÓÒÚÓ‚ Ä̉ÂÈ҇· (Ä̉‚ÒÍËÈ ÓÒÚÓ‚) ÔÓÎÛ-

Í‡Í ËÒÍÛÒÒÚ‚Ó. ç‡ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÛ˛ ÒÂ‰Û ·Û‰Û˘Â„Ó ÌÂ

Ç ‰ÂÏÓÍ‡Ú˘ÂÒÍÓÏ Ó·˘ÂÒÚ‚Â Ì ÒÚÓθ ‚‡ÊÌÓ, ̇ÒÍÓθÍÓ Ò‚Ó·Ó‰Ì˚ Ï˚ÒÎË ËÎË Í‡˜ÂÒÚ‚ÂÌÌÓ ËÒÍÛÒÒÚ‚Ó. é‰Ì‡ÍÓ Ò ÚÓ˜ÍË ÁÂÌËfl ÍÛθÚÛÌÓÈ ÔÓÎËÚËÍË ‚‡ÊÌÓ ÌÂ

åÂÒÚÓ ‰Îfl ·Û‰Û˘Â„Ó ÏÛÁÂfl ÓÔ‰ÂÎÂÌÓ, Ë “ÍÓÎÓÌËflÏ” ıÛ‰ÓÊÌËÍÓ‚ ÔˉfiÚÒfl ËÒ͇ڸ Ò· ‰Û„Ó ÏÂÒÚÓ. éÒÂ̸˛ 2005 „Ó‰‡ ‚ ·Ú˚¯ÒÍÓÈ ÔÂÒÒ ÏÓÊÌÓ ·˚ÎÓ

‰ÓÔÛÒÚËÚ¸ Ò··˚È, ÌÂËÌÚÂÂÒÌ˚È Ì‡ ÏÂʉÛ̇Ó‰ÌÓÏ

ÔÓ˜ÂÒÚ¸: “ë‡ÏÓ ÔËflÚÌÓ ̇ Ä̉ÂÈ҇Π– ˝ÚÓ ·Â„

ÛÓ‚Ì ÏÛÁÂÈ, ‡ ‰Îfl ˝ÚÓ„Ó ÌÂÓ·ıÓ‰ËÏÓ Ò‚Ó‚ÂÏÂÌÌÓ

ÂÍË Ë ÏÓÎÓ‰˚ β‰Ë, ÍÓÚÓ˚Â Â„Ó ÔÓÒ¢‡˛Ú. åÓÊÌÓ

ˉÂÌÚËÙˈËÓ‚‡Ú¸ Ú‡ÍÛ˛ Û„ÓÁÛ ÔÓ‚Ë̈ˇÎËÁχ.

Ò͇Á‡Ú¸, ˜ÚÓ ËÏÂÌÌÓ Á‰ÂÒ¸ Á‡ ÍÓÓÚÍÓ ‚ÂÏfl ÒÙÓÏË-

ç‡ Ò„ӉÌfl¯ÌËÈ ÏÓÏÂÌÚ Ä̉ÂÈ҇· fl‚ÎflÂÚÒfl Ò‡ÏÓÈ

Ó‚‡ÎÒfl ÌÓ‚˚È ‡ÌÚÓÔÓÎӄ˘ÂÒÍËÈ ÚËÔ, ÌÂÒÍÓθÍÓ

‡ÍÚË‚ÌÓÈ ‡„ÓÓÈ ‚ ËÊÒÍÓÏ ËÒÍÛÒÒÚ‚Â, Ó̇ ÔÓ͇ ¢fi ÌÂ

‚˚ÒÓÍÓÏÂÌÓ Ò˜ËÚ‡˛˘ËÈ, ˜ÚÓ “ÂÒÎË Ú˚ Ì ÔÓÒ¢‡Â¯¸

ÔÓ‚Ë̈ˇθ̇, Ë ‚ ÏÂÚ‡ÙÓ˘ÂÒÍÓÏ ÒÏ˚ÒΠËÏÂÌÌÓ

ÏÂÓÔËflÚËfl, ÔÓıÓ‰fl˘Ë ̇ Ä̉ÂÈÒ‡ÎÂ, ÚÓ Ú˚ ‚ÓÓ·˘Â

ÓÚÚÛ‰‡ ÚÓÌÛÎÒfl ÔÓÂÁ‰, Ë‰Û˘ËÈ Ì‡ ÏÓÒÍÓ‚ÒÍÛ˛ ‚˚ÒÚ‡‚ÍÛ.

ÌË˜Â„Ó Ì ÔÓÒ¢‡Â¯¸ ËÎË Ú˚ ÔÓÒÚÓ ÒÚ‡˚È ÔÂ̸!” 16

éÒÚÓ‚ Ä̉ÂÈ҇· Ë Â„Ó Ó·ËÚ‡ÚÂÎË

β‰ÂÈ ‚ ‚ÓÁ‡ÒÚ ÔËÏÂÌÓ ÓÚ 16 ‰Ó 35 ÎÂÚ, ÍÓÚÓ˚Â

é·ËÚ‡ÚÂÎË ÓÒÚÓ‚‡ Ä̉ÂÈ҇· – ˝ÚÓ ÓÒÓ·˚È ÚËÔ ÎË·Ó „ÛÎflÌÓ ÔÓÒ¢‡˛Ú ÍÛθÚÛÌ˚Â Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ åÓÎÓ‰˚ β‰Ë, ÔËÌËχ˛˘Ë ۘ‡ÒÚË ‚ ÏÓÒÍÓ‚ÒÍÓÈ

ÏÂÓÔËflÚËfl, ÔÓıÓ‰fl˘Ë ̇ ÚÂËÚÓËË ÓÒÚÓ‚‡, ÎË·Ó

‚˚ÒÚ‡‚ÍÂ, ‚ÓÁÏÓÊÌÓ, ÌËÍÓ„‰‡ Ì ‚˚ÒÚ‡‚ÎflÎË Ò‚ÓË

Ò‡ÏË fl‚Îfl˛ÚÒfl Ó„‡ÌËÁ‡ÚÓ‡ÏË ÏÂÓÔËflÚËÈ. ï‡‡ÍÚÂ

˝ÚËı ÏÂÓÔËflÚËÈ ‚Ó‚Ò Ì ˝ÎËÚ‡Ì˚È, ÓÌ ÒÍÓÂÂ

èÓ ÏÓÂÈ ÔÓÒ¸·Â ‰‚ ÏÓÎÓ‰˚ ӷËÚ‡ÚÂθÌˈ˚ ÓÒÚÓ‚‡

χÒÒÓ‚˚È, ‚ Ò‚flÁË Ò ˜ÂÏ ÏÓÊÌÓ „Ó‚ÓËÚ¸ Ó Ò‡‚ÌËÚÂθÌÓ

Ä̉ÂÈ҇· ı‡‡ÍÚÂËÁÛ˛Ú ÛÒÎÓ‚Ì˚È ÚËÔ Ó·ËÚ‡ÚÂÎfl

‡ÒÔÓÒÚ‡ÌÂÌÌÓÏ ÚËÔ ڇÍÓ„Ó ÏÓÎÓ‰Ó„Ó ˜ÂÎÓ‚Â͇.

ÓÒÚÓ‚‡:

é·ËÚ‡ÚÂÎË ÓÒÚÓ‚‡ Ä̉ÂÈ҇· – ˝ÚÓ ÌÓ‚Ó fl‚ÎÂÌËÂ,

35

“ç‡ ÏÓÈ ‚Á„Îfl‰, Ó˜Â̸ ÒÎÓÊÌÓ ‰‡Ú¸ ÓÔ‰ÂÎÂÌËÂ

ÔÓfl‚Ë‚¯ÂÂÒfl ̇ “ÔÓ‚ÂıÌÓÒÚË” ÒӈˇθÌÓÈ ÊËÁÌË

“ÚËԇʇ” Ò Ä̉ÂÈÒ‡Î˚, Ú‡Í Í‡Í ÓÌ ÔÓ͇ ̇ıÓ‰ËÚÒfl

Ë ÒÔÎÓ˜fiÌÌÓ ËÏÂÌÌÓ ·Î‡„Ó‰‡fl ÍÓÌÍÂÚÌÓÏÛ ÏÂÒÚÛ

‚ ÒÚ‡‰ËË ÒÚ‡ÌÓ‚ÎÂÌËfl. Ç Ò‚flÁË Ò ˝ÚËÏ ‰‡Ú¸ ÍÓÌÍÂÚÌÛ˛

Ë ‚ÂÏÂÌË. Ä̉ÂÈ҇·, ·Â„ ÂÍË Á‡ êËÊÒÍËÏ

ı‡‡ÍÚÂËÒÚËÍÛ Ì‚ÓÁÏÓÊÌÓ. ëÔËÒÓÍ ÔÓÒÂÚËÚÂÎÂÈ Ó˜Â̸

Ô‡ÒÒ‡ÊËÒÍËÏ ÚÂÏË̇ÎÓÏ – ‰Ó΄Ó ‚ÂÏfl ˝ÚÓ ·˚· Ú‡Í

ÏÌÓ„ÓÓ·‡ÁÂÌ, ÌÓ fl ‰Ûχ˛, ˜ÚÓ Ëı ‚ÒÂı Ó·˙‰ËÌfl˛Ú ÚË

̇Á˚‚‡Âχfl “Á‡Í˚Ú‡fl Ë̉ÛÒÚˇθ̇fl ÁÓ̇”. 燘Ë̇fl

ÍÓÏÔÓÌÂÌÚ‡ – ÒÓ‚ÂÏÂÌÌÓÒÚ¸, ۂΘfiÌÌÓÒÚ¸ Ë Í‡ÚË‚-

Ò 18 χfl 2006 „Ó‰‡, åÂʉÛ̇Ó‰ÌÓ„Ó ‰Ìfl ÏÛÁ‚, ˝ÚÓ

ÌÓÒÚ¸. èÓ-ÏÓÂÏÛ, ˝ÚÓ Î˛‰Ë, ÛÒÚ‡‚¯Ë ÓÚ Ó‰Ë̇ÍÓ‚ÓÒÚË

ÏÂÒÚÓ ÓÙˈˇθÌÓ Ó·ÊËÎË „ÛÔÔ˚ ıÛ‰ÓÊÌËÍÓ‚, ÍÓÚÓ-

Ë Á‡Í˚ÚÓÒÚË. ã˛‰Ë, ÍÓÚÓ˚ ˢÛÚ ÔËflÚÌÛ˛ ‰Îfl Ò·fl

˚Ï ‚ÓÁÏÓÊÌÓÒÚ¸ ËÒÔÓθÁÓ‚‡Ú¸ Á‰‡ÌËfl Ë Ò‡ÏÛ ÚÂË-

ÒÂ‰Û Ë Â‰ËÌÓÏ˚¯ÎÂÌÌËÍÓ‚. ü ·˚ Ò͇Á‡Î‡, ˜ÚÓ

ÚÓ˲ ·ÂÁ ‡ẨÌÓÈ Ô·Ú˚ ̇ ‚ÂÏfl ‰‡ÎÓ Ô‰ÔËflÚËÂ

ÒÙÓÏËÓ‚‡ÎÒfl Ò‚ÓÂÓ·‡ÁÌ˚È ÙÂÌÓÏÂÌ ÓÒÚÓ‚‡

ÔÓ ‡Á‚ËÚ˲ ÚÂËÚÓËÈ – “Jaunrîgas attîstîbas uzñémums”

Ä̉ÂÈ҇·, ÔÓfl‚Ë‚¯ËÈÒfl ·Î‡„Ó‰‡fl ‰ÓÒÚÛÔÌÓÒÚË

(JAU). è‡ÍÚ˘ÂÒÍË ‚Ò ˝ÚË Ó·˙‰ËÌÂÌËfl ıÛ‰ÓÊÌËÍÓ‚ ËÎË

ÓÒÚÓ‚‡ Ë ÏÌÓ„ÓÓ·‡Á˲ Ô‰·„‡ÂÏ˚ı ÏÂÓÔËflÚËÈ.

ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ËÌˈˇÚË‚˚ ÒÛ˘ÂÒÚ‚Ó‚‡ÎË Ë ‡ÌÂÂ, ÌÓ

ÑÛχ˛, β‰Ë ˉÛÚ Ì‡ Ä̉ÂÈÒ‡ÎÛ, ˜ÚÓ·˚ ‚ÍÛÒËÚ¸ ÌÓ‚ÓÈ

ËÏÂÌÌÓ ÓÒÚÓ‚ Ä̉ÂÈ҇· Ôˉ‡Î ËÏ ı‡‡ÍÚÂ

Ë Ò‚ÂÊÂÈ “ËÌÚÂÎÎÂÍÚۇθÌÓÈ Ôˢ˔, ÍÓÚÓ‡fl ‚ ÚÓ ÊÂ

ÍÓ̈ÂÌÚËÓ‚‡ÌÌÓ„Ó ÌÓÌ-ÒÚÓÔ‡.

‚ÂÏfl Ë ÔÂÍ‡ÒÌÓ ‡Á‚ÎÂ͇ÂÚ” (êËÚ‡, 28 ÎÂÚ).

ìÒÎÓ‚Ì˚È ‡ÌÚÓÔÓÎӄ˘ÂÒÍËÈ ÚËÔ – Ó·ËÚ‡ÚÂθ

“êËÊÒÍËÈ “underground”, Ú‚Ó˜ÂÒ͇fl ÍÓÏÏÛ̇,

ÓÒÚÓ‚‡, “‡Ì‰ÂÈ҇Έ” – ·ÂfiÚ Ò‚Ófi ̇˜‡ÎÓ ËÁ ÙÓÏ

‚ÓÁÓʉfiÌ̇fl “ÇÂΉÁËÚ” 18 – ˝ÚÓ ÚÓθÍÓ ÌÂÍÓÚÓ˚ ËÁ

Û·‡ÌËÒÚ˘ÂÒÍÓ„Ó Ôӂ‰ÂÌËfl, ËÁ Ò‚ÓÂ„Ó Ó‰‡ ÏÓÎÓ-

Ó·ÓÁ̇˜ÂÌËÈ, ÍÓÚÓ˚ÏË ÏÓÊÌÓ Óı‡‡ÍÚÂËÁÓ‚‡Ú¸

‰fiÊÌÓÈ ÒÛ·ÍÛθÚÛ˚. é·ËÚ‡ÚÂÎÂÈ ÓÒÚÓ‚‡ Ä̉ÂÈ҇·

Ó·ËÚ‡ÚÂÎÂÈ Ä̉‚ÒÍÓ„Ó ÓÒÚÓ‚‡ ËÎË ÏÓÎÓ‰˚ı ÔÓ

ı‡‡ÍÚÂËÁÛÂÚ ‰Ó‚ÓθÌÓ ˝ÍÒÚ‡‚‡„‡ÌÚÌ˚È Ë ÌÂÙÓ-

·Óθ¯ÂÈ ˜‡ÒÚË Î˛‰ÂÈ, „ÛÎflÌÓ ÔÓÒ¢‡˛˘Ëı ÓÒÚÓ‚.

χθÌ˚È ÒÚËθ Ó‰Âʉ˚, Â˜Ë Ë ‰‡Ê ÊÂÒÚËÍÛÎflˆËË,

é·˙‰ËÌfl˛˘ËÏ ÏÓÏÂÌÚÓÏ, ̇ ÏÓÈ ‚Á„Îfl‰, fl‚Îfl˛ÚÒfl

Á̇˜ËÚÂθÌÓ ÓÚ΢‡˛˘ËÈÒfl ÓÚ ÒÚËÎfl ÊËÁÌË ÔÓ-‰Û„ÓÏÛ

Ò‚Ó·Ó‰Ì˚ ‚Á„Îfl‰˚, „ÎÛ·ÓÍËÈ ËÌÚÂÂÒ Í ÎËÚÂ‡ÚÛÂ,

“ÔÓ„ÂÒÒË‚Ì˚ı” β‰ÂÈ, ̇ÔËÏÂ, ÏÓÎÓ‰˚ı, ÛÒÔ¯Ì˚ı,

ËÒÍÛÒÒÚ‚Û, ÏÛÁ˚ÍÂ Ë Ï‡ÌËÙÂÒÚËÛ˛˘ËÈ ‚̯ÌËÈ ‚ˉ –

ÌÓ “Í·ÒÒ˘ÂÒÍËı” Ô‰ÔËÌËχÚÂÎÂÈ, ÒÔˆˇÎËÒÚÓ‚ ÔÓ

‚˚‡ÁËÚÂθÌ˚ Ô˘fiÒÍË, ÔËÒËÌ„, fl͇fl Ó‰Âʉ‡. ä‡Í

χÍÂÚËÌ„Û Ë ÍÓÏÏÛÌË͇ˆËflÏ. é‰Ì‡ÍÓ Ó·ËÚ‡ÚÂÎÂÈ

Ô‡‚ËÎÓ, ÏÌÓ„Ë “‡Ì‰ÂÈ҇θˆ˚” ‡Á˙ÂÁʇ˛Ú ̇ ÒÚ‡˚ı

ÓÒÚÓ‚‡ Ä̉ÂÈ҇· ÌÂθÁfl Û‡‚ÌflÚ¸, ËÒıÓ‰fl ÚÓθÍÓ ËÁ

‚ÂÎÓÒËÔ‰‡ı, ÍÛflÚ Ò‡ÏÓÍÛÚÍË Ë ÒÎÛ¯‡˛Ú ˝ÎÂÍÚÓÌÌÛ˛

Ëı ÒÚËÎfl ÊËÁÌË (ÌÛÊÌÓ ÓÚÏÂÚËÚ¸, ˜ÚÓ ÏÌÓ„ËÂ ËÁ ÌËı

ÏÛÁ˚ÍÛ. LJÊÌÓ Ë ÚÓ, ˜ÚÓ Ä̉ÂÈ҇· fl‚ÎflÂÚÒfl Ó‰ÌËÏ ËÁ

‡ÒÔÓ·„‡˛Ú ‰ÓÒÚ‡ÚÓ˜Ì˚ÏË Ò‰ÒÚ‚‡ÏË, Ò‚ÓËÏË ËÎË

‰ÍËı ÏÂÒÚ ‚ êË„Â, „‰Â ̇ˆËÓ̇θ̇fl ÔË̇‰ÎÂÊÌÓÒÚ¸

Ó‰ËÚÂθÒÍËÏË, ‰Îfl ˝ÚÓÈ Ò‰˚ Ì ı‡‡ÍÚÂ̇ ·Â‰ÌÓÒÚ¸);

Ì ËÏÂÂÚ Á̇˜ÂÌËfl” (á‡ÌÂ, 27 ÎÂÚ).

Ú‡ÍËÏË Ê ‚‡ÊÌ˚ÏË ‰Îfl ˝ÚÓÈ ÒÛ·ÍÛθÚÛ˚ fl‚Îfl˛ÚÒfl

àÚ‡Í, Ó·ËÚ‡ÚÂÎË ÓÒÚÓ‚‡ Ä̉ÂÈ҇· – ˝ÚÓ “Ïfl„͇fl”

ÔËÒÛ˘Ë ÂÈ ÒËÏ‚Ó΢ÂÒÍË ÙÓÏ˚ Ë Ë‰ÂÓÎÓ„Ëfl,

‡Î¸ÚÂ̇ÚË‚‡ ÚÓÈ ˜‡ÒÚË ÔÓÚ·ËÚÂθÒÍÓ„Ó Ó·˘ÂÒÚ‚‡,

‰ËÍÚÛ˛˘‡fl Ôӂ‰ÂÌË 17.

‚ ÚÓÏ ˜ËÒÎÂ Ë ÏÓÎÓ‰fiÊË, ÍÓÚÓ‡fl ÒÎÛ¯‡ÂÚ ÚÓθÍÓ

¯Îfl„Â˚, ‡ Ò‚Ó·Ó‰ÌÓ ‚ÂÏfl ÔÓ‚Ó‰ËÚ ‚ ÒÛÔÂχÍÂÚ‡ı,

ÒÓ‡‚ÚÓ‡ÏË ˝ÚÓ„Ó ÏÛÁÂfl? àÎË, ÏÓÊÂÚ, Ëı ‚Í·‰ÓÏ ÒÚ‡ÌÂÚ

‡ÒÚÛ˘Ëı Í‡Í „Ë·˚ ÔÓÒΠ‰Óʉfl. Ç˚‚Ó‰˚ Ó· Ä̉ÂÈÒ‡ÎÂ

ÂÁ͇fl ÍÓÌÙÓÌÚ‡ˆËfl Ò ÒÓÁ‰‡‚‡ÂÏ˚Ï ÏÛÁÂÂÏ? ê‡Á‚ ÌÂ

ÓÔÓÍˉ˚‚‡˛Ú ‡ÒÔÓÒÚ‡ÌfiÌÌ˚È ÚÂÁËÒ Ó ÚÓÏ, ˜ÚÓ

‰Ûχڸ Ó Ú‡ÍÓÈ ÔÂÒÔÂÍÚË‚Â ÓÁ̇˜‡ÂÚ ‡ÒÚ‡ÚËÚ¸ ÚÓÚ

Ò‰ÒÚ‚‡ χÒÒÓ‚ÓÈ ËÌÙÓχˆËË ‚Ó ÏÌÓ„ÓÏ ÓÔ‰ÂÎfl˛Ú

Á‡fl‰ ˝ÌÂ„ËË, ÍÓÚÓ˚È Á‡ Ú‡ÍÓÈ ÍÓÓÚÍËÈ ÔÂËÓ‰

̇¯ ‚˚·Ó ÊËÁÌÂÌÌÓÈ ÔÓÁˈËË. äÓÓÚÍÓ ˝ÚÓÚ ÔÓ‰ıÓ‰

‚ÂÏÂÌË Ì‡ÍÓÔËÎÒfl ̇ Ä̉ÂÈÒ‡ÎÂ?

ı‡‡ÍÚÂËÁÛÂÚ ÒÎÂ‰Û˛˘‡fl, ͇ÊÂÚÒfl, ÏËÎÎËÓÌ˚ ‡Á ÔÓ‚ÚÓfiÌ̇fl ˆËÚ‡Ú‡: “íÂÔÂ¸ Ò‰ÒÚ‚‡ χÒÒÓ‚ÓÈ

‚ Ò‚ÂÌÓÈ ˜‡ÒÚË ÓÒÚÓ‚‡, ‡ Ò„ӉÌfl¯ÌË ıÛ‰ÓÊÂÒÚ‚ÂÌ-

ËÌÙÓχˆËË Ë„‡˛Ú ¯‡˛˘Û˛ Óθ ‚ ÙÓÏËÓ‚‡ÌËË

Ì˚ ÏÂÓÔËflÚËfl ÔÓËÒıÓ‰flÚ ‚ Â„Ó ˛ÊÌÓÈ ˜‡ÒÚË.

̇¯Â„Ó ÒÓ·ÒÚ‚ÂÌÌÓ„Ó ÓÔ˚Ú‡. éÌË Ô‰·„‡˛Ú Ì‡Ï Ò‡Ï˚Â

ëËÎÓ‚‡fl Òڇ̈Ëfl ̇ ÄÌÂÈÒ‡ÎÂ, ‚˚·‡Ì̇fl ‰Îfl

‰ÓÒÚÛÔÌ˚ ͇Ú„ÓËË ‰Îfl Í·ÒÒËÙË͇ˆËË ÒӈˇθÌÓ„Ó

ÒÚÓËÚÂθÒÚ‚‡ ã‡Ú‚ËÈÒÍÓ„Ó åÛÁÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó

ÏË‡” 19. Ç ÒÎÛ˜‡Â Ò Ó·ËÚ‡ÚÂÎflÏË Ä̉‚ÒÍÓ„Ó ÓÒÚÓ‚‡

ËÒÍÛÒÒÚ‚‡, ·˚· ÔÓÒÚÓÂ̇ ‚ 1905 „Ó‰Û (ËÌÊÂÌÂ éÚÚÓ

Ò‰ÒÚ‚‡ χÒÒÓ‚ÓÈ ËÌÙÓχˆËË Ì ˄‡˛Ú Ú‡ÍÓÈ

ÙÓÌ åËÎÎÂ Ë ‡ıËÚÂÍÚÓ ä‡ÎËÒ àÓ„‡ÌÌ îÂÒÍÓ) Ë ·˚·

Á̇˜ËÚÂθÌÓÈ ÓÎË.

ÔÂ‚ÓÈ Î‡Ú‚ËÈÒÍÓÈ ÒËÎÓ‚ÓÈ Òڇ̈ËÂÈ, ‚ ÍÓÚÓÓÈ Ò‚ÓÈ

ë‡ÏË Ê ÓÒÚÓ‚ËÚflÌ ÔÓ‰Ú‚Âʉ‡˛Ú ÒÛ˘ÂÒÚ‚Ó‚‡ÌËÂ

36

ç‡‰Ó ÓÚÏÂÚËÚ¸, ˜ÚÓ ‰Îfl ÏÛÁÂfl ‚˚‰ÂÎÂÌÓ ÏÂÒÚÓ

ÏÛÁÂÈ ÒÓ·Ë‡ÎËÒ¸ ÓÚÍ˚Ú¸ Ë ˝ÌÂ„ÂÚËÍË, Ô‰·„‡fl

ÓÒÓ·ÓÈ “ÏÓÎÓ‰fiÊÌÓÈ ÍÛθÚÛ˚” ‚ Á‡Ô‡‰ÌÓÏ Ó·˘ÂÒÚ‚Â.

¯ËÓÍÓÈ ÔÛ·ÎËÍ ÒÓı‡ÌË‚¯ÂÂÒfl ˆÂÌÌÓ ӷÓÛ‰Ó‚‡ÌËÂ

ùÚÛ ÍÛθÚÛÛ Ì‚ÓÁÏÓÊÌÓ Ô‰ÒÚ‡‚ËÚ¸ ·ÂÁ ÚÂıÌÓÎÓ„ËÈ,

Ë ‰ÂÚ‡ÎË ‡Á΢Ì˚ı ÛÒÚÓÈÒÚ‚.

„ÎÓ·‡ÎËÁ‡ˆËË, ÏÛθÚËÍÛθÚÛÌÓÒÚË, ÔÓÔ-ÍÛθÚÛ˚, Û·‡-

ééé “JAU”, ÍÓÚÓÓ ‚ ‡Ï͇ı Ô‰ÓÒÚ‡‚ÎÂÌÌ˚ı ÂÏÛ

ÌËÁ‡ˆËË Ë ‰Û„Ëı fl‚ÎÂÌËÈ 20. é‰Ì‡ÍÓ ‚ ÒÎÛ˜‡Â Ó·ËÚ‡ÚÂÎÂÈ

êËÊÒÍËÏ ë‚Ó·Ó‰Ì˚Ï ÔÓÚÓÏ ÔÓÎÌÓÏÓ˜ËÈ Ó·ÒÎÛÊË‚‡ÂÚ

ÓÒÚÓ‚‡ „·‚ÂÌÒÚ‚Û˛Ú Ú‚Ó˜ÂÒÍËÈ ÔÓ‰ıÓ‰ Ë ˝ÍÒÔÂËÏÂÌÚ.

ÓÒÚÓ‚ Ä̉ÂÈ҇· Ë ¯‡ÂÚ Á‡‰‡˜Ë ÔÓ Â„Ó ‡Á‚ËÚ˲,

ç‡ Ä̉ÂÈ҇Π‚‡ÊÌ˚ ÓÚÌÓ¯ÂÌËfl „ÛÔÔ˚ Ë Ë̉˂ˉ‡.

҉·ÎÓ Á‡Í‡Á ̇ ÒÓÁ‰‡ÌË ‰ÂڇθÌÓ„Ó Ô·̇ ÚÂËÚÓ-

ïÓÚfl Û Í‡Ê‰Ó„Ó ÓÒÚÓ‚ËÚflÌË̇ Ë ÂÒÚ¸ Ò‚Ófl ÓÒÓ·Ó ÍÛθÚË-

ËË. Ö„Ó ‚˚ÔÓÎÌflÂÚ ËÁ‚ÂÒÚÌÓ ̇ ÏÂʉÛ̇Ó‰ÌÓÏ ÛÓ‚-

‚ËÛÂχfl (!) ˉÂÌÚ˘ÌÓÒÚ¸, Ó̇, Ӊ̇ÍÓ, fl‚ÎflÂÚÒfl Ë „ÛÔ-

Ì ‡ıËÚÂÍÚÛÌÓ ·˛Ó “OMA” (Office for Metropolitan

ÔÓ‚ÓÈ Ë‰ÂÌÚ˘ÌÓÒÚ¸˛, Û͇Á˚‚‡fl Ú‡ÍËÏ Ó·‡ÁÓÏ Ì‡ ÓÔÂ-

Architecture, çˉÂ·̉˚) ÔÓ‰ ÛÍÓ‚Ó‰ÒÚ‚ÓÏ ‚ÒÂÏËÌÓ

‰ÂÎfiÌÌÛ˛ ÚËÔÓÎӄ˲. Ç ËÌÚÂÂÒÛ˛˘ÂÏ Ì‡Ò ÍÓÌÚÂÍÒÚ ‚Òfi

ËÁ‚ÂÒÚÌÓ„Ó ‡ıËÚÂÍÚÓ‡ êÂχ äÓÎı‡Ò‡. Å˛Ó “OMA” ÛÊÂ

Ê ÌÂÓ·ıÓ‰ËÏÓ ÔÓ‰˜ÂÍÌÛÚ¸ ÚÓ, ˜ÚÓ “ÔËÔËÒ˚‚‡ÌËÂ

‡Á‡·ÓÚ‡ÎÓ ˝ÒÍËÁ ·Û‰Û˘Â„Ó ÏÛÁÂfl 22.

‡ÁÛχ ÒӈˇθÌÓÈ „ÛÔÔ” 21 ·˚ÎÓ ·˚ Ì‚ÂÌ˚Ï.

ÇÒfi ˝ÚÓ ÏÓÊÌÓ Û‚Ë‰ÂÚ¸ ̇ ÔÓڇΠwww.andrejsala.lv.

á‰ÂÒ¸ ¢fi ‡Á ̇‰Ó ÓÚÏÂÚËÚ¸, ˜ÚÓ ÓÒÚÓ‚ËÚflÌ Ì “ÔËÓʉÂÌÌ˚ ‡Ì‰ÂÈ҇θˆ˚”, ‡ fl‚Îfl˛ÚÒfl ·ÓÎÂÂ

ä‡ÍÓÈ ÏÛÁÂÈ, ڇ͇fl Ë ã‡Ú‚Ëfl

¯ËÓÍËÏ ÙÂÌÓÏÂÌÓÏ ÒÓ‚ÂÏÂÌÌÓÈ ÍÛθÚÛ˚, ÒÙÓÏËÓ‚‡‚¯ËÏÒfl ̇ Ä̉‚ÒÍÓÏ ÓÒÚÓ‚Â ·Î‡„Ó‰‡fl

çÂÓ·ıÓ‰ËÏ ÎË åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÚÓθÍÓ

‚ÓβˆËÓÌÌ˚Ï ÔÂÂÏÂ̇Ï, ÍÓÚÓ˚ ÏÓÊÌÓ ·˚ÎÓ

ÔÓÚÓÏÛ, ˜ÚÓ Â„Ó ÌÂÚ? çÂÓ·ıÓ‰ËÏ ÎË ÓÌ ÚÓθÍÓ ‰Îfl

̇·Î˛‰‡Ú¸ Ë ‚ ÍÓÚÓ˚ı ̇ ÔÓÚflÊÂÌËË 2006 Ë 2007

Ó·‡Á‡ ÒÚ‡Ì˚ Ë Âfi ÔÂÒÚËʇ? àÎË ˝ÚÓ ‚ÒÂ„Ó Î˯¸ ·ÓÎÂÂ

„Ó‰Ó‚ ÔËÌËχÎË Û˜‡ÒÚË ‚Ò ÓÒÚÓ‚ËÚflÌÂ. ëÚ‡ÌÛÚ ÎË

ÓÒÏ˚ÒÎÂÌÌÓ ‚ÂÏflÔÂÔÓ‚ÓʉÂÌË ‰Îfl ÒÂÏÂÈ Ò ‰ÂÚ¸ÏË

Ó·ËÚ‡ÚÂÎË ÓÒÚÓ‚‡ Ä̉ÂÈ҇· ‡Û‰ËÚÓËÂÈ ·Û‰Û˘Â„Ó

(‡Î¸ÚÂ̇ÚË‚‡ ‰Ó΄ËÏ ˜‡Ò‡Ï ‚ ÚÓ„Ó‚˚ı ˆÍÂÌÚ‡ı)? àÎË

åÛÁÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡? ÅÛ‰ÛÚ ÎË ÓÌË

˝ÚÓ ÚÓθÍÓ ‰‡Ì¸ ÏÂÒÚÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ Ò‰ ËÎË, ͇Í

„Ó‚ÓËÚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÍËÚËÍ ã‡Èχ ë·‚‡: “ü Ó˜Â̸

ˆËË, ÍÓÚÓÛ˛ Ï˚ ̇Á˚‚‡ÂÏ Á‡Ô‡‰ÌÓÈ, ÒÓı‡ÌÂÌËÂ

̇‰Â˛Ò¸ ̇ ÌÓ‚Ó ÔÓÍÓÎÂÌËÂ, ÍÓÚÓÓ ‚˚ÓÒÎÓ ‚

“˜ËÒÚ˚ı” ‚ÓÒÔÓÏË̇ÌËÈ Ò ÔÓÏÓ˘¸˛ ÍÓ̈ÂÌÚ‡ˆËË

ÒÓ‚ÂÏÂÌÌÓÏ ËÌÙÓχˆËÓÌÌÓÏ ÔÓÎÂ, ‰Îfl ÍÓÚÓÓ„Ó ÛÊÂ

‚ Ó‰ÌÓÏ ÏÂÒÚ ÔÓËÁ‚‰ÂÌËÈ ËÒÍÛÒÒÚ‚‡ ÛÊ Ì fl‚ÎflÂÚÒfl

ËÁ̇˜‡Î¸ÌÓ ‚ÂÒ¸ ÏË ÓÚÍ˚Ú: ÚÂÏ Ì ÏÂÌÂÂ, fl ˜ÂÚÍÓ

Ú‡ÍÓÈ Ó‰ÌÓÁ̇˜ÌÓÈ. ç‡ Ò‡ÏË ‚ÓÒÔÓÏË̇ÌËfl ‚ÎËflÂÚ

ÓÒÓÁ̇˛, ˜ÚÓ ËÏÂÌÌÓ ËÏ Í‡Í ÌËÍÓÏÛ ‰Û„ÓÏÛ Ì ı‚‡Ú‡ÂÚ

Ò„ӉÌfl¯ÌËÈ ‰Â̸, ‡ ̇ ÔÓ¯ÎÓ ‚ÎËflÂÚ Ì‡ÒÚÓfl˘ÂÂ

åÛÁÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÍÓÚÓ˚È ·˚ ËÒÚÓ˘ÂÒÍË

Ë ·Û‰Û˘ÂÂ. ä‡Ê‰Ó ıÓӯ ÔÓËÁ‚‰ÂÌË ËÒÍÛÒÒÚ‚‡

Ë ÔÓ ÒÓ‰ÂʇÌ˲ ‡ÒÒÚ‡‚ËÎ ÔÓ ÏÂÒÚ‡Ï ÔÓÒΉÌËÂ

ÒÚ‡ÌÓ‚ËÚÒfl ÂÔÂÁÂÌÚ‡ˆËÂÈ Ì‡ÒÚÓfl˘Â„Ó, ‡ Ì ÌÓÒËÚÂÎÂÏ

ÚẨÂ̈ËË Î‡Ú‚ËÈÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, „‰Â ·˚· ·˚

ËÌÙÓχˆËË Ó ÔÓ¯ÎÓÏ.

‚ÓÁÏÓÊÌÓÒÚ¸ ÓÒÏ˚ÒÎËÚ¸ ÍÓÌÚÂÍÒÚ Ë – ‚ ÍÓ̈ ÍÓ̈ӂ –

ÛÊ Ì ÓÁ̇˜‡ÂÚ Ì‡ıÓʉÂÌË ‚ Ó‰ÌÓÏ ÏÂÒÚ ÎËÌÂÈÌÓ

ÏÂË· ˆÂÌÌÓÒÚÂÈ, ÔÓ͇Á‡ÚÂÎfl ÚÓ˜ÂÍ ÓÚÒ˜ÂÚ‡ –

‚ÓÁÌËͯËı ‡·ÓÚ, ‡ ÍÓÌÚÂÍÒÚۇθÌÓ ÓÍ‡¯ÂÌÌÓ ÔÓÒ·-

ÌÂÓÚ˙ÂÏÎÂχfl ˜‡ÒÚ¸ ‰Ó΄Óʉ‡ÌÌÓ„Ó åÛÁÂfl

ÌË ‚ ˆÂÎÓÏ, ‚ ÍÓÚÓÓÏ ÍÓÌÚÂÍÒÚ ÔÓÒÚÓflÌÌÓ ÏÂÌflÂÚÒfl.

ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡” .

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37

í‡ÍËÏ Ó·‡ÁÓÏ, ҇χ ÍÓÎÎÂ͈Ëfl Ë Âfi ˝ÍÒÔÓÌËÓ‚‡ÌËÂ

ۂˉÂÚ¸ ÔÓËÁ‚‰ÂÌËfl ËÒÍÛÒÒÚ‚‡ ‚ ÓË„Ë̇Π(…) êÓθ

ç‚ÓÁÏÓÊÌÓ ÓÒ‚Ó·Ó‰ËÚ¸Òfl ÓÚ ‰‡‚ÎÂÌËfl χÒÒÓ‚Ó„Ó

àÎË åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ – ˝ÚÓ ÚÓθÍÓ

Ó·˘ÂÒÚ‚‡, ‚ ÍÓÚÓÓÏ „·‚ÌÓ Ì ÌÓ‚ÓÒÚ¸, ‡ ÚÓ ÏÌÂÌËÂ,

ÌÂÓ·ıÓ‰ËÏÓÒÚ¸ ‰Îfl ‡Á‚ËÚËfl ÚÛËÒÚ˘ÂÒÍÓÈ Ë̉ÛÒÚËË,

ÍÓÚÓÓ Ó̇ ÔÓӉ˷, Á‰ÂÒ¸ ÒÚÓfl˘ÂÏÛÒfl ÏÛÁ² ÌÂÓ·-

ÍÓÚÓ‡fl Ú‡ÍËÏ Ó·‡ÁÓÏ Ïӄ· ·˚ Û‚Â΢˂‡Ú¸ ˜ËÒÎÓ

ıÓ‰ËÏÓ ·Û‰ÂÚ ·˚Ú¸ ‚ÓβˆËÓÌÌ˚Ï ıÓÚfl ·˚ ‚ Ó‰ÌÓÏ

·ÓΠӷÂÒÔ˜ÂÌÌ˚ı Ë ·ÓΠӷ‡ÁÓ‚‡ÌÌ˚ı β‰ÂÈ, ÔÓ-

ÒÏ˚ÒΠ– ͇ʉ˚È „Ó‰ ·Û‰ÂÚ ÌÛÊÌÓ Ì ÚÓθÍÓ ÌÂÔÂÒÚ‡Ì-

Ò¢‡˛˘Ëı êË„Û (Ú‡Í Ì‡Á˚‚‡ÂÏ˚ı “ÚÛËÒÚÓ‚ ÍÓÌ„ÂÒÒÓ‚”),

ÌÓ Ó·ÌÓ‚ÎflÚ¸ Í‡Í ˆËÙÓ‚˚Â, Ú‡Í Ë ‰Û„Ë ÌÓÒËÚÂÎË

ÔÓÚË‚ Ú‡ÍËı ÏÌÓ„Ó˜ËÒÎÂÌÌ˚ı ÔÓÒÂÚËÚÂÎÂÈ ÒÚÓÎˈ˚ –

ËÌÙÓχˆËË, ÌÓ Ë Ó·ÂÒÔ˜˂‡Ú¸ ‰ÎËÚÂθÌÓ ÒÛ˘ÂÒÚ‚Ó-

ÒÂÍÒ-ÚÛËÒÚÓ‚? àÎË ˝ÚÓ ÚÓθÍÓ ÏÂÒÚÓ ‰Îfl ÔËÛÏÌÓÊÂÌËfl

‚‡ÌË ҇ÏÓÈ ËÌÙÓχˆËË. (ç‡ÔËÏÂ, ‡·ÓÚ‡ ÉËÌÚc‡

ÚÓÎÂ‡ÌÚÌÓÒÚË, Ú‡Í Í‡Í åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡

ɇ·‡ÌÒ‡ “Starix” Ì ÏÓÊÂÚ ·˚Ú¸ ÚÓθÍÓ ÔÓÒÚÓflÌÌ˚Ï

(ÂÒÎË ÚÓθÍÓ ÓÌ Ì ̇ıÓ‰ËÚÒfl ‚ ÔÓ‰˜ËÌÂÌËË ÒÓ‚Â¯ÂÌÌÓ

Ú‡ÌÒÙÓÏËÓ‚‡ÌËÂÏ ÙÓχڇ VHS, ‡ ‰ÓÎÊ̇ ·˚Ú¸

Ó„‡Ì˘ÂÌÌ˚ı Ë ·‡Ì‡Î¸Ì˚ı β‰ÂÈ) ‚Òfi Ê ۂÂ΢˂‡ÂÚ

ËÌÙÓχÚË‚Ì˚Ï ÒÓı‡ÌÂÌËÂÏ ‚ÒÂı ÍÓÌÚÂÍÒÚۇθÌ˚ı

ÚÂÔËÏÓÒÚ¸ Í ‰Û„ÓÏÛ – ‚ ˝ÚÌ˘ÂÒÍÓÏ, ÒÂÍÒۇθÌÓÏ,

ÍÓÏÔÓÌÂÌÚÓ‚ ˜ÂÂÁ ÔÓÍÓÎÂÌËfl Ë ÌÓ‚˚ ÍÓÌÚÂÍÒÚ˚).

ÂÎË„ËÓÁÌÓÏ, ÍÛθÚÛÌÓÏ Ë ‰Û„Ëı ÒÏ˚Ò·ı? ÇÒfi ˝ÚÓ Ó˜Â̸ ‚‡ÊÌ˚ „‡ÌË ‡·ÓÚ˚ ÏÛÁÂfl. é‰Ì‡ÍÓ

ë‚ÂıÁ‡‰‡˜‡ ÏÛÁÂfl – ·Ó¸·‡ Ò „ÎÓ·‡Î¸ÌÓÈ ‰Â‚ÌÂÈ; ÒÚÓËÚÂθÒÚ‚Ó ÏÛÁÂfl ‚ 縲-âÓÍ Á‡˘ËÚËÎÓ ÓÚ ˝ÙÙÂÍÚ‡

ÍÓ„‰‡ Ï˚ ‚ åËÌËÒÚÂÒÚ‚Â ÍÛθÚÛ˚ ¢fi ÚÓθÍÓ Ì‡˜‡ÎË

„ÎÓ·‡Î¸ÌÓÈ ‰Â‚ÌË, ̇ÔËÏÂ, êË„Û. åÛÁÂÈ, ÔÓÒÚÓÂÌ-

‰Â·ڸ ÔÂ‚˚ ̇·ÓÒÍË ·Û‰Û˘Â„Ó ÏÛÁÂfl, fl ÔÓÔ˚ڇ·Ҹ

Ì˚È ‚ êË„Â, Ó„‡‰ËÚ ÓÚ ÔÓ‚Ë̈ˇθÌÓÒÚË Ë ç¸˛-âÓÍ.

Ô‰ÒÚ‡‚ËÚ¸ Ò‚Ófi Ì ÚÓθÍÓ Ô‡„χÚ˘ÂÒÍÓ ‚ˉÂÌËÂ

ÖÒÎË Ì ÒÓÁ‰‡‚‡Ú¸ ‚˚‰‡˛˘ËıÒfl ÏÛÁ‚, ‚Òfi Ô‚‡˘‡ÂÚÒfl

ÏÛÁÂfl ÏÂʉÛ̇Ó‰ÌÓÈ ÍÓÏËÒÒËË ˝ÍÒÔÂÚÓ‚:

‚ „ÎÓ·‡Î¸ÌÛ˛ ‰ÂÂ‚Ì˛.

“åÛÁÂÈ ÒÚ‡ÌÂÚ ÏÂÒÚÓÏ ‰Îfl Ó·Û˜ÂÌËfl Ë ‚ÒÚ˜, ‚ÓÁÏÓÊÌ˚ı ‚ ÍÓÌÚÂÍÒÚÂ Ë ‰ËÒÍÛÒÒËflı. åÛÁÂÈ ‚ ÔÂ‚Û˛

åÛÁÂÈ ‰ÓÎÊÂÌ ÒÚ‡Ú¸ ‰‚ÓÈÌ˚Ï Û˜Â·Ì˚Ï Á‡‚‰ÂÌËÂÏ: 1) äÓÌÙÂÂ̈-Á‡Î ÏÛÁÂfl ‚ ‚ˉ ÔÓÎÛ‡ÏÙËÚ‡Ú‡

Ó˜Â‰¸ fl‚ÎflÂÚÒfl ÏÛÁÂÂÏ – ÏÂÒÚÓÏ, „‰Â ÍÓÎÎÂ͈ËÓÌË-

Ó‰ÌÓ‚ÂÏÂÌÌÓ ÒÎÛÊËÚ ÒÂ¸ÂÁÌ˚Ï Û˜fi·Ì˚Ï ÔÓÏ¢ÂÌËÂÏ

Û˛Ú Ë ‚˚ÒÚ‡‚Îfl˛Ú ÔÓËÁ‚‰ÂÌËfl ËÒÍÛÒÒÚ‚‡. é‰Ì‡ÍÓ, ͇Í

‰Îfl ¯ÍÓÎ Ë ‚˚Ò¯Ëı ۘ·Ì˚ı Á‡‚‰ÂÌËÈ, ‚ ÌfiÏ ‚ ˜ËÒÎÂ

̇ Ò„ӉÌfl¯ÌËÈ ‰Â̸, Ú‡Í Ë ‚ ·Û‰Û˘ÂÏ ‚ ÚÓÈ ˆË‚ËÎËÁ‡-

ÔÓ˜Â„Ó ·Û‰ÛÚ ÔÓıÓ‰ËÚ¸ ÎÂ͈ËË Ó ÒÓ·‡ÌËË ÏÛÁÂfl,

Ó ÔÂ‚ÓÈ ‚ ÏË ÔÓÎÌÓÈ ÍÓÎÎÂ͈ËË WEB-ËÒÍÛÒÒÚ‚‡

·Û‰ÂÚ ‡·ÓÚ‡Ú¸ ÚÓθÍÓ ÚÓ„‰‡, ÍÓ„‰‡ ÌÂÍÓÏÏÂ˜ÂÒÍËÈ,

Ë ÙÂÌÓÏÂÌÓ‚, Â„Ó ÒÓÔÓ‚Óʉ‡˛˘Ëı.

ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È, ‰‡Ê ‚ÓβˆËÓÌÌ˚È ÍÓÏÔÓÌÂÌÚ

2) ì˜Â·Ì˚Ï ÔÓÒÓ·ËÂÏ ‰Îfl ¯ÍÓÎ, ‚˚Ò¯Ëı ۘ·Ì˚ı Á‡‚‰ÂÌËÈ Ë ‰Îfl β·Ó„Ó ÔÓÒÂÚËÚÂÎfl ·Û‰ÂÚ ÒÎÛÊËÚ¸ Ë

ÔÓ‰ÛÍÚ”. é·‡Á ÏÛÁÂfl ÒÓÁ‰‡˛Ú Ì ÚÓθÍÓ ÔÓÒÂÚËÚÂÎË, ÌÓ

Ò‡ÏÓ Á‰‡ÌËÂ, ‚ ÍÓÚÓÓÏ ˆÂÌÌÓ Ë̉ÛÒÚˇθÌÓÂ

Ë ÎˉÂ˚ ÏÌÂÌËÈ, Ë ıÓӯˠıÛ‰ÓÊÌËÍË, ÍÓÚÓ˚Â

̇ÒΉˠӷ˙‰ËÌflÂÚÒfl Ò ÒÓ‚ÂÏÂÌÌ˚Ï ‡ıËÚÂÍÚÛÌ˚Ï

‚ á‡Ô‡‰ÌÓÈ Ö‚ÓÔ ¢fi ÒÓı‡ÌËÎË Á‰‡‚˚È ÒÏ˚ÒÎ.

Ï˚¯ÎÂÌËÂÏ – ˝ÚÓ ·Û‰ÂÚ Û‰Ó·ÌÓ ÏÂÒÚÓ ‰Îfl ‡ÚÂÙ‡ÍÚÓ‚, Û˜fi·˚, ‡ÁÏ˚¯ÎÂÌËÈ, ÍÓÌÚÂÍÒÚۇθÌÓÒÚË Ë ‰ËÒÍÛÒÒËÈ. ë ÔÓÎËÚ˘ÂÒÍÓÈ ÚÓ˜ÍË ÁÂÌËfl ÓÚ‰ÂθÌÓ ÔÓÏ¢ÂÌËÂ

38

ÏÛÁÂfl ·Û‰ÂÚ Ú‡ÍËÏ Ê ÒËθÌ˚Ï, Í‡Í Ë “ÔÓ‰‡‚‡ÂÏ˚È

ÑÛ‡ÎËÁÏ Á‡‰‡˜ ÏÛÁÂfl, Ú‡ÍÊÂ Í‡Í Ë ‰Û‡ÎËÁÏ ÓÒÚÓ‚‡ Ä̉ÂÈ҇· (·Óθ¯Ó ËÒÍÛÒÒÚ‚Ó Ë ·Óθ¯Ë ‰Â̸„Ë) ÏÓÊÌÓ Ò‡‚ÌËÚ¸ Ò ‰‚ÛÏfl ‡ÚÂÙ‡ÍÚ‡ÏË, ÒÓÁ‰‡ÌÌ˚ÏË

·˚ÎÓ ·˚ ÌÛÊÌÓ ‰Îfl Ì·Óθ¯ÓÈ, ÔÓÒÚÓflÌÌÓ ÏÂÌfl˛˘ÂÈÒfl

Ó‰ÌËÏ ˜ÂÎÓ‚ÂÍÓÏ. ùÚÓ„Ó ˜ÂÎÓ‚Â͇ ÁÓ‚ÛÚ Ä̉ÂÈ, Ë ÓÌ

˜‡ÒÚË ÍÓÎÎÂ͈ËË Í‡ÚËÌ áÂÌÚ˚ ãÓ„ËÌÓÈ, ‚Ó ‚Ò ‚ÂÏÂ̇

҉·Î, ÔÓ Í‡ÈÌÂÈ ÏÂÂ, ‰‚‡ Á‡ÒÎÛÊË‚‡˛˘Ëı ‚ÌËχÌËfl

̇ÔÓÏË̇˛˘ÂÈ Ó ÌÂÁ‡‚ËÒËÏÓÒÚË ıÛ‰ÓÊÌË͇ ÓÚ ÔÓÎËÚË-

ÙËθχ. é‰ËÌ ËÁ ÌËı ̇Á˚‚‡ÂÚÒfl “Ce¬ojums uz Tukumu”

˜ÂÒÍÓÈ ‚·ÒÚË, Ó ‚ÓÁÏÓÊÌÓÒÚË ‡·ÓÚ‡Ú¸, Ì ‚˚ÒÚ‡‚Îflfl

(“èÛÚ¯ÂÒÚ‚Ë ‚ íÛÍÛÏÒ”) (1987), Ë Â„Ó ‚ˉÂÎË ‚Ò„Ó

Ò‚ÓË ‡·ÓÚ˚ – ÒÎÛʇ Ó‰ÌÓÏÛ Î˯¸ ËÒÍÛÒÒÚ‚Û. é·Ó·˘fiÌÌÓ

Î˯¸ Ô‡‡ ÒÓÚÂÌ ÁËÚÂÎÂÈ. ã˘ÌÓ ÏÌÂ Ë Î˛‰flÏ, ˜¸fi ÏÌÂ-

˝ÚÓ ÔÓÏ¢ÂÌË ̇ÔÓÏË̇ÎÓ ·˚ ÓÚ‰ÂθÌÓ„Ó ˜ÂÎÓ‚Â͇,

ÌË ÏÌ ‰ÓÓ„Ó, ˝ÚÓÚ ÙËÎ¸Ï Í‡ÊÂÚÒfl Ó‰ÌËÏ ËÁ ̇˷ÓÎÂÂ

Â„Ó ‡·ÓÚÛ, ÌÓ ‚ÏÂÒÚÂ Ò ÚÂÏ Ë ÌÂÍÓ ·ÓΠ„ÎÛ·ÓÍÓÂ

‚˚‰‡˛˘ËıÒfl ÔÓËÁ‚‰ÂÌËÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡

Á̇˜ÂÌË ËÒÍÛÒÒÚ‚‡ ‚Ì ÔÓÒÚÓflÌÌ˚ı ‰ËÒÍÛÒÒËÈ,

‚ ã‡Ú‚ËË. é· ˝ÚÓÏ ÙËθÏ Á̇˛Ú ıÓÓ¯Ó ÂÒÎË 300 ˜ÂÎÓ-

ÍÓÌÚÂÍÒÚۇθÌÓÒÚË Ë Ó·˘ÂÒÚ‚ÂÌÌ˚ı ÓÚÌÓ¯ÂÌËÈ.”

24

åÓÊÌÓ Ë ÌÛÊÌÓ ‡ÒÒχÚË‚‡Ú¸ ÏÛÁÂÈ ‚ ÔÂÒÔÂÍÚË‚Â

‚ÂÍ. ÇÚÓÓÈ ÙËÎ¸Ï Ä̉Âfl ÔÓ‰ ̇Á‚‡ÌËÂÏ “Rîgas sargi” (“ëÚ‡ÊË êË„Ë”) 2007 „Ó‰‡ ÒÓ·‡Î ̇˷Óθ¯Â ÍÓ΢ÂÒ-

ÌÓ‚ÓÈ, Ú‚Ó˜ÂÒÍÓÈ ˝ÍÓÌÓÏËÍË. Ç ÌÂÈ, Í‡Í ËÁ‚ÂÒÚÌÓ, ÓÒ-

Ú‚Ó ÁËÚÂÎÂÈ ÒÓ ‰Ìfl ‚ÓÒÒÚ‡ÌÓ‚ÎÂÌËfl ÌÂÁ‡‚ËÒËÏÓÒÚË

ÌÓ‚‡ ÔÓ‰‡Ê – one big distinctive idea, ÚÓ ÂÒÚ¸ ·Óθ¯‡fl,

ã‡Ú‚ËË, ·Óθ¯ÂÂ, ÌÂÊÂÎË Ô‰˚‰Û˘ËÈ ÂÍÓ‰ÒÏÂÌ ÔÓ

ÓÚ΢ËÚÂθ̇fl ˉÂfl. ùÚ‡ ˉÂfl Ì ҂flÁ‡Ì‡ ÌË Ò ËÁÛ˜ÂÌËÂÏ

ÍÓ΢ÂÒÚ‚Û ÁËÚÂÎÂÈ ‚ ã‡Ú‚ËË – „ÓÎÎË‚Û‰ÒÍËÈ “íËÚ‡ÌËÍ”.

ˆÂ΂ÓÈ ‡Û‰ËÚÓËË, ÌË Ò ‰Û„ËÏË Ï‡ÍÂÚËÌ„Ó‚˚ÏË

ÖÒÚ¸ ÎË ˜ÚÓ-ÚÓ Ó·˘ÂÂ Û ˝ÚËı ‰‚Ûı ÙËθÏÓ‚?

ÏÂÓÔËflÚËflÏË. é̇ Ò‚flÁ‡Ì‡ Ò Ú‚Ó˜ÂÒÚ‚ÓÏ Ú‡ÍÓ„Ó

ä‡Í‡fl Á‰ÂÒ¸ Ô‡‡ÎÎÂθ Ò ÒÓÁ‰‡‚‡ÂÏ˚Ï ÏÛÁÂÂÏ?

Ó‰‡, ÍÓÚÓÓ ÏÓ„ÎÓ ·˚ ÔÓÓ‰ËÚ¸ ̘ÚÓ ÔË̈ËÔˇθÌÓ

ä‡ÊÂÚÒfl, ˜ÚÓ ÏÛÁ² Ì‚ÓÁÏÓÊÌ˚Ï Ó·‡ÁÓÏ, Ú‡Í Ê ͇Í

ÌÓ‚ÓÂ, Ó ˜fiÏ ÔÓÚ·ËÚÂθ ¢fi ‰‡Ê Ì ‰Ó„‡‰˚‚‡ÂÚÒfl.

Ë ÓÒÚÓ‚Û Ä̉ÂÈ҇· ‚ ·Û‰Û˘ÂÏ, Ú‡Í ÊÂ Í‡Í Ë Ó·˘ÂÒÚ‚Û

ùÚÓÚ Ú‚Ó˜ÂÒÍËÈ Ì‡ÒÚÓÈ ÔÓËÒıÓ‰ËÚ Ì ËÁ ÓÔÓÒÓ‚

ã‡Ú‚ËË ÌÂÓ·ıÓ‰ËÏÓ ‰ÓÒÚ˘¸ Ó·ÂËı ˆÂÎÂÈ Ë ‚ÒÚÂÚËÚ¸Òfl

Ë ÏÓ‰ÂÎËÓ‚‡ÌËfl, ‡ ËÁ ‰ÓÒÚ‡ÚÓ˜ÌÓ ¯ËÓÍÓÈ ÍÛθÚÛÌÓÈ

‚ ̉ÓÒÚËÊËÏÓÏ – ‚ ÛÌË͇θÌÓÈ ÒÔÓÒÓ·ÌÓÒÚË Ú‚ÓËÚ¸

·‡Á˚ Ë ·Óθ¯Ó„Ó ˝ÌÂ„˘ÌÓ„Ó Ú‡Î‡ÌÚ‡.

ËÒÍÛÒÒÚ‚Ó, ÛÍÓÂÌÂÌÌÓÈ ‚ ·ËÁÌÂÒÂ, ˜ÂÎӂ˜ÂÒÍÓÈ

Ç “·ËÁÌÂÒ-ÏÓ‰ÂÎË” ÏÛÁÂfl Ú‡ÍÓÈ ÔÓ‰ıÓ‰ fl‚ÎflÂÚÒfl ¯‡˛˘ËÏ. ä‡Í ˝ÚÓ„Ó ‰ÓÒÚ˘¸? ä ÒÓʇÎÂÌ˲, ÚÂ, ÍÚÓ ·Û‰ÂÚ ÒÓÁ‰‡‚‡Ú¸ ÏÛÁÂÈ ‰Ó ÍÓ̈‡ Í‡Í “ÔÓ‰ÛÍÚ”,

‡ÍÚË‚ÌÓÒÚË ÔÎ˛Ò ‚ ‡ÁÛÏÂ. çÛÊÌÓ ÎË ÒÓÓÚÌÓÒËÚ¸ “èÛÚ¯ÂÒÚ‚Ë ‚ íÛÍÛÏÒ” ÒÓ “ëÚ‡Ê‡ÏË êË„Ë”? ä‡Í ‰ÓÒÚ˘¸ Ì‚ÓÁÏÓÊÌÓ„Ó? ä‡Í ÒÓÁ‰‡Ú¸ ÓÚ΢‡˛-

‚ÓÁÏÓÊÌÓ, Ì ÔÓÈÏÛÚ, ˜ÚÓ “ÒÍ˚Ú˚È” ‡ÒÔÓfl‰ÓÍ ‰Ìfl

˘ÂÂÒfl? ÇÓÁÏÓÊÌ˚ ‚‡ˇÌÚ˚, ‰‡Ê ڇÍËÂ, ÍÓÚÓ˚ ÏÓ„ÎË

ÏÛÁÂfl Ú‚ÓËÚ Â„Ó ÔÛ·Î˘Ì˚È Ó·‡Á Ì ‚ ÏÂ̸¯ÂÈ

·˚ “ˉÂÈÌÓ” Ó·˙‰ËÌËÚ¸ Ó·‡ ÙËθχ Ä̉Âfl ùÍËÒ‡.

ÒÚÂÔÂÌË, ˜ÂÏ ˝ÚÓ ‰Â·ÂÚ ÅéãúòÄü àÑÖü. ÅËÁÌÂÒ-ˉÂfl

é‰Ì‡ ·Óθ¯‡fl ÓÚ΢ËÚÂθ̇fl ˉÂfl Ë ÒÍ˚Ú˚È ÔÓfl‰ÓÍ

‰Ìfl ‰‡‚‡ÎË ·˚ ‚ÓÁÏÓÊÌÓÒÚ¸ Ò ÔÓÏÓ˘¸˛ ÏÛÁÂÈÌÓÈ

ç‡ ÏÓÈ ‚Á„Îfl‰, ̇˷ÓΠ‚˚‰‡˛˘ËÏÒfl ÒÓ·˚ÚËÂÏ 2007

ÍÓÎÎÂ͈ËË Ë ÔÓ„‡ÏÏ ËÁÛ˜‡Ú¸ „‡Ìˈ˚ ËÒÍÛÒÒÚ‚‡.

„Ó‰‡ ‚ ËÒÍÛÒÒÚ‚Â ã‡Ú‚ËË Òڇ· ‚˚ÒÚ‡‚͇ ̇ ¢ “ÌÂ-

ç‡ÒÍÓθÍÓ „‡Ìˈ˚ ËÒÍÛÒÒÚ‚‡ ÒÓÓÚÌÓÒflÚÒfl Ò „‡Ìˈ‡ÏË ÊËÁÌË? ü‚ÎflÂÚÒfl ÎË ÒÏÂÚ¸ „‡ÌˈÂÈ ÊËÁÌË (Ë ÌÂ

ÓÌÌÓÈ Ë ˆËÍÓË‚ÓÈ Ù‡·ËÍË – ‚˚ÒÚ‡‚͇ Á‚ÛÍÓ‚Ó„Ó

ÒÚÓËÎÓ ÎË ·˚ ÔË Ú‡ÍÓÏ ÓÚÌÓ¯ÂÌËË ÔÓÒÚÂÒÌflÚ¸Òfl ‰‚-

ËÒÍÛÒÒÚ‚‡ “Skan!” (á‚Û˜Ë!), ÍÓÚÓÛ˛ ÍÛËÓ‚‡Î Ó‰ËÌ ËÁ

ÌËı „ÂÍÓ‚)? ü‚ÎflÂÚÒfl ÎË “„Ó·fl ÊËÁ̸” ÏÂËÎÓÏ ‚ÒÂı

Ó·ËÚ‡ÚÂÎÂÈ Ä̉ÂÈÒ‡Î˚, Ó„‡ÌËÁ‡ÚÓ ÙÂÒÚË‚‡Îfl “Skañu

‚¢ÂÈ, Ë ÏÓÊÌÓ ÎË ÔË Ú‡ÍÓÏ ‚Á„Îfl‰Â ̇ ‚Â˘Ë ‰ËÒ-

meΩs” Ë ÍÓÂÒÔÓ̉ÂÌÚ „‡ÁÂÚ˚ “Diena” ÇËÂÒÚ‡‰Ò

ÍÛÚËÓ‚‡Ú¸ ÓÚÌÓÒËÚÂθÌÓ ˆÂÌÌÓÒÚÂÈ? àÎË ‰‡ÊÂ Û Ú‡ÍÓÈ

ɇÈÎËÚËÒ. ë ÚÓ˜ÍË ÁÂÌËfl Ó·˘ÂÒÚ‚ÂÌÌÓ„Ó ÏÌÂÌËfl,

‰ËÒÍÛÒÒËË ÂÒÚ¸ „‡Ìˈ˚?

‚˚ÒÚ‡‚͇ Ô‰ÒÚ‡‚Îfl·Ҹ ÓÒÓ·ÂÌÌÓ Ï‡„Ë̇θÌÓÈ, Ë Ó̇

ü‚ÎflÂÚÒfl ÎË “ÓÚÍ˚ÚÓ ӷ˘ÂÒÚ‚Ó” ‰ËÌÒÚ‚ÂÌÌÓÈ ÏÓ‰Âθ˛ Ó·˘ÂÒÚ‚‡, ‚ ÍÓÚÓÓÏ ÏÓÊÌÓ ‰ËÒÍÛÚËÓ‚‡Ú¸ Ó·Ó ‚ÒfiÏ ÔÂ˜ËÒÎÂÌÌÓÏ? ç‡ÒÍÓθÍÓ ÏÂÌflÂÚÒfl ÔÓÌËχÌË „‡Ìˈ? èÓÌËχÌË ‚ ÏÛÁÂÂ Ë ‚ Ó·˘ÂÒÚ‚Â, ÍÓÚÓÓ ÌÂËÁ·ÂÊÌÓ

39

ÓÒ‚ÓÂÌÌÓÈ” Ë̉ÛÒÚˇθÌÓÈ ÚÂËÚÓËË ·˚‚¯ÂÈ Ï‡Í‡-

Ú‡Í Ë Ì ·˚· ÌÓÏËÌËÓ‚‡Ì‡ ̇ ÂÊ„ӉÌ˚È ÔËÁ „‡ÁÂÚ˚ “Diena”, ÔËÒÛʉ‡ÂÏ˚È ‚ ӷ·ÒÚË ËÒÍÛÒÒÚ‚. чÊ ڂÓ˜ÂÒÍËÈ ‰Ûı ˛ÊÌÓÈ ˜‡ÒÚË Ä̉‚ÒÍÓ„Ó ÓÒÚÓ‚‡ Ì ÏÓÊÂÚ ÔÓ͇ ÍÓÏÔÂÌÒËÓ‚‡Ú¸ ÌÂı‚‡ÚÍÛ

ÒÚ‡ÌÂÚ “„ÎËÌÓÈ” ‚ Û͇ı ÊË‚Û˘Â„Ó ‚ ã‡Ú‚ËË ıÛ‰ÓÊÌË͇,

‡Áχı‡ Ë ˜Û‚ÒÚ‚‡ ÍÓÌÚÂÍÒÚ‡. çÂÓ·ıÓ‰ËÏ ÏÛÁÂÈ, Ë ˝ÚÛ

Ô‰ÔÓ·„‡ÂÚ ÍÓÌÙÓÌÚ‡ˆË˛ Ò Î˛·˚Ï ‰Û„ËÏ ÔÓÌËχ-

‚˚ÒÚ‡‚ÍÛ ‚ åÓÒÍ‚Â ÏÓÊÌÓ ‡ÒÒχÚË‚‡Ú¸ Í‡Í ÔÓÏÂÊÛ-

ÌËÂÏ, ÌÓ ıÛ‰ÓÊÌËÍ ÚÂÏ ‚ÂÏÂÌÂÏ ÏÓÊÂÚ ÏÓ‰ÂÎËÓ‚‡Ú¸

ÚÓ˜ÌÛ˛ ÓÒÚ‡ÌÓ‚ÍÛ Ì‡ ÔÛÚË Í Â„Ó ÒÓÁ‰‡Ì˲.

Ò‚ÓË ‚ÓÁÏÓÊÌ˚ ÏË˚, Ú‡Í ÊÂ Í‡Í Ë Û˜‡ÒÚÌËÍ ˝ÚÓÈ

Ç 1999-Ï „Ó‰Û ÍÛ‡ÚÓ Ì˚̯ÌÂÈ ‚˚ÒÚ‡‚ÍË éflÒ

‚˚ÒÚ‡‚ÍË ıÛ‰ÓÊÌˈ‡ ä‡ÚË̇ çÂÈ·Û„‡, ÍÓÚÓ‡fl

èÂÚÂÒÓÌÒ ‚ ÊÛ̇ΠÔÓ ËÒÍÛÒÒÚ‚Û “Studija” ̇ÔËÒ‡Î, ˜ÚÓ

ÌÂÍÓÚÓÓ ‚ÂÏfl ̇Á‡‰ ÒÔÓ„‡ÏÏËÓ‚‡Î‡ Ò‚ÓÈ,

ËÒÍÛÒÒÚ‚Ó Ì‡ÍÓ̈-ÚÓ Ó˜ÌÛÎÓÒ¸ Ë Ì‡¯ÎÓ Ò‚Ófi ÏÂÒÚÓ ‚

ÒÓ‚Â¯ÂÌÌÓ ÌÓ‚˚È flÁ˚Í.

‡θÌÓÈ ÊËÁÌË. 25 íÂÔÂ¸ Ô˯ÎÓ ‚ÂÏfl, ˜ÚÓ·˚ ÔÓ·ÛÊ-

ÅÛ‰ÛÚ ÎË ÏÛÁÂÈ/·ڂËÈÒÍÓ ӷ˘ÂÒÚ‚Ó/ıÛ‰ÓÊÌËÍ ‰ÓÒÚ‡-

‰ÂÌË ҂Â¯ËÎÓÒ¸ ‚ „ÓÎÓ‚‡ı ÎˉÂÓ‚, ÔËÌËχ˛˘Ëı

ÚÓ˜ÌÓ Ò‚Ó·Ó‰Ì˚ Ë ÒÔÓÒÓ·Ì˚ ‚˚‰Âʇڸ ÍÓÌÙÎËÍÚ Ë ÔË-

¯ÂÌËfl, Ë ‚ „ÓÎÓ‚‡ı ÚÂı, ÍÚÓ ‚˚‰ÂÎflÂÚ Ì‡ ˝ÚÓ ‰Â̸„Ë.

ÏËÂÌËÂ, ËÒÔӂ‰¸ Ë ‚˚ÁÓ‚?

Ç ˝ÚÓÏ åÓÒÍ‚‡, Û‚˚, Ì‡Ò Ó·Ó¯Î‡ – ‰‡Ê ÔÓ‰‰ÂÊË‚‡Âχfl

ëÂȘ‡Ò ÏÓÊÌÓ ‰‡Ú¸ ÌÓ‚˚ ËÏÔÛθÒ˚ ÌÂÏÌÓ„Ó

·Óθ¯ËÏ ÓÒÒËÈÒÍËÏ ·ËÁÌÂÒÓÏ ‚˚ÒÚ‡‚͇ ‡·ÓÚ ÌÓÏË-

Á‡ÒÚÓÈÌÓÈ Ò‰ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ã‡Ú‚ËË. íÓ,

̇ÌÚÓ‚ ̇ ÔÂÏ˲ ä‡Ì‰ËÌÒÍÓ„Ó, ÓÚÍ˚ÚË ÍÓÚÓÓÈ

˜ÚÓ ‚ ã‡Ú‚ËË ‡·ÓÚ‡˛Ú ıÓӯˠıÛ‰ÓÊÌËÍË, Ì fl‚ÎflÂÚÒfl

‚ êË„Â Á‡Ô·ÌËÓ‚‡ÌÓ ÔÓ˜ÚË Ó‰ÌÓ‚ÂÏÂÌÌÓ Ò Ì‡¯ÂÈ

Ô‰ÔÓÒ˚ÎÍÓÈ ‚ÓÁÌËÍÌÓ‚ÂÌËfl flÍÓÈ Ë ÊËÁÌÂÒÔÓÒÓ·ÌÓÈ

‚˚ÒÚ‡‚ÍÓÈ ‚ åÓÒÍ‚Â, ÌÂÒÓËÁÏÂËÏÓ ·ÓΠÔÓÙÂÒÒËÓ-

ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ Ò‰˚. á̇˜ËÚÂθÌ˚ ÒÓ·˚ÚËfl Ë ‚˚ÒÚ‡‚-

̇θ̇ Ë ‚Ó ‚ÒÂı ÒÏ˚Ò·ı ·ÓΠÔÓ„ÂÒÒ˂̇, ÌÂÊÂÎË

ÍË, ̇ ÍÓÚÓ˚ı ÔÓ‰ÛχÌÌÓ Ë Û‚ÂÂÌÌÓ Ô‰ÒÚ‡‚ÎÂÌÓ

β·‡fl ˜‡ÒÚ̇fl ÍÓÎÎÂ͈Ëfl ‚ ã‡Ú‚ËË.

‚Òfi ÚÓ ÎÛ˜¯ÂÂ Ë ÔÓ„ÂÒÒË‚ÌÓÂ, ˜ÚÓ Á‡ ÔÓÒΉÌ ‚ÂÏfl

ÏÓ˘Ì‡fl ÓÒÒËÈÒ͇fl ÍÓÏÏÂˆËfl ÔÓ‰˜fiÍË‚‡ÂÚ ‰ÛıÓ‚Ì˚Â

ÒÓÁ‰‡ÎË Î‡Ú‚ËÈÒÍË ıÛ‰ÓÊÌËÍË, ÔÓ͇ χ„Ë̇ÎËÁËÛÂÚÒfl

Ë ÌÂÍÓÏÏÂ˜ÂÒÍË ˆÂÌÌÓÒÚË ËÒÍÛÒÒÚ‚‡, ÚÓ„‰‡ ͇Í

ËÎË ÔÓıÓ‰ËÚ Á‡ Û·ÂÊÓÏ – Í‡Í ˝Ú‡ ‚˚ÒÚ‡‚͇ ‚ åÓÒÍ‚Â

Ò‡‚ÌËÚÂθÌÓ Ò··˚È Î‡Ú‚ËÈÒÍËÈ ·ËÁÌÂÒ ÓÚ‰‡fiÚ

ËÎË Ôӯ‰¯‡fl ‚ Ù‚‡Î ‚˚ÒÚ‡‚͇ ÒÓ‚ÂÏÂÌÌÓ„Ó

Ô‰ÔÓ˜ÚÂÌË ÍÓÏÏÂ˜ÂÒÍÓÈ ÒÚÓÓÌ ‰Â·.

·Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡ “Time Will Show – Jaunå Latvijas måksla” ‚ ÏÛÁ ÌÂψÍÓ„Ó „ÓÓ‰‡ îÎÂÌÁ·Û„.

ùÚÓ Ô‡‡‰ÓÍÒ –

èÓ·ÛʉÂÌË ‚ ã‡Ú‚ËË Ì ÏÓÊÂÚ ÔÓËÁÓÈÚË ÚÓθÍÓ Ì‡ ËÌÚÛËÚË‚ÌÓÏ ÛÓ‚ÌÂ. îËÎÓÒÓÙÒÍËÂ, Ô‰‡„ӄ˘ÂÒÍËÂ,

ÍÛθÚÛÌÓ-ÔÓÎËÚ˘ÂÒÍËÂ, ‡ÌÚÓÔÓÎӄ˘ÂÒÍËÂ Ë ‰Û„ËÂ

ÇÒ Ô‰˚‰Û˘Ë ÒÚÓÍË ˝ÚÓÈ ÒÚ‡Ú¸Ë ÚÓÊ ÔËÒ‡Î

‚ÓÔÓÒ˚ Ì ÏÓ„ÛÚ ÍÓÏÔÂÌÒËÓ‚‡Ú¸ Ô‡ÍÚËÍÛ

ÍÓÌÒÂ‚‡ÚË‚Ì˚È ˜ÂÎÓ‚ÂÍ, ÔÓÒÍÓθÍÛ fl Ò˜ËÚ‡˛, ˜ÚÓ

ÔÓ‚Ë̈ˇθÌÓ„Ó ÔÓ‰ıÓ‰‡ ‚ ÍÓÎÎÂ͈ËÓÌËÓ‚‡ÌËË Ë

‚ Ú‡‰ËˆËflı ÍÓÌÒÂ‚‡ÚË‚ÌÓÒÚË á‡Ô‡‰ÌÓÈ Ö‚ÓÔ˚ Ó‰ÌËÏË

Ó„‡ÌËÁ‡ˆËË ‚˚ÒÚ‡‚ÓÍ Ú‡ÍÓ„Ó Ó‰‡.

ËÁ ‚‡ÊÌÂȯËı ÚÂÏËÌÓ‚ fl‚Îfl˛ÚÒfl ÌÂÁ‡Ûfl‰ÌÓÒÚ¸

è‡‡ÎÎÂθÌÓ Ò ‡ÍÚË‚ËÁ‡ˆËÂÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ Ò‰˚

Ë Î˘̇fl ÓÚ‚ÂÚÒÚ‚ÂÌÌÓÒÚ¸.

̇ ÔÛÚË Í ·Û‰Û˘ÂÏÛ ÏÛÁ² ÏÓÊÌÓ ËÒÒΉӂ‡Ú¸ ÓÔ‡ÒÌÓÒÚË, ÍÓÚÓ˚ ÏÓÊÌÓ ı‡‡ÍÚÂËÁÓ‚‡Ú¸ ÏÌÓÊÂÒÚ‚ÓÏ “Ô”:

á‡Íβ˜ÂÌËÂ

ÔÓÔÛÎËÁÏ, ÔÓÎÂÚ‡ÌÓÒÚ¸, ÔÓ‰ıÓ‰, ÔÓ‰‡ÚÎË‚ÓÒÚ¸, Ô‡„χÚËÁÏ, ÔÓ‚Ë̈ˇÎËÁÏ, Ô‡ÒÒË‚ÌÓÒÚ¸, Ô‡ÚÂ̇ÎËÁÏ,

èÓÎۘ˂ ÍÌË„Û “åÓÒÍ‚‡–èÂÚÛ¯ÍË” ‚ ÔÓ‰‡ÓÍ ÓÚ Âfi

Ô‚‡ÚÌÓ ÔÓÌËχÌËÂ, ‡ Ú‡ÍÊ ÔÓfl‚ÎÂÌË Ì‚Á˚Ò͇-

ÔÂ‚Ӊ˜Ë͇, fl ۂˉ·, ˜ÚÓ Ì‡ ÚËÚÛθÌÓÏ ÎËÒÚ ÓÌ

ÚÂθÌÓÒÚË Ë ÓÚÒÛÚÒÚ‚Ë ÔË̈ËÔÓ‚.

ÔË‚fiÎ Ó‰ÌÓ Ô‰ÎÓÊÂÌË ÇẨËÍÚ‡ (ÇÂ̘ÍË)

óÚÓ Ê fl‚ÎflÂÚÒfl ÔÓÚË‚ÓÔÓÎÓÊÌÓÒÚ¸˛ ˝ÚËı “Ô”?

ÖÓÙ‚‡: “ÇÒfi ̇ Ò‚ÂÚ ‰ÓÎÊÌÓ ÔÓËÒıÓ‰ËÚ¸ ωÎÂÌÌÓ

ç‡ ‰‡ÌÌÓÏ ÓÚÂÁÍ ‚ÂÏÂÌË ÌÂÓ·ıÓ‰ËÏÓ ËÌÚÂÎÎÂÍ-

Ë ÌÂÔ‡‚ËθÌÓ, ˜ÚÓ·˚ Ì ÒÛÏÂÎ Á‡„Ó‰ËÚ¸Òfl ˜ÂÎÓ‚ÂÍ,

ÚۇθÌÓ ӷ‡ÏÎÂÌË – ˜ÚÓ·˚ ÔÂ·ÓÓÚ¸ ÔÓ‚Ë̈ˇθÌÓ ‚ÓÒÔËflÚË ËÒÍÛÒÒÚ‚‡, ‚ÂÏÂ̇ÏË ÒÚ‡ÌÓ‚fl˘ÂÂÒfl ‰‡Ê 40

˜ÚÓ·˚ ˜ÂÎÓ‚ÂÍ ·˚Î „ÛÒÚÂÌ Ë ‡ÒÚÂflÌ”. 28 ã˛·ÓÈ ‡ÍÚË‚Ì˚È Ó·ÏÂÌ ÏÌÂÌËflÏË Ì‡ ‡„ÓÂ, ÍÓÚÓ˚È

‚‡Ê‰Â·Ì˚Ï, Í ÔËÏÂÛ, ÉÓÒÍÓÌÚÓθ ¢ ‚Ó ‚ÂÏfl ‡-

ÔÓ‰˜fiÍË‚‡Î “‚ÔËÒ‡ÌÌ˚È” ‚ ÍÛθÚÛÛ åÂ‡· å‡Ï‡-

·ÓÚ˚ Ô‰˚‰Û˘Â„Ó „ÓÒÛ‰‡ÒÚ‚ÂÌÌÓ„Ó ÍÓÌÚÓÎfi‡ ‚ 2003

‰‡¯‚ËÎË, β·˚ ÔÓÔ˚ÚÍË ÔÂÓ‰ÓÎÂÚ¸ ÔÓ‚Ë̈ˇÎËÁÏ

„Ó‰Û ÓÒÛʉ‡Î Ò‡ÏÛ ÒÓ‰ÂʇÚÂθÌÛ˛ ÒÛÚ¸ ÔÓËÁ‚‰ÂÌËÈ

Ë ÒÓÁ‰‡Ú¸ ıÓÓ¯Û˛ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÛ˛ ÒÂ‰Û ‚Òfi Ê ÌÂ

ËÒÍÛÒÒÚ‚‡ ã‡Ú‚ËÈÒÍÓ„Ó ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡.

fl‚Îfl˛ÚÒfl ˆÂÌÚ‡Î¸Ì˚Ï ‚ÓÔÓÒÓÏ, ÂÒÎË Ï˚ „Ó‚ÓËÏ

Ç Ì‡˜‡Î¸ÌÓÈ ÒÚ‡‰ËË, ÔÓ͇ ¢fi Ì ÒÓÁ‰‡Ì åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ˆÂ΂ÓÈ ‡Û‰ËÚÓËÂÈ fl‚Îfl˛ÚÒfl

Ó Ò‡ÏÓÏ ËÒÍÛÒÒÚ‚Â. ÅÓΠÒÛ˘ÂÒÚ‚ÂÌÂÌ Ì‡ÒÚÓÈ ËÎË, Í‡Í Ô˯ÂÚ ÔÂ‚Ӊ-

Á‡ÍÓÌÓ‰‡ÚÂÎË ÏÌÂÌËÈ – ÚÂ, ÍÚÓ ÏÓÊÂÚ Ó·˙flÒÌflÚ¸ ˉÂË, ‡

˜ËÍ ÍÌË„Ë “åÓÒÍ‚‡–èÂÚÛ¯ÍË” ìΉËÒ íËÓÌÒ, “ËÌÚÓ̇ˆËfl,

Ì ÚÓθÍÓ Ê‰‡Ú¸ ÓÚÍ˚ÚËfl ÏÛÁÂfl. àÚ‡Í, ˝ÚÓ task force:

ÍÓÚÓÛ˛ ÇÂ̘͇ ÔÓÎÛ˜ËÎ ‚ Ó·ÏÂÌ Ì‡ ÏË”. 29 çË Ó‰ËÌ

ÔÓÎËÚÓÎÓ„Ë, ËÒÍÛÒÒڂӂ‰˚, Ô‰ÔËÌËχÚÂÎË,

‰‡Ê ҇Ï˚È ÎÛ˜¯ËÈ ÏÛÁÂÈ, ÌË Ó‰ÌÓ Ò‡ÏÓ ÎÛ˜¯ÂÂ

ÂÍÎ‡Ï˘ËÍË, „ÛχÌËÚ‡Ì˚ ‡Í‡‰ÂÏËÍË, Ô‰‡„Ó„Ë. íÓ,

Ó·˘ÂÒÚ‚Ó Ë ÌË Ó‰Ì‡ ҇χfl ÎÛ˜¯‡fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl Ò‰‡

˜ÚÓ ÛÊ „ÓÚÓ‚‡ ÔÓ˜‚‡ ‰Îfl ÔÛ·Î˘Ì˚ı ‰Â·‡ÚÓ‚ ̇ ‰Û„ÓÏ

Ì ÏÓÊÂÚ ÔÓÓ‰ËÚ¸ Ú‡ÍÓÂ Ó˘Û˘ÂÌËÂ. ùÚÓ ÏÓÊÂÚ Ò‰Â·ڸ

ÛÓ‚ÌÂ, ÔÓ‰Ú‚Âʉ‡ÂÚ ÏÓÎÓ‰ÓÈ ËÌÚÂÎÎÂÍÚÛ‡Î Ë Á‡ÍÓÌÓ-

ÚÓθÍÓ ıÛ‰ÓÊÌËÍ, Ë ÚÓθÍÓ ÓÌ Ò‡Ï.

‰‡ÚÂθ ÏÌÂÌËÈ ‚ ÌÓ‚ÓÈ, Ú‚Ó˜ÂÒÍÓÈ Ò‰ êÂÈÌËÒ

äÓ„‰‡ ÒÏÓÚ˯¸ ̇ ÏË Ò „ÛÒÚ¸˛, ‰ÂÈÒÚ‚ËÚÂθÌÓ

íÛÍ˯Ò: “ç‡ ÏÓÈ ‚Á„Îfl‰, ‚ ÔÛ·Î˘ÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â

Ì‚‡ÊÌÓ, fl‚ÎflÂÚÒfl ÎË ÓÍÛʇ˛˘Â Ú·fl Ó·˘ÂÒÚ‚Ó

ã‡Ú‚ËË ÒÂȘ‡Ò ˜Û‚ÒÚ‚ÛÂÚÒfl ·Óθ¯‡fl ÌÂı‚‡Ú͇ Û‚ÂÂÌ-

ÔÓÒÚÒÓ‚ÂÚÒÍËÏ ÙÂÌÓÏÂÌÓÏ ËÎË ÌÂÚ. ùÚÓ ‚‡ÊÌÓ Ì‡ ÔÛÚË

ÌÓÒÚË ‚ Ò·Â. ÖÒÎË ÒÔÓÒËÚ¸ β‰ÂÈ, ˜ÂÏ ÓÌË Á‡ÌËχ˛ÚÒfl,

Ò Ä̉‚ÒÍÓ„Ó ÓÒÚÓ‚‡ ‚ åÓÒÍ‚Û, ‰‡Ê ÂÒÎË ˝ÚÓÈ

·Óθ¯ËÌÒÚ‚Ó Ì ÒÏÓÊÂÚ ÓÚ‚ÂÚËÚ¸”. í‡Ï Ê ÓÌ „Ó‚ÓËÚ:

ÔÓÂÁ‰Í ÔËÒÛ˘ ˜ÂÁÏÂÌ˚È, Ì ҂ÓÈÒÚ‚ÂÌÌ˚È

“ë·fl fl Ò˜ËÚ‡˛ Ó˜Â̸ ÍÓÌÒÂ‚‡ÚË‚Ì˚Ï ˜ÂÎÓ‚ÂÍÓÏ, Ë

ıÓÓ¯ÂÏÛ ıÛ‰ÓÊÌËÍÛ ÓÔÚËÏËÁÏ.

26

ÏÌ ·˚ÎÓ ·˚ ÚÛ‰ÌÓ ÊËÚ¸ ‚ ÒÚ‡ÌÂ, „‰Â ÌÂÚ ÌË͇ÍËı ÒÂ¸ÂÁÌ˚ı ÍÛθÚÛÌ˚ı Ú‡‰ËˆËÈ”. 27

1

2

Jerofejevs, Venedikts. Maskava-Gailîßi. No krievu valodas tulkojis Uldis Tîrons. Rîga :

17

ëÏ. Gîrcs, Klifords. Kultüru interpretåcija. Rîga : AGB, 1998. 478 lpp.

Liepnieks & Rîtups, 2007. 357, [2] lpp.

18

åÂÒÚÓ Ì‡ ÔÎÓ˘‡‰Ë Û ÙË·ÏÓÌËË ‚ ëÚ‡ÓÈ êË„Â, „‰Â ÒÓ·Ë‡ÎËÒ¸ ıÛ‰ÓÊÌËÍË

19

Hebdige, Dick. Subculture : the Meaning of Style. London; New York : Routledge,

20

ëÏ. Youth culture. In : Encyclopedia of Globalization. New York; London :

21

Sheehy, Paul. The Influance and Significance of Social Groups. In: Sheehy, Paul.

Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga :

Ë ÏÓÎÓ‰Âʸ ‚ 80-90- „Ó‰˚ (ÔËÏ. ÔÂ‚Ӊ˜Ë͇).

1998, p. 85 p.

Spektrs, 1994. 201 lpp.

3

Mamardaßvili, Merabs. Ce¬ß, aiz kura paveras lîdzens prieka lauks : [ståsta gruzînu filoz.]. Pierakst. un iev. sarakst. Uldis Tîrons. Kentaurs XXI, Nr. 1, 1992, 17. lpp.

4

åÂʉÛ̇Ӊ̇fl ˝ÍÒÔÂÚ̇fl ÍÓÏËÒÒËfl: Ô‰Ò‰‡ÚÂθ ùÌÂÒÚ ÅÂÌËÒ (ã‡Ú‚Ëfl);

Routledge, 2007, Vol.4, pp. 1319-1321.

˜ÎÂÌ˚ ÒÓ‚ÂÚ‡: 凇ÂÚÚ‡ üÛÍÍËË (îËÌÎfl̉Ëfl); çÓ·ÂÚ Ç·Â (ÉÂχÌËfl);

The Reality of Social Groups. Aldershot, Hampshire, England; Burlington, VT, USA :

ëË¸Â ïÂÎÏ (ùÒÚÓÌËfl); ê‡ÏËÌÚ‡ ûÂ̇ÈÚ (ãËÚ‚‡); ãÂÓÌˉ ŇʇÌÓ‚ (êÓÒÒËfl); ãÂÓ̇‰ ㇄‡ÌÓ‚ÒÍËÒ; ê‡ÈÚËÒ òÏËÚÒ; à‚‡ ÄÒÚ‡ıÓ‚Ò͇; ïÂÎÂ̇ ÑÂχÍÓ‚‡; å‡‡

Ashgate, 2006, p. 94.

22

OMA Designs Latvia’s Museum of Centemporary Art : News. ÑÓÒÚÛÔÌÓ Ì‡:

23

Slava, Laima. Vizuålå måksla un jaunie mediji. : [runa 2. Latvijas Kultüras darbin.

24

ÇˉÂÌË ·Û‰Û˘Â„Ó åÛÁÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÍÓÚÓÓ ‡‚ÚÓ ÚÂÍÒÚ‡

http://www.oma.nl

ĉËÌfl; ÄÒÚˉ‡ êÓ„ÛΠ(ã‡Ú‚Ëfl). ëÏ. “é ÒÓÒÚ‡‚ ÏÂʉÛ̇Ó‰ÌÓÈ ˝ÍÒÔÂÚÌÓÈ ÍÓÏËÒÒËË ÍÓÎÎÂ͈ËË åÛÁÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡”: ê‡ÒÔÓflÊÂÌËÂ

forumå]. Diena, Nr. 245, 2007, 19. okt., 12. lpp. (Piel. “Kultüras nåkotne Latvijå”).

åËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ ãê ‹ 2.1.-25-148 (23.10.2007): ‰ÓÒÚÛÔÌÓ ‚ åËÌËÒÚÂÒÚ‚Â ÍÛθÚÛ˚ ãê.

5

Ç ÍÓ̈ 80-ı „Ó‰Ó‚ ïï ‚Â͇ “Ò‚ÂÚÎ˚ÏË ÒË·ÏË” ̇Á˚‚‡ÎË ‚Â‰Û˘Ëı ‡·ÓÚÌËÍÓ‚

̇ÔË҇· ‰Îfl ÏÂʉÛ̇Ó‰ÌÓÈ ˝ÍÒÔÂÚÌÓÈ ÍÓÏËÒÒËË. ëÏ. χÚÂˇÎ˚ Á‡Ò‰‡ÌËfl

ÍÓÏÏÛÌËÒÚ˘ÂÒÍÓÈ Ô‡ÚËË, ÍÓÚÓ˚ ÔÓ‰‰ÂÊË‚‡ÎË ÔÂÂÏÂÌ˚ ‚ Ó·˘ÂÒÚ‚Â Ë

6

7 41

25

Ojårs Pétersons : [saruna]. Pierakst. Heléna Demakova. Studija, Nr. 6, 1999, 20. lpp.

ÓˆÂÌË‚‡ÂÚÒfl ÔÓÚË‚Ó˜˂Ó.

26

Tukißs, Reinis. Vai provokatîvai komunikåcijai ir nozîme? Dizaina Studija, Nr. 11

24.7.-24.8.1988]. Neue Gesellschaft für bildende Kunst (Hrsg.). Berlin (West) :

27

í‡Ï ÊÂ.

Elefanten Press, 1988. 84 S. : Ill.

28

ÖÓÙ‚, ÇẨËÍÚ. åÓÒÍ‚‡-èÂÚÛ¯ÍË. êË„‡ : Rakstnieks, 1991. Ò. 16.

ÇÑçï (Ç˚ÒÚ‡‚͇ ‰ÓÒÚËÊÂÌËÈ Ì‡Ó‰ÌÓ„Ó ıÓÁflÈÒÚ‚‡) – ÓÒÌÓ‚‡ÌÌ˚È ‚ 1959 „.

29

Tîrons, Uldis. Jums manas skumjas nesaprast. Rîgas Laiks, Nr. 9, 2007, 51. lpp.

Riga : Lettische Avantgarde = Latvießu avangards : [anlässlich einer Ausst., Berlin,

ÍÓÏÔÎÂÍÒ ‚˚ÒÚ‡‚Ó˜Ì˚ı Ô‡‚ËθÓÌÓ‚, Á‡‰‡˜ÂÈ ÍÓÚÓÓ„Ó ·˚· ÔÓÔ‡„‡Ì‰‡ ‰ÓÒÚËÊÂÌËÈ ëëëê ‚ ‡Á΢Ì˚ı ӷ·ÒÚflı.

8

Craig-Martin, Michael (1941). An Oak Tree (1973). Glass, water, shelf and printed text sculpture. ëÏ. Tate Modern : [online]. Available: http://www.tate.org.uk/servlet/ViewWork?workid=27072

9

ë ÌÂÏ. “ÔÓÒ‚Â˘ÂÌÌ˚È „‡Ê‰‡ÌËÌ”.

10

ëÏ. Ítokenbergs, Aigars. Vîtoliñß [Andris] nepazudîs : [‡Á„Ó‚Ó Ò ÏËÌËÒÚÓÏ „ËÓ̇θÌÓ„Ó ‡Á‚ËÚËfl Ë ‰ÂÎ Ò‡ÏÓÛÔ‡‚ÎÂÌËÈ ãê, ÍÓÎÎÂ͈ËÓÌÂÓÏ Í‡ÚËÌ].

Pierakst. Inese Zandere. Rîgas Laiks, Nr. 9, 2007, sept., [24.]-29., 69. lpp.

11

K¬aviñß, Eduards. Imants Lancmanis. In: Personal time Art of Estonia, Latvia and Lithuania, 1945-1996 : Exhibition catalogue, 9.Sept.-13.Oct.1996, Warszawa : [In 3 pt.]. Latvia. Ed. Helena Demakova et al. Warszaw : The Zacheta Gallery of Contemporary Art, 1996, p. 48.

12

Debifé, Ûans. Antikulturålas pozîcijas : [par pårmaiñåm måkslå]. No ang¬u val. tulk.

13

èÓÒÚÚ‡‰ËˆËÓ̇ÎËÁÏ. Ç˚ÒÚ‡‚͇ ‡·ÓÚ „ÛÔÔ˚ ÏÓÎÓ‰˚ı ÊË‚ÓÔË҈‚

Heléna Demakova. Kentaurs XXI, Nr.2, 1992, 22.lpp. ã‡Ú‚ËÈÒÍÓÈ ëëê : ä‡Ú‡ÎÓ„. Ä‚Ú. ÚÂÍÒÚ‡ Ä. éÒχÌËÒ. åÓÒÍ‚‡ : ëÓ˛Á ıÛ‰ÓÊÌËÍÓ‚ ëëëê, 1988. 60 Ò.: ËÎ.

14

2 show : latvießu un lietuvießu jauno måkslinieku izståde Laikmetîgås måkslas centrå (CAC) Vi¬ñå = Young art from Latvia and Lithuania, Contemporary Art Centre, Vilnius.

Sast. un galv. red. Heléna Demakova. Rîga : Kultüras pilotprojekti, 2003, 19.lpp.

15

Mamardaßvili, Merabs. Domåtprieks : [filozofiski raksti, esejas, sarunas]. Sastådîtåjs un pécvårda autors Ansis Zunde; LZA Filozofijas un sociolo©ijas institüts. Rîga : Spektrs, 1994. 32. lpp.

16

‹ 2, 11.06.2005 ÏÂʉÛ̇Ó‰ÌÓÈ ˝ÍÒÔÂÚÌÓÈ ÍÓÏËÒÒËË.

ÔÓÁÊ ڇÍÊ ÔÓÔ˚ÚÍË ÌÂÁ‡‚ËÒËÏÓÒÚË ã‡Ú‚ËË, ÚÂÏ Ì ÏÂÌ Ëı ‰ÂflÚÂθÌÓÒÚ¸

Visradoßåkå vieta jaunießiem : [par måkslas projektu rîkoßanu Andrejsalå]. Mater. sagat. Laura Krastiña. Republika.lv, Nr. 32, 2006, 22./28.sept., 16.-17. lpp.

(janv./febr.), 2008, 33. lpp.

Trans-cen-den-t책li!

J책nis Taurens

B u b n o v s. Tu ko tur murmini?

attieksmes apzîméjums. Varbüt arî – izmantoßu iemî¬otu

S a t i n s. Vårdi... Un tad vél ir – trans-scedentåls...

pieméru – kå imperatora Kublaihana zinåma neticîba jaunå

B u b n o v s. Kas tas?

venécießa Marko Polo ziñojumiem par neredzamajåm pilsétåm.

S a t i n s. Nezinu... aizmirsu...

Tomér Marko Polo aprakstos imperatoram parådås tik smalka

(Maksims Gorkijs. Dibenå)

zîméjuma filigrånums, ka pat termîts tam nespétu iekost – nespétu iekost droßi vien tåpéc, ka pilsétas ir neredzamas. Es

Reiz, braucot vilcienå, es noklausîjos kådu sarunu. Viens no

gribétu sniegt ßådu “neredzamå” aprakstu par Latvijas måkslu,

sarunas dalîbniekiem bija tåds truls-truls un vatenî, otrs –

kuru iztéloßos dialoga formå, bet dialoga dalîbniekus saukßu

tåds gudrs-gudrs un koverkota mételî. Viñi séΩ un iedzer.

vienkårßi – Vatenî un Koverkota mételî (saîsinåti – Vat un Kov),

UzkoΩ un tüliñ pat ielej atkal. Trulais-trulais izdzer, nokrekß˚i-

jüs – atcerésieties, kurß tåds truls-truls, kurß tåds gudrs-gudrs.

nås un saka: “Ë! Labi aizgåja – maita!” Bet gudrais-gudrais

Protams, teiktais nav jåuztver påråk burtiski – atceros

iedzer un saka: “Trans-cen-den-tåli!” Un tådå svinîgå balsî!

kådu sarunu gastronomå. Ienåca pircéjs vatenî un zåbakos,

Trulais-trulais uzkoΩ un saka: “Uzk-koda mums ßodien – nav

tipisks gadîjuma darbu strådnieks, kaut ko jautåja

vårdam vietas! Uzkoda “es jüs ¬oti lüdzu”!.. Bet gudrais-

pårdevéjam... Tas atbildéja ierasti rupjå veidå: “Lasît måki?!”

gudrais ko߬å un saka: “Jå-å-å... Trans-cen-den-tåli!”

Strådnieks nokluséja. Tad mierîgi atbildéja: “Måku.” Un

Es izjutu zinåmu spriegumu starp ßim divåm noståjåm, 43

piemetinåja: “Septiñås valodås...”

kas gan nepaståvéja konkrétajå situåcijå. Iedomåjos vienu kå måkslinieku, otru kå kriti˚i, kas pat par tik vienkårßåm lietåm

* * *

kå iedzerßana un uzkodas izsakås savå necießamajå dialektå.

(Viñi varbüt tießåm varétu saprasties vienîgi pie ßñabja pudeles.) Man ßî spriedze, kas jütama starp vienkårßu un priekßmetus aprakstoßu attieksmi pretstatå trans-cen-dentålai attieksmei, ß˚iet kå muzikåls intervåls – iedomåjos, ka

Vat: Es gribétu uzskaitît lietas, notikumus, sajütas – to, ko esmu redzéjis un ko atceros no visåm ßîm izstådém, atklåßanåm un sarunåm kafejnîcås.

Kov: Bet müsdienu måkslå tiek izmantoti visdaΩådåkie

vilcienå noklausîtås sarunas dalîbnieki vårdus stiepj nedaudz

izteiksmes lîdzek¬i, materiåli un mediji. Un vél – virzieni,

muzikåli –, kuram skanot péc patikas ilgi, iespéjams veikt

ietekmes. Vajadzîga noteikta analîzes metode, lai ßajå

savu domu skices iztéles neredzamajå telpå.

Iztéles rota¬u més bieΩi såkam ar vårdiem iedomåjies... un zîméjam tajå to, kas netverams tießå vérojumå, bet ßîs tikai iedomåtås lînijas bieΩi ir izteiktåkas, uzsverot raksturîgås domas priekßmeta iezîmes, par îstenîbå véroto. Transcenden-

daudzveidîbå orientétos un to lo©iski sakårtotu.

Vat: Mani interesé fakti.

Kov: Vai tas, kå tu tos uztver un atceries, nemaina paßus faktus?

Vat: Fakts bija? Bija... Bet fakts, tas arî ir fakts... Fakta

tålais lietu aspekts (es saucu par transcendentålu katru atziñu,

priekßå, tå sacît... Vienkårßi sakot, kad skatos uz

kas vispår nodarbojas ne tik daudz ar priekßmetiem, bet ar

måkslinieku darbiem, daΩas lietas mani uzrunå, ß˚iet

müsu priekßmetu atziñas veidu, ciktål pédéjam jåbüt

interesantas, atsauc man atmiñå daΩådus vårdus...

iespéjamam a priori) gan ßeit saglabåtos pårsvarå ironiskå nozîmé – kå pårgudråkas, varbüt nedaudz reflektéjoßas

Kov: ... jédzienus. Bet kas ir ßîs tavas intereses kritérijs – tikai subjektîva sajüta?

Vat: Kå es vértéju måkslu? – Nu, tikai skatoties, uzkråjot

Kov: Kas gan vispår ir kråsas – tik vien kå gramatikas kårtulu

pieredzi, tå teikt. Un tomér, ja es saku “interesants” –

noteikts kråsu nosaukumu lietojums. Måksla kådreiz bija

lai arî man interesants, ir ar zinåmu tev interesantuma

kråsu måksla, bet tagad... Varbüt to izvélei ir kåda

piegarßu. Citiem vårdiem – vienmér taçu var kaut ko

neskaidra nozîme, pieméram, man ir Edvarda Lîra

iedomåties un tad izståstît, ko iztélé esi redzéjis.

limeriku gråmatiña – ang¬u valodå labi rîméjås vårds

Kov: Paskaidro, lüdzu, precîzåk!

“green”, un tas viñam arî påris pantiños izmantots.

Vat: Redzétais izraisa manî kådu vårdu, izjütu – tå ir kå

Nezinu, jaußi vai nejaußi, bet gråmatiñas våks arî ir za¬å

dziesma, ko îsti neatceros, tad mé©inu pie sevis svilpot

kråså. Lîdzîga varétu büt arî kråsu izvéle måkslå – ja ne

daΩådos veidos, kamér, lük, rokå ir!

metafiziska, tad vismaz nejaußa –, lai vismaz kaut kå

Kov: Varétu teikt, ka tava iztéle darina variåcijas, kas reizé

saglabåtu kråsu nozîmi.

iezîmé iespéjamo nozîmju telpu jeb vispårîgi – kådu noteiktas måkslinieciskas piederîbas, ja piekrîti ßim

*

apzîméjumam, raksturîgu iezîmi. Bet turpini...

Vat: Es visiem saviem darbiem izvélétos kådu spilgtu kråsu. Man *

patîk jautras kråsas, îpaßi – oranΩå. Iedomåjos – oranΩi baloni... Bérnîbå izdomåju daΩådus vårdus ar ßo kråsu,

44

Vat: Tu zini, nemîlu tos zinîßus – filozofus visådus, -ßteinus un

pieméram, “oranΩétåjs”. Es atceros arî tådu dziesmu, nu,

-gerus... Un viennakt redzu sapni: prusaki pa sienu lien!

pirmås rindiñas gan tikai: “é‡ÌÊ‚˚ χÏ˚, Ó‡ÌÊÂ-

Ieskatos tuvåk – katram tåda kå birka klåt vai kas, bet tur –

‚˚ ԇÔ˚, Ó‡ÌÊ‚˚ ‰ÂÚË Ó‡ÌÊÂ‚Ó ÔÓ˛Ú...”

tie filozofu vårdi! Pamodos slapjß no sviedriem. Tagad domåju, ka varbüt kådå izstådé kaut ko tådu esmu redzéjis. Ja tå bütu, tad teiktu – interesanti, lai arî derdzîgi...

Kov: Vårdi, starp citu, nav nemaz tik nevainîgi.

Vat: Jå, no avîzém izgriezti burti tiek izmantoti anonîmu véstu¬u rakstîßanai – tas gan tå bija tikai vecås detektîvfilmås, tagad nets un tamlîdzîgi... Kådreiz avîzes glabåja, tad kråva ˚îpås un nodeva makulatürå, tagad

Kov: Es zinu ßo dziesmu, kåds mans draugs to sauca par pirmo padomju dadaisma darbu.

Vat: Jå, jå, tas nozîmé ñemt kaut ko un darît pretéji tam, kå pieñemts. Izgriezt cimdu uz otru pusi vai ko citu..., pieméram – laivu!

Kov: Kådå veidå laivu var izgriezt uz otru pusi – kå tå izskatîsies?

Vat: Nu, ñem laivu un nokråso otrådi – iekßu kå åru, åru kå

pat es tås nelasu – påråk daudz visådu pielikumu, bilΩu,

iekßu. Varu iedomåties dadaistisku arhitektüru – tå bütu

papîrs spîdîgs – kråsns iekuram îsti labi neder.

pükaina, ¬oti jauka un mî¬a.

Kov: Nu, burti paliek burti. Tiem ir arî tå vértîba, ka ar to palîdzîbu tiek fiksétas zinåßanas. Savå veidå – gudrîbas

Kov: Varu iedomåties kådu nelielas celtnes maketu no mîksta pükaina materiåla, bet, ja tåda bütu visa iela?

simbols.

Vat: Jå, sakrauj vecas avîΩu ˚îpas tådå kaudzé – ikuråt

*

zikuråts sanåks, gudrîbas burtu pils! Bet, ja samirkst, tad slikti deg – tåpat kå kråsaino lappußu dé¬.

Vat: Vai man patiktu pükaina iela? Nezinu, vispår man patîk

iziet ielås, klaiñot pa tåm, kad ap mani ir citi cilvéki, viñu jütas un noskañas...

Kov: Jå, tas ir kå iet cauri pinumam, kurå krustu ß˚érsu klåjas

Vat: ...un goda atdoßana Prusta séjumiem.

Kov: Nedomåju, ka kaut kas nopietns tevi varétu saistît

skaudîbas un iekåres, nicinåjuma un lîdzjütîbas,

måkslå. Tomér negribu büt pårlieku kritisks – kåpéc gan

mîlestîbas un naida skatieni, kurå apmetas izskanéjußu

nerîkoties tießi pretéji nopietnîbai, neatmest svinîgumu

vårdu bijußais satvars un kurå domas un alkas savijas

un nepårvérst ßos filozofiskos jédzienus operas butafo-

noslépumainå audeklå, kas ieskauj kåjåmgåjéju dvéseles.

riju vieglpråtîbå, kas kå melodisku Ωestu mirstoßajiem

Ielu var saukt par poétiskås nozîmes telpu vai pü¬a

muzikålås dråmas varoñiem, nodurtiem ar kartona

cilvéka klejojumu vietu; es neminéßu visus tos simul-

zobenu, vienmér ¬auj nodziedåt vél kådu skaistu åriju

akrus, ko cenßamies neredzét un kas pieblîvé müsu vizuålås uztveres lauku...

Vat: Par tiem simulakriem neko nezinu, bet iedomåjies tik, reiz pamanîju interesantu trafareta nospiedumu. Tådu kå sérijveida grafiti, ko ik pa brîdim ievéroju, ejot savå ikdienas marßrutå. Iespaids, kad atceros to – it kå kåds bojevika varonis vai hokejists kustas man pretî, un es 45

Quatuor pour la fin du Temps emocionålå nopietnîba...

jütos kå lielå kinoteåtrî...

Kov: Grafiti médz büt daΩådi, tomér parasti gan tie neatrodas

pirms nåves.

Vat: Neesmu bijis operå, bet nekas nopietns tur nu gan tießam nevarétu büt sastopams.

Kov: Varétu pat teikt, ka tådå veidå mums ir iespéjams mainît simbolu nostabilizéjußås nozîmes.

Vat: Bérnîbå es kaut kådå tådå veidå måcîjos tikt galå ar bailém no tumsas...

Kov: Jå, tad jau arî tumsa vairs nebüs draudîgs, nåvi véstoßs simbols, bet uzaicinåjums uz kådu spéli.

uz ¬auΩu pilnåm ielåm...

Vat: Bet tu vari iztélojies to kå nelielu, neuzkrîtoßu trafaretu,

*

ar kuru to var åtri uzpüst uz sienas vai kur citur. Katrs attéls fiksé kådu ejoßa téla kustîbas momentu, veidojot

Vat: Spéli ar jütåm, pieméram, bailém?

nospiedumu sériju marßrutå, pa kuru tu médz staigåt un

Kov: Spéles médz büt daΩådas.

kuru kåds aspråtis speciåli tev sagatavojis. Tas ir tikpat

Vat: Tas tiesa. Tås var spélét kaut vai izståΩu zålés. Atceros,

atjautîgi un viegli kå taviem dadaistiem.

Kov: Zinu, tev patîk vieglums vai, precîzåk, pavirßîba. Es

kad såku iet skolå, tante mani vazåja lîdzi pa gleznu izstådém – es spéléjos, veicot zigzagveida kustîbu pie

teiktu – arî attieksmé pret dzîvi. Tomér gribéju parunåt

gleznas, lîdz spéju izlasît nosaukumu, tad atpaka¬,

par nopietnåkåm témåm.

cenßoties atrast piemérotåko skatu punktu. Jåsaka gan, ka péc kåda laika man apnika lasît nosaukumus, lielu

*

da¬u gleznotåjus arî varéju pazît.

Kov: Bet ir arî labi måkslas darbu nosaukumi. Ja reiz runåjam

Vat: Par iedzerßanu? Vai par laiku, par nåvi? – Kåpéc gan ne, lai notiek!

Kov: Tu smejies, bet man, domåjot par laiku un nåvi, pråtå nåk rezignétås holandießu klusås dabas, stîgu kvarteta

par pagåtni – pirms vairåkiem gadiem, tas bija 90. gadu såkumå, kåds müsu paßmåju filozofs sméjås par nosaukumu “Jütas”, kurß bija dots darbam, kas saståvéja – ja pareizi atceros – no metåla lodém un

stikla virsmas uz tåm. Man toreiz ß˚ita, ka ßis jédziens

kad pie horizonta no rîta parådîjås balti, dîvainas

lieliski darbojas kå treßais darba elements.

formas måkonîßi, kas tomér neizvértås negaiså; vai

Vat: Ek, jütas vispår vajag sadalît elementos jeb atomos un aizspert kå tådu futbolbumbu.

Kov: (ar smaidu) Tå, ß˚iet, ir kåda cita spéle.

Vat: Vienalga, parunåjam par kaut ko vienkårßåku.

Kov: Tava kårta izvéléties. * Vat: Gribétu kaut ko vienkårßåku, pieméram, ogles vai govis.

Kåpéc gan tie nevarétu büt interesanti?

Kov: Kådå ziñå interesanti?

Vat: Nu, iedomåjies, ka govs pékßñi atrodas pilsétas centrå

46

arî – kå negaiss mani tomér reiz pårsteidza, kad spécîgs véjß pékßñi såka dükt augstu gaiså, koki såka trakot, lielas lietus låses spéji såka grabét, såka plakß˚inåt pa lapåm...

Kov: Tavas atmiñas par bérnîbu ir kå bilΩu un skañu galerija... * Vat: Jå, skañas; bildes un skañas. Skaña diemΩél daudziem ß˚iet tikai nebütiska piedeva bildei, tå bieΩi ir tikai tåds muzikåls pavadîjums.

Kov: Kå baroka koncerta pavadîjums augstmañu maltîtei, kå

pie... pie operas teåtra ar visåm tåm baltajåm kolonnåm,

domåßanas pavadîjums cilvéka runai, filozofi kådreiz

figüråm un zirgiem uz jumta... – vai ka govs attéls

radîja teorijas, kurås aprakstîts, kå valoda sme¬ savu

ieñem TV kastes ekrånu izståΩu zålé, vai ka...

nozîmi ßajå nerimstoßajå mentålå fona straumé... vai kå

Kov: Tas bütu paradoksåli vai vienkårßi smieklîgi?

viegla, neuzkrîtoßa müzika kådam måkslas darbam, starp

Vat: Zini, pilséta vienmér ir pretstats laukiem. Tåtad, tas bütu

citu, arî kå ikdienas trokßñi – tam, ko tu man saki.

tåds smieklîgs pretstats.

Kov: Jå, pilsétu un laukus nodala laika atß˚irîba. Pilsétas laiks

Vat: Bet man patîk ikdienas trokßñi, tie visi ir valodas: muzikålas melodijas, aprauti sarunu fragmenti, skañas,

nozîmé tås atraßanos pasaules laika zonå, kas parådås

kréslu atbîdîßanas skañas, glåΩu ß˚indéßana. Tå ir îsta

tådos parametros kå informåcijas pieejamîba, jaunåko

valodas müzika.

ziñu, daΩådu materiålo labumu, pieméram, delikateßu,

Kov: Valodas müzika drîzåk ir valodas utopija – jégas müzikas

arhitektüras stilu, dzîvesveida iezîmju izplatîßanås un

utopija, kas nozîmé, ka savå utopiskajå ståvoklî valoda

ienåkßanas åtrums.

atsvabinås, més pat varétu teikt, nodod savu dabu tiktål,

Vat: Jå, bet nepårspîlé, tagad domåju, ka atß˚irîba ir citå; atceros, tu pats man skaitîji ßîs rindiñas: “Ç ‰Â‚Ì ·Ó„ ÊË‚ÂÚ Ì ÔÓ Û„Î‡Ï, Í‡Í ‰Ûχ˛Ú ̇ÒϯÌËÍË, ‡ ‚Ò˛‰Û...”

Kov: Gan vienå, gan otrå gadîjumå tas ir cilvéks, kurß izjüt laiku, dievu vai vienalga ko. Varbüt, dzîvojot pilsétå, viñß

ka pårvérßas par neierobeΩotu skañu audumu, kur tås semantiskais mehånisms zaudé realitåti.

Vat: Lai tå bütu utopija! Iedomåjies, ka lîdzîgi kå ikdienas norißu skaniskie iespaidi ienåk müsu sarunås, tå müsu sacerétås skañas var veidot attélu.

Kov: Tu gribi teikt, ikdienas skañåm iespaidojot valodas

savpatå måkslinieciskå veidå atceras laukus, kur,

nozîmju lauku, rodas jauna jéga, un lîdzîgi müsu radîtå,

iespéjams, pavadîjis bérnîbu.

pieméram, elektroniskå müzika, var noteikt un vadît –

Vat: Arî es atceros laukus – kå iesåkås karsta vasaras diena,

ne vairs tikai pavadît – vizuålo attélu.

*

nu juristu, vai rakstnieku, vai zinåtnieku; gan ar zinåtñu kandidåta, gan arî ar doktora grådu... Bet måkslå ßie

Vat: Esmu noguris. Nobeigumå tu varétu pateikt kaut ko

materiåli un lielie izméri iezîméja intelektuålu protestu;

nozîmîgu, lielu, plaßu. Kas ir måksla? Kas ir Latvijas

tad mainîjås laiki, protests – pret ko gan? – ieguva

laikmetîgå måksla?

ironijas plîvuru, rezignåcijas garßu.

Kov: Lielo ståstu laiks taçu ir beidzies!

Vat: Tad izståsti kådu mazo ståtu.

*

Kov: “Kas ir måksla?” ir slikts jautåjums, bet Latvijas måkslå lielie ståsti – vismaz kå tos kådreiz saprata – patießåm beigußies vai arî nav pat îsti såkußies. Feminisma vai sociåli-politiskås kritikas diskursam piederoßie temati ßeit gandrîz nemaz nav sastopami.

Vat: Par kaut ko taçu måksla runå, vai vismaz – kaut ko taçu tå paråda?

Kov: Reprezentåcija ir tas, par ko måksla runå, bet “paråda” – 47

Vat: “Plîvuru”, “garßu”... Es jau teicu, ka tajå ir kaut kas nepiedienîgs – tas, ko slépjam.

Kov: Nepiedienîgs? Es drîzåk teiktu “intîms”, kas tiek padarîts publisks. Iedomåjies ståstu, kura darbîba notiek kådå gu¬amistabå, bet tå, lai tas bütu redzams no ielas.

Vat: Nocelt måjai sienu nost, tå tu domå?

Kov: Vai projicétu uz nama sienas, fasådes logos, aiz kuriem

tas ir kas netveramåks. Taçu mani ßajå gadîjumå interesé

norosinås müsu ikdienas dzîves skati, kas parasti taçu ir

kas cits – ja skatåmies uz fotogråfiju vai kådas

aizkaru aizsegti.

videokameras fiksétu attélu, tad reprezentétie objekti vairs nepieder lielajiem ståstiem, bet drîzåk gan ir kådas atomåras pasaules elementi. Tie var büt naktî izgaismoti

Vat: Pårsvarå aizsegti – kopß laikiem, kad årzemju “vi©ikus” skatîties naktîs bija aizliegts.

Kov: Varbüt tießi tåpéc, ka müsu ikdienas telpa ir påråk

koki, kåda istaba vai maßîna ar nejaußiem sievietes sejas

piepildîta ar visåm ßîm runåm par sociåli un politiski

atspulgiem aizmugures skata spogulî, kåds nieks uz

aktuåliem tematiem, måkslinieki savus Ωestus publiskajå

tualetes galdiña...

telpå veic kå intîmå, personîgå atklåßanu, parådot to

Vat: Un kas ßiem “elementiem” ir kopîgs, vai tie visi ir kaut kas “mazs”? Varbüt vienkårßi parasti, prasti vai nepiedienîgi?

Kov: Né, kåpéc, paßi darbi varétu büt lieli, pieméram, kå tornis, veidots no...

müsu dzîves aspektu, kas lîdzîgi ikdienas valodas lietojumam ir pamatå citåm – gan vizuålajåm, gan verbålajåm – nozîmém.

Vat: Kas tad paliek påri kå måkslas îpaßå, raksturîgå iezîme? – Ne jau nu savas netîrås ve¬as mazgåßana uz ielas?

Vat: ...malkas pagalém un oglém.

Kov: Un, starp citu, oglém, kurtuvém piemît sava intelektuålå

*

gaisotne...

Vat: Nu, jå – kå kådreiz ståstîja viens tavs intelektuålais

Kov: Påri paliek – mazie ståsti un ironiskås noskañas.

draugs, tas transcendentålais konceptuålists, vai kå viñu

Vat: Pasmînét par visu?

tur. Piesakås darbå katlu måjå, bet sastop...

Kov: Kåpéc tikai pasmînét. Ironija var büt daudzveidîga, pat

Kov: Zinu ßo ståstu. Kådreiz vidéji katlu måjå varéja atrast vai

tåda, kas vispår neietilpst jédzienå “ironija”.

Vat: Lai bütu tå. Es arî varu visu ko iedomåties, atceréties un teikt, ka, nu tajå...

Kov: ...domu telpå?

Vat: Jå, tajå domu telpå it viss ir labåk redzams. Bet vai tas nav tikai iztéles auglis? Kas ßeit ir îstenîba?

Kov: Nezinu, kå lai tev îsti atbild... Laikmetîgå måksla vispår aicina “palükoties uz redzéßanu”, bet pats redzéßanas veids un måkslå redzamais Latvijå, ß˚iet, ir kaut kas tåds trans-cen-den-tåls!

Tekstå izmantotå un pieminétå literatüra å‡ÍÒËÏ ÉÓ¸ÍËÈ. ç‡ ‰ÌÂ// è¸ÂÒ˚. – åÓÒÍ‚‡: ÑÂÚÒ͇fl ÎËÚÂ‡ÚÛ‡, 1975. – C. 122.

Venedikts Jerofejevs. Maskava–Gailîßi. No krievu val. tulk. Uldis Tîrons. – Rîga: Liepnieks & Rîtups, 2007. – 21.–22. lpp. Ernesto Sabato. Tunelis. No spåñu val. tulk.

Edvîns Raups. – Rîga: Valters un Rapa, 2006. – 13. lpp. Ludvigs Vitgenßteins.

Filosofiskie pétîjumi. No våcu val. tulk. Jånis Véjß un Jånis Taurens. – Rîga: Minerva, 1997. Immanuéls Kants. Tîrå pråta kritika. 1. séj. No våcu val. tulk. Atis Rolavs. – 48

Rîga: izdevis A. Rolavs, 1931. – 59. lpp. (B 25). àÚ‡ÎÓ ä‡Î¸‚ËÌÓ. ç‚ˉËÏ˚ „ÓÓ‰‡// á‡ÏÓÍ ÒÍÂÒÚË‚¯ËıÒfl Òۉ·: êÓχÌ˚, ‡ÒÒ͇Á˚. – ëèÅ: ëËÏÔÓÁËÛÏ, 2001. – C. 141–142. ëÂ„ÂÈ Ñӂ·ÚÓ‚. ꘸ ·ÂÁ ÔÓ‚Ó‰‡... ËÎË äÓÎÓÌÍË ‰‡ÍÚÓ‡. – åÓÒÍ‚‡: å‡ı‡ÓÌ, 2006. – ë. 361–362. ëÂ„ÂÈ Ñӂ·ÚÓ‚. äÓÏÔÓÏËÒÒ// ëÓ·‡ÌË ÒÓ˜ËÌÂÌËÈ. í. 1. – ëèÅ: ÄÁ·Û͇-Í·ÒÒË͇, 2007. – ë. 337. ù‰‚‡‰ ãË. äÌË„Ë çÓÌÒÂÌÒ‡. – ëèÅ: êÂÚÓ, 2001. Migels de Unamuno. Migla. No spåñu val. tulk.

Edvîns Raups. – Rîga: Jåña Rozes apg., 2007. – 31. lpp. àÓÒËÙ ÅÓ‰ÒÍËÈ. èÂÂÏÂ̇ ËÏÔÂËË. ëÚËıÓÚ‚ÓÂÌËfl 1960–1996. – åÓÒÍ‚‡: çÂÁ‡‚ËÒËχfl ɇÁÂÚ‡, 2001. – ë. 57. ã‚ íÓÎÒÚÓÈ. ÑÂÚÒÚ‚Ó// ëÓ·‡ÌË ÒÓ˜ËÌÂÌËÈ. í. 1. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1972, – ë. 25. à‚‡Ì íÛ„ÂÌ‚. ÅË˛Í// á‡ÔËÒÍË ÓıÓÚÌË͇. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1984, – ë. 109. êÓÎ‡Ì Å‡Ú. ì‰Ó‚ÓθÒÚ‚Ë ÓÚ ÚÂÍÒÚ‡// àÁ·‡ÌÌ˚ ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒÒ, 1994. – ë. 502. êÓÎ‡Ì Å‡Ú. ÉÛÎ flÁ˚͇// àÁ·‡ÌÌ˚ ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒ, 1994. – ë. 543.

Trans-cend-ent-ly!

J책nis Taurens

B u b n o v: What are you mumbling about?

the transcendental aspect of things (I call transcendental all

S a t i n e: Words... And then there’s – trans-scendental...

cognition that generally deals not so much with objects but

B u b n o v: What’s that?

with the way of cognition of them inasmuch this has to be

S a t i n e: Dunno... I’ve forgotten...

possible a priori) would be preserved mainly in the ironic

(Maxim Gorky – The Lower Depths)

sense – as a description of an overly clever, perhaps even a somewhat reflective approach. Perhaps also – I will use a

I was once travelling on a train when I overheard a

51

favourite example of mine – like the emperor Kublai Khan’s

conversation. One of the participants was stupid-stupid and

known disbelief of the young Venetian Marco Polo’s reports

in a quilted jacket, the other – clever-clever and in an

on invisible cities. However, Marco Polo’s descriptions for the

overcoat. They sit and drink. They have a bite to eat and

emperor contain such fine detail that not even a termite

immediately pour some more drinks. Stupid-stupid takes a

could bite into it – it couldn’t bite into it probably because

drink, clears his throat and says: “Oh! That was good, darn

the cities were invisible. I would like to offer such an

it!” But clever-clever takes a drink and says: “Trans-cend-ent-

“invisible” description of Latvian art, which I shall imagine in

ly!” And in such a ceremonial voice! Stupid-stupid takes a

the form of a dialogue but the participants I will simply call –

bite and says: “The s-snacks we’ve got today – words can’t

Quilted Jacket and Overcoat (Qui and Ove for short); you will

describe it! Snack “I’m asking you please”!.. But clever-clever

recall who was stupid-stupid and who was clever-clever.

chews and says: “Ye-e-s… Trans-cend-ent-ly!”

I sense a certain tension between these two positions,

Of course this does not have to be taken too literally – I remember a conversation in a food shop. A shopper came in

which was not actually present in the given situation. I

wearing a quilted jacket and boots, a typical casual worker,

imagined one to be an artist and the other a critic who

and asked the sales assistant something… He replied in the

comments in his unbearable dialect on such simple things as

usual course way: “Can’t you read?!” The worker was silent

having a snack and a drink. (Perhaps they really could only

and then calmly replied: “I can.” And then added: “In seven

understand each other with the help of a bottle of vodka.)

languages…”

For me this tension that can be sensed between the simple and object describing approach as opposed to the trans-

* * *

cend-ent-al approach reminds me of a musical interval (I imagine that the conversationalists I overheard in the train

Qui: I would like to list the things, events and feelings, all

were stretching their words a little musically.), which when

that I’ve seen and remember from all these exhibitions,

played for as long as you like, allows you to sketch your

openings and conversations in cafés.

thoughts in the invisible space of the imagination.

We often begin games of imagination with the words

Ove: But contemporary art makes uses of the most diverse means of expression, materials and media. And then

imagine… and we draw what we cannot grasp by direct

there are movements and influences. We need a

observation and these only imaginary lines are often more

definite method of analysis in order to find our way in

pronounced than what is actually seen as they emphasise the characteristic marks of the object of thought. Here, however,

this diversity and to arrange it in a logical way.

Qui: I’m interested in facts.

Ove: Doesn’t the way you perceive and remember them change those very facts?

Qui: Did the fact exist? Yes… But a fact is also a fact…

think.

Qui: Yes, letters are cut out from newspapers and used for

When faced with the facts, so to speak… Put simply,

writing anonymous letters. That was so in old detective

when I look at artists’ works, some things speak to me,

films but now there is the net and such like… At one

they seem to be interesting and bring to mind various

time we used to save old newspapers and take bales of

words…

them to the waste paper collection point, now I don’t

Ove: ...notions. But what is the criterion for this interest of yours – simply a subjective feeling?

Qui: How I assess art?– Well, just by looking, gathering experience if you will. And yet, if I say “interesting”,

even read them – there are too many supplements and pictures. The paper is glossy and is not really suitable for the fireplace.

Ove: But letters are letters. They are also valuable because

even though it’s interesting for me, there’s also an

with their help knowledge can be recorded. In their way

element of interest for you. In other words, you can

a symbol of wisdom.

always imagine something and then retell what you’ve

52

Ove: Words, by the way, are not as innocent as you might

Qui: Yes, if you stack the bales of newsprint you get a

seen in your imagination.

ziggurat, a castle of letters of wisdom! But if they get

Ove: Please explain more precisely!

wet they don’t burn very well for the same reason as

Qui: What I’ve seen evokes a word, a feeling. It’s like a song

with the colour pages.

that I don’t really remember and then I try to whistle it to myself in various ways until, lo and behold, I get it!

Ove: We could say that your imagination produces variations

Ove: What are colours anyway – just the specific use of the names of colours just like the rules of grammar. At one time art was the art of colours but now… Perhaps there

that at the same time mark out the possible space of

is some kind of unclear meaning in their selection; for

meanings or, generally speaking, a characteristic feature

example, I have a book of Edward Lear’s limericks. The

of some specific artistic movement, if you agree with

English word “green” is good for rhyming and Lear has

such a designation. But please carry on…

also used it in several verses. I don’t know whether it’s a coincidence or not but the cover is also green. It

*

could be the same thing with the choice of colours in art – if not metaphysical the at least coincidental – in

Qui: You know I don’t like those clever clogs, all those

order to preserve at least the meaning of colours.

different philosophers, those Steins and Gers… And one night I had this dream – cockroaches crawling up the

*

walls! I look closer and each one had some kind of tag with the names of those philosophers! I woke up

Qui: I’d choose some bright colour for all my works. I like

dripping with sweat. I’m now thinking perhaps I’ve seen

happy colours, especially orange. I’m thinking of orange

something like this before. If that were the case then

balloons… As a child I made up various words with this

I’d say – interesting albeit horrible…

colour for example, “Orangifier”. I also remember a

song, only the first few lines, mind: “Orange mothers,

of some hero from an action movie or an ice hockey

orange fathers, orange children are singing orangely…”

player who was moving towards me and I felt as if was in a large cinema.

Ove: I know the one. A friend of mine called it the first work of Soviet Dadaism.

Ove: Graffiti tends to differ but usually you don’t find it in streets full of people…

Qui: Yes, yes. It means taking something and doing the opposite of what your supposed to do with it. Turning a

Qui: But you can imagine it as a small, unobtrusive stencil with which you can spray on a wall or anywhere else.

glove or something else inside out, a boat for example!

Every depiction records a moment of movement of

Ove: How do you turn a boat inside out? What would it look

some walking image. These form a series of prints

like?

along the route you tend to walk, which some witty

Qui: Well, take a boat and paint it the wrong way round.

person has prepared specially for you. That’s just as

(Paint the inside as if was the outside and vice versa.) I

ingenious and easy as your Dadaists.

can imagine Dadaist architecture – it would be fluffy, very jolly and lovely.

Ove: I know you like lightness or to be more precise, superficiality. I’d say in your approach to life too.

Ove: I could imagine a model of a small building from soft,

However, I wanted to talk about more serious things.

fluffy material but a whole street?

53

* Qui: Would I like a fluffy street? I’m not sure. Generally I like going out to wander the streets when there are others around me with their feelings and moods…

Ove: Yes, it’s like going through a mesh criss-crossed by looks of jealousy and desire, scorn and sympathy, love and hate; where the former framework of words spoken

* Qui: About drinking? Or maybe about the weather or death?

And why not, go for it!

Ove: You can laugh but thinking about time and death, I recall the resigned Dutch still lifes, the emotional seriousness of the string quartet Quatuor pour la fin du Temps…

resides and where thoughts and longings are

Qui: ...and reverence for the volumes of Proust.

interwoven in a secretive fabric that embraces the souls

Ove: I don’t think you can have any serious interest in art.

of the passers-by. The street could be called a space of

However, I don’t wish to be too critical – why not

poetic meaning or a place of wandering for the man in

behave completely opposite to seriousness, discard the

the crowd; I shan’t mention all those simulacra that we

solemnity and turn these philosophical notions into the

strive to ignore and which fill the field of our visual

flippancy of opera props that, like a melodic gesture to

perception…

the dying heroes of a musical drama stabbed with

Qui: I don’t know anything about simulacra but imagine this.

Once I saw an interesting stencil. It was like a series of graffiti, which I saw every now and then walking along my daily route. When I remember it, the impression was

cardboard swords, are always allowed to sing another beautiful aria before their death.

Qui: I haven’t been to the opera but you can’t hope to find anything serious there.

Ove: We could even say that in this way we are able to

*

change the stabilising meaning of symbols.

Qui: As a child I learned to overcome my fear of the dark in a similar sort of way...

Ove: Yes and then the dark will no longer be a menacing symbol heralding death but an invitation to a game.

Qui: I’d like something simpler like, for example, coal or cows. Why can’t they be interesting?

Ove: In what way interesting?

Qui: Well, imagine a cow has suddenly appeared in the city centre… by the opera with all those white columns,

*

figures and horses on the roof… or if the image of a cow occupies the screen of a TV in an exhibition hall, or

Qui: A game with one’s feelings, death for example?

Ove: Would that be paradoxical or just ridiculous?

Qui: That’s true. They can even be played in exhibition halls.

Qui: You know, the city is always the opposite of the

I remember when I started going to school my aunt would drag me with her to various exhibitions of

54

that…

Ove: Games tend to come in all sorts of shapes and sizes.

countryside. So it would be a ridiculous juxtaposition.

Ove: Yes, the city and countryside are divided by the

paintings. I would play by moving towards a painting in

difference in time. City time means it is in the world

a zigzag fashion until I could read the title and then

time zone, which is manifested in such parameters as

back again until I found the most suitable spot for

the access to information, the latest news and various

viewing. I have to say that after a while I got fed up

material benefits for example, the distribution and

with reading the titles (I could also recognise a great

speed of the appearance of the signs of fine foods,

many of the painters).

Ove: But there are also good titles of artworks. If we are

architectural styles and lifestyles.

Qui: Yes but we shouldn’t exaggerate; I now think the

talking about the past, several years ago (it was about

difference lies in something else. I remember you

the beginning of the 1990s) one of our homegrown

yourself once quoted these lines: “In the countryside

philosophers was laughing about the title “Feelings”,

God doesn’t live in corners as the scoffers would have it

which had been given to a work that, if I remember

but everywhere…”

correctly, consisted of metal spheres and a glass surface

Ove: In both cases it is the person that senses time, God or

resting on them. At the time I thought this notion

anything else. Perhaps living in the city and in his own

worked very well as the third element of the work.

inimitable artistic way, he remembers the countryside

Qui: Ah, feelings anyway should be split into elements or atoms and booted away like some football.

where he may have spent his childhood.

Qui: I also remember the countryside; how a hot summer’s

Ove: [smiling] That, I think, is a different game.

day started out when in the morning, small white

Qui: Whatever, let’s talk about something simpler.

strangely shaped clouds would appear on the horizon

Ove: Your turn to choose.

but they did not develop into a thunderstorm; or once when a thunderstorm took me by surprise – a powerful wind suddenly began to blow cold air, trees began to

go mad, rain drops began rattling loudly and splashing

created, we can determine and manage – no longer

on the leaves…

merely accompany – the visual image.

Ove: Your childhood memories are like a gallery of pictures and sounds. *

* Qui: I’m tired. To end you could say something meaningful, great and expansive. What is art? What is Latvian

Qui: Yes, sounds; pictures and sounds. Unfortunately, many

Ove: But the age of great stories is over!

the picture; it’s often only a kind of musical

Qui: Then tell me some small story.

accompaniment.

Ove: “What is art?” is a bad question but the great stories

Ove: Like the accompaniment of a baroque concert to a

in Latvian art – at least how they were once under-

nobles’ meal, like the accompaniment of thinking to

stood – really have ended or haven’t really begun. You

people’s speech (at one time philosophers came up with

would be hard pushed to come across themes belong-

theories that describe how language draws its meaning

ing to the discourse on feminism or socio-political

in this perpetual mental background stream)… or like 55

contemporary art?

people think that sound is only a minor supplement to

the light, unobtrusive music for an artwork and, by the way, also like the everyday noises accompanying what you are saying to me.

Qui: But I like everyday noises, they are all languages:

critique.

Qui: But art is speaking about something, or at least it shows something?

Ove: Representation is what art speaks about but what it “shows”, that is something more intangible. However,

musical melodies, curtailed fragments of conversation,

in this case I’m interested in something else; if we look

the sound of a chair being moved, the clink of glasses.

at a photograph or an image recorded by a video

This is real music of language.

camera, the objects represented no longer belong to the

Ove: The music of language is rather the utopia of language –

great stories but are rather elements of some atomised

the utopia of the language of meaning, which means

world. They could be trees lit up at night, a room or car

that in its utopian state, language becomes liberated;

with the accidental reflection of a woman’s face in the

we could even say that it surrenders its nature so far

rear view mirror, some trinket on a dressing table…

that it transforms into an unlimited fabric of sound where its semantic mechanism loses its reality.

Qui: Let it be utopia! Imagine that just as the acoustic impressions of everyday events come into our conversation, so the sounds we compose can create an image.

Ove: You wish to say that as everyday sounds influence language’s field of meanings, a new sense is formed.

And, like, for example, the electronic music we have

Qui: And what do these “elements” have in common, are they all something “small”? Perhaps they’re simply ordinary, course or improper?

Ove: No, why? The works themselves may be large such as towers made of…

Qui: ...firewood.

Ove: And coal by the way. Boiler rooms have their own intellectual atmosphere...

Qui: Well yes – as one of your intellectual friends once said,

*

that transcendental conceptualist or whatever you call him. He went for a job in a boiler house but met...

Ove: I know that story. At one time on average in a boiler house you could find either a lawyer, or a writer or a scientist; with a candidate of sciences degree or a doctorate. But in art these materials and large dimensions signified an intellectual protest; then the

Ove: What’s left are the small stories and ironic intonations.

Qui: Taking a smirk at everything??

Ove: Why just smirking? Irony takes many forms. It can even be such that it doesn’t fit into the sense of “irony”.

Qui: So be it. I can also imagine all sorts of things, remember and say, well in that…

times changed and protest, protest against what? It has

Ove: ...space of thoughts?

taken on the shroud of irony, a hint of resignation.

Qui: Yes, in that space of thoughts everything is more visible. But isn’t that just a fruit of the imagination?

*

What is real here?

Ove: I don’t really know how to answer you… Contemporary

Qui: “Shroud”, “hint”... I already said there was something improper there, that which we are hiding Ove: Improper? I’d prefer to say something “intimate” that is 56

art in general is an invitation “to take a look at seeing” but the way of seeing itself and what can be seen in Latvian art seems to be something trans-cend-en-tal!

made public. Imagine a story where the action takes place in a bedroom but in such a way that it can be

Literary sources mentioned and used in the text

seen from the street.

Qui: Removing a wall from a house you mean?

å‡ÍÒËÏ ÉÓ¸ÍËÈ. ç‡ ‰ÌÂ// è¸ÂÒ˚. – åÓÒÍ‚‡: ÑÂÚÒ͇fl ÎËÚÂ‡ÚÛ‡, 1975. – C. 122.

Ove: Or projecting stories from our everyday life normally

– C. 46. Ernesto Sabato. Tunelis. No spåñu val. tulk. Edvîns Raups. – Rîga: Valters un

hidden behind curtains onto the wall of a building or the façade windows.

Qui: Mainly hidden – since the days when it was forbidden to watch foreign videos at night.

Ove: Perhaps exactly for the reason that our everyday space is so full of all this talk about socially and politically topical subjects artists make their gestures in the

ÇẨËÍÚ ÖÓÙ‚. åÓÒÍ‚‡-èÂÚÛ¯ÍË// éÒÚ‡‚Ú ÏÓ˛ ‰Û¯Û ‚ ÔÓÍÓÂ. – åÓÒÍ‚‡: ï.É.ë.

Rapa, 2006. – 13. lpp. Ludvig Wittgenstein. Philosophische Untersuchungen/ Philosophical Investigations. – Oxford: Basil Blackwell, 1963 [1953]. Immanuel Kant.

Kritik der reinen Vernunft. – Hamburg: Felix Meiner Verlag, 1976. (B 25). àÚ‡ÎÓ ä‡Î¸‚ËÌÓ. ç‚ˉËÏ˚ „ÓÓ‰‡// á‡ÏÓÍ ÒÍÂÒÚË‚¯ËıÒfl Òۉ·: êÓχÌ˚, ‡ÒÒ͇Á˚. – ëèÅ: ëÏÔÓÁËÛÏ, 2001. – C. 141–142. ëÂ„ÂÈ Ñӂ·ÚÓ‚. ꘸ ·ÂÁ ÔÓ‚Ó‰‡... ËÎË äÓÎÓÌÍË ‰‡ÍÚÓ‡. – åÓÒÍ‚‡: å‡ı‡ÓÌ, 2006. – ë. 361–362. ëÂ„ÂÈ Ñӂ·ÚÓ‚. äÓÏÔÓÏËÒÒ// ëÓ·‡ÌË ÒÓ˜ËÌÂÌËÈ. í. 1. – ëèÅ: ÄÁ·Û͇-Í·ÒÒË͇, 2007. – ë. 337. ù‰‚‡‰ ãË. äÌË„Ë çÓÌÒÂÌÒ‡. – ëèÅ: êÂÚÓ, 2001. Migels de Unamuno. Migla. No spåñu val. tulk. Edvîns Raups. – Rîga: Jåña Rozes apg., 2007. – 31. lpp. àÓÒËÙ ÅÓ‰ÒÍËÈ. èÂÂÏÂ̇ ËÏÔÂËË. ëÚËıÓÚ‚ÓÂÌËfl 1960–1996. – åÓÒÍ‚‡:

public space as an intimate, personal revelation

çÂÁ‡‚ËÒËχfl ɇÁÂÚ‡, 2001. – ë. 57. ã‚ çËÍÓ·‚˘ íÓÎÒÚÓÈ. ÑÂÚÒÚ‚Ó// ëÓ·‡ÌËÂ

showing that aspect of our lives that, like the usage of

ÒÓ˜ËÌÂÌËÈ. í. 1. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1972, – ë. 25. à‚‡Ì

everyday language, is based on other meanings, both

ÎËÚÂ‡ÚÛ‡, 1984, – ë. 109. êÓÎ‡Ì Å‡Ú. ì‰Ó‚ÓθÒÚ‚Ë ÓÚ ÚÂÍÒÚ‡// àÁ·‡ÌÌ˚Â

visual and verbal.

Qui: What then is left as the special, characteristic feature of art? Surely not washing one’s dirty laundry in the street?

ëÂ„‚˘ íÛ„ÂÌ‚. ÅË˛Í// á‡ÔËÒÍË ÓıÓÚÌË͇. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒÒ, 1994. – ë. 502. êÓÎ‡Ì Å‡Ú. ÉÛÎ flÁ˚͇// àÁ·‡ÌÌ˚ ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒÒ, 1994. – ë. 543.

í‡ÌÒ-ˆÂÌ-‰ÂÌ-ڇθÌÓ! üÌËÒ í‡ÛÂÌÒ

Å Û · Ì Ó ‚. í˚ ˜Â„Ó ·ÓÏӘ¯¸?

Ò‡ÏÓÏ ‰ÂÎÂ. í‡ÌÒˆẨÂÌڇθÌ˚È ‡ÒÔÂÍÚ ‚¢ÂÈ (fl ̇Á˚-

ë ‡ Ú Ë Ì. ëÎÓ‚‡... Ä ÚÓ Â˘fi ÂÒÚ¸ – Ú‡ÌÒ-҈‰ÂÌڇθÌ˚È...

‚‡˛ Ú‡ÌÒˆẨÂÌڇθÌ˚Ï ‚ÒflÍÓ ÔÓÁ̇ÌËÂ, Á‡ÌËχ˛-

Å Û · Ì Ó ‚. ùÚÓ ˜ÚÓ?

˘ÂÂÒfl Ì ÒÚÓθÍÓ Ô‰ÏÂÚ‡ÏË, ÒÍÓθÍÓ ‚ˉ‡ÏË Ì‡¯Â„Ó

ë ‡ Ú Ë Ì. ç Á̇˛... Á‡·˚Î...

ÔÓÁ̇ÌËfl Ô‰ÏÂÚÓ‚, ÔÓÒÍÓθÍÛ ˝ÚÓ ÔÓÁ̇ÌË ‰ÓÎÊÌÓ

å‡ÍÒËÏ ÉÓ¸ÍËÈ. ç‡ ‰ÌÂ

·˚Ú¸ ‚ÓÁÏÓÊÌ˚Ï a priori) Á‰ÂÒ¸ Á‚Û˜ËÚ ‚ ÓÒÌÓ‚ÌÓÏ ËÓÌ˘ÂÒÍË – Í‡Í Ó·ÓÁ̇˜ÂÌË Á‡ÛÏÌÓ„Ó,‚ÓÁÏÓÊÌÓ,

59

é‰Ì‡Ê‰˚ ‚ ÔÓÂÁ‰Â fl ÛÒÎ˚¯‡Î Ó‰ËÌ ‡Á„Ó‚Ó. é‰ËÌ ËÁ

ÌÂÏÌÓ„Ó ÂÙÎÂÍÚËÛ˛˘Â„Ó ÓÚÌÓ¯ÂÌËfl. åÓÊÂÚ, Ú‡ÍÊ –

Û˜‡ÒÚÌËÍÓ‚ ‡Á„Ó‚Ó‡ ·˚Î Ú‡ÍÓÈ ÚÛÔÓÈ-ÚÛÔÓÈ Ë ‚

ÛÔÓÏflÌÛ ÏÓÈ ËÁβ·ÎÂÌÌ˚È ÔËÏÂ – ˝ÚÓ ÔÓıÓÊ ̇

ÚÂÎÓ„ÂÈÍÂ, ‚ÚÓÓÈ – Ú‡ÍÓÈ ÛÏÌ˚È-ÛÏÌ˚È Ë ‚ ÍÓ‚Â-

ËÁ‚ÂÒÚÌÓ Ì‚ÂË ËÏÔÂ‡ÚÓ‡ ä۷·È-ı‡Ì‡ ÒÓÓ·˘ÂÌËflÏ

ÍÓÚÓ‚ÓÏ Ô‡Î¸ÚÓ. éÌË ÒˉflÚ, ̇ÎË‚‡˛Ú Ë Ô¸˛Ú. íÛÔÓÈ-

ÏÓÎÓ‰Ó„Ó ‚Â̈ˇ̈‡ å‡ÍÓ èÓÎÓ Ó Ì‚ˉËÏ˚ı

ÚÛÔÓÈ ‚˚Ô¸ÂÚ, ÍflÍÌÂÚ Ë „Ó‚ÓËÚ: “Ä! ïÓÓ¯Ó Ôӯ·,

„ÓÓ‰‡ı. é‰Ì‡ÍÓ ‚ ÓÔËÒ‡ÌËflı å‡ÍÓ èÓÎÓ ‰Îfl ËÏÔÂ‡-

ÍÛ‚‡!” Ä ÛÏÌ˚È-ÛÏÌ˚È ‚˚Ô¸ÂÚ Ë „Ó‚ÓËÚ: “í‡ÌÒ-ˆÂÌ-

ÚÓ‡ ÔÓfl‚ÎflÂÚÒfl ÙËÎË„‡Ì¸ ÒÚÓθ ÚÓÌÍÓ„Ó ËÒÛÌ͇, ˜ÚÓ

‰ÂÌ-ڇθÌÓ!” à Ú‡ÍËÏ Ô‡Á‰Ì˘Ì˚Ï „ÓÎÓÒÓÏ! íÛÔÓÈ-

Â„Ó Ì ÒÏÓ„ ·˚ ÛÍÛÒËÚ¸ ÚÂÏËÚ – Ì ÒÏÓ„ ·˚ ÛÍÛÒËÚ¸,

ÚÛÔÓÈ Á‡ÍÛÒ˚‚‡ÂÚ Ë „Ó‚ÓËÚ: “á‡ÍÛ-ÛÒ͇ Û Ì‡Ò Ò„ӉÌfl –

‚ÂÓflÚÌÓ, ÔÓÚÓÏÛ, ˜ÚÓ „ÓÓ‰‡ Ì‚ˉËÏ˚. ü ıÓ˜Û

·ÎÂÒÍ! á‡ÍÛÒ͇ ÚËÔ‡ “fl ‚‡Ò ÛÏÓÎfl˛”.” Ä ÛÏÌ˚È-ÛÏÌ˚È

Ô‰ÒÚ‡‚ËÚ¸ Ú‡ÍÓÈ Ó·ÁÓ “Ì‚ˉËÏÓ„Ó” ‚ ·Ú˚¯ÒÍÓÏ

ÊÛÂÚ Ë „Ó‚ÓËÚ: “Ñ-‡-‡-‡... í‡ÌÒ-ˆÂÌ-‰ÂÌ-ڇθÌÓ!..”

ËÒÍÛÒÒÚ‚Â, Ë ÔÓ͇ÊÛ Â„Ó ‚ ÙÓÏ ‰Ë‡ÎÓ„‡, ‡ Û˜‡ÒÚÌËÍÓ‚

ü ÔÓ˜Û‚ÒÚ‚Ó‚‡Î ÓÔ‰ÂÎÂÌÌÓ ̇ÔflÊÂÌË ÏÂʉÛ

Â„Ó Ì‡ÁÓ‚Û ÔÓÒÚÓ – íÂÎÓ„ÂÈ͇ Ë äÓ‚ÂÍÓÚÓ‚Ó ԇθÚÓ

˝ÚËÏË ‰‚ÛÏfl ÔÓÁˈËflÏË, ÍÓÚÓÓ„Ó, Ӊ̇ÍÓ, Ì ·˚ÎÓ ‚

(ÒÓÍ‡˘ÂÌÌÓ– íÂÎ Ë äÓ‚), ‚˚ ‚ÒÔÓÏÌËÚÂ, ÍÚÓ Ú‡ÍÓÈ ÚÛÔÓÈ-

‰‡ÌÌÓÈ ÒËÚÛ‡ˆËË. ü Ô‰ÒÚ‡‚ËÎ Ò·Â, ˜ÚÓ Ó‰ËÌ ËÁ ÌËı

ÚÛÔÓÈ, ‡ ÍÚÓ – ÛÏÌ˚È-ÛÏÌ˚È.

ıÛ‰ÓÊÌËÍ, ‡ ‰Û„ÓÈ – ÍËÚËÍ, ÍÓÚÓ˚ ‰‡ÊÂ Ó Ú‡ÍËı

äÓ̘ÌÓ, Ò͇Á‡ÌÌÓ ÌÂθÁfl ÔÓÌËχڸ ÒÎ˯ÍÓÏ

ÔÓÒÚ˚ı ‚¢‡ı, Í‡Í ‚˚Ô˂͇ Ë Á‡ÍÛÒ͇, ËÁ˙flÒÌfl˛ÚÒfl ̇

·ÛÍ‚‡Î¸ÌÓ – ÔÓÏÌ˛ Ó‰ËÌ ‡Á„Ó‚Ó ‚ „‡ÒÚÓÌÓÏÂ.

Ò‚ÓfiÏ Ì‚ÓÁÏÓÊÌÓÏ ‰Ë‡ÎÂÍÚÂ. (ÇÓÁÏÓÊÌÓ, ÓÌË ÔÓÌË-

ᇯfiÎ ÔÓÍÛÔ‡ÚÂθ ‚ ÚÂÎÓ„ÂÈÍÂ Ë Ò‡ÔÓ„‡ı. íËÔ˘Ì˚È

χ˛Ú ‰Û„ ‰Û„‡ ÚÓθÍÓ ÔË ÔÓÏÓ˘Ë ·ÛÚ˚ÎÍË ‚Ó‰ÍË.)

‡ÁÌÓ‡·Ó˜ËÈ. óÚÓ-ÚÓ ÒÔÓÒËÎ Û ÔÓ‰‡‚ˆ‡... èÓ‰‡‚ˆ

åÌ ˝ÚÓ Ì‡ÔflÊÂÌË ÏÂÊ‰Û ‰‚ÛÏfl ÓÚÌÓ¯ÂÌËflÏË: ÔÓÒ-

‡„ËÓ‚‡Î Ò Ó·˚˜ÌÓÈ „Û·ÓÒÚ¸˛: ”óËÚ‡Ú¸ Ûϯ¸?!”

Ú˚Ï, ÓÔËÒ˚‚‡˛˘ËÏ Ô‰ÏÂÚ˚ Ë Ú‡ÌÒ-ˆÂÌ-‰ÂÌ-ڇθÌ˚Ï,

ê‡ÁÌÓ‡·Ó˜ËÈ ÔÓÏÓΘ‡Î. á‡ÚÂÏ ÓÚ‚ÂÚËÎ ÒÔÓÍÓÈÌÓ:

‚ˉËÚÒfl ÏÛÁ˚͇θÌ˚Ï ËÌÚÂ‚‡ÎÓÏ – fl Ô‰ÒÚ‡‚Îfl˛, ͇Í

“ìϲ.” à ‰Ó·‡‚ËÎ: “ç‡ ÒÂÏË flÁ˚͇ı...”

Û˜‡ÒÚÌËÍË ÛÒÎ˚¯‡ÌÌÓ„Ó ‚ ÔÓÂÁ‰Â ‡Á„Ó‚Ó‡ ‡ÒÚfl„Ë‚‡˛Ú ÒÎÓ‚‡ ÌÂÏÌÓ„Ó ÏÛÁ˚͇θÌÓ –, Ë ÓÌ ÏÓÊÂÚ Á‚Û˜‡Ú¸ ÒÍÓθ

***

Û„Ó‰ÌÓ ‰Ó΄Ó, ‰‡‚‡fl ‚ÓÁÏÓÊÌÓÒÚ¸ ‰Â·ڸ ̇·ÓÒÍË Ò‚ÓËı Ï˚ÒÎÂÈ ‚ ÌÂÁËÏÓÏ ÔÓÒÚ‡ÌÒÚ‚Â ‚ÓÓ·‡ÊÂÌËfl. à„Û ‚ÓÓ·‡ÊÂÌËfl Ï˚ ˜‡ÒÚÓ Ì‡˜Ë̇ÂÏ ÒÎÓ‚‡ÏË Ô‰ÒÚ‡‚¸ Ò·Â... Ë ËÒÛÂÏ ‚ ÌfiÏ ÚÓ, ˜ÚÓ Ì‰ÓÒÚÛÔÌÓ ÔflÏÓÏÛ ‚ÓÒÔËflÚ˲, ÌÓ ˝ÚË Î˯¸ ‚˚‰ÛχÌÌ˚ ÎËÌËË ˜‡ÒÚÓ

íÂÎ: ü ıÓ˜Û ÔÂ˜ËÒÎËÚ¸ ‚¢Ë, ÒÓ·˚ÚËfl, Ó˘Û˘ÂÌËfl – ÚÓ, ˜ÚÓ ‚ˉÂÎ Ë ÔÓÏÌ˛ ÔÓÒΠ‚ÒÂı ˝ÚËı ‚˚ÒÚ‡‚ÓÍ, ÓÚÍ˚ÚËÈ Ë ‡Á„Ó‚ÓÓ‚ ‚ ͇ÙÂ. äÓ‚: çÓ ‚ ÒÓ‚ÂÏÂÌÌÓÏ ËÒÍÛÒÒÚ‚Â ËÒÔÓθÁÛ˛ÚÒfl Ò‡Ï˚Â

·˚‚‡˛Ú ‚˚‡ÁËÚÂθÌÂÂ, fl˜Â ‚˚҂˜˂‡fl ı‡‡ÍÚÂÌ˚Â

‡ÁÌ˚ ÒÔÓÒÓ·˚ ‚˚‡ÊÂÌËfl, χÚÂˇÎ˚ Ë Ï‡ÒÒ-

˜ÂÚ˚ Á‡‰ÛχÌÌÓ„Ó Ô‰ÏÂÚ‡, ˜ÂÏ ‚ÓÒÔËÌflÚÓ„Ó Ì‡

ωˇ. à ¢fi – ̇Ô‡‚ÎÂÌËfl, ‚ÎËflÌËfl. çÛÊ̇

ÓÔ‰ÂÎfiÌ̇fl ÏÂÚÓ‰Ë͇ ‡Ì‡ÎËÁ‡, ˜ÚÓ·˚ ÓËÂÌÚË-

Ú‡‡Í‡Ì˚ ÔÓ ÒÚÂÌ ·Â„ÛÚ! èË„Îfl‰ÂÎÒfl – Û Í‡Ê‰Ó„Ó

Ó‚‡Ú¸Òfl ‚ ˝ÚÓÏ ‡ÁÌÓÓ·‡ÁËË Ë Îӄ˘ÂÒÍË Â„Ó

˜ÚÓ-ÚÓ ‚Ӊ ·ËÍË ËÎË ˜Â„Ó, ‡ ̇ ÌËı – ˝ÚËı

ÒÚÛÍÚÛËÓ‚‡Ú¸.

ÙËÎÓÒÓÙÓ‚ ËÏÂ̇! èÓÒÌÛÎÒfl ‚ÂÒ¸ ‚ ıÓÎÓ‰ÌÓÏ

íÂÎ: åÂÌfl ËÌÚÂÂÒÛ˛Ú Ù‡ÍÚ˚.

ÔÓÚÛ. íÂÔÂ¸ ‰Ûχ˛, ÏÓÊÂÚ, ̇ ͇ÍÓÈ ‚˚ÒÚ‡‚Í ˜ÚÓ-

äÓ‚: ê‡Á‚ ÚÓ, Í‡Í Ú˚ Ëı Ó˘Û˘‡Â¯¸ Ë ÔÓÏÌ˯¸, ÌÂ

ÚÓ Ú‡ÍÓ ‚ˉÂÎ. ÖÒÎË Ú‡Í, Ò͇Á‡Î ·˚ – ËÌÚÂÂÒÌÓ,

ÏÂÌflÂÚ Ò‡ÏË Ù‡ÍÚ˚? íÂÎ: î‡ÍÚ ·˚Î? Å˚Î... Ä Ù‡ÍÚ – ÓÌ Ë ÂÒÚ¸ Ù‡ÍÚ... èÂ‰ Ù‡ÍÚÓÏ, Í‡Í „Ó‚ÓËÚÒfl, ÚÓ„Ó...èӢ „Ó‚Ófl, ÍÓ„‰‡

íÂÎ: ч, ‚˚ÂÁ‡ÌÌ˚ ËÁ „‡ÁÂÚ ·ÛÍ‚˚ ËÒÔÓθÁÛ˛Ú ‰Îfl

fl ÒÏÓÚ˛ ̇ ‡·ÓÚ˚ ıÛ‰ÓÊÌËÍÓ‚, ͇ÍËÂ-ÚÓ ‚¢Ë

‡ÌÓÌËÏÌ˚ı ÔËÒÂÏ – ıÓÚfl ˝ÚÓ ·˚ÎÓ ÚÓθÍÓ ‚ ÒÚ‡˚ı

ÏÂÌfl Á‡‰Â‚‡˛Ú, ͇ÊÛÚÒfl ËÌÚÂÂÒÌ˚ÏË, ‚˚Á˚‚‡˛Ú

‰ÂÚÂÍÚË‚Ì˚ı ÙËθχı, ÚÂÔÂ¸ ËÌÚÂÌÂÚ Ë ‚Òfi

‚ Ô‡ÏflÚË ‡ÁÌ˚ ÒÎÓ‚‡ ...

Ú‡ÍÓÂ... ÍÓ„‰‡-ÚÓ „‡ÁÂÚ˚ ı‡ÌËÎË, ÒÍ·‰˚‚‡ÎË

äÓ‚: ... ÔÓÌflÚËfl. çÓ Í‡ÍÓ‚ ÍËÚÂËÈ Ú‚ÓÂ„Ó ËÌÚÂÂÒ‡ – ÚÓθÍÓ ÒÛ·˙ÂÍÚË‚ÌÓÂ Ó˘Û˘ÂÌËÂ? íÂÎ: ä‡Í fl ÓˆÂÌË‚‡˛ ËÒÍÛÒÒÚ‚Ó? – çÛ, ÚÓθÍÓ ÒÏÓÚ˛, ͇̇ÔÎË‚‡˛ ÓÔ˚Ú, Ú‡Í Ò͇Á‡Ú¸. à, Ӊ̇ÍÓ, ÂÒÎË fl „Ó‚Ó˛ “ËÌÚÂÂÒÌ˚È” – ‰‡Ê ÚÓθÍÓ ÏÌ ËÌÚÂÂÒ60

ıÓÚfl Ë ÔÓÚË‚ÌÓ... äÓ‚: ëÎÓ‚‡, ÏÂÊ‰Û ÔÓ˜ËÏ, Ì ÒÚÓθ ÛÊ Ì‚ËÌÌ˚.

ÍËÔ‡ÏË Ë Ò‰‡‚‡ÎË ‚ χÍÛ·ÚÛÛ, ÚÂÔÂ¸ fl Ëı ‰‡Ê Ì ˜ËÚ‡˛ – ÒÎ˯ÍÓÏ ÏÌÓ„Ó ‚ÒflÍËı ÔËÎÓÊÂÌËÈ, ͇ÚËÌÓÍ, ·Ûχ„‡ ·ÎÂÒÚfl˘‡fl –̇ ‡ÒÚÓÔÍÛ Ô˜ÍË Ì ӘÂ̸-ÚÓ „Ó‰ËÚÒfl. äÓ‚: çÛ, ·ÛÍ‚˚ ÓÒÚ‡˛ÚÒfl ·ÛÍ‚‡ÏË. Ç ˝ÚÓÏ-ÚÓ Ë Á‡Íβ-

Ì˚È, ËÏÂÂÚ ÔË‚ÍÛÒ ËÌÚÂÂÒÌÓ„Ó Ë Ú·Â. àÌ˚ÏË

˜‡ÂÚÒfl Ëı ˆÂÌÌÓÒÚ¸, ˜ÚÓ Ò Ëı ÔÓÏÓ˘¸˛ ÏÓÊÌÓ

ÒÎÓ‚‡ÏË – ‚Ò„‰‡ Ê ÏÓÊÌÓ ˜ÚÓ-ÚÓ Ô‰ÒÚ‡‚ËÚ¸ Ë

ÙËÍÒËÓ‚‡Ú¸ Á̇ÌËfl. ùÚÓ Ò‚ÓÂ„Ó Ó‰‡ ÒËÏ‚ÓÎ

ÓÔËÒ‡Ú¸ ÚÓ, ˜ÚÓ ‚ˉÂÎ ‚ Ò‚ÓfiÏ ‚ÓÓ·‡ÊÂÌËË.

ÏÛ‰ÓÒÚË.

äÓ‚: é·˙flÒÌË, ÔÓʇÎÛÈÒÚ‡, ÚÓ˜ÌÂÂ! íÂÎ: ì‚ˉÂÌÌÓ ‚˚Á˚‚‡ÂÚ ‚Ó ÏÌ ͇ÍÓÂ-ÚÓ ÒÎÓ‚Ó,

íÂÎ: ч, ÒÓ·‡Ú¸ ÍËÔ˚ ÒÚ‡˚ı „‡ÁÂÚ ‚ Ú‡ÍÛ˛ ÍÛ˜Û – ‡ÍÍÛ‡Ú ÁËÍÍÛ‡Ú ÔÓÎÛ˜ËÚ¸Òfl, Á‡ÏÓÍ ·ÛÍ‚ ÏÛ‰ÓÒÚË!

Ó˘Û˘ÂÌË – ˝ÚÓ Í‡Í ÔÂÒÌfl, ÍÓÚÓÛ˛ Ì ÏÓ„Û ÚÓ˜ÌÓ

Ä ÂÒÎË Á‡ÈÏÂÚÒfl, ÚÓ „ÓËÚ ÔÎÓıÓ – Ú‡ÍÊÂ Í‡Í ËÁ-Á‡

‚ÒÔÓÏÌËÚ¸, Ë Ì‡˜Ë̇˛ ̇҂ËÒÚ˚‚‡Ú¸ ̇ ‡Á΢Ì˚Â

ˆ‚ÂÚÌ˚ı ͇ÚËÌÓÍ.

·‰˚, ÔÓ͇, ÓÔ, Ë ‚ÒÔÓÏÌË·Ҹ! äÓ‚: åÓÊÌÓ Ò͇Á‡Ú¸, ˜ÚÓ Ú‚Ófi ‚ÓÓ·‡ÊÂÌË Ô‰·„‡ÂÚ

äÓ‚: óÚÓ ‚ÓÓ·˘Â ÂÒÚ¸ ˆ‚ÂÚ‡ – ÚÓθÍÓ ÓÔ‰ÂÎfiÌÌÓ ËÒÔÓθÁÓ‚‡ÌË ̇Á‚‡ÌËÈ ˆ‚ÂÚÓ‚ „‡ÏχÚ˘ÂÒÍËı

‚‡ˇˆËË, ÍÓÚÓ˚ ӉÌÓ‚ÂÏÂÌÌÓ Ó·ËÒÓ‚˚‚‡˛Ú

Ô‡‚ËÎ. äÓ„‰‡-ÚÓ ËÒÍÛÒÒÚ‚Ó ·˚ÎÓ ËÒÍÛÒÒÚ‚Ó ˆ‚ÂÚ‡, ‡

ÔÓÒÚ‡ÌÒÚ‚Ó ‚ÓÁÏÓÊÌ˚ı Á̇˜ÂÌËÈ ËÎË Ó·Ó·˘ÂÌÌÓ –

ÒÂȘ‡Ò... åÓÊÂÚ, ‚ Ëı ‚˚·Ó ÂÒÚ¸ ÌÂÍÓÂ

͇ÍÛ˛-ÚÓ ı‡‡ÍÚÂÌÛ˛ ˜ÂÚÛ, ÂÒÎË Òӄ·ÒËÚ¸Òfl Ò

ÌÂÓÔ‰ÂÎfiÌÌÓ Á̇˜ÂÌËÂ, ̇ÔËÏÂ, Û ÏÂÌfl ÂÒÚ¸

˝ÚËÏ ÓÔ‰ÂÎÂÌËÂÏ, ÌÂÍÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ

ÍÌËÊˈ‡ ÎËÏÂËÍ ù‰‚‡‰‡ ãË‡ – ‚ ‡Ì„ÎËÈÒÍÓÏ

ÔË̇‰ÎÂÊÌÓÒÚË. é‰Ì‡ÍÓ ÔÓ‰ÓÎʇÈ...

flÁ˚Í ıÓÓ¯Ó ËÙÏÛÂÚÒfl ÒÎÓ‚Ó “green”, Ë ˝ÚÓ ÓÌ ËÒÔÓθÁÓ‚‡Î ‚ Ô‡ ÒÚËıÓ‚. ç Á̇˛, ̇Ó˜ÌÓ ËÎË

*

ÌÂÚ, ÌÓ Ó·ÎÓÊ͇ ÍÌËÊˈ˚ ÚÓÊ ÁÂÎfi̇fl. èÓıÓÊËÏ ÏÓÊÂÚ ·˚Ú¸ Ë ÔÓ‰·Ó ˆ‚ÂÚÓ‚‚ ËÒÍÛÒÒÚ‚Â – ÂÒÎË ÌÂ

íÂÎ: á̇¯¸, Ì β·Î˛ ˝ÚËı Á̇ÂÍ – ÙËÎÓÒÓÙÓ‚ ‚ÒflÍËı, – ¯ÚÂÈÌÓ‚ Ë „ÂÓ‚... à ‚ËÊÛ Í‡Í-ÚÓ ÌÓ˜¸˛ ÒÓÌ:

ÏÂÚ‡ÙËÁ˘ÂÒÍËÈ, ÚÓ ıÓÚfl ·˚ ÒÎÛ˜‡ÈÌ˚È – ˜ÚÓ·˚ ıÓÚ¸ ͇Í-ÚÓ ÒÓı‡ÌËÚ¸ Á̇˜ÂÌË ˆ‚ÂÚÓ‚.

‰Û¯Ë ÔÓıÓÊËı. ìÎËˆÛ ÏÓÊÌÓ Ì‡Á‚‡Ú¸ ÔÓÒÚ‡Ì-

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ÒÚ‚ÓÏ ÔÓ˝Ú˘ÂÒÍÓ„Ó Á̇˜ÂÌËfl ËÎË ÏÂÒÚÓÏ ÒÍËÚ‡ÌËÈ ˜ÂÎÓ‚Â͇ ÚÓÎÔ˚; fl Ì „Ó‚Ó˛ ÛÊÂ Ó·Ó ‚ÒÂı ÚÂı

íÂÎ: ü ·˚ ‰Îfl ‚ÒÂı Ò‚ÓËı ‡·ÓÚ ‚˚·‡Î ͇ÍÓÈ-ÌË·Û‰¸ flÍËÈ ˆ‚ÂÚ. åÌ Ì‡‚flÚÒfl ‚ÂÒfiÎ˚ ˆ‚ÂÚ‡, ÓÒÓ·ÂÌÌÓ –

ÒËÏÛÎflÍ‡ı, ÍÓÚÓ˚ Ï˚ ÒÚ‡‡ÂÏÒfl Ì ‚ˉÂÚ¸ Ë

Ó‡ÌÊ‚˚È. è‰ÒÚ‡‚Îfl˛ – Ó‡ÌÊ‚˚ ¯‡ËÍË...

ÍÓÚÓ˚ Á‡„ÓÏÓʉ‡˛Ú ÔÓΠ̇¯Â„Ó ‚ËÁۇθÌÓ„Ó ‚ÓÒÔËflÚËfl...

Ç ‰ÂÚÒÚ‚Â ÔˉÛÏ˚‚‡Î ‡ÁÌ˚ ÒÎÓ‚‡ Ò ˝ÚËÏ ˆ‚ÂÚÓÏ, ̇ÔËÏÂ, “é‡ÌÊËÓ‚˘ËÍ”. èÓÏÌ˛ ¢fi Ú‡ÍÛ˛

íÂÎ: èÓ ˝ÚË ÒËÏÛÎflÍ˚ ÌË˜Â„Ó Ì Á̇˛, ÌÓ Ô‰ÒÚ‡‚¸

ÔÂÒÌ˛, ÌÛ, Ô‡‚‰‡, ÚÓθÍÓ ÔÂ‚˚ ÒÚÓ˜ÍË:

ÚÓθÍÓ, Ӊ̇ʉ˚ ‚ˉÂÎ ËÌÚÂÂÒÌ˚È Ú‡Ù‡ÂÚÌ˚È

“é‡ÌÊ‚˚ χÏ˚, Ó‡ÌÊ‚˚ ԇÔ˚, Ó‡ÌÊ‚˚Â

ÓÚÔ˜‡ÚÓÍ. í‡ÍÓ ÒÂËÈÌÓ „‡ÙËÚË, ÍÓÚÓÓ fl

‰ÂÚË Ó‡ÌÊÂ‚Ó ÔÓ˛Ú...”

ÔÂËӉ˘ÂÒÍË Á‡Ï˜‡Î, ıÓ‰fl ÔÓ Ò‚ÓÂÏÛ Âʉ̂ÌÓÏÛ Ï‡¯ÛÚÛ. ÇÔ˜‡ÚÎÂÌËÂ, ÍÓ„‰‡ ˝ÚÓ

äÓ‚: ü Á̇˛ ˝ÚÛ ÔÂÒÌ˛, Ó‰ËÌ ÏÓÈ ‰Û„ ̇Á˚‚‡Î fifi

‚ÒÔÓÏË̇˛, Ú‡ÍÓ – ·Û‰ÚÓ Í‡ÍÓÈ-ÚÓ „ÂÓÈ ·Ó‚Ë͇

ÔÂ‚˚Ï ÒÓ‚ÂÚÒÍËÏ ‰‡‰‡ËÒÚÒÍËÏ ÔÓËÁ‚‰ÂÌËÂÏ.

ËÎË ıÓÍÍÂËÒÚ ‰‚ËÊÂÚÒfl ̇ ÏÂÌfl, ‡ fl Ò·fl ˜Û‚ÒÚ‚Û˛

íÂÎ: ч-‰‡, ˝ÚÓ Á̇˜ËÚ ‚ÁflÚ¸ Ë Ò‰Â·ڸ ˜ÚÓ-ÚÓ Ì‡Ó·ÓÓÚ,

Í‡Í ‚ ·Óθ¯ÓÏ ÍËÌÓÚ‡ÚÂ...

Ì ڇÍ, Í‡Í ÔËÌflÚÓ. Ç˚‚ÂÌÛÚ¸ ÔÂ˜‡ÚÍÛ Ì‡ËÁ̇ÌÍÛ ËÎË Â˘fi ˜ÚÓ-ÌË·Û‰¸..., ̇ÔËÏÂ – ÎÓ‰ÍÛ!

äÓ‚: É‡ÙÙËÚË ·˚‚‡˛Ú ‡ÁÌ˚Â, ıÓÚfl Ó·˚˜ÌÓ Ì ̇ıÓ‰flÚÒfl ̇ ÓÊË‚ÎfiÌÌ˚ı ÛÎˈ‡ı...

äÓ‚: ä‡Í ÏÓÊÌÓ ÎÓ‰ÍÛ ‚˚‚ÂÌÛÚ¸ ̇ËÁ̇ÌÍÛ – Í‡Í ˝ÚÓ 61

·Û‰ÂÚ ‚˚„Îfl‰ÂÚ¸?

íÂÎ: Ä Ú˚ Ô‰ÒÚ‡‚¸ Ò· ˝ÚÓ Í‡Í Ì·Óθ¯ÓÈ, Ì·ÓÒÍËÈ Ú‡Ù‡ÂÚ, ˜ÂÂÁ ÍÓÚÓ˚È Ëı ÏÓÊÌÓ ‚˚‰ÛÚ¸ ̇ ÒÚÂÌÛ

íÂÎ: çÛ, ·Âfi¯¸ ÎÓ‰ÍÛ Ë Í‡Ò˯¸ Âfi ̇ӷÓÓÚ (‚ÌÛÚË Í‡Í Ò̇ÛÊË, ‡ Ò̇ÛÊË Í‡Í ‚ÌÛÚË). è‰ÒÚ‡‚Îfl˛

ËÎË ˜ÚÓ-ÚÓ Â˘fi. ä‡Ê‰Ó ËÁÓ·‡ÊÂÌË ÙËÍÒËÛÂÚ

Ò· ‰‡‰‡ËÒÚÒÍÛ˛ ‡ıËÚÂÍÚÛÛ – Ó̇ ·˚· ·˚

͇ÍÓÈ-ÚÓ ÏÓÏÂÌÚ ‰‚ËÊÛ˘Â„ÓÒfl Ó·‡Á‡, Ó·‡ÁÛfl

ÔÛ¯ËÒÚÓÈ, Ó˜Â̸ ‡‰ÓÒÚÌÓÈ Ë ÏËÎÓÈ.

ÒÂ˲ ÓÚÔ˜‡ÚÍÓ‚ ÔÓ ‚ÒÂÏÛ Ï‡¯ÛÚÛ, ÔÓ ÍÓÚÓÓÏÛ Ú˚ ÏÓʯ¸ ıÓ‰ËÚ¸ Ë ÍÓÚÓ˚È ÒÔˆˇθÌÓ ‰Îfl Ú·fl

äÓ‚: åÓ„Û Ô‰ÒÚ‡‚ËÚ¸ χÍÂÚ Ì·Óθ¯Ó„Ó Á‰‡ÌËfl ËÁ ÔÛ-

ÔË„ÓÚÓ‚ËΠ͇ÍÓÈ-ÚÓ ÓÒÚflÍ. ùÚÓ Ú‡ÍÊ ÓÒÚÓÛÏÌÓ Ë

¯ËÒÚÓ„Ó Ï‡ÚÂˇ·, ‡ ÂÒÎË ‚Òfl ÛÎˈ‡ ·˚· ·˚ Ú‡ÍÓÈ?

΄ÍÓ, Í‡Í Ë Û Ú‚ÓËı ‰‡‰‡ËÒÚÓ‚. *

äÓ‚: á̇˛, Ú· Ì‡‚ËÚ¸Òfl ΄ÍÓÒÚ¸ ËÎË, ÚÓ˜ÌÂÂ, ÔÓ‚ÂıÌÓÒÚÌÓÒÚ¸. ü ·˚ Ò͇Á‡Î – Ë ‚ ÓÚÌÓ¯ÂÌËË Í ÊËÁÌË. é‰Ì‡ÍÓ fl ·˚ ıÓÚÂÎ ÔÓ„Ó‚ÓËÚ¸ ̇ ·ÓÎÂÂ

íÂÎ: èÓÌ‡‚Ë·Ҹ ·˚ ÏÌ ÔÛ¯ËÒÚ‡fl ÛÎˈ‡? ç Á̇˛,

ÒÂ¸fiÁÌ˚ ÚÂÏ˚.

‚ÓÓ·˘Â ÏÌ Ì‡‚ËÚ¸Òfl ‚˚ıÓ‰ËÚ¸ ̇ ÛÎˈ˚, ·Ó‰ËÚ¸ ÔÓ ÌËÏ, ÍÓ„‰‡ ‚ÓÍÛ„ ÏÂÌfl ‰Û„Ë β‰Ë, Ëı Ó˘Û˘ÂÌËfl Ë Ì‡ÒÚÓÂÌËfl...

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äÓ‚: ч, ÛÎˈ‡ – ˝ÚÓ Í‡Í Ú̸͇, ÒÔÎÂÚÂÌ̇fl ËÁ ‚Á„Îfl‰Ó‚, ËÁ ‚Á„Îfl‰Ó‚ ÒÚ‡ÒÚÌ˚ı, Á‡‚ËÒÚÎË‚˚ı, ÔÂÁËÚÂθÌ˚ı, ÒÓÒÚ‡‰‡˛˘Ëı, β·Ó‚Ì˚ı, ÌÂ̇‚ˉfl˘Ëı, ËÁ ÒÚ‡˚ı ÒÎÓ‚, ‰Ûı ÍÓÚÓ˚ı Ó͇ÏÂÌÂÎ, ËÁ Ï˚ÒÎÂÈ, ÒÚÂÏÎÂÌËÈ, ˝ÚÓ Ú‡ËÌÒÚ‚ÂÌ̇fl ÔÂÎÂ̇, ÓÍÛÚ˚‚‡˛˘‡fl

íÂÎ: èÓ ‚˚ÔË‚ÍÛ? àÎË ÔÓ ‚ÂÏfl, ÔÓ ÒÏÂÚ¸? – èÓ˜ÂÏÛ ·˚ Ë ÌÂÚ, ‚‡ÎflÈ! äÓ‚: í˚ ÒÏÂfi¯¸Òfl, ‡ ÏÌÂ, ÍÓ„‰‡ fl ‰Ûχ˛ ÔÓ ‚ÂÏfl Ë ÒÏÂÚ¸, ̇ ÛÏ ÔËıÓ‰flÚ ÂÁË̸ËÛ˛˘ËÂ

„Óη̉ÒÍËÂ Ì‡Ú˛ÏÓÚ˚, ˝ÏÓˆËÓ̇θ̇fl ÒÚÓ„ÓÒÚ¸

äÓ‚: çÓ ÂÒÚ¸ Ë ıÓӯˠ̇Á‚‡ÌËfl ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ı ‡·ÓÚ. ê‡Á ÛÊ Ì‡˜‡ÎË „Ó‚ÓËÚ¸ Ó ÔÓ¯ÎÓÏ – ÌÂÒÍÓθÍÓ ÎÂÚ

ÒÚÛÌÌÓ„Ó Í‚‡ÚÂÚ‡ Quatuor pour la fin du Temps... íÂÎ: ...Ë Í‡Í ÓÚ‰‡‚‡Ú¸ ˜ÂÒÚ¸ ÚÓÏ‡Ï èÛÒÚ‡.

̇Á‡‰ (˝ÚÓ ·˚ÎÓ ‚ ̇˜‡Î ‰Â‚flÌÓÒÚ˚ı) Ó‰ËÌ Ì‡¯

äÓ‚: ç ‰Ûχ˛, ˜ÚÓ Ú·fl ÏÓÊÂÚ ÔË‚ÎÂ͇ڸ ˜ÚÓ-ÚÓ

ÏÂÒÚÌ˚È ÙËÎÓÒÓÙ ÒÏÂflÎÒfl ̇‰ ̇Á‚‡ÌËÂÏ “óÛ‚ÒÚ‚‡”,

ÒÂ¸fiÁÌÓ ‚ ËÒÍÛÒÒÚ‚Â. é‰Ì‡ÍÓ Ì ıÓ˜Û ·˚Ú¸

ÍÓÚÓÓ ·˚ÎÓ ÔËÒ‚ÓÂÌÓ ‡·ÓÚÂ, ÒÓÒÚÓfl˘ÂÈ – ÂÒÎË

ÒÎ˯ÍÓÏ ÍËÚ˘Ì˚Ï – ÔÓ˜ÂÏÛ ·˚ Ë Ì ÔÓÒÚÛÔ‡Ú¸ ‚

fl Ô‡‚ËθÌÓ ÔÓÏÌ˛ – ËÁ ÏÂÚ‡Î΢ÂÒÍËı ¯‡Ó‚ Ë

ÔÓÎÌÓÈ ÔÓÚË‚ÓÔÓÎÓÊÌÓÒÚË ÒÂ¸fiÁÌÓÒÚË, ÌÂ

ÒÚÂÍÎflÌÌÓÈ ÔÓ‚ÂıÌÓÒÚË Ì‡ ÌËı. åÌ ÚÓ„‰‡ ÔÓ͇Á‡-

ÓÚ·ÓÒËÚ¸ ÚÓÊÂÒÚ‚ÂÌÌÓÒÚ¸ Ë Ì Ô‚‡ÚËÚ¸ ˝ÚË

ÎÓÒ¸, ˜ÚÓ ˝ÚÓ ÔÓÌflÚË ÔÓÚflÒ‡˛˘Â ÔÓ‰ıÓ‰ËÚ ‚

ÙËÎÓÒÓÙÒÍË ÔÓÌflÚËfl ‚ ΄ÍÓÏ˚ÒÎÂÌÌÓÒÚ¸ ÓÔÂÌÓÈ

͇˜ÂÒÚ‚Â ÚÂÚ¸Â„Ó ˝ÎÂÏÂÌÚ‡ ‡·ÓÚ˚.

·ÛÚ‡ÙÓËË, ÍÓÚÓ‡fl, Í‡Í ·˚ ‰Â·fl ÏÂÎӉ˘Ì˚È

íÂÎ: ùı, ˜Û‚ÒÚ‚‡ ‚ÓÓ·˘Â ̇‰Ó ‡ÁÎÓÊËÚ¸ ̇ ˝ÎÂÏÂÌÚ˚ ËÎË ‡ÚÓÏ˚ Ë ÓÚ¯‚˚ÌÛÚ¸ Í‡Í ˝‰‡ÍËÈ ÙÛÚ·ÓθÌ˚È Ïfl˜.

ÊÂÒÚ ÛÏË‡˛˘ËÏ „ÂÓflÏ ÏÛÁ˚͇θÌÓÈ ‰‡Ï˚, Á‡ÍÓÎÓÚ˚Ï Í‡ÚÓÌÌ˚Ï Ï˜ÓÏ, ‚Ò„‰‡ ‰‡fiÚ ËÏ

äÓ‚: [Ò ÛÎ˚·ÍÓÈ] ùÚÓ, ÔÓıÓÊÂ, ͇͇fl-ÚÓ ‰Û„‡fl Ë„‡.

‰ÓÔÂÚ¸ Í‡ÒË‚Û˛ ‡˲ ÔÂ‰ ÒÏÂÚ¸˛.

íÂÎ: ÇÒfi ‡‚ÌÓ, ÔÓ„Ó‚ÓËÏ Ó ˜fiÏ-ÌË·Û‰¸ ÔÓÔÓ˘Â.

íÂÎ: ç ·˚Î ‚ ÓÔÂÂ, ÌÓ ÌË˜Â„Ó ÒÂ¸fiÁÌÓ„Ó Ú‡Ï ÚÓ˜ÌÓ

äÓ‚: í‚Ófl Ó˜Â‰¸ ‚˚·Ë‡Ú¸.

ÌÂθÁfl ‚ÒÚÂÚËÚ¸. äÓ‚: åÓÊÌÓ ‰‡Ê Ò͇Á‡Ú¸, ˜ÚÓ Ú‡ÍËÏ Ó·‡ÁÓÏ Ï˚ ÏÓÊÂÏ

*

ËÁÏÂÌËÚ¸ Á‡ÍÂÔË‚¯ËÂÒfl Á̇˜ÂÌËfl ÒËÏ‚ÓÎÓ‚.

62

íÂÎ: Ç ‰ÂÚÒÚ‚Â fl ͇ÍËÏ-ÚÓ ÔÓıÓÊËÏ Ó·‡ÁÓÏ Ô˚Ú‡ÎÒfl ËÁ·‡‚ËÚ¸Òfl ÓÚ ÒÚ‡ı‡ ÚÂÏÌÓÚ˚... äÓ‚: ч, ÚÓ„‰‡ Ë ÚÂÏÌÓÚ‡ ÛÊ Ì ·Û‰ÂÚ ‚‡Ê‰Â·Ì˚Ï,

íÂÎ: ïÓÚÂÎÓÒ¸ ·˚ Ó ˜fiÏ-ÌË·Û‰¸ ÔÓÔÓ˘Â, ̇ÔËÏÂ, Ó fl„Ó‰‡ı ËÎË ÍÓÓ‚‡ı. èÓ˜ÂÏÛ ÓÌË Ì ÏÓ„ÛÚ ·˚Ú¸ ËÌÚÂÂÒÌ˚?

ÌÂÒÛ˘ËÏ ÒÏÂÚ¸ ÒËÏ‚ÓÎÓÏ, ‡ ÒÚ‡ÌÂÚ Ô˄·¯ÂÌËÂÏ

äÓ‚: Ç Í‡ÍÓÏ ÒÏ˚ÒΠËÌÚÂÂÒÌ˚?

̇ ͇ÍÛ˛-ÚÓ Ë„Û.

íÂÎ: çÛ, Ô‰ÒÚ‡‚¸, ˜ÚÓ ÍÓÓ‚‡ ‚‰Û„ ‚ ˆÂÌÚ „ÓÓ‰‡ Û... ÓÔÂÌÓ„Ó Ú‡Ú‡ ÒÓ ‚ÒÂÏË ˝ÚËÏË ·ÂÎ˚ÏË ÍÓÎÓÌ̇ÏË, ÙË„Û‡ÏË Ë ÎÓ¯‡‰¸ÏË Ì‡ Í˚¯Â... –

*

ËÎË ˜ÚÓ ËÁÓ·‡ÊÂÌË ÍÓÓ‚˚ Á‡ÌËχÂÚ ‚ÂÒ¸ ˝Í‡Ì íÂÎ: ç‡ Ë„Û Ò ˜Û‚ÒÚ‚‡ÏË, ̇ÔËÏÂ, ÒÓ ÒÚ‡ıÓÏ?

ÚÂ΂ËÁÓ‡ ‚ ‚˚ÒÚ‡‚Ó˜ÌÓÏ Á‡ÎÂ, ËÎË ˜ÚÓ...

äÓ‚: à„˚ ÏÓ„ÛÚ ·˚Ú¸ Ò‡Ï˚ÏË ‡ÁÌ˚ÏË.

äÓ‚: ùÚÓ ·˚ÎÓ ·˚ Ô‡‡‰ÓÍ҇θÌÓ ËÎË ÔÓÒÚÓ ÒϯÌÓ?

íÂÎ: ùÚÓ ÚÓ˜ÌÓ. Ç ÌËı ÏÓÊÌÓ Ë„‡Ú¸ ıÓÚ¸ ‚ ‚˚ÒÚ‡‚Ó˜Ì˚ı

íÂÎ: á̇¯¸, „ÓÓ‰ ‚Ò„‰‡ ÔÓÚË‚ÓÔÓÎÓÊÌÓÒÚ¸ ‰Â‚ÌË.

Á‡Î‡ı. èÓÏÌ˛, ÍÓ„‰‡ ÔÓ¯fiÎ ‚ ¯ÍÓÎÛ, ÚfiÚfl ÏÂÌfl

í‡Í ˜ÚÓ ˝ÚÓ ·˚· ·˚ ڇ͇fl Òϯ̇fl ÔÓÚË‚ÓÔÓ-

Ú‡Ò͇· ÔÓ ‚ÒflÍËÏ ‚˚ÒÚ‡‚Í‡Ï Í‡ÚËÌ, – fl Á‡·‡‚-

ÎÓÊÌÓÒÚ¸.

ÎflÎÒfl ÚÂÏ, ˜ÚÓ ‚˚‰ÂÎ˚‚‡Î ÁË„Á‡„Ë ÔÂ‰ ͇ÚËÌÓÈ,

äÓ‚: ч, „ÓÓ‰ Ë ‰ÂÂ‚Ì˛ ‡Á‰ÂÎflÂÚ ‚ÂÏÂÌ̇fl ‡ÁÌˈ‡.

ÔÓ͇ Ì ÔÓ˜ËÚ˚‚‡Î ̇Á‚‡ÌËÂ, Ë Ó·‡ÚÌÓ, Ô˚Ú‡flÒ¸

ÉÓÓ‰ÒÍÓ ‚ÂÏfl ÓÁ̇˜‡ÂÚ Ì‡ıÓʉÂÌË ‚ ÁÓÌÂ

̇ÈÚË Ì‡ËÎÛ˜¯ËÈ Û„ÓÎ ÁÂÌËfl. çÓ ÌÛÊÌÓ Ò͇Á‡Ú¸,

ÏËÓ‚Ó„Ó ‚ÂÏÂÌË, ÍÓÚÓÓ ‚˚‡Ê‡ÂÚÒfl ‚ Ú‡ÍËı

˜ÚÓ ‚ÒÍÓ ÏÌ ̇ÒÍÛ˜ËÎÓ ˜ËÚ‡Ú¸ ̇Á‚‡ÌËfl

Ô‡‡ÏÂÚ‡ı Í‡Í ‰ÓÒÚÛÔÌÓÒÚ¸ ËÌÙÓχˆËË, ·˚ÒÚÓÚ‡

(·Óθ¯Û˛ ˜‡ÒÚ¸ ıÛ‰ÓÊÌËÍÓ‚ fl ÚÓÊ ÛÁ̇‚‡Î).

‡ÒÔÓÒÚ‡ÌÂÌËfl Ë ÒÓÁ‚‡ÌËfl Ò‚ÂÊËı ÌÓ‚ÓÒÚÂÈ,

‡Á΢Ì˚ı χÚÂˇθÌ˚ı ·Î‡„, ̇ÔËÏÂ,

ÏÛÁ˚͇ ‰Îfl ͇ÍÓ„Ó-ÚÓ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÔÓËÁ‚‰Â-

‰ÂÎË͇ÚÂÒÓ‚, ‡ıËÚÂÍÚÛÌ˚ı ÒÚËÎÂÈ, ı‡‡ÍÚÂÌ˚ı

ÌËfl, ÏÂÊ‰Û ÔÓ˜ËÏ, Ë ‚ Âʉ̂ÌÓÏ ¯ÛÏ – ‚ ÚÓÏ,

ÔËÁ̇ÍÓ‚ Ó·‡Á‡ ÊËÁÌË.

˜ÚÓ Ú˚ ÏÌ „Ó‚Ó˯¸.

íÂÎ: ч, ÌÓ Ì ÔÂÂË„˚‚‡È, ÚÂÔÂ¸ ‰Ûχ˛, ˜ÚÓ ‡ÁÌˈ‡

íÂÎ: Ä ÏÌ Ì‡‚ËÚ¸Òfl Âʉ̂Ì˚È ¯ÛÏ, ˝ÚÓ ‚Òfi flÁ˚ÍË:

‚ ‰Û„ÓÏ; ÔÓÏÌ˛, Ú˚ Ò‡Ï ÏÌ ˜ËڇΠ˝ÚË ÒÚÓ˜ÍË:

ÏÛÁ˚͇θÌ˚ ÏÂÎÓ‰ËË, Ó·˚‚ÍË ‡Á„Ó‚ÓÓ‚, Á‚ÛÍË

“Ç ‰Â‚Ì ·Ó„ ÊË‚ÂÚ Ì ÔÓ Û„Î‡Ï, Í‡Í ‰Ûχ˛Ú

ÓÚÓ‰‚Ë„‡ÂÏ˚ı ÒÚÛθ‚, ÔÓÁ‚flÍË‚‡ÌË Òڇ͇ÌÓ‚. ùÚÓ

̇ÒϯÌËÍË, ‡ ‚Ò˛‰Û...”

ËÒÚËÌ̇fl ÏÛÁ˚͇ flÁ˚͇.

äÓ‚: ä‡Í ‚ Ó‰ÌÓÏ, Ú‡Í Ë ‚ ‰Û„ÓÏ ÒÎÛ˜‡Â ˝ÚÓ ˜ÂÎÓ‚ÂÍ,

äÓ‚: åÛÁ˚͇ flÁ˚͇ ˝ÚÓ ÒÍÓ ÛÚÓÔËfl flÁ˚͇ – ÛÚÓÔËfl

ÍÓÚÓ˚È ˜Û‚ÒÚ‚ÛÂÚ ‚ÂÏfl, ÅÓ„‡ ËÎË Ì‚‡ÊÌÓ ˜ÚÓ.

ÏÛÁ˚ÍË ÒÏ˚Ò·; ˝ÚÓ Á̇˜ËÚ, ˜ÚÓ ‚ Ò‚ÓÂÏ ÛÚÓÔË-

åÓÊÂÚ ·˚Ú¸, ÊË‚fl ‚ „ÓÓ‰Â, ÓÌ ‚ Ò‚ÓfiÏ

˜ÂÒÍÓÏ ÒÓÒÚÓflÌËË flÁ˚Í ‡ÒÍÂÔÓ˘‡ÂÚÒfl. å˚ ÏÓÊÂÏ

‚ÓÓ·‡ÊÂÌËË ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ ‚ÒÔÓÏË̇ÂÚ ‰ÂÂ‚Ì˛,

‰‡Ê Ò͇Á‡Ú¸: ËÁÏÂÌflÂÚ Ò‚ÓÂÈ ÔËӉ ‚ÔÎÓÚ¸ ‰Ó

„‰Â, ‚ÓÁÏÓÊÌÓ, ÔÓ‚fiÎ ‰ÂÚÒÚ‚Ó.

Ô‚‡˘ÂÌËfl ‚ ·ÂÒÔ‰ÂθÌÛ˛ Á‚ÛÍÓ‚Û˛ Ú̸͇, „‰Â ÚÂflÂÚ ‡θÌÓÒÚ¸ Â„Ó ÒÂχÌÚ˘ÂÒÍËÈ ÏÂı‡ÌËÁÏ.

íÂÎ: ü ÚÓÊ ‚ÒÔÓÏË̇˛ ‰ÂÂ‚Ì˛ – Í‡Í Ì‡˜Ë̇ÎÒfl „Ófl˜ËÈ ÎÂÚÌËÈ ‰Â̸, ÍÓ„‰‡ ·ÂÎ˚Â, Ô˘ۉÎË‚˚ı

63

íÂÎ: èÛÒÚ¸ ·Û‰ÂÚ ÛÚÓÔËfl! è‰ÒÚ‡‚¸, ˜ÚÓ Ú‡ÍÊ ͇Í

ÙÓÏ ÚÛ˜ÍË Ò ÛÚ‡ ÔÓ͇Á‡ÎËÒ¸ ̇ „ÓËÁÓÌÚÂ, ÌÓ ÌÂ

Á‚ÛÍÓ‚˚ ‚Ô˜‡ÚÎÂÌËfl Âʉ̂Ì˚ı ÒÓ·˚ÚËÈ ‚ıÓ‰flÚ

ÔÂÂÓÒÎË ‚ „ÓÁÛ; ËÎË ÚÓÊ – Í‡Í Ó‰Ì‡Ê‰˚ „ÓÁ‡

‚ ̇¯Ë ‡Á„Ó‚Ó˚, Ú‡Í Ë ÔˉÛχÌÌ˚ ̇ÏË Á‚ÛÍË

‚Òfi Ê ÏÂÌfl ÔÓÚflÒ·, ÍÓ„‰‡ ÒËθÌ˚È ‚ÂÚÂ

ÏÓ„ÛÚ Óʉ‡Ú¸ ËÁÓ·‡ÊÂÌËÂ.

‚ÌÂÁ‡ÔÌÓ Á‡„Û‰ÂÎ ‚ ‚˚¯ËÌÂ, ‰Â‚¸fl Á‡·Û¯Â‚‡ÎË,

äÓ‚: í˚ ıӘ¯¸ Ò͇Á‡Ú¸, Âʉ̂Ì˚ Á‚ÛÍË, ‚Ô˜‡ÚÎflfl

ÍÛÔÌ˚ ͇ÔÎË ‰Óʉfl ÂÁÍÓ Á‡ÒÚÛ˜‡ÎË, Á‡¯ÎÂÔ‡ÎË

ÔÓΠÁ̇˜ÂÌËÈ flÁ˚͇, Óʉ‡˛Ú ÌÓ‚˚È ÒÏ˚ÒÎ, Ë

ÔÓ ÎËÒÚ¸flÏ...

Ú‡ÍÊÂ Í‡Í Ë ÒÓÚ‚ÓfiÌÌÓ ̇ÏË, ̇ÔËÏÂ ˝ÎÂÍÚÓÌÌÛ˛ ÏÛÁ˚ÍÛ, ÏÓÊÌÓ ÓÔ‰ÂÎËÚ¸ Ë ‚ÂÒÚË –

äÓ‚: í‚ÓË ‚ÓÒÔÓÏË̇ÌËfl Ó ‰ÂÚÒÚ‚Â Í‡Í „‡ÎÂÂfl ͇ÚËÌ Ë

‡ Ì ÚÓθÍÓ ÒÓÔÓ‚Óʉ‡Ú¸ – ‚ËÁۇθÌ˚È Ó·‡Á.

Á‚ÛÍÓ‚... * íÂÎ: ч, Á‚ÛÍË; ͇ÚËÌ˚ Ë Á‚ÛÍË. á‚ÛÍ, Í ÒÓʇÎÂÌ˲, ÏÌÓ„ËÏ Í‡ÊÂÚÒfl ÚÓθÍÓ ÌÂÁ̇˜ËÚÂθÌ˚Ï ‰ÓÔÓÎÌÂÌËÂÏ Í ËÁÓ·‡ÊÂÌ˲, ˜‡ÒÚÓ ˝ÚÓ ÚÓθÍÓ Ú‡ÍÓ ÏÛÁ˚͇θÌÓ ÒÓÔÓ‚ÓʉÂÌËÂ. äÓ‚: ä‡Í ÒÓÔÓ‚ÓʉÂÌË ·‡Ó˜ÌÓ„Ó ÍÓ̈ÂÚ‡ ‰Îfl Ú‡ÔÂÁ˚ ‚ÂθÏÓÊ, Í‡Í ÒÓÔÓ‚ÓʉÂÌË Ï˚ÒÎË ‰Îfl

* íÂÎ: ìÒÚ‡Î. Ç ÍÓ̈ Ú˚ ÏÓ„ ·˚ Ò͇Á‡Ú¸ ˜ÚÓ-ÌË·Û‰¸ ‚‡ÊÌÓÂ, ·Óθ¯ÓÂ, ¯ËÓÍÓÂ. óÚÓ Ú‡ÍÓ ËÒÍÛÒÒÚ‚Ó? óÚÓ Ú‡ÍÓ ÒÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË? äÓ‚: çÓ ‚ÂÏfl ‚ÂÎËÍËı ‡ÒÒ͇ÁÓ‚ ÛÊ Á‡ÍÓ̘ËÎÓÒ¸! íÂÎ: íÓ„‰‡ ‡ÒÒ͇ÊË Í‡ÍÓÈ-ÌË·Û‰¸ ÍÓÓÚÍËÈ ‡ÒÒ͇Á. äÓ‚: “óÚÓ Ú‡ÍÓ ËÒÍÛÒÒÚ‚Ó?” – ÔÎÓıÓÈ ‚ÓÔÓÒ, ÌÓ ‚ ·-

˜ÂÎӂ˜ÂÒÍÓÈ Â˜Ë (ÍÓ„‰‡-ÚÓ ÙËÎÓÒÓÙ˚ Óʉ‡ÎË

Ú˚¯ÒÍÓÏ ËÒÍÛÒÒÚ‚Â ‚ÂÎËÍË ‡ÒÒ͇Á˚ – ÔÓ Í‡ÈÌÂÈ

ÚÂÓËË, ‚ ÍÓÚÓ˚ı ÛÚ‚Âʉ‡ÂÚÒfl, ˜ÚÓ flÁ˚Í ˜ÂÔ‡ÂÚ

ÏÂÂ Í‡Í Ëı ÍÓ„‰‡-ÚÓ ÔÓÌËχÎË – ‰ÂÈÒÚ‚ËÚÂθÌÓ

Ò‚Ófi Á̇˜ÂÌË ‚ ˝ÚÓÏ ÌÂÛÚËı‡˛˘ÂÏ ÏÂÌڇθÌÓÏ

Á‡ÍÓ̘ËÎËÒ¸ ËÎË ‰‡Ê ÚÓÎÍÓÏ Ë Ì ̇˜Ë̇ÎËÒ¸.

ÙÓÌÓ‚ÓÏ ÔÓÚÓÍÂ)... ËÎË Í‡Í Îfi„͇fl ÌÂ̇‚flÁ˜Ë‚‡fl

íÂχÚË͇, Ò‚flÁ‡Ì̇fl Ò ‰ËÒÍÛÒÓÏ ÙÂÏËÌËÁχ ËÎË

ÒӈˇθÌÓ-ÔÓÎËÚ˘ÂÒÍÓÈ ÍËÚËÍË, Á‰ÂÒ¸ ÔÓ˜ÚË ÌÂ

*

‚ÒÚ˜‡ÂÚÒfl. íÂÎ: çÓ Ó ˜fiÏ-ÚÓ Ê ËÒÍÛÒÒÚ‚Ó „Ó‚ÓËÚ, ËÎË ıÓÚfl ·˚ – ˜ÚÓ-ÚÓ ÔÓ͇Á˚‚‡ÂÚ? äÓ‚: êÂÔÂÁÂÌÚ‡ˆËfl – ˝ÚÓ ÚÓ, Ó ˜fiÏ „Ó‚ÓËÚ ËÒÍÛÒÒÚ‚Ó, ‡

ÂÒÚ¸ ˜ÚÓ-ÚÓ ÌÂÔÓ‰Ó·‡˛˘Â – ÚÓ, ˜ÚÓ ÒÍ˚‚‡ÂÏ. äÓ‚: çÂÔÓ‰Ó·‡˛˘ÂÂ? ü ·˚ ÒÍÓ Ò͇Á‡Î “ËÌÚËÏÌÓ”,

ÔÓ͇Á˚‚‡ÂÚ – ˜ÚÓ-ÚÓ ·ÓΠÌÂÛÎÓ‚ËÏÓÂ. é‰Ì‡ÍÓ ÏÂÌfl

ÒÚ‡‚¯Â ÔÛ·Î˘Ì˚Ï. è‰ÒÚ‡‚¸ Ò· ‡ÒÒ͇Á, ‚

‚ ‰‡ÌÌÓÏ ÒÎÛ˜‡Â ËÌÚÂÂÒÛÂÚ Ì˜ÚÓ ‰Û„Ó – ÂÒÎË Ï˚

ÍÓÚÓÓÏ ‰ÂÈÒÚ‚Ë ÔÓËÒıÓ‰ËÚ ‚ ͇ÍÓÈ-ÚÓ ÒԇθÌÂ,

ÒÏÓÚËÏ Ì‡ ÙÓÚÓ„‡Ù˲ ËÎË Ì‡ Á‡ÙËÍÒËÓ‚‡ÌÌÓÂ

ÌÓ Ú‡Í, ˜ÚÓ·˚ ˝ÚÓ ·˚ÎÓ ‚ˉÌÓ Ò ÛÎˈ˚.

‚ˉÂÓ͇ÏÂÓÈ ËÁÓ·‡ÊÂÌËÂ, ÚÓ Ô‰ÒÚ‡‚ÎÂÌÌ˚Â

íÂÎ: ì·‡Ú¸ ÒÚÂÌÛ ‰Óχ, ˝ÚÓ Ú˚ Ëϯ¸ ‚ ‚ˉÛ?

Ó·˙ÂÍÚ˚ ÛÊ Ì ÔË̇‰ÎÂÊ‡Ú ‚ÂÎËÍËÏ ‡ÒÒ͇Á‡Ï,

äÓ‚: àÎË ÔÓˆËÓ‚‡Ú¸ ̇ ÒÚÂÌÛ ‰Óχ, ‚ ÓÍ̇ Ù‡Ò‡‰‡, Á‡

‡ ÒÍÓ fl‚Îfl˛ÚÒfl ˝ÎÂÏÂÌÚ‡ÏË ÌÂÍÓ„Ó ‡ÚÓχÌÓ„Ó ÏË‡. ùÚÓ ÏÓ„ÛÚ ·˚Ú¸ ÓÒ‚Â˘fiÌÌ˚ ‚ ÌÓ˜Ë ‰Â‚¸fl, ͇͇fl-ÚÓ ÍÓÏ̇ڇ ËÎË Ï‡¯Ë̇ Ò Ì˜‡flÌÌ˚ÏË

ÍÓÚÓ˚ÏË ÔÓıÓ‰flÚ Í‡ÚËÌ˚ ̇¯ÂÈ Ôӂ҉̂ÌÓÈ ÊËÁÌË, Ó·˚˜ÌÓ ÒÍ˚Ú˚ÂÁ‡Ì‡‚ÂÒ͇ÏË. íÂÎ: Ç ·Óθ¯ËÌÒÚ‚Â Ò‚ÓfiÏ ÒÍ˚Ú˚ – Ò ÚÂı ‚ÂÏfiÌ, ÍÓ„‰‡

ÓÚ‡ÊÂÌËflÏË ÊÂÌÒÍÓ„Ó Îˈ‡ ‚ ÁÂ͇ΠÁ‡‰ÌÂ„Ó ‚ˉ‡,

Á‡„‡Ì˘Ì˚È “‚ˉËÍ” ·˚ÎÓ Á‡Ô¢ÂÌÓ ÒÏÓÚÂÚ¸ ÔÓ

͇͇fl-ÚÓ ÏÂÎÓ˜¸ ̇ ÚÛ‡ÎÂÚÌÓÏ ÒÚÓÎËÍÂ...

ÌÓ˜‡Ï.

íÂÎ: à ˜ÚÓ Û ˝ÚËı “˝ÎÂÏÂÌÚÓ‚” Ó·˘Â„Ó. àÎË ‚Ò ÓÌË – ˝ÚÓ 64

íÂÎ: “èÂÎÂÌÛ”, “ÔË‚ÍÛÒ”... ü ÛÊ „Ó‚ÓËÎ, ˜ÚÓ ‚ ˝ÚÓÏ

äÓ‚: åÓÊÂÚ, ËÏÂÌÌÓ ÔÓÚÓÏÛ, ˜ÚÓ Ì‡¯Â Âʉ̂ÌÓ ÔÓ-

ÒÚÓ-ÚÓ “χÎÓ”? åÓÊÂÚ ·˚Ú¸, ˝ÚÓ ÔÓÒÚÓ, „Û·Ó Ë

ÒÚ‡ÌÒÚ‚Ó ÒÎ˯ÍÓÏ ÔÂÂÔÓÎÌÂÌÓ ‚ÒÂÏË ˝ÚËÏË ˜‡-

ÌÂÔÓ‰Ó·‡˛˘Â?

ÏË Ì‡ ÒӈˇθÌÓ Ë ÔÓÎËÚ˘ÂÒÍË ‡ÍÚۇθÌ˚ ÚÂÏ˚,

äÓ‚: çÂÚ, ÔÓ˜ÂÏÛ, Ò‡ÏË ‡·ÓÚ˚ ÏÓ„ÛÚ ·˚Ú¸ ·Óθ¯ËÏË, ̇ÔËÏÂ, Í‡Í ·‡¯ÌË, ‚ÓÁ‚‰fiÌÌ˚ ËÁ...

ıÛ‰ÓÊÌËÍË Ò‚ÓË ÊÂÒÚ˚ ‚ ÔÛ·Î˘ÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â ÔÓËÁ‚Ó‰flÚ Í‡Í ÓÚÍ˚ÚË ËÌÚËÏÌÓ„Ó, ÔÂÒÓ̇θÌÓ„Ó,

íÂÎ: ...„ÓÎӂ¯ÂÍ Ë Û„ÎÂÈ.

ÔÓ͇Á˚‚‡fl Ú ‡ÒÔÂÍÚ˚ ̇¯ÂÈ ÊËÁÌË, ÍÓÚÓ˚Â, Ú‡Í ÊÂ

äÓ‚: Ä, ÏÂÊ‰Û ÔÓ˜ËÏ, Û„ÎflÏ Ë ÚÓÔÍ‡Ï ÔËÒÛ˘‡ Ò‚Ófl

Í‡Í Ë ËÒÔÓθÁÓ‚‡ÌË flÁ˚͇ ‚ ÓÒÌÓ‚Â ‰Û„Ëı – ͇Í

ËÌÚÂÎÎÂÍÚۇθ̇fl ‚˚ÒÓÚ‡... íÂÎ: çÛ ‰‡ – Í‡Í Ó‰Ì‡Ê‰˚ ‡ÒÒ͇Á˚‚‡Î Ó‰ËÌ Ú‚ÓÈ

‚ËÁۇθÌ˚ı, Ú‡Í Ë ‚Â·‡Î¸Ì˚ı – Á̇˜ÂÌËÈ. íÂÎ: óÚÓ Ê ÚÓ„‰‡ ÓÒÚ‡fiÚÒfl Í‡Í ÓÒÓ·ÂÌ̇fl, ı‡‡ÍÚÂ̇fl

ËÌÚÂÎÎÂÍÚۇθÌ˚È ‰Û„, ÚÓÚ, ÍÓÚÓ˚È ‡·ÓÚ‡ÂÚ ‚

˜ÂÚ‡ ËÒÍÛÒÒÚ‚‡? – ìÊ Ì ÒÚË͇ Ê ҂ÓÂ„Ó „flÁÌÓ„Ó

χÌÂ Ú‡ÌÒˆẨÂÌڇθÌÓ„Ó ÍÓ̈ÂÔÚÛ‡ÎËÁχ, ËÎË

·Âθfl ̇ ÛÎˈÂ?

Í‡Í Ú‡Ï Â„Ó. è˯fiΠ̇ÌËχڸÒfl ̇ ‡·ÓÚÛ ‚ ÍÓÚÂθÌÛ˛, ‡ ‚ÒÚÂÚËÎ...

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äÓ‚: á̇˛ ˝ÚÓÚ ‡ÒÒ͇Á. äÓ„‰‡-ÚÓ ‚ Ò‰ÌÂÏ ‚ ÍÓÚÂθÌÓÈ ÏÓÊÌÓ ·˚ÎÓ Ì‡ÈÚË ÎË·Ó ˛ËÒÚ‡, ÎË·Ó ÔËÒ‡ÚÂÎfl, ÎË·Ó Û˜ÂÌÓ„Ó. à Ò Í‡Ì‰Ë‰‡ÚÒÍËÏ Á‚‡ÌËÂÏ Ì‡È‰ÛÚÒfl,

äÓ‚: éÒÚ‡˛ÚÒfl – χÎÂ̸ÍË ‡ÒÒ͇Á˚ Ë ËÓÌ˘ÂÒÍÓ ̇ÒÚÓÂÌËÂ.

Ë Ò ‰ÓÍÚÓÒÍËÏ... çÓ ‚ ËÒÍÛÒÒÚ‚Â ˝ÚË ·Óθ¯ËÂ

íÂÎ: ìÒÏÂıÌÛÚ¸Òfl ̇‰ ‚ÒÂÏ?

‡ÁÏÂ˚ Ó·ÓÁ̇˜‡ÎË ËÌÚÂÎÎÂÍÚۇθÌ˚È ÔÓÚÂÒÚ;

äÓ‚: èÓ˜ÂÏÛ ÚÓθÍÓ ÛÒÏÂıÌÛÚ¸Òfl. àÓÌËfl ÏÓÊÂÚ ·˚Ú¸

ÔÓÚÓÏ ‚ÂÏÂ̇ ÏÂÌflÎËÒ¸, ÔÓÚÂÒÚ – ‡ ÔÓÚË‚ ˜Â„Ó?

ÏÌÓ„ÓÓ·‡ÁÌÓÈ, ‰‡Ê ڇÍÓÈ, ˜ÚÓ Ì ‚ıÓ‰ËÚ ‚

– Ó·fiÎ ÔÂÎÂÌÛ ËÓÌ˘ÌÓÒÚË, ÔË‚ÍÛÒ ÂÁË̸flˆËË.

ÔÓÌflÚËÂ “ËÓÌËfl”.

íÂÎ: èÛÒÚ¸ Ú‡Í. ü ÚÓÊ ÏÓ„Û ‚Òfi ˜ÚÓ Û„Ó‰ÌÓ ÔˉÛχڸ, ‚ÒÔÓÏÌËÚ¸ Ë Ò͇Á‡Ú¸, ˜ÚÓ, ÌÛ ‚ ÚÓÈ... äÓ‚: ...Ï˚ÒÎÂÌÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â? íÂÎ: ч, ‚ ˝ÚÓÏ Ï˚ÒÎÂÌÌÓÏ ÔÓÒÚ‡ÌÒÚ‚Â ˝ÚÓ ÎÛ˜¯Â ‚ÒÂ„Ó ‚ˉÌÓ. Ä ˝ÚÓ Ì ÚÓθÍÓ ÔÎÓ‰ ‚ÓÓ·‡ÊÂÌËfl? óÚÓ Á‰ÂÒ¸ ËÒÚË̇? äÓ‚: ç Á̇˛, Í‡Í ÚÂ·Â Ë ÓÚ‚ÂÚËÚ¸... ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ‚ÓÓ·˘Â ÔËÁ˚‚‡ÂÚ “ÔÓÒÏÓÚÂÚ¸ ̇ ÁÂÌË”, ÌÓ Ò‡Ï ‚ˉ ÁÂÌËfl Ë ‚ˉËÏÓ ‚ ËÒÍÛÒÒÚ‚Â ã‡Ú‚ËË, ͇ÊÂÚÒfl, ˝ÚÓ ˜ÚÓ-ÚÓ Ú‡ÍÓ Ú‡ÌÒ-ˆÂÌ-‰ÂÌ-ڇθÌÓÂ! àÒÔÓθÁÛÂχfl Ë ÛÔÓÏflÌÛÚ‡fl ‚ ÚÂÍÒÚ ÎËÚÂ‡ÚÛ‡: å‡ÍÒËÏ ÉÓ¸ÍËÈ. ç‡ ‰ÌÂ// è¸ÂÒ˚. – åÓÒÍ‚‡: ÑÂÚÒ͇fl ÎËÚÂ‡ÚÛ‡, 1975. – C. 122. ÇẨËÍÚ ÖÓÙ‚. åÓÒÍ‚‡-èÂÚÛ¯ÍË// éÒÚ‡‚Ú ÏÓ˛ ‰Û¯Û ‚ ÔÓÍÓÂ. – åÓÒÍ‚‡: ï.É.ë. – C. 46. ùÌÂÒÚÓ ë‡·‡ÚÓ. íÛÌÌÂθ// àÌÓÒÚ‡Ì̇fl ÎËÚÂ‡ÚÛ‡, 1988, ‹ 6. ã˛‰‚Ë„ ÇËڄ¯ÚÂÈÌ. îËÎÓÒÓÙÒÍË ËÒÒΉӂ‡ÌËfl// îËÎÓÒÓÙÒÍË ‡·ÓÚ˚. ó‡ÒÚ¸ I. – åÓÒÍ‚‡: 65

ÉÌÓÁËÒ. – ë. 75–319. àÏχÌÛËÎ ä‡ÌÚ. ä‡ÌÚ. äËÚË͇ ˜ËÒÚÓ„Ó ‡ÁÛχ. – åÓÒÍ‚‡: å˚Òθ, 1994 (B 25). àÚ‡ÎÓ ä‡Î¸‚ËÌÓ. ç‚ˉËÏ˚ „ÓÓ‰‡// á‡ÏÓÍ ÒÍÂÒÚË‚¯ËıÒfl Òۉ·: êÓχÌ˚, ‡ÒÒ͇Á˚. – ëèÅ: ëÏÔÓÁËÛÏ, 2001. – C. 141–142. ëÂ„ÂÈ Ñӂ·ÚÓ‚. ꘸ ·ÂÁ ÔÓ‚Ó‰‡... ËÎË äÓÎÓÌÍË ‰‡ÍÚÓ‡. – åÓÒÍ‚‡: å‡ı‡ÓÌ, 2006. – ë. 361–362. ëÂ„ÂÈ Ñӂ·ÚÓ‚. äÓÏÔÓÏËÒÒ// ëÓ·‡ÌË ÒÓ˜ËÌÂÌËÈ. í. 1. – ëèÅ: ÄÁ·Û͇-Í·ÒÒË͇, 2007. – ë. 337. ù‰‚‡‰ ãË. äÌË„Ë çÓÌÒÂÌÒ‡. – ëèÅ: êÂÚÓ, 2001. åË„Âθ ‰Â ì̇ÏÛÌÓ. íÛχÌ// ÅË·ÎËÓÚÂ͇ ‚ÒÂÏËÌÓÈ ÎËÚÂ‡ÚÛ˚. í. 141. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1973. – ë. 58.àÓÒËÙ ÅÓ‰ÒÍËÈ. èÂÂÏÂ̇ ËÏÔÂËË. ëÚËıÓÚ‚ÓÂÌËfl 1960–1996. – åÓÒÍ‚‡: çÂÁ‡‚ËÒËχfl ɇÁÂÚ‡, 2001. – ë. 57. ã‚ çËÍÓ·‚˘ íÓÎÒÚÓÈ. ÑÂÚÒÚ‚Ó// ëÓ·‡ÌË ÒÓ˜ËÌÂÌËÈ. í. 1. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1972, – ë. 25. à‚‡Ì ëÂ„‚˘ íÛ„ÂÌ‚. ÅË˛Í// á‡ÔËÒÍË ÓıÓÚÌË͇. – åÓÒÍ‚‡: ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ÎËÚÂ‡ÚÛ‡, 1984, – ë. 109. êÓÎ‡Ì Å‡Ú. ì‰Ó‚ÓθÒÚ‚Ë ÓÚ ÚÂÍÒÚ‡// àÁ·‡ÌÌ˚ ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒÒ, 1994. – ë. 502. êÓÎ‡Ì Å‡Ú. ÉÛÎ flÁ˚͇// àÁ·‡ÌÌ˚ ‡·ÓÚ˚. ëÂÏËÓÚË͇. èÓ˝ÚË͇. – åÓÒÍ‚‡: èÓ„ÂÒÒ, ìÌË‚ÂÒÒ, 1994. – ë. 543.

Andris BreΩe Kristaps Ìelzis Sarmîte Måliña, Kristaps Kalns Leonards Laganovskis Evelîna Deiçmane F5 Kristîne Kursißa

Maija Kurßeva Semjons Hañins Ìirts Korps

Katrîna Neiburga Kaspars Podnieks Miks Mitrévics Krißs Salmanis Armands Zelçs

68

Struktüras I–IV

Structures I–IV

ëÚÛÍÚÛ˚ I–IV

Objekti, 1999

Objects, 1999

é·˙ÂÍÚ˚, 1999

Andris BreΩe

Ä̉ËÒ ÅÂÊÂ

70

Nedé¬as nogales zîméjumi

Weekend Drawings

êËÒÛÌÍË wËÍẨÓÙ

Objekti, 2008

Objects, 2008

é·˙ÂÍÚ˚, 2008

Dzîves uztvere katram no mums saståv no daΩådiem nozîmîgiem notikumiem, vietåm, sajütåm un personåΩiem.

BieΩi, pat mazåkais sîkums, var tikt uzpüsts lîdz pat pasaulîgam vértîbu lîmenim.

Globalizåcija, urbanizåcija, reli©ija un individuålisms – problémas, kuras, pieaugot kå balons, k¬üst arvien vairåk trauslåkas, iekßéjo pretrunu plosîtas.

Zîméjumu sérijas paskaidro, ka “Nekas ßai dzîvé nav müΩîgs“, tådé¬ svarîgî to novértét tagad, neatståjot uz vélåku laiku. Varbüttå vairs nemaz nebüs.

The way we perceive life is a combination of different important events, places, feelings and characters.

Very often the smallest details might be blown up even to the level of global importance. Globalization, urbanization, religion and individualism are problems which like a blown up balloon are getting more and more fragile and rent by inner conflicts.

A series of drawings shows that “Nothing is for ever in this life”. Therefore it is important to recognise it now, not leaving for later. Probably then it will be gone.

ÇÓÒÔËflÚË ÊËÁÌË ÒÓÒÚÓËÚ ‰Îfl Í‡Ê‰Ó„Ó ËÁ Ì‡Ò ËÁ ‡Á΢Ì˚ı ÔÓËÒ¯ÂÒÚ‚ËÈ, ÏÂÒÚ, ˜Û‚ÒÚ‚ Ë ÔÂÒÓ̇ÊÂÈ. ó‡ÒÚÓ ‰‡Ê ÏÂÎÓ˜¸ ÏÓÊÂÚ ·˚Ú¸ ‡Á‰ÛÚ‡ ‰Ó ÛÓ‚Ìfl ÏËÓ‚Ó„Ó Á̇˜ÂÌËfl. ÉÎÓ·‡ÎËÁ‡ˆËfl, Û·‡ÌËÁ‡ˆËfl, ÂÎË„Ëfl Ë Ë̉˂ˉۇÎËÁÏ – ˆÂÌÌÓÒÚË, ‡ÒÚÛ˘ËÂ Í‡Í ¯‡, ÒÚ‡ÌÓ‚flÚÒfl ‚Ò ·ÓΠıÛÔÍËÏË Ë ‡Á‰Ë‡ÂÏ˚ÏË ‚ÌÛÚÂÌÌËÏË ÔÓÚË‚Ó˜ËflÏË. à‰Âfl ÒÂËË ËÒÛÌÍÓ‚ Ó·˙flÒÌflÂÚÒfl Í‡Í “ç˘ÚÓ ‚ ˝ÚÓÈ ÊËÁÌË Ì ‚˜ÌÓ”, ÔÓ˝ÚÓÏÛ ‚‡ÊÌÓ ˝ÚÓ ÓˆÂÌËÚ¸ ÒÂȘ‡Ò, Ì ÓÚÍ·‰˚‚‡fl ̇ ·ÓΠÔÓÁ‰Ì ‚ÂÏfl. åÓÊÂÚ ·˚Ú¸, Â„Ó ÛÊÂ Ë Ì ·Û‰ÂÚ.

Kristaps Ìelzis

äËÒÚ‡ÔÒ ÉÂÎÁËÒ

72

Altåris

Altar

ÄÎÚ‡¸

Instalåcija, 2006

Intallation, 2006

àÌÒÚ‡ÎÎflˆËfl, 2006

Sarmîte Måliña, Kristaps Kalns

ë‡ÏËÚ å‡ÎËÌfl, äËÒÚ‡ÔÒ ä‡ÎÌÒ

74

No sérijas “Vodka”

From Series “Vodka”

àÁ ÒÂËË “Vodka”

Perspektivnaya

Perspektivnaya

Perspektivnaya

E¬¬a, audekls, 2007

Oil, canva, 2007

M‡ÒÎÓ, ıÓÎÒÚ, 2007

Parketnaya

Parketnaya

Parketnaya

E¬¬a, audekls, 2007

Oil, canva, 2007

M‡ÒÎÓ, ıÓÎÒÚ, 2007

Leonards Laganovskis

ãÂÓ̇‰c ㇄‡ÌÓ‚ÒÍËÒ

Teiksma – pasakas par cilvéku izturéßanos

Fairy-Tales about Human Behaviour

ç·˚Îˈ˚ Ó Ôӂ‰ÂÌËË ˜ÂÎÓ‚Â͇

Objects, 2007

é·˙ÂÍÚ˚, 2007

Fairy-tales often relate about dark forests where wondrous creatures are told to dwell.

And only the chosen few can meet them while getting lost.

The work consists of a series of photographs based on fairy-tales about human behaviour caused by miracles and mysteries or secret events, taking place only in private, personal space and not explicable by everybody.

In these tales human beings transforms into animals but their surroundings become forest.

The photographs portray the hybrid creatures during this enigmatic process. Spaces are

Ç Ò͇Á͇ı ˜‡ÒÚÓ „Ó‚ÓËÚ¸Òfl Ó ÚfiÏÌ˚ı ÎÂÒ‡ı, ‚ ÍÓÚÓ˚ı ÊË‚ÛÚ Û‰Ë‚ËÚÂθÌ˚ ÒÛ˘ÂÒÚ‚‡. à ÚÓθÍÓ ÌÂÏÌÓ„Ë ÏÓ„ÛÚ ‚ÒÚÂÚËÚ¸ Ëı, Ó˜ÌÛ‚¯ËÒ¸ ÓÚÓ Ò̇. ꇷÓÚ‡ ÒÓÒÚÓËÚ ËÁ ÒÂËË ÙÓÚÓ„‡ÙËÈ, ‚ ÓÒÌÓ‚Â ÍÓÚÓ˚ı Ò͇ÁÍË Ó Ôӂ‰ÂÌËË ˜ÂÎÓ‚Â͇, ‚˚Á‚‡ÌÌÓÏ ˜Û‰ÂÒ‡ÏË Ë ÏËÒÚÂËflÏË ËÎË ÒÍ˚Ú˚ÏË ÔÓˆÂÒÒ‡ÏË, ÍÓÚÓ˚ ÏÓ„ÛÚ ÔÓıÓ‰ËÚ¸ ÚÓθÍÓ ‚ ˜‡ÒÚÌÓÏ, Ó„‡Ì˘ÂÌÌÓÏ ‚ÓÒÔËflÚËÂÏ Ó‰ÌÓ„Ó ˜ÂÎÓ‚Â͇ ÔÓÒÚ‡ÌÒÚ‚Â, Ë ÍÓÚÓ˚ ÌËÍÚÓ Ì ÏÓÊÂÚ Ó·˙flÒÌËÚ¸.Ç ˝ÚËı ‡ÒÒ͇Á‡ı ˜ÂÎÓ‚ÂÍ Ô‚‡˘‡ÂÚÒfl ‚ ÊË‚ÓÚÌÓÂ, ‡ Â„Ó ÓÍÛÊÂÌË – ‚ ÎÂÒ. ç‡ ÙÓÚÓ„‡ÙËflı Á‡Ô˜‡ÚÎÂÌ˚ „Ë·ˉÌ˚ ÒÛ˘ÂÒÚ‚‡, Û˜‡ÒÚ‚Û˛˘Ë ‚ ˝ÚÓÏ ÏËÒÚ˘ÂÒÍÓÏ ÔÓˆÂÒÒÂ. èÓÏ¢ÂÌËfl – ˝ÚÓ ÎÂÒ, ‚ ÍÓÚÓÓÏ Ì‡Ï ÓÚÍ˚‚‡ÂÚÒfl ÒÛÚ¸ Ú‡ÈÌ. ãÂÒ, ÒÓÒÚÓfl˘ËÈ ËÁ Ï·ÂÎË, ÍÓ‚‡ Ë ÁÂÏÎË, ÒÚÛθ‚ Ë ÔÌÂÈ, ‡‰ËÓÔËfiÏÌË͇ Ë ‚ÂÚÓÍ. ÇÂÎË͇fl ·‡ÎÂË̇ Ô‡ËÚ ‚ ӷ·Í ÔÚˈ, ‡ ËÏÔÂ‡ÚÓ ÛÏË‡ÂÚ Ó‰ËÌ ‚ ÚÂÏÌÓÚ ҂ÓÂÈ ÍÓÏ̇Ú˚… óÂÎÓ‚ÂÍ – ˝ÚÓ ÊË‚ÓÚÌÓÂ, Ë Â„Ó ÂÒÚÂÒÚ‚ÂÌÌÓ ÒÓÒÚÓflÌË – ËÌÚËÏÌÓÒÚ¸.

Objekti, 2007 Pasakås bieΩi vien tiek ståstîts par tumßiem meΩiem, kuros dzîvojot brînumainas radîbas.

Un tikai daΩiem izdodas tos satikt – apmaldoties.

Darbs ir fotogråfiju sérija, tås pamatå ir pasakas par cilvéka izturéßanos, ko izraisa brînumi un mistérijas vai slepenas norises, kuras var notikt tikai privåtajå, personiskajå telpå un kuras nevar izskaidrot cits. Íajos ståstos cilvéks pårvérßas par dzîvnieku un apkårtne – par meΩu. Fotogråfijås redzamas hibrîdås bütnes ßajå mistiskajå norisé. Telpas

76

Evelîna Deiçmane ir meΩi, kur mums atklåjas noslépumu bütîba.

MeΩs, kuru veido mébeles, paklåjs un zeme, krésli un celmi, radio un zari. Liela balerîna lido putnu måkonî, un ˚eizars mirst viens pats savas istabas tumså…

Cilvéks ir dzîvnieks, un viña dabiskais ståvoklis ir intimitåte.

ù‚ÂÎË̇ ÑÂȘχÌÂ

forests that reveal the essence of mysteries. A forest made up by furniture, carpet and earth, chairs and stumps, radio and branches. A large ballerina flies in the cloud of birds and the king dies alone in the darkness of his room…

A human being is an animal and his natural state is intimacy.

78

Es neskatos

I’m not looking

ü Ì ÒÏÓÚ˛

Divu kanålu sinhronizéta videoinstalåcija.

29’ 30”, 2006

Two-channel synchronized video installation.

29’ 30”,2006

Ñ‚Ûı͇̇θ̇fl ÒËÌıÓÌ̇fl ‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl. 29’ 30”, 2006

Videoekråni ir novietoti tå, lai skatîtåjs tos neredzétu vienlaicîgi.

Pirmajå videoekrånå ir redzama kåda telpa ar kréslu rindu pie sienas. Léni parådås sédoßas sievietes téls...Nekas nenotiek. Ir tikai nojaußams, ka sieviete såk raudåt.

Otrajå videoekrånå ir redzama tå pati aina tuvplånå. Kadrå ir redzama raudoßå seja.

Kåpéc tas notiek – tas paliek apslépts. Bez skañas, bez vårdiem.

Video screens are placed in a way the spectator would not see them both at the same time.

The first screen shows some premise with a row of chairs close to the wall. An image of a seated woman appears slowly … Nothing happens. Still one can guess that the woman starts weeping.

The second video screen features the same scene in a close-up. A weeping face shows on the screen.

The cause of the process remains hidden.

No sounds, no words.

ÇˉÂÓ˝Í‡Ì˚ ‡ÒÔÓÎÓÊÂÌ˚ Ú‡Í, ˜ÚÓ·˚ ÁËÚÂθ Ì ‚ˉÂÎ Ëı Ó‰ÌÓ‚ÂÏÂÌÌÓ. ç‡ ÔÂ‚ÓÏ ˝Í‡Ì ‚ˉÌÓ Í‡ÍÓÂ-ÚÓ ÔÓÏ¢ÂÌËÂ Ò fl‰ÓÏ ÒÚÛθ‚ Û ÒÚÂÌ˚. å‰ÎÂÌÌÓ ÔÓfl‚ÎflÂÚÒfl Ó·‡Á Òˉfl˘ÂÈ ÊÂÌ˘ËÌ˚... çË˜Â„Ó Ì ÔÓËÒıÓ‰ËÚ. ÖÒÚ¸ ÚÓθÍÓ Ô‰˜Û‚ÒÚ‚ËÂ, ˜ÚÓ ÊÂÌ˘Ë̇ ̇˜Ë̇ÂÚ Ô·͇ڸ. ç‡ ‚ÚÓÓÏ ˝Í‡Ì ‚ˉ̇ Ú‡ Ê ͇ÚË̇ ÍÛÔÌ˚Ï Ô·ÌÓÏ. Ç Í‡‰ ‚ˉÌÓ Ô·˜Û˘Â ÎˈÓ. èÓ˜ÂÏÛ Ú‡Í ÔÓËÒıÓ‰ËÚ – ÓÒÚ‡ÂÚÒfl ÒÍ˚Ú˚Ï. ÅÂÁ Á‚Û͇, ·ÂÁ ÒÎÓ‚.

F5

Lîga Marcinkeviça, Mårtiñß Ratniks, Ieva Rubeze ãË„‡ å‡ˆËÌÍ‚˘‡, å‡ÚË̸¯Ò ê‡ÚÌËÍÒ, à‚‡ êÛ·ÂÁÂ

Spéka starojums

Radiation of Power

ëËflÌË ÒËÎ˚

Objekts, 2008.

Object, 2008.

é·˙ÂÍÚ, 2008

DaΩkårt kaut kå ir påråk daudz – necilvécîgi daudz.

Par daudz gaismas, par daudz skaistå, par daudz neaptveramå.

NECILV‰CÈGÅ STAROJUMÅ NO AKLUMA PAGLÅBJ ACU AIZSEGÍANA AR ROKU. Starojumu iztur tikai trenétie.

Sometimes there is too much of something – superhumanly much.

Too much light, too much beauty, too much beyond human understanding.

COVERING EYES WITH ONE’S HAND SAVES FROM BLINDNESS CAUSED BY THE SUPERHUMAN RADIATION. Only the welltrained ones survive the radiation.

àÌÓ„‰‡ ˜Â„Ó-ÚÓ ·˚‚‡ÂÚ ÒÎ˯ÍÓÏ ÏÌÓ„Ó – ̘ÂÎӂ˜ÂÒÍË ÏÌÓ„Ó. ëÎ˯ÍÓÏ ÏÌÓ„Ó Ò‚ÂÚ‡, ÒÎ˯ÍÓÏ ÏÌÓ„Ó Í‡ÒÓÚ˚, ÒÎ˯ÍÓÏ ÏÌÓ„Ó ÌÂÔÓÒÚËÊËÏÓ„Ó. Ç çÖóÖãéÇÖóÖëäéå ëàüçàà éí ëãÖèéíõ åéÜçé áÄôàíàíúëü íéãúäé èêàäêõÇ ÉãÄáÄ êìäéâ. ëËflÌË ‚˚‰ÂÊË‚‡˛Ú ÚÓθÍÓ Ì‡ÚÂÌËÓ‚‡ÌÌ˚Â.

80

Piens

Milk

åÓÎÓÍÓ

Video. 1’ 8 ’’, 2008

Video. 1’ 8’’, 2008

ÇˉÂÓ. 1’ 8’’, 2008

‰na

Shadow

íÂ̸

Video. 30’, 2008

Video. 30’, 2008

ÇˉÂÓ. 30’, 2008

Sapñojot bieΩi vien es neredzu cilvéku sejas.

Es nojaußu, precîzåk, es zinu, kas tie ir, bet sejas neredzu. DaΩbrîd es nosapñoju, ka pazîstu dzîvé pavisam nepazîstamus cilvékus un ik reizi sapños notiek nelo©iskas lietas. Íis lo©ikas trükums man ¬oti patîk. Tåpéc ir radußies “Piens” un “‰na”, sirreåli sapñi, kuros izjustais ir bütiskåks par lo©isku iznåkumu.

While dreaming I often cannot see people’s faces. I guess or even know who they are but don’t see faces. Sometimes I dream about knowing people I don’t really know and always illogical things happen in dreams. I like this lack of logic very much. That’s why the works “Milk” and “Shadow” were created, surreal dreams in which sensations are more important than a logical outcome.

ÇÓ ÒÌ fl ˜‡ÒÚÓ Ì ‚ˉ· ˜ÂÎӂ˜ÂÒÍË Îˈ‡. ü ‰Ó„‡‰˚‚‡˛Ò¸, ÚÓ˜ÌÂÂ, Á̇˛, ÍÚÓ ÓÌË, ÌÓ Îˈ Ì ‚ËÊÛ. àÌÓ„‰‡ ÏÌ ÒÌËÎÓÒ¸, ˜ÚÓ Á̇˛ ÒÓ‚ÒÂÏ Ì Á̇ÍÓÏ˚ı ÏÌ ÔÓ ÊËÁÌË Î˛‰ÂÈ, Ë ‚Ó ÒÌ ‚Ò„‰‡ ÔÓËÒıÓ‰flÚ ÌÂÎӄ˘Ì˚ ‚¢Ë. ùÚÓ ÓÚÒÛÚÒÚ‚Ë ÎÓ„ËÍË ÏÌ ӘÂ̸ Ì‡‚ËÚÒfl. èÓ˝ÚÓÏÛ Ó‰ËÎËÒ¸ “åÓÎÓÍÓ” Ë “íÂ̸”, Ò˛‡ÎËÒÚË

Kristîne Kursißa

äËÒÚË̇ äÛÒ˯‡

82

Mana piektdiena

My Friday

åÓfl ÔflÚÌˈ‡

Instalåcija, 2008

Installation, 2008

àÌÒÚ‡ÎÎflˆËfl, 2008

Ar vieglu dzinn! sace¬as vi¬ñi. No såkuma mazi, tad lielåki. Uznes lîdz griestiem, kur galva atsitas un saß˚îst stiklos. No rîta skaidrs, ka istabå bijusi vétra, jo pie kåjåm saskalotas pudeles ar véstîjumiem iekßå.

Waves rise with a light tinkle. Initially small, they get bigger. Bring up to ceiling where the head is crashes against glass. In the morning it is clear there has been storm in the room, as bottles with messages are silted by the feet.

éÚ Î„ÍÓ„Ó “‰ÁË̸!” ̇·Â„‡˛Ú ‚ÓÎÌ˚. ë̇˜‡Î‡ χÎÂ̸ÍËÂ, ÔÓÚÓÏ ÔÓ·Óθ¯Â. èÓ‰ÌËχ˛Ú ‰Ó ÔÓÚÓÎ͇, Ó ÍÓÚÓ˚È ÒÚÛ͇ÂÚÒfl „ÓÎÓ‚‡ Ë ‡Á·Ë‚‡˛ÚÒfl ̇ ÓÒÍÓÎÍË ÒÚÂÍ·. ìÚÓÏ ÔÓÌflÚÌÓ, ˜ÚÓ ‚ ÍÓÏ̇Ú ·˚· ·Ûfl, Ó· ˝ÚÓÏ „Ó‚ÓflÚ ‡Á·Ë‚¯ËÂÒfl ·ÛÚ˚ÎÍË Ò Á‡ÔËÒ͇ÏË ‚ÌÛÚË.

Maija Kurßeva

å‡Èfl äÛ¯Â‚‡

84

te man kåds iekoda vai arî es apdedzinåjos te es nokritu no ßüpolém sadzija, bet daΩreiz niez né, ne te, nedaudz augståk tur ir kaut kådi izsitumi varbüt aler©ija te lük piedzéros sakåvos tas ir apendicîts kas ßeit – neatceros labåk neaiztiec

here I got bitten or I was burnt and here I fell off the swings it has healed but it’s still a bit itchy no, not here, a bit higher there’s some sort of rash there could be an allergy here I got drunk and was in a fight this was appendicitis here I don’t remember what better not touch

Atdzejojis Kårlis Vérdiñß

Translated by Maria Kozlovskaya-Wiltshire

Semjons Hañins

ëÂÏÂÌ ï‡ÌËÌ

Á‰ÂÒ¸ ÍÚÓ-ÚÓ ÏÂÌfl ÛÍÛÒËÎ ËÎË fl Ó·Ê„Òfl Á‰ÂÒ¸ fl ÛÔ‡Î Ò Í‡˜ÂÎÂÈ Á‡ÚflÌÛÎÓÒ¸, ÌÓ ËÌÓ„‰‡ ˜Â¯ÂÚÒfl ÌÂÚ, Ì Á‰ÂÒ¸, ÌÂÏÌÓ„Ó ÔÓ‚˚¯Â Ú‡Ï Í‡Í‡fl-ÚÓ Ò˚Ô¸ ÏÓÊÂÚ ·˚Ú¸ ‡ÎÎÂ„Ëfl Á‰ÂÒ¸ ‚ÓÚ Ì‡ÔËÎÒfl ÔÓ‰‡ÎÒfl ˝ÚÓ ‡ÔÔẨˈËÚ ÚÛÚ fl Ì ÔÓÏÌ˛ ˜ÚÓ ÎÛ˜¯Â Ì ÚÓ„‡È

Ìirts Korps & GIRNŲ GIESMĖS M Video, 2003 Mîtiskå domåßana bija veids, kå izprast pasauli.

Mîts radås, cilvéka iztélei saskaroties ar nesaprotamo îstenîbu.

Müsdienu mîts ir cits.

Tas nemaz nav mîts.

Cilvéks ir puslîdz ticis skaidrîbå ar pasauli, vismaz tås tauståmo pusi; pats sev gan ir atståjis tiesîbas uz jelkådu noslépumainîbu.

Savu personîgo realitåti cilvéks var mitolo©izét.

Maldi un ilüzijas rodas, iztélei saskaroties ar nereti k¬üdainu priekßstatu par to, kådam standartam vajadzétu atbilst realitåtei vai kas ir laime.

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Ìirts Korps

Video veidots kå sajüta, asociåcija, kas izriet no skañas, tåpéc tas ir abstrakts témas skatîjums bez secîgas siΩetiskås lînijas.

Video saståv no filméta, gan arî grafiska materiåla, lai labåk izceltu skañas struktüru un radîtu atbilstoßu noskañu.

ÉËÚÒ äÓÔÒ

K¬üdaini priekßstati var radît privåtu mîtu, kas var k¬üt par meliem.

Mîts ir par realitåti.

Müsdienås mîts par realitåti ir meli.

Darbs “M” ir sadarbîbas projekts ar vienu no vecåkajåm lietuvießu dark ambient/industrial grupåm Girn ų Giesm ės. Tas ir abstrakts piecu minüßu video, kas veidots, izejot no skañas materiåla struktüras un noskañas. Darbs ir autoru iztéles auglis par tému “mîts”. Skaña un video veido simbolu kopumu, kas izriet no autoru bérnîbas atmiñåm un priekßstatiem par pasauli, kå arî ßî brîΩa attieksmes pret pagåtni un tagadni.

Mîtiskå pasaules uztvere påriet tagadnes realitåtes apziñå, kas noved pie mîtiskås pasaules robeΩas sagraußanas.

Ìirts Korps & GIRNŲ GIESMĖS M Video, 2003 Mythical thinking was a way of understanding the world.

A myth is created when man’s imagination encounters the incomprehensible reality.

The myth of today is different.

It’s one of myth. Man has more or less got to grips with the world, at least its tangible side; he does though, reserve the right to secrecy of any kind. Man can mythologise his personal reality.

Delusions and illusions arise when the imagination meets with an often mistaken idea of what kind of standard should correspond with reality or what is that can become lies.

Myth is about reality.

Nowadays a myth about reality is lies.

“M” is a joint project with Girn ų Giesm ės, one of Lithuania’s oldest dark ambient/ industrial groups. It is a five-minute abstract video formed on the basis of the structure and mood of the acoustic material. The work is the

fruit of the author’s imagination on the theme of “myth”. The sound and video form a symbolic whole derived from the author’s childhood memories and notinos of the world, as well his current attitude towards the past and present. A mythical perception of the world turns into awareness of the present reality leading to the breaking down of the boundaries of the mythical world.

The video has been made as a feeling, an association coming from the sound and that is why it i san abstract view of the theme without a sequential storyline. The video consists of both filmed and graphic materials in order to highlight the structure of the sound and create an appropriate mood.

ÉËÚÒ äÓÔÒ & GIRNŲ GIESMĖS M ÇˉÂÓ. 2003 åËÙ˘ÂÒÍÓ Ï˚¯ÎÂÌË ·˚ÎÓ ÒÔÓÒÓ·ÓÏ ÔÓÌflÚ¸ ÏË. åËÙ ÔÓfl‚ËÎÒfl, ÍÓ„‰‡ ˜ÂÎӂ˜ÂÒÍÓ ‚ÓÓ·‡ÊÂÌË ÒÚÓÎÍÌÛÎÓÒ¸ Ò ÌÂÔÓÌflÚÌÓÈ ‰ÂÈÒÚ‚ËÚÂθÌÓÒÚ¸˛. ëÓ‚ÂÏÂÌÌ˚È ÏËÙ ‰Û„ÓÈ. ùÚÓ ÒÓ‚ÒÂÏ Ì ÏËÙ. óÂÎÓ‚ÂÍ Ì‡ÔÓÎÓ‚ËÌÛ ÔÓÌflÎ ÏË, ‚Ó ‚ÒflÍÓÏ ÒÎÛ˜‡Â, Â„Ó ÓÒflÁ‡ÂÏÛ˛ ˜‡ÒÚ¸; Ò‡Ï ‰Îfl Ò·fl ÓÒÚ‡‚ËÎ Ô‡‚Ó Ì‡ β·Û˛ ÒÂÍÂÚÌÓÒÚ¸. ë‚Ó˛ ΢ÌÛ˛ ‡θÌÓÒÚ¸ ˜ÂÎÓ‚ÂÍ ÏÓÊÂÚ ÏËÙÓÎÓ„ËÁËÓ‚‡Ú¸. é·Ï‡Ì Ë ËÎβÁËË ÔÓfl‚Îfl˛ÚÒfl, ÍÓ„‰‡ ‚ÓÓ·‡ÊÂÌË ÒÚ‡ÎÍË‚‡ÂÚÒfl Ò ÌÂ‰ÍÓ Ó¯Ë·Ó˜Ì˚Ï Ô‰ÒÚ‡‚ÎÂÌËÂÏ Ó ÚÓÏ, ͇ÍÓÏÛ Òڇ̉‡ÚÛ ÌÛÊÌÓ ÒÓÓÚ‚ÂÚÒÚ‚Ó‚‡Ú¸ ‡θÌÓÒÚË Ë ˜ÚÓ Ú‡ÍÓ Ҙ‡ÒÚ¸Â. é¯Ë·Ó˜Ì˚ Ô‰ÒÚ‡‚ÎÂÌËfl ÏÓ„ÛÚ ÒÓÁ‰‡‚‡Ú¸ ˜‡ÒÚÌ˚È ÏËÙ, ÍÓÚÓ˚È ÏÓÊÂÚ ÒÚ‡Ú¸ ӷχÌÓÏ. åËÙ – ÓÌ Ó ‡θÌÓÒÚË.

ëÓ‚ÂÏÂÌÌ˚È ÏËÙ Ó ‡θÌÓÒÚË – ˝ÚÓ Ó·Ï‡Ì. ꇷÓÚ‡ “å” – ÔÓÂÍÚ ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò Ó‰ÌÓÈ ËÁ ÒÚ‡ÂȯËı ÎËÚÓ‚ÒÍËı „ÛÔÔ ÒÚËÎfl dark ambient/industrial – Girn ų Giesm ės. ùÚÓ ‡·ÒÚ‡ÍÚÌÓ ÔflÚËÏËÌÛÚÌÓ ‚ˉÂÓ, ÒÓÁ‰‡ÌÌÓ ËÒıÓ‰fl ËÁ ÒÚÛÍÚÛ˚ χÚÂˇ· Á‚Û͇ Ë Ì‡ÒÚÓÂÌËfl. ꇷÓÚ‡ – ˝ÚÓ ÔÎÓ‰ ‚ÓÓ·‡ÊÂÌËfl ‡‚ÚÓÓ‚ ̇ ÚÂÏÛ “ÏËÙ”. á‚ÛÍ Ë ‚ˉÂÓ Ó·‡ÁÛ˛Ú ÍÓÏÔÎÂÍÒ ÒËÏ‚ÓÎÓ‚, ËÒıÓ‰fl˘Ëı ËÁ ‰ÂÚÒÍËı ‚ÓÒÔÓÏË̇ÌËÈ Ë Ô‰ÒÚ‡‚ÎÂÌËÈ Ó ÏËÂ, ‡ Ú‡ÍÊ ËÁ ÓÚÌÓ¯ÂÌËfl ˝ÚÓ„Ó ÏÓÏÂÌÚ‡ Í ÔÓ¯ÎÓÏÛ Ë Ì‡ÒÚÓfl˘ÂÏÛ. åËÙ˘ÂÒÍÓ ‚ÓÒÔËflÚË ÏË‡ ÔÂÂıÓ‰ËÚ ‚ ÒÓÁ̇ÌË ‡θÌÓÒÚË Ì‡ÒÚÓfl˘Â„Ó, ˜ÚÓ ÔË‚Ó‰ËÚ Í ‡ÁÛ¯ÂÌ˲ „‡Ìˈ˚ ÏËÙ˘ÂÒÍÓ„Ó ÏË‡. ÇˉÂÓ Ó·‡ÁÓ‚‡ÌÓ Í‡Í ˜Û‚ÒÚ‚Ó, ‡ÒÒӈˇˆËfl, ‚˚ÚÂ͇˛˘‡fl ËÁ Á‚Û͇, ÔÓ˝ÚÓÏÛ ˝ÚÓ ‡·ÒÚ‡ÍÚÌÓ ‚ˉÂÌË ÚÂÏ˚ ·ÂÁ ÔÓÒΉӂ‡ÚÂθÌÓÈ Ò˛ÊÂÚÌÓÈ ÎËÌËË. ÇˉÂÓ ÒÓÒÚÓËÚ ËÁ ÒÌflÚÓ„Ó Ë „‡Ù˘ÂÒÍÓ„Ó Ï‡ÚÂˇ·, ˜ÚÓ·˚ ÎÛ˜¯Â ‚˚‰ÂÎËÚ¸ ÒÚÛÍÚÛÛ Á‚Û͇ Ë ÒÓÁ‰‡Ú¸ ÒÓÓÚ‚ÂÚÒÚ‚Û˛˘Â ̇ÒÚÓÂÌËÂ.

88

KROXA

KROXA

KROXA

Video poéma, 2005 Dzeja: Hañins

Video poem, 2005 Poetry: Hañins

ÇˉÂÓ ÔÓ˝Ï‡, 2005 ëÚËıË: ï‡ÌËÌ

DaΩas sekundes gara filmiña, kurå dzejas un attéla mijiedarbîba rada pilnmetråΩas filmas vértu spriegumu, iezîméjot ßauro un netveramo robeΩu starp to, kas jau ir bijis – atståtas lietas, pateikti vårdi, pirkstu nospiedumi, smarΩa gaiså, caurvéjß, pieskåriena siltums, un to, kas vél tikai büs – nezinåms un tomér nenovérßams.

A film of few seconds in which the interaction between poetry and picture creates tension of a full-length film, marking the narrow and imperceptible boundary between what is past already – things left, words spoken, finger prints, perfume in the air, draught, warmness of touch, and what is still to happen – unknown and still unavoidable.

Pauls Bankovskis, rakstnieks

Pauls Bankovskis, writer

Krohas måkslas gabaliñß ir apståßanås, par kuru més nojautåm, taçu nespéjåm sasniegt.

Kroha art piece is a standstill we anticipated but could not achieve. The male voice that

îËθÏ, ‰ÎËÌÓ˛ ‚ ÌÂÒÍÓθÍÓ ÒÂÍÛ̉, ‚ ÍÓÚÓÓÏ ‚Á‡ËÏÓÒ‚flÁ¸ ÔÓ˝ÁËË Ë ËÁÓ·‡ÊÂÌËfl Óʉ‡ÂÚ Ì‡ÔflÊÂÌËÂ, ‰ÓÒÚÓÈÌÓ ÔÓÎÌÓÏÂÚ‡ÊÌÓ„Ó ÙËθχ, ÔË ˝ÚÓÏ ÓÚϘ‡fl ÛÁÍÛ˛ Ë ÌÂÛÎÓ‚ËÏÛ˛ „‡ÌËˆÛ ÏÂÊ‰Û ÚÂÏ, ˜ÚÓ ÛÊ ·˚ÎÓ – ÓÒÚ‡‚ÎÂÌÌ˚ ‚¢Ë, Ò͇Á‡ÌÌ˚ ÒÎÓ‚‡, ÓÚÔ˜‡ÚÍË Ô‡Î¸ˆÂ‚, Á‡Ô‡ı ‚ ‚ÓÁ‰ÛıÂ, ÒÍ‚ÓÁÌflÍ, ÚÂÔÎÓ ÔËÍÓÒÌÓ‚ÂÌËfl, Ë ÚÂÏ, ˜ÚÓ Â˘fi ÚÓθÍÓ ·Û‰ÂÚ – ÌÂËÁ‚ÂÒÚÌÓÂ Ë ‚Òfi-Ú‡ÍË ÌÂÓÚ‚‡ÚËÏÓÂ.

Katrîna Neiburga

ä‡ÚË̇ çÂÈ·Û„‡

è‡ÛÎÒ Å‡ÌÍÓ‚ÒÍËÒ, ÔËÒ‡ÚÂθ

ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÍÛÒÓ˜ÂÍ ÍÓıË – ÓÒÚ‡Ìӂ͇, ÍÓÚÓÛ˛ Ï˚ Ô‰˜Û‚ÒÚ‚ÛÂÏ, ÌÓ Ì ÏÓÊÂÏ ‰ÓÒÚ˘¸. åÛÊÒÍÓÈ „ÓÎÓÒ, Ò ÍÓÚÓ˚Ï ‚Á„Îfl‰ ÒÍÓθÁËÚ ÔÓ ÒÚÂÌ‡Ï Ë Ô‰ÏÂÚ‡Ï, ·ÂÁ ÒÓÏÌÂÌËfl, ÔÓÒÚÓ Û͇, ÒÍÓθÁfl˘‡fl ÔÓ ÊÂÌÒÍÓÈ ÍÓÊÂ, Ë, ÂÒÎË Û ‚¢ÂÈ ÂÒÚ¸ ÒÛÚ¸, Ó̇ ̇ıÓ‰ËÚÒfl ̇ ˝ÚÓÈ ÔÓ‚ÂıÌÓÒÚË.

Vîrießa balss, ar kuru skatiens slîd pår sienåm un priekßmetiem, bez ßaubåm, ir vienkårßi roka, kas slîd pår sievietes ådu, un, ja lietåm ir bütîba, tå atrodas ßajå virspusé.

accompanies the gaze sliding over walls and objects, is, of course, simply a hand sliding over woman’s skin, and, if things have any essence, it if found on this surface.

Uldis Tîrons, galvenais redaktors

Uldis Tîrons, Editor-in-Chief

Katrîna Neiburga savå darbå “Kroxa” ar atkailinåtu tießumu analizé cilvéka personîbas klåtbütni viña apdzîvotajå telpå.

Katrîna Neiburga in her work Kroxa analyses the human presence in his/her living space with an open directness.

ä‡ÚË̇ çÂÈ·Û„‡ ‚ Ò‚ÓÂÈ ‡·ÓÚ “Kroxa” Ò Ó·Ì‡ÊfiÌÌÓÈ ÔflÏÓÚÓÈ ‡Ì‡ÎËÁËÛÂÚ ÔËÒÛÚÒÚ‚Ë ˜ÂÎӂ˜ÂÒÍÓÈ Î˘ÌÓÒÚË ‚Â„Ó Ó·ÊËÚÓÏ ÔÓÒÚ‡ÌÒÚ‚Â.

Ilmårs Ílåpins, dramaturgs

Ilmårs Ílåpins, playwright

àÎχ ò·ÔËÌ, ‰‡Ï‡ÚÛ„

ìΉËÒ íËÓÌÒ, „·‚Ì˚È ‰‡ÍÚÓ

90

Bez nosaukuma

Untitled

ÅÂÁ ̇Á‚‡ÌËfl

Fotogråfija, 2008

Photography, 2008

îÓÚÓ„‡ÙËfl, 2008

Vienreiz domåju, kå ir pakårties. Kad sevi pakarinåju, pats nevaréju atbrîvoties.

Lénåm pazuda bilde, skaña k¬uva viendabîga. Tas bija patîkami. Mani nocéla, pårgrieΩot stri˚i.

I thought once how would it be to hang oneself. When I hung myself I could not get off. The picture faded slowly, sound became uniform. It was pleasant. I was taken off, cutting the rope.

é‰Ì‡Ê‰˚ ‰ÛχÎ, Í‡Í ˝ÚÓ – ÔÓ‚ÂÒËÚ¸Òfl. äÓ„‰‡ ÔÓ‚ÂÒËÎ Ò·fl, Ò‡Ï Ì ÏÓ„ ÓÒ‚Ó·Ó‰ËÚ¸Òfl. å‰ÎÂÌÌÓ ÔÓÔ‡‰‡Î‡ ͇ÚËÌ͇, Á‚ÛÍ ÒڇΠӉÌÓÓ‰Ì˚Ï. ùÚÓ ·˚ÎÓ ÔËflÚÌÓ. åÂÌfl ÒÌflÎË, ÔÂÂÂÁ‡‚ ‚Âfi‚ÍÛ.

Kaspars Podnieks

ä‡ÒÔ‡Ò èÓ‰ÌËÂÍÒ

92

Aizmirstie mirk¬i

Forgotten Moments

ᇷ˚Ú˚ τÌÓ‚ÂÌËfl

Fotogråfija. Instalåcija, 2006

Photographs. Installation, 2006

îÓÚÓ„‡ÙËfl. àÌÒÚ‡ÎÎflˆËfl, 2006

Kas ir tie mirk¬i, kurus més atceramies un kurus més aizmirstam? Vai, atskatoties atpaka¬, laimes mirk¬u müsu dzîvés ir bijis pietiekoßi daudz un kuri no tiem mums nesußi patiesu laimi? Vai tå ir laime, ko més mekléjam?

What moments do we remember and forget?

Looking back, had we had enough happy moments and which of them had brought a true sense of happiness? Is it happiness what we look for?

Vecumdienås cilvéki dzîvo vienam mirklim, spéj novértét katru elpas vilcienu. Viñi kavéjas pie jaunîbå rakstîtåm véstulém un nereti saka mums – Tießi tagad tu dzîvo. Cik tu esi laimîgs. Taçu müs nepamet sajüta, ka viss ir tikai priekßå...

Müsu ikdienas dzîve mums ß˚iet tikai kå gatavoßanås müsu îstajai dzîvei un gaidåmajai

Old people enjoy every moment, they can value each breath. They linger in their memories on letters from their youth and sometimes say to us – you life goes on now.

How happy are you. But we are haunted by a sense that all will happen in the future… Our everyday life seems like a preparation for

óÚÓ Ú‡ÍÓ τÌÓ‚ÂÌËfl, ÍÓÚÓ˚ Ï˚ ÔÓÏÌËÏ Ë Ó ÍÓÚÓ˚ı Á‡·˚‚‡ÂÏ? ÖÒÎË Ï˚ Ó„ÎflÌfiÏÒfl ̇Á‡‰, ‰ÓÒÚ‡ÚÓ˜ÌÓ ÎË ‚ ̇¯ÂÈ ÊËÁÌË ·˚ÎÓ ÔÓ̇ÒÚÓfl˘ÂÏÛ Ò˜‡ÒÚÎË‚˚ı Ï„ÌÓ‚ÂÌËÈ, Ë ÍÓÚÓ˚ ËÁ ÌËı ÔËÌÂÒÎË Ì‡Ï ËÒÚËÌÌÓ Ҙ‡ÒÚ¸Â? íÓ ÎË ˝ÚÓ Ò˜‡ÒÚ¸Â, ‚ ÔÓËÒ͇ı ÍÓÚÓÓ„Ó Ï˚ ̇ıÓ‰ËÎËÒ¸?

Miks Mitrévics

åËÍÒ åËÚ‚ˈ

nåkotnei un laimei. Nereti, atskatoties atpakaun pårvértéjot ßo skréjienu péc labklåjîbas, karjeras un pårticîbas, més uzdodam sev jautåjumu – cik daudz no tå visa mums tießåm vajag, lai més justos patiesi laimîgi?

some true life, expected future and happiness.

Often, looking back and revaluating this rush for well-being, career and wealth, we ask ourselves – how much of this entire do we really need to be really happy?

Uz lielas baltas sienas katru dienu tiek piestiprinåtas maza izméra fotogråfijas, kurås tiek fikséta mana ikdienas dzîve, mé©inot parådît piedzîvotås emocijas un novérojumus, kas citådi nolemti aizmirstîbai. Katru dienu ßî atmiñu kolekcija tiek papildinåta, lai varétu atgriezties aizmirsto mirk¬u pasaulé. Kas zina, kurß no tiem bija îstais?

Small photographs are fixed to a large, white wall. They capture my everyday life, attempting to show the experienced emotions and observations that are otherwise doomed to oblivion. This collection of memories is added to every day, aiming to return to the world of forgotten moments. Who knows which of them the true one was?

ç‡ ÒÍÎÓÌ ÎÂÚ Î˛‰Ë ÊË‚ÛÚ Ó‰ÌËÏ Ï„ÌÓ‚ÂÌËÂÏ, Ë ÓÌË ÏÓ„ÛÚ ÓˆÂÌËÚ¸ ͇ʉ˚È ‚Á‰Óı. éÌË ÔÂ˜ËÚ˚‚‡˛Ú ÔËҸχ, ̇ÔËÒ‡ÌÌ˚ ‚ ÏÓÎÓ‰ÓÒÚË Ë ÌÂ‰ÍÓ „Ó‚ÓflÚ Ì‡Ï: “àÏÂÌÌÓ ÒÂȘ‡Ò Ú˚ ÊË‚fi¯¸ ... ä‡Í Ú˚ Ò˜‡ÒÚÎË‚ ...” ïÓÚfl Ì‡Ò Ì ÓÒÚ‡‚ÎflÂÚ ˜Û‚ÒÚ‚Ó, ˜ÚÓ ‚Òfi ¢fi ÚÓθÍÓ ‚ÔÂ‰Ë. èӂ҉̂̇fl ÊËÁ̸ Ì‡Ï Ô‰ÒÚ‡‚ÎflÂÚÒfl ÚÓθÍÓ ÔÓ‰„ÓÚÓ‚ÍÓÈ Í Ì‡ÒÚÓfl˘ÂÈ ÊËÁÌË Ë ÓÊˉ‡ÂÏÓÏÛ ·Û‰Û˘ÂÏÛ Ë Ò˜‡ÒÚ¸˛. çÂ‰ÍÓ, Ó„ÎflÌÛ‚¯ËÒ¸ ̇Á‡‰ Ë ÔÂÂÓˆÂÌË‚ ˝ÚÛ ÔÓ„ÓÌ˛ Á‡ ·Î‡„ÓÔÓÎÛ˜ËÂÏ, ͇¸ÂÓÈ Ë ‰ÓÒÚ‡ÚÍÓÏ, Ï˚ Á‡‰‡fiÏ Ò· ‚ÓÔÓÒ – ˜ÚÓ ËÁ ˝ÚÓ„Ó Ì‡Ï ‰ÂÈÒÚ‚ËÚÂθÌÓ ÌÂÓ·ıÓ‰ËÏÓ, ˜ÚÓ·˚ ˜Û‚ÒÚ‚Ó‚‡Ú¸ Ò·fl ÔÓ-̇ÒÚÓfl˘ÂÏÛ Ò˜‡ÒÚÎË‚˚ÏË? ç‡ ·Óθ¯ÓÈ ·ÂÎÓÈ ÒÚÂÌ ͇ʉ˚È ‰Â̸ ÔÓfl‚Îfl˛ÚÒfl Ì·Óθ¯Ó„Ó ‡ÁÏÂ‡ ÙÓÚÓ„‡ÙËË, ̇ ÍÓÚÓ˚ı Á‡Ô˜‡ÚÎÂ̇ ÏÓfl Ôӂ҉̂̇fl ÊËÁ̸, ˝ÚËÏ fl Ô˚Ú‡˛Ò¸ ÔÓ͇Á‡Ú¸ ÔÂÂÊËÚ˚ ÏÌÓ˛ ˝ÏÓˆËË Ë Ò‚ÓË Ì‡·Î˛‰ÂÌËfl, ÍÓÚÓ˚ ‚ ÔÓÚË‚ÌÓÏ ÒÎÛ˜‡Â·˚ÎË ·˚ Ô‰‡Ì˚ Á‡·‚ÂÌ˲. ä‡Ê‰˚È ‰Â̸ ˝Ú‡ ÍÓÎÎÂ͈Ëfl ‚ÓÒÔÓÏË̇ÌËÈ ÔÓÔÓÎÌflÂÚÒfl Ò ˆÂθ˛ ‡ÎËÁÓ‚‡Ú¸ ‚ÓÁÏÓÊÌÓÒÚ¸ ‚ÂÌÛÚ¸Òfl ‚ ÏË Á‡·˚Ú˚ı Ï„ÌÓ‚ÂÌËÈ. äÚÓ Á̇ÂÚ, ÍÓÚÓÓ ËÁ ÌËı ·˚ÎÓ ËÒÚËÌÌ˚Ï?

Dußa

The Shower

ÑÛ¯

Animåcija, 2007

Animation, 2007

ÄÌËχˆËfl. 2007

Ar akrilu uz sienåm un grîdas gleznota animåcija, kas radîta projekta At Home in Europe ietvaros kopå ar ISIS (Lielbritånija), RIXC (Latvija), InterSpace (Bulgårija) un BEK (Norvé©ija).

Animation painted on walls and floor in acrylic, created as a part of the project At Home in Europe together with ISIS (UK), RIXC (Latvia), InterSpace (Bulgaria) and BEK (Norway)

ç‡ËÒÓ‚‡Ì̇fl ‡ÍËÎÓÏ Ì‡ ÒÚÂÌÂ Ë ÔÓÎÛ ‡ÌËχˆËfl, ÒÓÁ‰‡Ì̇fl ‚ ‡Ï͇ı ÔÓÂÍÚ‡ At Home in Europe ‚ÏÂÒÚÂ Ò ISIS (ÇÂÎËÍÓ·ËÚ‡ÌËfl), RIXC (ã‡Ú‚Ëfl), InterSpace (ÅÓ΄‡Ëfl) Ë BEK (çÓ‚„Ëfl).

Izvilkums no “Do you read me? Kriss Salmanis’ animated

Kriss Salmanis works with all of his senses to take in the world around him and proposes us with some animated tongue-in-cheek thoughts about high and low tech, old and new myths and life in general.

art works“, 2007, autore: Karen Kipphoff,

From “Do you read me? Kriss Salmanis’ animated art

våcu/kanådießu izcelsmes måksliniece, måkslas

ä˯ ë‡ÎχÌËÒ ‡·ÓÚ‡ÂÚ ‚ÒÂÏË Ò‚ÓËÏË ˜Û‚ÒÚ‚‡ÏË, ˜ÚÓ·˚ ÔÓÌflÚ¸ ÓÍÛʇ˛˘ËÈ ÏË, Ë Ô‰·„‡ÂÚ Ì‡Ï ÌÂÒÍÓθÍÓ ‡ÌËÏËÓ‚‡ÌÌ˚ı ËÓÌ˘ÂÒÍËı ‡Á‰ÛÏËÈ Ó “‚˚ÒÓÍËı” Ë “ÌËÁÍËı” ÚÂıÌÓÎÓ„Ëflı, ‰‚ÌËı Ë ÌÓ‚˚ı ÏËÙ‡ı Ë ÊËÁÌË ‚ ˆÂÎÓÏ.

works” by Karen Kipphoff, 2007 German/Canadian Artist

pasniedzéja Bergenas Måkslas augstskolå, Norvé©ija

àÁ “Do you read me? Kriss Salmanis’ animated art

Professor of Fine Arts, Kunsthøgskolen i Bergen, Norway

works”, 2007, ‡‚ÚÓ ä‡ÂÌ äËÔÌÓÙÙ (Karen Kipphoff),

Krißs Salmanis strådå ar visåm savåm sajütåm, lai izprastu apkårtéjo pasauli, un piedåvå mums daΩas animétas ironiskas pårdomas par “augstajåm“ un “zemajåm“ tehnolo©ijåm, seniem un jauniem mîtiem un dzîvi kopumå.

ıÛ‰ÓÊÌˈ‡ ÌÂψÍÓ„Ó/͇̇‰ÒÍÓ„Ó ÔÓËÒıÓʉÂÌËfl,

94

Krißs Salmanis

ÔÂÔÓ‰‡‚‡ÚÂθ ËÒÍÛÒÒÚ‚‡ ‚ ÅÂ„ÂÌÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚Ò¯ÂÈ ¯ÍÓÎÂ, çÓ‚„Ëfl

ä˯c ë‡ÎχÌËÒ

Kåpéc neesmu ve©itårietis

Why I am not a Vegitarian

èÓ˜ÂÏÛ fl Ì ‚„ËÚ‡ˇÌˆ

Animåcijas cilpa, 2007

Animation loop, 2007

ÄÌËχˆËÓÌ̇fl ÔÂÚÎfl, 2007

Violets dårzenis spiegdams un virpu¬odams levité virs verdoßa üdens katliña.

Cilvékiem ar stipriem nerviem.

A purple vegetable levitates spinning and screaming above a boiling pot of water.

Not for the faint hearted.

ÇËÁʇ˘ËÈ Ë ÍÛÚfl˘ËÈÒfl ÙËÓÎÂÚÓ‚˚È Ó‚Ó˘ ΂ËÚËÛÂÚ Ì‡‰ ÍÓÚÂÎÍÓÏ Ò ÍËÔfl˘ÂÈ ‚Ó‰ÓÈ. ÑÎfl β‰ÂÈ Ò ÍÂÔÍËÏË ÌÂ‚‡ÏË.

Piezîmes par paßsaprotamåm lietåm

Notes on Self-Evident Things Object, 2008

Objekts, 2008 Lîdz atziñai, ka kubs saståv no seßiem kvardåtiem nok¬üt nevar, jo ßis divritenis jau ir izgudrots.

96

Armands Zelçs

á‡ÏÂÚÍË Ó Ò‡ÏÓ ÒÓ·ÓÈ ‡ÁÛϲ˘ËıÒfl ‚¢‡ı é·˙ÂÍÚ, 2008

One cannot arrive at the conclusion that cube consists of six squares because this bicycle has been already invented.

ÄÏ‡Ì‰Ò áÂΘc

ä ‚˚‚Ó‰Û Ó ÚÓÏ, ˜ÚÓ ÍÛ· ÒÓÒÚÓËÚ ËÁ ¯ÂÒÚË Í‚‡‰‡ÚÓ‚, ÔˉÚË ÌÂθÁfl, ÔÓÚÓÏÛ ˜ÚÓ ˝ÚÓÚ “‚ÂÎÓÒËÔ‰” ÛÊ ËÁÓ·ÂÚfiÌ.

Biogråfijas Biographies ÅËÓ„‡ÙËË

Andris BreΩe Dzimis 1958. gadå 1973–1977 Rîgas Lietiß˚ås måkslas vidusskolas Koktélniecîbas noda¬a.

1979–1984 Latvijas Måkslas akadémijas Dizaina noda¬a.

Darbîbas joma: grafika, instalåcijas, objekti, gråmatu ilustréßana, glezniecîba, performance.

1994 Personålizstådes 1995 kopå ar Aiju Zariñu, Sv. Toma katedråle, Rovinja, Horvåtija 1993 (kopå ar O.Pétersonu), Zalcavas kultüras centrs, Ílezviga-Holßteina /Våcija “in situ” (kopå ar Ìediminu Urboni (Lietuva), Vi¬ña/Lietuva “Visu måja”, Rîgas galerija

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Grupu izstådes 2007 “Contemporary Art from Latvia”, European Central Bank, Frankfurte pie Mainas, Våcija 2006 “ART MOSCOW ”, Maskava “ermeña spéks”, Rîgas galerija, Rîga 2002 “Nekå personîga”, Brémenes pilsétas galerija, Brémene 2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga (kat.)

“Identitåte”,Rîgas galerija (kat.)

“Jaunå realitåte. Identifikåcija”, 5. Starptautiskås måkslas meses ART MOSCOW ietvaros, Centrålais måkslinieku nams, Maskava (kat.)

“Reanimåcija”, Måkslas dienu 2001 ietvaros.Zvårtavas pils, Gaujienas pagasts, Zvårtava; instalåcija “Zemes saimnieki”(1987) “Zîméjums”, Rîgas galerija, Rîga 2000 “Sociålais un personiskais. 1984–2000”, Måkslas muzejs Arsenåls, Rîga 1999 “Kluså daba Nr. 3”, Latvijas Måkslinieku savienîbas galerija, Rîga Grupas izståde starptautiskå seminåra “Måksla un garîgums” ietvaros, Årzemju måkslas muzeja velvju zåle, Rîga 1998 “Konstnärer fran Riga. Måkslinieki no Rîgas”, Séderteljes izståΩu zåle, Sédertelje/Zviedrija (kat.)

“Ventspils Tranzîts Terminåls”, SMMC-Rîga 6. gadskårtéjå izståde.Måkslas a©itvilciens, Ventspils novada véstures un måkslas muzejs, Ventspils (kat.)

1997 “H.Vorkals, A.BreΩe, O.Pétersons, J.Putråms”, Måkslas muzejs Arsenåls, Rîga “12”. – Latvijas Måkslinieku savienîbas galerija, Rîga 1996 “Cita bilde”, Rîgas galerija, Rîga 1995 “Kalåçojums”, E.Veidenbauma memoriålais muzejs Kalåçi, Liepas pagasts (kat.)

“Pedvålisms ‘95”, Pedvåles måkslas parks, Sabile Plakåtu izståde “Urna – I”. – Nacionålås bibliotékas

1993

1992

1991

1990

1989

skatlogi, kafejnîca Andalüzijas suns, Rîga (kat.)

Paståvîgås ekspozîcijas atklåßana Rîgas Ekonomikas augstskolå “Piemineklis” – 3. gadskårtéjå SMMC Rîga izståde, Rîgas pilsétas vide, Latvijas Fotogråfijas muzejs, Rîga “Ferma”, izståde–process, Raiña Literatüras un måkslas muzejs, Rîga (kat.)

“Firkspedvåles sarunas ‘94’, Pedvåles måkslas parks, Sabile (kat.)

“Valsts”, 2. gadskårtéjå Sorosa Müsdienu måkslas centra-Rîga izståde, måkslas muzejs Arsenåls; Valsts Måkslas muzejs; Rundåles pils (kat.)

“Baltiske Billeder”, Herningas måkslas muzejs un Sollerodas muzejs pa Gammel Holtegaard/Dånija “Attélu atmiña”. Baltijas fotomåksla ßodien, Pilsétas måkslas galerija Im Sophienhof, île; Rostoka/Våcija; Rîga/Latvija; Vi¬ña/Lietuva; Stokholma/Zviedrija (kat.)

“Aujourd’hui les Baltes”, Igaunijas, Latvijas, Lietuvas müsdienu måkslas izståde. – Parîze (kat.)

“Drie Letse kunstenaars” (kopå ar O.Pétersonu un V.Zåberu), Pilsétas municipalitåtes éka, Cvolle/Holande Vislatvijas måkslas akcija “ep!”, grafikas izstådes 33 pilsétås (kat.)

“Sajüta Nr. 30”, Måkslas muzejs Arsenåls, Rîga “Beyond Control”, Prezentåcijas centra galerija, Zieme¬vanküvera/Kanåda “Kvalitåte ‘92”, IzståΩu zåle Latvija, Rîga (kat.)

“Refleksija”, müsdienu måksla no Igaunijas, Latvijas un Lietuvas, Walter Phillips Gallery, Benfa/Kanåda Starptautiskå télniecîbas kvadrinåle “Rîga ‘92”.

IzståΩu zåle Latvija, Rîga (kat.)

“Paaudze”, Müsdienu måkslas muzejs, Pori/Somija (kat.)

“ARS BALTICA”, ce¬ojoßa plakåtu izståde, île/Våcija; Varßava/Polija; Rîga Performance (kopå ar I.Mailîti, I.Vekmani, R.Loçmeli), Sarkanais laukums, Maskava Rauma Biennale Balticum ‘90, Måkslas muzejs,Rauma/Somija (kat.)

“Latvija – XX gadsimta külenis. 1940.–1990. gads”, IzståΩu zåle Latvija, Rîga (kat.)

“Randteckning” – 5 måkslinieki no Rîgas, Galleri Konstnärscentrum, Malme/Zviedrija (kat.) (kopå ar J.Putråmu, O.Pétersonu, F.Kirki), Neisas izståΩu zåle/Våcija 8. Tallinas grafikas triennåle, Tallina/Igaunija (kat.)

“Rîga – latvießu avangards”, Pilsétas måkslas galerija Im Sophienhof, île; izståΩu zåle Weserburg, Brémene/Våcija “Telefons” (kopå ar J.Putråmu, O.Pétersonu), Kongresshalle, Berlîne/Våcija 13. republikas ståjgrafikas izståde, IzståΩu zåle Latvija, Rîga

1988 Grupas izståde (kopå ar K.Ìelzi , J.Putråmu, O.Tillbergu, O.Pétersonu), Teåtra muzejs, Rîga; instalåcija “Zemes saimnieki” Müsdienu latvießu skulptüra un grafika, Valsts måkslas muzejs, Tbilisi/Gruzija (kat.)

Måkslas dienas ‘88, 3. izståde Rîgas dzelzce¬a stacijas gåjéju tunelî “Rîga – latvießu avangards”, 23 Latvijas måkslinieku izståde, Valsts Kunshalle, Rietumberlîne “Litogråfija Latvijå”, Valsts Måkslas muzejs, Rîga (kat.)

1987 Måkslas dienas ‘87, 2. izståde Rîgas dzelzce¬a stacijas gåjéju tunelî “H.Vorkals, A.BreΩe, O.Pétersons, J.Putråms”, AizrobeΩu måkslas muzejs, Rîga; serigråfijas un objekti ar kopéjo nosaukumu “Pilsétas mitolo©ija” 7. starptautiskå plakåtu biennåle, Lahti/Somija “Baltijas plakåts ‘87”, 7. Baltijas republiku plakåtu triennåle. – IzståΩu zåle Latvija, Rîga (kat.)

2. Rîgas minigrafikas triennåle, IzståΩu zåle Latvija, Rîga 1986 Måkslas dienas ‘86, 1. izståde Rîgas dzelzce¬a stacijas gåjéju tunelî 7. Tallinas grafikas triennåle, Igaunijas PSR Måkslinieku savienîbas izståΩu zåle, Tallina (kat.)

12. republikas ståjgrafikas izståde, IzståΩu zåle Latvija, Rîga 1985 17. republikas jauno måkslinieku izståde, Péterbaznîca, Rîga 4. Baltijas republiku scenogråfijas triennåle, IzståΩu zåle Latvija, Rîga; instalåcija “Odiseja ce¬ojums”; kopå ar Induli Gailånu “Jaunîba” – Baltijas republiku jauno måkslinieku 3. télotåjas måkslas izståde, Lietuvas PSR Måkslas muzejs, Vi¬ña; litogråfijas “Spårni”, “Kara madonna”, Drauds” (kat.)

Jauno måkslinieku izståde (kopå ar J.Putråmu un O.Pétersonu), G.Í˚iltera muzejs, Rîga 6. Starptautiskå plakåtu biennåle, Lahti Måkslas muzejs/Somija Republikas 9. plakåtu izståde, Valsts Måkslas muzejs, Rîga 1984 6. Baltijas republiku plakåtu triennåle, Tallinas izståΩu nams/Igaunija “Daba. Vide. Cilvéks”, Péterbaznîca, Rîga 1983 “Grafika ikdienai”, Rîga “Rudens 83”, IzståΩu zåle Latvija, Rîga 1981 “Baltijas republiku plakåti”, Vi¬ñas izståΩu nams/Lietuva

Andris BreΩe Born in 1958 1973–1977 Riga High School of Applied Arts.

1979–1984 Latvian Academy of Art, Dept. of Design.

Activities: graphics, installations, objects, book illustration, painting, performance.

Solo Exhibitions: 1995 Together with Aija Zariña. – Sv. Toma Church, Rovinj, Croatia 1993 “Everybody’s House”. – Riga Gallery

100

Selected Group Exhibitions: 2007 “Contemporary Art from Latvia”, European Central Bank, Frankfurt am Main, Germany 2006 “ART MOSCOW”, Moscow “Body Power”, Riga Gallery ,Riga 2002 “Nothing Personal”, The City Gallery of Bremen/Germany 2001 “New Reality. Identification”, Exhibition within the framework of the 5 th International Art Fair ART MOSCOW programme, Central House of Artists, Moscow “Reanimation” – within the framework of the Days of Art 2001, Zvårtava Castle, Gaujienas village, Zvårtava/Latvia 1999 “Still Life No. 3”, Gallery of the Artists’ Union of Latvia, Riga Group Exhibition within the framework of the international seminar “Art and Spirituality”, Museum of Foreign Art, Riga 1998 “Konstnärer fran Riga. Artists from Riga”,Södertälje Konsthall, Södertälje/Sweden “Ventspils Transit Terminal” – 6 th annual SCCARiga exhibition, Art Propaganda Train, Museum of History and Art, Ventspils (cat.)

1997 “Heinrihs Vorkals, Andris BreΩe, Ojårs Pétersons, Juris Putråms”, Museum of Art Arsenåls, Riga “12”, Gallery of the Latvian Artists’ Union, Riga 1996 “The Other Picture”, Riga Gallery 1995 “Kalåçojums”, Memorial Museum of E.Veidenbaums Kalåçi, the Liepa village/Latvia (cat.)

“Pedvålisms ‘95”, Pedvåle Art Park, Sabile/Latvia Poster Exhibition “Urn – I”. – National Library, Cafe Andalüzijas suns, Riga (cat.)

“Monument”, The 3 rd Annual Soros Center for Contemporary Arts-Riga Exhibition, City space of Riga, Latvian Museum of Photography, Riga “Farm”, Rainis Museum of Literature and Art, Rîga (cat.)

1994 “Firkspedvåle Conversations ‘94” – art objects pleinair. – Pedvåle art Park, Sabile/Latvia (cat.) “State”, The 2 nd Annual Soros Center for Contemporary Arts-Riga Exhibition, Museum of Art Arsenåls, State Museum of Art, Rundåle Castle (cat.)

1993 “Baltiske Billeder”, Herning Kunstmuseum and Sollerod Museum pa Gammel Holtegaard/Denmark “The Memory of Images. Baltic Photo Art Today”, City Art Gallery Im Sophienhof, Kiel; Rostock; Riga; Vilnius; Stockholm (cat.)

“Aujourd’hui les Baltes”, Contemporary art from

1992

1991

1990

1989

1988

1987

Estonia, Latvia and Lithuania, Paris (cat.) together with Ojårs Pétersons, Culture Centre Salzau, Scheswig-Holstein “in situ”, together with Gediminas Urbonas (Lithuania). – Vilnius “Three Latvian Artists”, (together with Ojårs Pétersons and Vilnis Zåbers). – Zwolle/Holland All-Latvia Art Action “ep!”, graphic exhibitions in 33 towns (cat.)

“Sensation No. 30”, Museum of Art Arsenåls, Riga “Beyond Control”, Presentation Centre Gallery, North Vancouver “Quality ‘92”, Exhibition Hall Latvija, Riga (cat.)

“Reflection”, Walter Phillips Gallery, Banff Center for Arts/Canada “Riga ‘92”, International Sculpture Quadrennial. – Exhibition Hall Latvija, Riga “Paaudze. Sukupolvi. Generation”, Museum of Contemporary Art, Pori/Finland (cat.)

“ARS BALTICA”, Travelling Poster Exhibition,Kiel; Warsaw; Riga Performance (together with I.Mailîtis,I.Vekmanis, R.Loçmelis), Red Square, Moscow Rauma Biennale Balticum ‘90,Museum of Art, Rauma/Finland (cat.)

“Latvia – XX Century Somersault.

1940–1990”,Exhibition Hall Latvija, Riga (cat.)

“Five Artists from Riga”,Gallery of the Artists’ Union, Malmö/Sweden (cat.)

“Avantgarde des Ostens. Kunst aus Riga, Lettland/UdSSR” (together with Juris Putråms, Ojårs Pétersons, Françeska Kirke),Kunstraum Neuss/Germany The 8 th Graphic Triennial, Exhibition House of Tallinn (cat.)

“Riga – Lettische Avantgarde”,City Art Gallery Im Sophienhof, Kiel; Exhibition Hall Weserburg, Bremen/Germany (cat.)

“Telephone” (together with J.Putråms, O.Tillbergs),Kongresshalle, Berlin Group Exhibition (together with Kristaps Ìelzis, JurisPutråms, O¬egs Tillbergs, Ojårs Pétersons),Theatre Museum, Riga “Daysof Art ‘88”,the 3 rd exhibition at the pedestrian tunnel of the Riga Railway Terminal “Riga – Latvian Avantgarde”,Staatliche Kunsthalle, WestBerlin (cat.)

“Days of Art ‘87”,the 2nd exhibition at the pedestrian tunnel of the Riga Railway Terminal Graphic Art Exhibition,Museum of Foreign Art, Riga The 7 th International Poster Biennial,Lahti Art Museum/Finland (cat.)

Poster Triennial of the Baltic Republics,Exhibition Hall Latvija, Riga

1986

1985

1984

1983 1981

Miniature Graphic Triennial of the Baltic Republics,Exhibition Hall Latvija, Riga “Days of Art ‘86”, the 1 st exhibition at the pedestrian tunnel of the Riga Railway Terminal The 7 th Graphic Triennial,Exhibition House of Tallinn (cat.)

The 17 th Republican Young Artists Exhibition, St. Peter’s Church, Riga Scenography Triennial of the Baltic Republics,Exhibition Hall Latvia, Riga Young Artists Exhibition (together with Juris Putråms and Ojårs Pétersons),G.Í˚ilters Museum, Riga “Youth”, The 3 rd Fine Art Exhibition of the Young Artists of the Baltic Republics,Museum of Art, Vilnius (cat.)

The 6 th International Poster Biennial,Lahti Art Museum/Finland (cat.)

Poster Triennial of the Baltic Republics,Exhibition House of Tallinn (cat.)

“Nature. Environment. Man”,St. Peter’s Church, Riga “Graphics for Every Day”, Riga “Autumn 83”,Exhibition Hall Latvija, Riga “Posters of the Baltic Republics”,Exhibition Hall of Vilnius

Ä̉ËÒ ÅÂÊ êÓ‰ËÎÒfl ‚ 1958 „Ó‰Û ‚ êË„Â.

1973–1977 êËÊÒ͇fl Ò‰Ìflfl ¯ÍÓ· ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÓÚ‰ÂÎÂÌË ‰Â‚flÌÌÓÈ ÒÍÛθÔÚÛ˚ 1979–1984 ã‡Ú‚ËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‰ËÁ‡È̇. ëÙÂ‡ ‰ÂflÚÂθÌÓÒÚË: „‡ÙË͇, ËÌÒÚ‡ÎÎflˆËË, Ó·˙ÂÍÚ˚, ËÎβÒÚ‡ˆËfl ÍÌË„, ÊË‚ÓÔËÒ¸, ÔÂÙÓχÌÒ èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË: 1995 cÓ‚ÏÂÒÚÌÓ Ò ÄÈÂÈ á‡ËÌÂÈ. – ä‡Ù‰‡Î¸Ì˚È ÒÓ·Ó ë‚. íÓχ, êÓ‚Ë̸fl, ïÓ‚‡ÚËfl 1993 ÒÓ‚ÏÂÒÚÌÓ Ò O.èÂÚÂÒÓÌÓÏ – á‡Îˆ‡‚ÒÍËÈ ÍÛθÚÛÌ˚È ˆÂÌÚ, òÎÂÁ‚Ë„-ÉÓθ¯ÚÂÈÌ/ÉÂχÌËfl “in situ” (ÒÓ‚ÏÂÒÚÌÓ Ò É‰ÂÏË̇ÒÓÏ ì·ÓÌËÒÓÏ (ãËÚ‚‡)),ÇËÎ¸Ì˛Ò/ãËÚ‚‡ “ÇÒÂÓ·˘ËÈ ‰ÓÏ”,êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË: 2007 “Contemporary Art from Latvia”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ Ì‡ å‡ÈÌÂ, ÉÂχÌËfl 2006 “ART MOSCOW”, åÓÒÍ‚‡ “ëË· Ú·” – êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ 2002 “çË˜Â„Ó Î˘ÌÓ„Ó”, ÅÂÏÂÌÒ͇fl „ÓÓ‰Ò͇fl „‡ÎÂÂfl, ÅÂÏÂÌ 2001 “åÂÚÓÔÓθ. êË„‡”, ‰ÓÏ êËÊÒÍÓÈ îÓ̉ӂÓÈ ·ËÊË, êË„‡; Ó·˙ÂÍÚ (͇Ú.)

2000 1999

1998

101

1997

1996 1995

1994

1993

“à‰ÂÌÚ˘ÌÓÒÚ¸”, êËÊÒ͇fl „‡ÎÂÂfl (͇Ú.) “çÓ‚‡fl ‡θÌÓÒÚ¸. à‰ÂÌÚËÙË͇ˆËfl”, ‚ ‡Ï͇ı 5-ÓÈ ÏÂʉÛ̇Ó‰ÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ flχÍË ART MOSCOW,ˆÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ (͇Ú.) “ê‡ÌËχˆËfl”, Ç ‡Ï͇ı ÑÌÂÈ ËÒÍÛÒÒÚ‚ 2001, á‡ÏÓÍ á‚‡Ú‡Ò, ɇÛÈÂÌÒ͇fl ‚ÓÎÓÒÚ¸, ႇÚ‡‚‡; ËÌÒÚ‡ÎÎflˆËfl “ïÓÁfl‚‡ ÁÂÏÎË”(1987) “êËÒÛÌÓÍ”, êËÊÒ͇fl „‡ÎÂÂfl; ÍËÌÂÚ˘ÂÒ͇fl ËÌÒÚ‡ÎÎflˆËfl “ä‡Í Ô‡‚ËθÌÓ Ì‡ËÒÓ‚‡Ú¸ ‰ÌÓ” “ëӈˇθÌ˚È Ë ÔÂÒÓ̇θÌ˚È. 1984 – 2000”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡ “ç‡Ú˛ÏÓÚ N 3”, ɇÎÂÂfl ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ ïÛ‰ÓÊÌËÍÓ‚, êË„‡ ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚͇ ‚ ‡Ï͇ı ÏÂʉÛ̇Ó‰ÌÓ„Ó ÒÂÏË̇‡ “àÒÍÛÒÒÚ‚Ó Ë ‰ÛıÓ‚ÌÓÒÚ¸”, è‡Î‡Ú‡ ÏÛÁÂfl á‡Û·ÂÊÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡ “Konstnärer fran Riga. ïÛ‰ÓÊÌËÍË ËÁ êË„Ë”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ë‰ÂÚÂθÂ, ë‰ÂÚÂθÂ/ò‚ˆËfl (͇Ú.) “ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏË̇Δ, 6-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡, êË„‡, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ‡„ËÚÔÓÂÁ‰, àÒÚÓ˘ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË, ÇÂÌÚÒÔËÎÒ (͇Ú.) “ï.ÇÓ͇ÎÒ, A.ÅÂÊÂ, O.èÂÚÂÒÓÌÒ, û.èÛÚ‡ÏÒ”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„a “12”, ɇÎÂÂfl ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ ïÛ‰ÓÊÌËÍÓ‚, êË„‡ “ÑÛ„‡fl ͇ÚË̇”, êËÊÒ͇fl „‡ÎÂÂfl “ä‡Î‡˜Ó˛ÏÒ”, åÂÏÓˇθÌ˚È ÏÛÁÂÈ ù. ÇÂȉÂÌ‚‡Ûχ “ä‡Î‡˜Ë”, ãËÂÔ‡ÈÒ͇fl ‚ÓÎÓÒÚ¸; (͇Ú.) “艂‡ÎËÁÏ ‘95”, 艂‡Î¸ÒÍËÈ Ô‡Í ËÒÍÛÒÒÚ‚, 뇷ËΠÇ˚ÒÚ‡‚͇ Ô·͇ڇ “ì̇ – I”. – ÇËÚËÌ˚ 燈ËÓ̇θÌÓÈ ·Ë·ÎËÓÚÂÍË, ͇Ù Ä̉‡ÎÛÁÒÍËÈ ÔÂÒ, êË„‡ (͇Ú.) éÚÍ˚ÚË ÔÓÒÚÓflÌÌÓÈ ˝ÍÒÔÓÁˈËË êËÊÒÍÓÈ ˝ÍÓÌÓÏ˘ÂÒÍÓÈ ‚˚Ò¯ÂÈ ¯ÍÓΠ“è‡ÏflÚÌËÍ”, 3-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡, êË„‡, ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ ÙÓÚÓ„‡ÙËË, êË„‡ “îÂχ”, ‚˚ÒÚ‡‚͇ – ÔÓˆÂÒÒ, ãËÚÂ‡ÚÛÌÓıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ê‡ÈÌËÒ‡, êË„‡ (͇Ú.) “îËÍÒÔ‰‚‡Î¸ÒÍË ·ÂÒ‰˚ ‘94”, 艂‡Î¸ÒÍËÈ Ô‡Í ËÒÍÛÒÒÚ‚, 뇷ËΠ(͇Ú.) “ÉÓÒÛ‰‡ÒÚ‚Ó”, 2-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡, êË„‡ ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ; ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ; êÛ̉‡Î¸ÒÍËÈ ‰‚Óˆ (͇Ú.)

“Baltiske Billeder”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ïÂÌËÌ„” Ë ÏÛÁÂÈ “Sollerodas pa Gammel Holtegaard”/чÌËfl

1992

1991

1990

1989

1988

“è‡ÏflÚ¸ Ó·‡Á‡” îÓÚÓËÒÍÛÒÒÚ‚Ó Å‡ÎÚËË Ò„ӉÌfl, ÉÓÓ‰Ò͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl “Im Sophienhof”, äËθ; êÓÒÚÓÍ/ÉÂχÌËfl; êË„‡/ã‡Ú‚Ëfl; ÇËÎ¸Ì˛Ò/ãËÚ‚‡; ëÚÓÍ„ÓθÏ/ò‚ˆËfl (͇Ú.)

“Aujourd’hui les Baltes”, Ç˚ÒÚ‡‚͇ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ùÒÚÓÌËË, ã‡Ú‚ËË, ãËÚ‚˚. – è‡ËÊ (͇Ú.)

“Drie Letse kunstenaars” (ÒÓ‚ÏÂÒÚÌÓ Ò O.èÂÚÂÒÓÌÓÏ Ë Ç.ᇷÂÓÏ), ቇÌË „ÓÓ‰ÒÍÓ„Ó ÏÛÌˈËÔ‡ÎËÚÂÚ‡, ñ‚ÓÎÎe/ÉÓη̉Ëfl ÇÒ·ڂËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡ÍˆËfl “˝Ô!”, Ç˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı; (͇Ú.) “óÛ‚ÒÚ‚Ó N 30”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡ “Beyond Control”, ɇÎÂÂfl ñÂÌÚ‡ ÔÂÁÂÌÚ‡ˆËË, ë‚ÂÌ˚È Ç‡ÌÍÛ‚Â/ä‡Ì‡‰‡ “䇘ÂÒÚ‚Ó ‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (͇Ú.) “êÂÙÎÂÍÒËfl”, ÒÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ËÁ ùÒÚÓÌËË, ã‡Ú‚ËË, ãËÚ‚a, “Walter Phillips Gallery”, ŇÌÙ/ ä‡Ì‡‰‡ åÂʉÛ̇Ӊ̇fl Í‚‡‰ËÂ̇ÎΠÒÍÛθÔÚÛ˚ “êË„‡ ‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (ÍaÚ.) “èÓÍÓÎÂÌË”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, èÓË/îËÌÎfl̉Ëfl (͇Ú.)

“ARS BALTICA”, ‚˚ÒÚ‡‚͇ ÒÚ‡ÌÒÚ‚Û˛˘Â„Ó Ô·͇ڇ,äËθ/ÉÂχÌËfl; LJ¯‡‚‡/èÓθ¯‡; êË„‡ “èÂÙÓχÌÒ” (ÒÓ‚ÏÂÒÚÌÓ Ò à.MaÈÎËÚËÒÓÏ, à.ÇÂÍχÌÓÏ, ê.ãÓ˜ÏÂÎÂ),ä‡Ò̇fl ÔÎÓ˘‡‰¸, åÓÒÍ‚‡ “Rauma Biennale Balticum ‘90”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ê‡ÛÏa/îËÌÎfl̉Ëfl (͇Ú.) “ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ XX ‚Â͇. 1940–1990 „Ó‰˚”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (͇Ú.)

“Randteckning”, 5 ıÛ‰ÓÊÌËÍÓ‚ ËÁ êË„Ë. “Galleri Konstnärscentrum”, å‡ÎÏfi/ò‚ˆËfl (͇Ú.) (ÒÓ‚ÏÂÒÚÌÓ Ò û.èÛÚ‡ÏÒÓÏ, O.èÂÚÂÒÓÌÓÏ, î.äËÍÂ), Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î çÂÈÒÒ/ÉÂχÌËfl 8-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇ÎÂ, í‡ÎÎËÌÌ/ùÒÚÓÌËfl (͇Ú.) “êË„‡ – ‡‚‡Ì„‡‰ ·Ú˚¯ÂÈ”, ÉÓÓ‰Ò͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl “Im Sophienhof”, äËθ; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “Weserburg”, ÅÂÏÂÌ/ÉÂχÌËfl “TeÎÂÙÓÌ” (ÒÓ‚ÏÂÒÚÌÓ Ò û.èÛÚ‡ÏÒÓÏ, O.èÂÚÂÒÓÌÓÏ), á‡Î äÓÌ„ÂÒÒÓ‚, ÅÂÎËÌ/ ÉÂχÌËfl 13-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ÒÚ‡ÌÍÓ‚ÓÈ „‡ÙËÍË,Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚͇ (ÒÓ‚ÏÂÒÚÌÓ Ò K.ÉÂÎÁËÒÓÏ, û.èÛÚ‡ÏÒÓÏ, O.TËÎηÂ„ÓÏ, O.èÂÚÂÒÓÌÓÏ). – åÛÁÂÈ í‡Ú‡, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ïÓÁfl‚‡ ÁÂÏÎË” ëÓ‚ÂÏÂÌ̇fl ·Ú˚¯Ò͇fl ÒÍÛθÔÚÛ‡ Ë „‡ÙË͇,ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, í·ËÎËÒË/ÉÛÁËfl (͇Ú.) ÑÌË ËÒÍÛÒÒÚ‚‡ ‘88 , 3-fl ‚˚ÒÚ‡‚͇ ‚ Ô¯ÂıÓ‰ÌÓÏ

ÚÛÌÌÂΠêËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡ “êË„‡ – ‡‚‡Ì„‡‰ ·Ú˚¯ÂÈ”, 23 Ç˚ÒÚ‡‚͇ ã‡Ú‚ËÈÒÍËı ıÛ‰ÓÊÌËÍÓ‚,ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È Kunsthalle, á‡Ô‡‰Ì˚È ÅÂÎËÌ “ãËÚÓ„‡ÙËfl ‚ ã‡Ú‚ËË”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ (͇Ú.)

1987 “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”,2-fl ‚˚ÒÚ‡‚͇ ‚ Ô¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂΠêËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡ “ï.ÇÓ͇ÎÒ, A.ÅÂÊÂ, O.èÂÚÂÒÓÌÒ, û.èÛÚ‡ÏÒ”, ÏÛÁÂÈ á‡Û·ÂÊÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡; ¯ÂÎÍÓ„‡ÙËfl Ë Ó·˙ÂÍÚ˚ Ò Ó·˘ËÏ Ì‡Á‚‡ÌËÂÏ “åËÙÓÎÓ„Ëfl „ÓÓ‰‡” 7-‡fl ÏÂʉÛ̇Ӊ̇fl ·ËÂÌ̇ΠÔ·͇ڇ, ã‡ıÚË/îËÌÎfl̉Ëfl “ŇÎÚËÈÒÍËÈ ÔÎ‡Í‡Ú ‘87”, 7-‡fl ÚËÂÌ̇ΠÔ·͇ڇ ŇÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ (͇Ú.)

2-‡fl êËÊÒ͇fl ÚËÂÌ̇ΠÏËÌË„‡ÙËÍË. Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ 1986 “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”, 2-fl ‚˚ÒÚ‡‚͇ ‚ Ô¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂΠêËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡ 7-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ëÓ˛Á‡ ïÛ‰ÓÊÌËÍÓ‚ ùÒÚÓÌÒÍÓÈ ëëê, í‡ÎÎËÌÌ (͇Ú.)

12-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ÒÚ‡ÌÍÓ‚ÓÈ „‡ÙËÍË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ 1985 17-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚,ñÂÍÓ‚¸ èÂÚ‡, êË„‡ 4-‡fl ÚËÂÌ̇Π҈ÂÌÓ„‡ÙËË Å‡ÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “èÛÚ¯ÂÒÚ‚Ë é‰ËÒÒÂfl”; ÒÓ‚ÏÂÒÚÌÓ Ò à̉ÛÎËÒÓÏ É‡È·ÌÒÓÏ “ûÌÓÒÚ¸”, 3-fl ‚˚ÒÚ‡‚͇ ËÁÓ·‡ÁËÚÂθÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ ŇÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ. – ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ãËÚÓ‚ÒÍÓÈ ëëê, ÇËÎ¸Ì˛Ò; ÎËÚÓ„‡ÙËË “ä˚θfl”, “ÇÓÂÌ̇fl χ‰ÓÌ̇”, “ì„ÓÁ‡” (͇Ú.) Ç˚ÒÚ‡‚͇ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ (ÒÓ‚ÏÂÒÚÌÓ Ò û.èÛÚ‡ÏÒÓÏ, O.èÂÚÂÒÓÌÓÏ), åÛÁÂÈ É.òÍËÎÚÂ‡, êË„‡ 6-‡fl åÂʉÛ̇Ӊ̇fl ·ËÂÌ̇ΠÔ·͇ڇ. ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ã‡ıÚË/îËÌÎfl̉Ëfl 9-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ Ô·͇ڇ. ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ 19846-‡fl ÚËÂÌ̇ΠÔ·͇ڇ ŇÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î í‡ÎÎËÌÌ/ùÒÚÓÌËfl “èËÓ‰‡. ë‰‡. óÂÎÓ‚ÂÍ”. ñÂÍÓ‚¸ èÂÚ‡, êË„‡ 1983 “É‡ÙË͇ ‰Îfl ·Û‰ÌÂÈ”, êË„‡ “éÒÂ̸ 83”. Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ 1981 “èÎ‡Í‡Ú Å‡ÎÚËÈÒÍËı ÂÒÔÛ·ÎËÍ”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ÇËÎ¸Ì˛Ò‡/ãËÚ‚‡

Kristaps Ìelzis Dzimis 1962. gadå 1980–1986 Latvijas Måkslas akadémijas Grafikas noda¬a.

1998–1999 kurators 6. gadskårtéjai SMMC-Rîga izstådei “Venspils Tranzîts Terminåls” Apbalvojumi 1994 Starptautiskås Ωürijas balva par instalåciju “Sapñu ce¬ojums” 1. gadskårtéjå SMMC-Rîga izstådé “Zoom faktors” 1987 Latvijas Kultüras ministrijas prémija Republikas jauno måkslinieku 18. darbu izstådé 1986 Latvijas Måkslinieku savienîbas diploms par darbu 5. republikas miniatürgrafikas izstådé

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Personålizstådes: 2007 “Ëdenskurs”, Rîgas galerija, Rîga, Latvija 2000 “Laika laukums”, Rîgas galerija, Rîga, Latvija Scenogråfija Artüra Íniclera lugai “Rondo”, Jaunais Rîgas teåtris, reΩisore Bañuta Rubess 1997 Scenogråfija G.Repßes izrådei “Stigma” Latvijas Dailes teåtrî, Rîga, Latvija “Neatkarîbas diena”, Rîgas galerija, Rîga, Latvija 1996 “Virtuale”, Valsts Måkslas muzejs, Rîga, Latvija 1994 “Diapozitîvu gleznas un objekti”,galerija P.U.N.K.T.,Hamburga,Våcija 1992 Galerija Kolonna, Rîga, Latvija IzståΩu nams Jåña séta, Rîga, Latvija Rîgas galerija; Rîga, Latvija 1991 Galerija Anhava, Helsinki, Somija 1990 A©entüra Inter-Art, Rietumberlîne, Våcija 1987 “Í˚irsts”, IzståΩu nams Jåña séta, Rîga, Latvija Nozîmîgåkås grupu izstådes: 2007 “Mobilais muzejs”, Andrejsala, Rîga “The Baltic Countries, part I: Contemporary Art from Latvia”, Kalmåras måkslas muzejs, Zviedrija 2005 “RobeΩpårkåpéji. 80. gadu måksla”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2004 “The Hague Sculpture 2004: Giants”, Pilsétvide, Håga/Nîderlande (kat.)

2003 “Maskas” – Rîgas galerijas ekspozîcija (kopå ar Ritumu Ivanovu) Starptautiskås måkslas meses ART MOSCOW ietvaros, Centrålais måkslinieku nams, Maskava/Krievija (kat.)

2002 “Nekå personîga”, Brémenes pilsétas galerija, Brémene/Våcija 2001 Sybaris – Baltijas valstu müsdienu måkslas biennåle, Nacionålais måkslas muzejs, Íçecina/Polija; video “Nekå personîga” “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga; audio-video instalåcija “Mileniuma salüts Doma laukumå” (kat.)

“Identitåte”, Rîgas galerija, Rîga; digitåldruka

2000

1999 1998

1997

1996

1995

1994

“Skalija” (kat.)

“Jaunå realitåte. Identifikåcija” , 5. Starptautiskås måkslas meses ART MOSCOW ietvaros, Centrålais måkslinieku nams, Maskava; instalåcija “Kub persona¬nij” (kat.)

“Müsdienu utopija”, E.Smi¬©a Teåtra Muzejs, Rîga; videoinstalåcija “Nekå personîga (Lielås pilsétas gaisma)” (kat., buklets) “Maska”, Galerija Bastejs, Rîga; kolåΩa “Laimîgå maska” “Baltic Security!” (Baltijas droßîba!), Årlandas lidosta, Stokholma; digitåldrukas “Skalija” un “Malders”, objekts “Personîba” (buklets) “Distance”, Hansabankas izståΩu zåle, Tallina; digitåldrukas, video (kat.)

“Kailais måkslinieks”, Rîgas galerija Måkslas dienu izståde, Berga Bazårs, Rîga; akcija “Atkal radoßå ståvoklî” “Konstnärer fran Riga. Måkslinieki no Rîgas”, Séderteljes izståΩu zåle, Sédertelje/Zviedrija; objekti (kat.)

2. Vispåréjå latvießu måkslas izståde, Måkslas muzejs Arsenåls, Rîga; instalåcija “ˆam Jums Paika” “Baleta pasaule”, Jürmalas Kultüras centrs, Jürmala “Vienkårßo lietu måksla”, Galerija Bastejs, Rîga “Invåzija” – 2. Starptautiskå Såremå Biennåle, Kuresåres pils, Sårema; objekti (kat.)

“Balets”. – Rîgas Fondu birΩas Lielå zåle, Rîga “Cita bilde”, Rîgas galerija “Personîgais laiks. Igaunijas, Latvijas un Lietuvas måksla 1945–1996”, Müsdienu måkslas centrs Zamek Ujazdowski, Varßava (kat.); Centrålå izståΩu zåle ManéΩa, Sanktpéterburga (kat.)

“Compi Box”, Galerija Anhava, Helsinki “Ferma”, Raiña Literatüras un måkslas muzejs, Rîga (kat.)

“Art Hotel”, Lydmar Hotel, Stokholma (kat.)

“Piemineklis”, 3. gadskårtéjå SMMC-Rîga izståde, Latvijas Fotogråfijas muzejs, Rîga Paståvîgås ekspozîcijas atklåßana Rîgas Ekonomikas augstskolå Galerija Anhava, Helsinki “Kalåçojums”, E. Veidenbauma memoriålais muzejs Kalåçi, Liepas pagasts; instalåcija “Eko séta” (kat.)

“Prospekti”, Var Gard Centre NACKA, Saltsjöbaden, Stokholma; objekts parkå “Zviedru galds” “Port of Art”. – Pilsétas vide, Kotka/Somija; instalåcija “Dullais Dauka” (kat.)

“Privåts/Publisks”, ARS ‘95. – Pilsétas vide, Helsinki; “Eko séta 2000” (kat.)

“Valsts”, 2. gadskårtéjå SMMC-Rîga izståde, Valsts Måkslas muzejs, Rîga; instalåcija “Tévzemei un brîvîbai”; Rundåles pils; Timmijs Snips “Zîme” un audioinstalåcija; E.Veidenbauma memoriålais muzejs Kalåçi; “Eko séta” (kat.)

1993

1992

1991 1990

1989

1988

1987

1986

“Wegkreuzung – Künstler aus Riga”, NDR Studija, Hamburga (kat.)

“Firkspedvåles sarunas ‘94”, Pedvåles måkslas parks, Sabile; instalåcija “Dvîñu elementi” (kat.)

Projekts “Sala”, Pilsétas vide, Gdañska; instalåcija “Sarkanais teniss” “Zoom faktors”, 1.gadskårtéjå SMMC-Rîga izståde, IzståΩu zåle Latvija, Rîga; instalåcija “Sapñu ce¬ojums” (kat.)

“Sajüta Nr.30”, Måkslas muzejs Arsenåls, Rîga; Timmijs Snips instalåcija “Viñu séta” Videoinstalåciju izståde 2. Baltijas-Francijas videomåkslas festivåla ietvaros, Måkslas muzejs Arsenåls, Rîga; videoinstalåcija “Nepårtrauktås telpas uzvarétåjs” (kat.)

“Basteårijs” (“Karnevåls”), Galerija Bastejs, Rîga “Aujourd’hui les Baltes”, Igaunijas, Latvijas, Lietuvas müsdienu måkslas izståde, Parîze (kat.)

Vislatvijas måkslas akcija “ep!” , grafikas izstådes 33 pilsétås (kat.)

“Paaudze”, Pori Müsdienu måkslas muzejs, Somija; instalåcija “Borg Gard” (kat.)

“Mare Balticum”, Zieme¬u måkslas centrs, Helsinki; instalåcija “Valodas stunda” (kat.)

“Fiatal Müveszek Rigaból”, Müsdienu måkslas muzejs Mücsarnok, Budapeßta (kat.)

Rauma Biennale Balticum, Raumas måkslas muzejs, Rauma/Somija (kat.)

“Pårmija”, IzståΩu nams Jåña séta, Rîga; instalåcija “Rezervéts Eiropå” “Latvija – XX gadsimta külenis. 1940.–1990. gads”, IzståΩu zåle Latvija, Rîga; instalåcija “Ve¬as diena” (kat.)

“Riga – Lettische Avantgarde”, Pilsétas måkslas galerija Im Sophienhof, île; izståΩu zåle Weserburg, Brémene; videoinstalåcija “Müra nojaukßana” (kat.)

“Riga – Lettische Avantgarde”, Valsts Kunsthalle, Rietumberlîne; videoinstalåcija “Müra nojaukßana” (kat.)

Måkslas dienas ‘88; galerija centrålås dzelzce¬a stacijas gåjéju tunelî, Rîga Grupas izståde (kopå ar O.Tillbergu, O.Pétersonu, A.BreΩi, J.Putråmu), Teåtra muzejs, Rîga; instalåcija “Burtnieku pils” Vissavienîbas jauno måkslinieku izståde, Maskava Republikas jauno måkslinieku 18. darbu izståde, IzståΩu zåle Latvija, Rîga Måkslas dienas’87; instalåcija “Asni” skvérå pie Citadeles un Muitas ielåm, Rîga Kino dienas’86, Péterbaznîca, Rîga; video akcija “Müris” 5. republikas miniatürgrafikas izståde, IzståΩu zåle Latvija, Rîga

12. republikas ståjgrafikas izståde, IzståΩu zåle Latvija, Rîga 7. Tallinas grafikas triennåle, Tallina (kat.)

Måkslas dienas ‘86; grafiti akcija centrålås dzelzce¬a stacijas gåjéju tunelî, Rîga 1985 12. Vispasaules jaunatnes un studentu festivåla izståde, Latvijas kultüras centrs, Maskava; vides måksla “’Veltîjums Leona Paegles dzejai” kopå ar Induli Gailånu PSRS Måkslas akadémijas izståde, Maskava “Teåtra téma grafikå”, Teåtra muzejs, Rîga

Kristaps Ìelzis Born in 1962 in Riga.

1980–1986 Latvian Academy of Art, Department of Graphics.

1997 teacher in the Academy of Art, Department of Graphic Design.

1998 Curator of the 6 th Annual SCCA-Riga Exhibition “Ventspils Transit Terminal” Field of activities: graphics, videoinstallations, installations, objects, drawing, book illustration.

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Awards 1994 Prize of the International Jury for the installation “Dream Journey” at the 1 st Annual SCCA-Riga Exhibition “Zoom Factor” 1987 Prize of the Latvian Ministry of Culture at the 18 th Exhibition of the Republican Young Artists’ Works 1986 Diploma of the Latvian Artists’ Union at the 5 th Republican Exhibition of Miniature Graphics Solo Exhibitions: 2007 “Bonaqua”. – Riga Gallery 2000 “Time Square”. – Riga Gallery; digital prints, videinstallation 1997 Stage design for the theatre performance “Stigma”. – Latvian Daile Theatre, Riga “Independence Day”. – Riga Gallery; objects 1996 “Virtuale”. – State Museum of Art, Riga; objects 1994 “Slidepaintings und Objekte”. – Gallery P.U.N.K.T., Hamburg 1992 Gallery Kolonna, Riga Gallery Jåña séta, Riga; installation “Jåña séta” Riga Gallery 1991 Gallery Anhava, Helsinki 1990 Agency Inter-Art, West Berlin 1987 “Shrine”. – Gallery Jåña séta, Riga Selected Group Exhibitions: 2007 “Mobile Museum” Andrejsala, Riga “The Baltics Part I: Contemporary Art of Latvia”, Kalmar Art Museum, Sweden 2005 “Tresspassers. Art from the 80ies”. Museum of Art

Arsenåls, Riga 2004 “The Hague Sculpture 2004: Giants”, City space, Hague/The Netherlands (cat.)

2003 “Masks” – International Art Fair ART MOSCOW, Central Artists’ House, Moscow/Russia (cat.)

2002 “Nothing Personal”, The City Gallery of Bremen/Germany 2001 “Metropolis. Riga”, Stock Exchange building, Rîga; audio-video installation “Millenium Salute at the Dome Square” (cat.)

“Identity”, Riga Gallery, Riga; digital print “Scully” “New Reality. Identification”, Exhibition within the framework of the 5 th International Art Fair ART MOSCOW programme, Central House of Artists, Moscow; installation “Personal Cube” (cat.)

“Contemporary Utopia”, Eduards Smi¬©is Theatre Museum, Riga; video installation“Nothing Personal (Big City Lights)” (cat., booklet) 2000 “Baltic Security!”, Arlanda Airport, Stockholm; digital prints “Mulder” and “Scully” (booklet) “Distance”, Exhibition Hall of Hansabank, Tallinn; digital prints; video (cat.)

1999 “Days of Art ‘99”, Berga Bazårs, Riga; action “Again in creative condition” 1998 “Konstnärer fran Riga. Artists from Riga”, Södertälje Konsthall, Södertälje/Sweden; objects (cat.)

The 2 nd World-wide Latvian Contemporary Art Exhibition, Museum of Art Arsenåls, Riga; installation “ˆam Jums Paika” “The World of Ballet”, Culture Centre of Jürmala 1997 “Art of Simple Things”, Gallery Bastejs, Riga “Invasion” – the 2 nd International Saaremaa Biennial, Kuresaare Castle, Saaremaa; objects (cat.)

“Ballet”, Grand Hall of the Riga Stock Exchange, Riga 1996 “The Other Picture”, Riga Gallery “Personal Time. Art of Estonia, Latvia and Lithuania 1945–1996”, Centre for Contemporary Art Ujazdowski Castle, Warsaw (cat.); Central Exhibition Hall Manezh, St.Petersburg (cat.)

“Compi Box”, Gallery Anhava, Helsinki 1995 “Farm”, Rainis Museum of Literature and Art, Riga (cat.)

“Stockholm Art Hotel”, Lydmar Hotel, Stockholm (cat.)

“Monument”, the 3rd Annual SCCA-Riga Exhibition, Museum of Photography, Riga Opening of the permanent exhibition of Latvian contemporary artworks at the Stockholm School of Economics, Riga Group Exhibition in Gallery Anhava, Helsinki (cat.)

“Kalåçojums”, Memorial Museum of E. Veidenbaums Kalåçi, the Liepa Village; outdoor installation “Eco Yard” (cat.)

1994

1993

1992

1991 1990

1989

1988

“Prospects”, Var Gard Center NACKA, Saltsjöbaden, Stockholm; outdoor object “Swedish table” “Port of Art”, City space of Kotka/Finland; installation “Crazy Dauka” (cat.)

“Private/Public” – ARS 95. – City space, Helsinki; installation “Eco Yard 2000” (cat.)

“State”, the 2nd annual Soros Center for Contemporary Arts – Riga exhibition. – State Museum of Art, Riga; installation “For Fatherland and Freedom”; Rundåle Castle; Timmijs Snips “Sign” and audioinstallation; Memorial Museum of Eduards Veidenbaums Kalåçi, the Liepa Village; outdoor installation “Eco Yard” (cat.)

“Wegkreuzung – Künstler aus Riga”. – NDR Studio, Hamburg (cat.)

“Firkspedvåle Conversations ‘94”. – Pedvåle Art Park, Sabile; installation “Twin elements”, object “Sign” (cat.)

“Island Project”, The International Multimedia Workshop, City space, Gdansk; installation “Red tennis” “Zoom Factor”, the 1st Annual SCCA-Riga exhibition, Exhibition Hall Latvija, Riga; installation “Dream journey” (cat.)

“Sensation No.30”, Museum of Art Arsenåls, Riga; Timmijs Snips “Their Yard” Exhibition of videoinstallations as part of the 2nd French-Baltic Videoart Festival, Museum of Art Arsenåls, Riga; videoinstallation “Winner of the uninterrupted space” (cat.)

“Basteårijs”, Gallery Bastejs, Riga “Aujourd’hui les Baltes”, Contemporary Estonian, Latvian and Lithuanian Art. – Paris (cat.)

All-Latvia Art Action “ep!” – graphic exhibitions in 33 towns (cat.)

“Paaudze. Generation. Sukupolvi”, Museum of Contemporary Art, Pori/Finland; installation “Borg Gard” (cat.)

“Mare Balticum”, Nordic Art Center, Helsinki (cat.)

“Young Artists of Riga”, Museum of Contemporary Art Mücsarnok, Budapest (cat.)

Rauma Biennale Balticum, Museum of Art, Rauma/Finland (cat.)

“Railway Point”, Gallery Jåña séta, Riga; installation “Reserved in Europe” “Latvia – the XX Century’s Somersault.

1940–1990”, Exhibition Hall Latvija, Riga; installation “Washing Day” (cat.)

“Riga – Lettische Avantgarde”, City Art Gallery Im Sophienhof, Kiel; Exhibition Hall Weserburg, Bremen; videoinstallation “Dismantling of the Wall” (cat.)

“Riga – Lettische Avantgarde”, Staatliche Kunsthalle, West Berlin; videoinstallation

104

“Dismantling of the Wall” (cat.)

“Days of Art ‘88” – gallery at the pedestrian tunnel of the Riga Railway Terminal Group Exhibition together with O.Tillbergs, O.Pétersons, A.BreΩe, J.Putråms). – Theatre Museum, Riga; installation “Burtnieku Castle” 1987 All Union Young Artists’ Exhibition. – Moscow The 18 th Republican Exhibition of Young Artists’ Works. – Exhibition Hall Latvija, Riga “Days of Art ‘87”. – City space, Riga; installation “Sprouts” 1986 “Days of Film ‘86”; video action “Wall”, St.Peter’s Church, Riga The 5 th Republican Exhibition of Miniature Graphics, Exhibition Hall Latvija, Riga The 12 th Republican Graphic Exhibition, Exhibition Hall Latvija, Riga The 7 th Tallinn Graphic Triennial, Tallinn (cat.)

“Days of Art ‘86”; graffiti action at the pedestrian tunnel of the Riga Railway Terminal 1985 Exhibition of the 12 th World Youth and Students Festival, Latvian Culture Centre, Moscow; environment “Dedication to the poetry of Leons Paegle” together with Indulis Gailåns Exhibition of the USSR Academy of Art. – Moscow “Theatre Theme in Graphics”, Theatre Museum, Riga

äËÒÚ‡ÔÒ ÉÂÎÁËÒ êÓ‰ËÎÒfl ‚ 1962 „Ó‰Û 1980–1986 ì˜Â·‡ ‚ ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ÓÚ‰ÂÎÂÌËË É‡ÙËÍË.

1997 ãÂÍÚÓ ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ÓÚ‰ÂÎÂÌË BËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË Ë É‡ÙËÍË.

1998 äÛ‡ÚÓ 6-ÓÈ ÂÊ„ӉÌÓÈ ‚˚ÒÚ‡‚ÍË “ÇÂÌÚÒÔËÎÒ. í‡ÌÁËÚ. íÂÏË̇Δ ñÂÌÚ‡ ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡ – êË„‡ (ÒÓ‚ÏÂÒÚÌÓ Ò ëÓ΂ËÚÓÈ äÂÒÂ). 燄‡‰˚ 1994 èËÁ ÏÂʉÛ̇Ó‰ÌÓ„Ó Ê˛Ë Á‡ ËÌÒÚ‡ÎÎflˆË˛ “èÛÚ¯ÂÒÚ‚Ë ÒÌÓ‚” 1-ÓÈ ÂÊ„ӉÌÓÈ ‚˚ÒÚ‡‚ÍË SMMC–êË„‡ “Zoom Ù‡ÍÚÓ” 1987èÂÏËfl åËÌËÒÚÂÒÚ‚‡ ÍÛθÚÛ˚ ã‡Ú‚ËË Ì‡ 18-ÓÈ êÂÒÔÛ·ÎË͇ÌÒÍÓÈ ‚˚ÒÚ‡‚Í ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ 1986 ÑËÔÎÓÏ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ ‡·ÓÚÛ Ì‡ 5-ÓÈ ÂÒÔÛ·ÎË͇ÌÒÍÓÈ ‚˚ÒÚ‡‚Í ÏËÌˇڲÌÓÈ „‡ÙËÍË èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2007“ÇÓ‰Ì˚È ÍÛÒ” – êËÊÒ͇fl „‡ÎÂÂfl; ‡Í‚‡ÂÎË 2000 “èÓΠ‚ÂÏÂÌË”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ (‰Ë„Ëڇθ̇fl Ô˜‡Ú¸, ‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl).

1997“ÑÂ̸ ÌÂÁ‡‚ËÒËÏÓÒÚË”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ (Ó·˙ÂÍÚ˚).

1996“ÇËÚۇθÌÓÒÚ¸”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ 1994 “ÑˇÔÓÁËÚË‚Ì˚ ͇ÚËÌ˚ Ë Ó·˙ÂÍÚ˚”, „‡ÎÂÂfl “P.U.N.K.T.”, ɇϷÛ„ / ÉÂχÌËfl.

1992 ɇÎÂÂfl “äÓÎÓÌ̇”, êË„‡ (Ó·˙ÂÍÚ˚). Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “üÌfl ëÂÚ‡”). êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ (¯ÂÎÍÓ„‡ÙËfl).

1991 ɇÎÂÂfl “Anhava”, ïÂθÒËÌÍË / îËÌÎfl̉Ëfl.

1990 Ä„ÂÌÚÒÚ‚Ó “Inter-Art”, á‡Ô‡‰Ì˚È ÅÂÎËÌ / ÉÂχÌËfl.

1987 “äÓ‚˜Â„”, ‚˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡. ç‡Ë·ÓΠÁ̇˜ËÚÂθÌ˚ „ÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË, ÒˆÂÌÓ„‡ÙËfl 2007“åÓ·ËθÌ˚È åÛÁÂÈ” (ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡) Ä̉ÂÈ҇·, êË„‡/ã‡Ú‚Ëfl (Ó·˙ÂÍÚ˚). “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ËÁ ã‡Ú‚ËË” ä‡ÎχÒÍËÈ „ÓÓ‰ÒÍÓÈ åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡. ä‡Îχ. ò‚ˆËfl 2005 “åÛÁ² 100” ã‡Ú‚ËÈÒÍËÈ ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡ / ã‡Ú‚Ëfl (ÑË„Ëڇθ̇fl Ô˜‡Ú¸ ·Óθ¯Ó„Ó ÙÓχڇ ëÚÓ ÎÂÚ, óÚÓ ÔÓËÒıÓ‰ËÚ ‚ ã‡Ú‚ËË) 2004 “Den Haag Sculptur 2004. Giants”, ɇ‡„‡ / çˉÂ·̉˚ (ÒÍÛθÔÚÛ‡ Red Apes) “Faster Than History”, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “Kiasma”, ïÂθÒËÌÍË/ îËÌÎfl̉Ëfl (‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “çË˜Â„Ó Î˘ÌÓ„Ó”, ‰Ë„Ëڇθ̇fl Ô˜‡Ú¸ ̇ ıÓÎÒÚ – ˆËÍÎ “å‡ÒÍË”)* 2003 7-‡fl åÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “Art Moscow”, ñÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ / êÓÒÒËfl (“å‡ÒÍË”)* “Lux Eropae 2002”, äÓÔÂÌ„‡„ÂÌ / чÌËfl (Ò‚ÂÚÓ‚‡fl ËÌÒÚ‡ÎÎflˆËfl “á‚ÂÁ‰Ì˚È ÔÛÚ¸ ‰ÓÏÓÈ”) “îÛÍÚ˚ ÁÂÏÎË, ÙÛÍÚ˚ Ì·ÂÒ”, çÓ‚˚È Á‡Î ã‡Ú‚ËÈÒÍÓÈ Ì‡ˆËÓ̇θÌÓÈ ÓÔÂ˚, êË„‡ (ÒˆÂÌÓ„‡ÙËfl Ë ‚ˉÂÓ‡·ÓÚ‡ “èÓ‰‡ÍË”) 2002 “çË˜Â„Ó Î˘ÌÓ„Ó” ÅÂÏÂÌÒ͇fl „ÓÓ‰Ò͇fl „‡ÎÂÂfl / ÉÂχÌËfl (ÑË„Ëڇθ̇fl Ô˜‡Ú¸ ·Óθ¯Ó„Ó ÙÓχڇ)* “í‡Ò-‚ËÁËÚ Tras vizit”, Ç˚ÒÚ‡‚Ó˜Ì˚È ˆÂÌÚ å‡Ò̉ÓÙ‡, ÇÓ‰ËÌ·Ó„ / чÌËfl (“íË „ÓÎÓ‚˚”) 2001“åÂÚÓÔÓθ. êË„‡”, ÑÓÏ êËÊÒÍÓÈ ÙÓ̉ӂÓÈ ·ËÊË, êË„‡, (‡Û‰ËÓ- Ë ‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “ë‡Î˛Ú ÏËÎÎÂÌËÛχ ̇ ÑÓÏÒÍÓÈ ÔÎÓ˘‡‰Ë”)* “à‰ÂÌÚ˘ÌÓÒÚ¸”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ (‰Ë„Ëڇθ̇fl Ô˜‡Ú¸ “ë͇ÎËfl”)* “çÓ‚‡fl ‡θÌÓÒÚ¸. à‰ÂÌÚËÙË͇ˆËfl” 5-‡fl åÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “Art Moscow”, ñÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ / êÓÒÒËfl (ËÌÒÚ‡ÎÎflˆËfl “äÛ· ÔÂÒÓ̇θÌ˚È”)*

“ëÓ‚ÂÏÂÌ̇fl ÛÚÓÔËfl”, í‡Ú‡Î¸Ì˚È ÏÛÁÂÈ ù. ëÏËθ„ËÒ‡, êË„‡ (‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “çË˜Â„Ó Î˘ÌÓ„Ó (é„ÌË ·Óθ¯Ó„Ó „ÓÓ‰‡)”)* “å‡Ò͇”, „‡ÎÂÂfl “ŇÒÚÂÈÒ”, êË„‡ (ÍÓÎÎ‡Ê “똇ÒÚÎË‚‡fl χÒ͇”).

2000 “Baltic Security!”, ‡˝ÓÔÓÚ Ä·̉‡, ëÚÓÍ„ÓÎ¸Ï / ò‚ˆËfl (‰Ë„Ëڇθ̇fl Ô˜‡Ú¸ “ë͇ÎËfl” Ë “å‡Î‰ÂÒ”, Ó·˙ÂÍÚ “ã˘ÌÓÒÚ¸”)** “Distance”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ï‡ÌÁ‡·‡Ì͇, í‡ÎÎËÌÌ / ùÒÚÓÌËfl (‰Ë„Ëڇθ̇fl Ô˜‡Ú¸, ‚ˉÂÓ)* 1999 Ç˚ÒÚ‡‚͇ ÑÌÂÈ ËÒÍÛÒÒÚ‚‡, ŇÁ‡ ÅÂ„‡, êË„‡ (‡ÍˆËfl “éÔflÚ¸ ‚ Ú‚Ó˜ÂÒÍÓÏ ÒÓÒÚÓflÌËË”).

1998 “Konstnärer fran Riga. ïÛ‰ÓÊÌËÍË ËÁ êË„Ë”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ëfi‰ÂÚÂθÂ, ëfi‰ÂÚÂθ / ò‚ˆËfl (Ó·˙ÂÍÚ˚)* 2-‡fl ‚ÒÂÓ·˘‡fl ‚˚ÒÚ‡‚͇ ã‡Ú‚ËÈÒÍËı ıÛ‰ÓÊÌËÍÓ‚, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂ̇Î, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “ˆam Jums Paika”). “åË ·‡ÎÂÚ‡”, ûχθÒÍËÈ ÍÛθÚÛÌ˚È ˆÂÌÚ, ûχ·.

1997“àÒÍÛÒÒÚ‚Ó ÔÓÒÚ˚ı ‚¢ÂÈ”, „‡ÎÂÂfl “ŇÒÚÂÈÒ”, êË„‡ “àÌ‚‡ÁËfl” – 2-‡fl åÂʉÛ̇Ӊ̇fl ·ËÂÌ̇Π̇ 뇇Âχ‡, ‰‚Óˆ ‚ äÛÂÒÒ‡‡Â, 뇇Âχ‡ / ùÒÚÓÌËfl (Ó·˙ÂÍÚ˚).* “ŇÎÂÚ”, ÅÓθ¯ÓÈ Á‡Î êËÊÒÍÓÈ îÓ̉ӂÓÈ ÅËÊË, êË„‡. ëˆÂÌÓ„‡ÙËfl Í ÔÓÒÚ‡ÌÓ‚Í ‡ÒÒ͇Á‡ ÉÛÌ‰Â„Ë êÂԯ “ëÚ˄χ” ‚ Ú‡Ú чÈÎÂÒ, êË„‡.

1996 “ÑÛ„‡fl ͇ÚËÌ͇”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡. “ã˘ÌÓ ‚ÂÏfl. àÒÍÛÒÒÚ‚Ó ùÒÚÓÌËË, ã‡Ú‚ËË Ë ãËÚ‚˚ 1945– 1996”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “Zamek Ujazdowski”, LJ¯‡‚‡ / èÓθ¯‡; ˆÂÌÚ‡Î¸Ì˚È ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “å‡ÌÂÊ”, ë‡ÌÍÚ-èÂÚÂ·Û„ / êÓÒÒËfl.* “Compi Box”, „‡ÎÂÂfl “Anhava”, ïÂθÒËÌÍË / îËÌÎfl̉Ëfl.

1995 “îÂχ”, ãËÚÂ‡ÚÛÌÓ-ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ê‡ÈÌËÒ‡, êË„‡.* “Art Hotel”, Lydmar Hotel, ëÚÓÍ„ÓÎ¸Ï / ò‚ˆËfl.* “è‡ÏflÚÌËÍ” – SMMC–êË„‡ 3-fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇, ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ ÙÓÚÓ„‡ÙËË, êË„‡. éÚÍ˚ÚË ÔÓÒÚÓflÌÌÓÈ ˝ÍÒÔÓÁˈËË ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ã‡Ú‚ËË, êËÊÒ͇fl ˝ÍÓÌÓÏ˘ÂÒ͇fl ‚˚Ò¯‡fl ¯ÍÓ·, êË„‡. ɇÎÂÂfl “Anhava”, ïÂθÒËÌÍË / îËÌÎfl̉Ëfl. “ä‡Î‡˜Ó˛ÏÒ”, ÏÂÏÓˇθÌ˚È ÏÛÁÂÈ ù‰Û‡‰‡ ÇÂȉÂÌ·‡Ûχ “ä‡Î‡˜Ë”, ãËÂÔ‡ÈÒ͇fl ‚ÓÎÓÒÚ¸ (ËÌÒÚ‡ÎÎflˆËfl “ùÍÓ ÒÂÚ‡”) * “èÓÒÔÂÍÚ˚”, Var Gard Centre NACKA, Saltsjöbaden, ëÚÓÍ„ÓÎ¸Ï / ò‚ˆËfl (Ó·˙ÂÍÚ ‚ Ô‡Í “ò‚‰ÒÍËÈ ÒÚÓΔ) “Port of Art”, „ÓÓ‰ äÓÚ͇ / îËÌÎfl̉Ëfl (ËÌÒÚ‡ÎÎflˆËfl “鯇ÎÂÎ˚È Ñ‡Û͇”).*

1994

1993

105

1992

1991 1990

1989

1988

“ó‡ÒÚÌ˚È / èÛ·Î˘Ì˚È”, ARS ’95, ïÂθÒËÌÍË / îËÌÎfl̉Ëfl (“ùÍÓ ÒÂÚ‡ 2000”). “ÉÓÒÛ‰‡ÒÚ‚Ó” – SMMC–êË„‡ 2-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, (ËÌÒÚ‡ÎÎflˆËfl “éÚ˜ÂÒÚ‚Û Ë Ò‚Ó·Ó‰Â”); êÛ̉‡Î¸ÒÍËÈ Á‡ÏÓÍ (Timmija Snipa “á͔̇ Ë ‡Û‰ËÓËÌÒÚ‡ÎflˆËfl); ÏÂÏÓˇθÌ˚È ÏÛÁÂÈ ù‰Û‡‰‡ ÇÂȉÂÌ·‡Ûχ “ä‡Î‡˜Ë”, (“ùÍÓ ëÂÚ‡”).* “Wegkreuzung – Künstler aus Riga”, NDR Studio, ɇϷÛ„ / ÉÂχÌËfl.* “ÅÂÒ‰˚ ‚ îËÍÒÔ‰‚‡Î ‘94”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È Ô‡Í è‰‚‡Î (ËÌÒÚ‡ÎÎflˆËfl “ùÎÂÏÂÌÚ˚ ·ÎËÁ̈ӂ”).* èÓÂÍÚ “éÒÚÓ‚”, ɉ‡Ì¸ÒÍ / èÓθ¯‡ (ËÌÒÚ‡ÎÎflˆËfl “ä‡ÒÌ˚È ÚÂÌÌËÒ”).

“Zoom faktors” – SMMC–êË„‡ 1-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “èÛÚ¯ÂÒÚ‚Ë ÒÌÓ‚”).* “é˘Û˘ÂÌË Nr. 30”, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl íËÏÏË ëÌËÔ‡ “Ö„Ó ‰‚Ó”). Ç˚ÒÚ‡‚͇ ‚ˉÂÓËÌÒÚ‡ÎÎflˆËË 2-„Ó Å‡ÎÚËÈÒÍÓî‡ÌˆÛÁÒÍÓ„Ó ‚ˉÂÓıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÙÂÒÚË‚‡Îfl, ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡ (‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “èӷ‰ËÚÂθ ÌÂÔÂ˚‚ÌÓ„Ó ÔÓÒÚ‡ÌÒÚ‚‡”).* “ŇÒÚ‡ËÒ” (“ä‡̇‚‡Î”), „‡ÎÂÂfl “ŇÒÚÂÈÒ”, êË„‡.

“Aujourd’hui les Baltes” – ‚˚ÒÚ‡‚͇ ùÒÚÓÌÒÍÓ„Ó, ã‡Ú‚ËÈÒÍÓ„Ó, ãËÚÓ‚ÒÍÓ„Ó ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, è‡ËÊ / î‡ÌˆËfl.* ÇÒ·ڂËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡ÍˆËfl “˝Ô!” – ‚˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı.* “èÓÍÓÎÂÌË”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ èÓË / îËÌÎfl̉Ëfl (ËÌÒÚ‡ÎÎflˆËfl “Borg Gard”).* “Mare Balticum”, ë‚ÂÌ˚È ˆÂÌÚ ËÒÍÛÒÒÚ‚‡, ïÂθÒËÌÍË / îËÌÎfl̉Ëfl (ËÌÒÚ‡ÎÎflˆËfl “ìÓÍ flÁ˚͇”).* “Fiatal Müveszek Rigaból”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ Mücsarnok, ÅÛ‰‡ÔÂ¯Ú / ÇÂÌ„Ëfl.* Rauma Biennale Balticum, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ‚ ê‡Ûχ, ê‡Ûχ / îËÌÎfl̉Ëfl.* “ëÚÂÎ͇”, ‚˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “ᇷÓÌËÓ‚‡Ì ‚ Ö‚ÓÔ”). “ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ 20-„Ó ÒÚÓÎÂÚËfl. 1940 – 1990 „Ó‰˚”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “ÑÂ̸ ·Âθfl”).* “Riga – Lettische Avantgarde”, ÉÓÓ‰Ò͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl Im Sophienhof, äËÂθ / ÉÂχÌËfl; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î Weserburg, ÅÂÏÂÌ / ÉÂχÌËfl (‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “臉ÂÌË ÒÚÂÌ˚”).* “Riga – Lettische Avantgarde”, ÉÓÓ‰ÒÍÓÈ á‡Î

ËÒÍÛÒÒÚ‚, á‡Ô‡‰Ì˚È ÅÂÎËÌ (‚ˉÂÓËÌÒÚ‡ÎÎflˆËfl “臉ÂÌË ÅÂÎËÌÒÍÓÈ ÒÚÂÌ˚”).* “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘88”, êË„‡ („‡ÎÂÂfl ‚ Ô¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂΠñÂÌÚ‡Î¸ÌÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡). ÉÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚͇ (ÒÓ‚ÏÂÒÚÌÓ Ò é΄ÓÏ íËÎηÂ„ÓÏ, éflÓÏ èÂÚÂÒÓÌÓÏ, ẢÂÂÏ ÅÂÊÂ Ë ûËÒÓÏ èÛÚ‡ÏÒÓÏ), í‡Ú‡Î¸Ì˚È ÏÛÁÂÈ ù. ëÏËθ„ËÒ‡, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “á‡ÏÓÍ ÅÛÚÌËÂÍÛ”).

1987 ÇÒÂÒÓ˛Á̇fl ‚˚ÒÚ‡‚͇ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ / êÓÒÒËfl.

18-‡fl ‚˚ÒÚ‡‚͇ ‡·ÓÚ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘87”, êË„‡ (ËÌÒÚ‡ÎÎflˆËfl “èӷ„˔ ‚ ÒÍ‚ÂÂ Û ÛÎˈ ñËÚ‡‰ÂÎÂÒ Ë åÛÈÚ‡Ò).

1986 “ÑÌË ÍËÌÓ ‘86”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡ (‚ˉÂӇ͈Ëfl “ëÚÂ̇”).

5-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ÏËÌˇڲÌÓÈ „‡ÙËÍË. – Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ 12-‡fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ÒÚ‡ÌÍÓ‚ÓÈ „‡ÙËÍË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ 7-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, í‡ÎÎËÌÌ / ùÒÚÓÌËfl.* “ÑÌË ËÒÍÛÒÒÚ‚‡ ‘86”, êË„‡ (‡ÍˆËfl „‡ÙÙËÚË „‡ÎÂÂfl ‚ Ô¯ÂıÓ‰ÌÓÏ ÚÛÌÌÂΠñÂÌÚ‡Î¸ÌÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡).

1985 12-‡fl ÇÒÂÏË̇fl ‚˚ÒÚ‡‚͇ ÙÂÒÚË‚‡Îfl ÏÓÎÓ‰ÂÊË Ë ÒÚÛ‰ÂÌÚÓ‚, ã‡Ú‚ËÈÒÍËÈ ÍÛθÚÛÌ˚È ˆÂÌÚ, åÓÒÍ‚‡ (ËÒÍÛÒÒÚ‚Ó “Ò‰˚” “èÓÒ‚fl˘ÂÌË ÔÓ˝ÁËË ãÂÓ̇ è‡˝„Δ ÒÓ‚ÏÂÒÚÌÓ Ò à̉ÛÎËÒÓÏ É‡Ë·ÌÒÓÏ). Ç˚ÒÚ‡‚͇ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË ëëëê, åÓÒÍ‚‡ / êÓÒÒËfl. “É‡ÙË͇ Ú‡Ú‡Î¸ÌÓÈ ÚÂÏ˚”, í‡Ú‡Î¸Ì˚È ÏÛÁÂÈ ù. ëÏËθ„ËÒ‡, êË„‡. * ä‡Ú‡ÎÓ„ ** ÅÛÍÎÂÚ

Sarmîte Måliña Dzimusi 1960. gadå 1981–1986 Latvijas Måkslas akadémijas Dizaina noda¬a.

1976–1980 Rézeknes Lietiß˚ås måkslas vidusskola.

No 1994. gada strådå laikrakstå “Diena” par måksliniecisko redaktori.

Apbalvojumi 1995 Starptautiskås Ωürijas balva par instalåciju “Nepamatots prieks” 3. gadskårtéjå SMMC-Rîga izstådé “Piemineklis”.

Grupu izstådes 2007 “Mobilais muzejs”, Andrejsala, Rîga 2006 “Altåris” – Sv. Marijas Magdalénas baznîca Rîgå (kopå ar Kristapu Kalnu) 2003 “Tautas nobalsoßana” – Laikraksta “Diena” speciålpielikums – s/o “Kultüras pilotprojekti” projekts 2002 “Nekå personîga”. – Brémenes pilsétas galerija, Brémene; instalåcija “Bailes no augstuma” 2001 “Metropole. Rîga”. – Rîgas Fondu birΩas nams, Rîga; (kat.)

“Identitåte”. – Rîgas galerija “Reanimåcija” – Måkslas dienu 2001 ietvaros. – Zvårtavas pils, Gaujienas pagasts, Zvårtava; instalåcija “DΩuljetas kleita”(1999) “Jaunå realitåte. Identifikåcija” – 5. Starptautiskås måkslas meses ART MOSCOW ietvaros. – Centrålais måkslinieku nams, Maskava 2000 “Distance”. – Hansabankas izståΩu zåle, Tallina; instalåcija “Mana ìimene” (kat.) “Íokolådes måksla”. – Latvijas Måkslinieku savienîbas galerija, Rîga; fotogråfiju sérija “Íokolådés édåji” “Sociålais un personiskais. 1984–2000”. – Måkslas muzejs Arsenåls, Rîga 1999 Måkslas dienu izståde. – Berga Bazårs, Rîga; instalåcija “DΩuljetas balkons”; objektu sérija “Vértîbu kompleksi” 1998 “Blîvå upe”. – Galerija Noass, Rîga; instalåcija “Bez nosaukuma” (kat.)

“Ventspils Tranzîts Terminåls” – SMMC-Rîga 6. gadskårtéjå izståde. – Måkslas aìitvilciens, Ventspils novada véstures un måkslas muzejs, Ventspils; projekta pieteikums “Marmors” (kat.)

2. vispåréjå latvießu måkslas izståde. – IzståΩu zåle Latvija, Rîga; instalåcija “Pieredze” (buklets) “Spike Island ‘98”. – Spike Island, Bristole; instalåcija “Don’t worry, be happy” 1997 “Logs/Spogulis” – Somijas un Latvijas müsdienu måksla. – IzståΩu zåle Taidehalli, Helsinki; Måkslas muzejs Arsenåls, Rîga; instlåcijas “Saulaina diena”, “Auguste”, “XXX” (buklets)

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“Opera” – 5. gadskårtéjå Sorosa Müsdienu måkslas centra-Rîga izståde. – Latvijas Dailes teåtris, Rîga; instalåcija “Dejojoßais üdens” (buklets) “Personîgais laiks. Igaunijas, Latvijas un Lietuvas måksla 1945–1996”. – Müsdienu måkslas centrs Zamek Ujazdowski, Varßava; (kat.) Centrålå izståΩu zåle ManéΩa, Sanktpéterburga; instalåcija-triptihs “Valoda. Elektriskais krésls. Laimîgå bérnîba” (kat.)

“Vita nova”. – Galerija Çiris, Rîga; glezna “Pagalms” “Kalåçojums”. – E. Veidenbauma memoriålais muzejs Kalåçi, Liepas pagasts; instalåcija “Veidenbauma iela” (kat.)

Paståvîgå kolekcija – izståde Rîgas Ekonomikas augstskolå; instalåcija “Jå un né. Izjauktais krusts” “Piemineklis” – 3. gadskårtéjå Sorosa Müsdienu måkslas centra-Rîga izståde. – Pilsétas vide, Rîga, Latvijas Foto muzejs, Rîga; instalåcija “Nepamatots prieks” (buklets) “Valsts” – 2. gadskårtéjå SMMC-Rîga izståde. – Rundåles pils; instalåcija “Reklåma (Veltîjums)” (kat.)

15. Latvijas akvare¬u izståde. – IzståΩu zåle Latvija, Rîga “Za˚a énå”. – Galerija Bastejs, Rîga; instalåcija “Vértîbu komplekss” “Zoom faktors” – 1.gadskårtéjå Sorosa Müsdienu måkslas centra-Rîga izståde. – IzståΩu zåle Latvija, Rîga; instalåcija “Bez nosaukuma” (kat.)

“Sajüta Nr. 30”. – Måkslas muzejs Arsenåls, Rîga; glezna “Pirmais sniegs” Vislatvijas måkslas akcija “ep!” – grafikas izstådes 33 pilsétås; zîméjums “Es netålu no piramîdas” (kat.)

“Latvießu akvere¬glezniecîba”. – Lietuvas Kultüras fonda izståΩu zåle, Vi¬ña “Paaudze”. – Pori Müsdienu måkslas muzejs, Pori/Somija; instalåcija “Jütas” (kat.)

“Baltijas ce¬ß” – starptautiskå akvare¬u izståde. – IzståΩu zåle Latvija, Rîga; akvare¬i “Òoti smarΩîgs”.

1992, “The great outlooks I, II”. 1992 (kat.)

“Ancora Vita”. – IzståΩu nams Jåña séta, Rîga; glezna “Dubultjütas” “Latvija – XX gadsimta külenis. 1940.–1990. gads”.

– IzståΩu zåle Latvija, Rîga; instalåcija “Skatîßanås no malas” (kat.)

Akcija bijußås Japånas véstniecîbas garåΩå ( kopå ar S.Davidovu un O.Tillbergu), Rîga 19. jauno måkslinieku izståde. – Måkslas muzejs Arsenåls, Rîga; akvare¬i “La Dolce Vita”. – IzståΩu nams Jåña séta, Rîga; kolåΩa (kat.)

“Staburaga bérni” – performance kopå ar S.Davidovu un O.Tillbergu. – Centrålås dzelzce¬a stacijas gåjéju tunelis, Rîga “Cilvéki büros” – performance kopå ar S.Davidovu

un O.Tillbergu. – Filharmonijas skvérs, Rîga 1986 “Telpa un més”. – Péterbaznîca, Rîga; diplomdarbs

Sarmîte Måliña Born in 1960 1981–1986 Latvian Academy of Art, Department of Design.

1976–1980 Rézekne Secondary School of Applied Art. Awards 1995 Prize of the international jury for the installation “Unjustified Happiness” in the 3 rd Annual SCCARiga Exhibition “Monument”, Riga Exhibitions 2007 “Mobile Museum”, Andrejsala, Riga 2006 “Altar” – St. Maria Magdalen church in Riga (with K. Kalns) 2002 “Nothing Personal”. – City Gallery, Bremen; installation “Fear from Height” (cat.)

2001 “Metropolis. Riga”. – Riga Stock Exchange building, Riga (cat.)

“Identity” – Riga Gallery “Reanimation” – within the framework of the Days of Art 2001. – Zvårtava Castle, Gaujienas village, Zvårtava/Latvia “New Reality. Identification” – Exhibition within the framework of the 5 th International Art Fair ART MOSCOW programme. – Central House of Artists, Moscow 2000 “Distance”. – Exhibition Hall of Hansabank, Tallinn; installation “My Family” (cat.)

“Chocolate Art”. – Gallery of the Artists’ Union of Latvia, Riga; series of photographs “Chocolate Eaters” “Social and Personal. 1984–2000”. – Museum of Art Arsenåls, Riga 1999 “Days of Art ‘99”. – Berga bazårs, Riga; installation “Juliet’s Balcony”; series of objects “Complexes of Values” 1998 “Dense River”. – Gallery Noass, Riga; installation “Untitled” (cat.)

“Ventspils Transit Terminal” – the 6 th annual SCCARiga exhibition. – Art Propaganda Train, Regional Museum of History and Art, Ventspils; project “Marble” (cat.)

The 2 nd World-wide Latvian Contemporary Art Exhibition. – Exhibition Hall Latvija, Riga; installation “Experience” (booklet) “Spike Island ‘98”. – Spike island, Bristol; installation “Dont worry, be happy” 1997 “Window/Mirror” – Contemporary Art from Finland and Latvia. – Exhibition Hall Taidehalli; Museum of

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Art Arsenåls, Riga; installations “Sunny Day”, “Auguste”, “XXX” (booklet) “Opera” – the 5 th annual SCCA-Riga exhibition. – Latvian Daile Theatre, Riga; outdoor installation “Dancing Water” (booklet) “Personal Time. Art of Estonia, Latvia and Lithuania 1945–1996”. – Centre for Contemporary Art Ujazdowski Castle, Warsaw; (cat.); Central Exhibition Hall Manezh, St.Petersburg; triptych “Language. Electric Chair. Happy Childhood” (cat.)

“Vita nova”. – Gallery Çiris, Riga; painting “Courtyard” “Kalåçojums”. – Memorial Museum of E.Veidenbaums Kalåçi, the Liepa Village/Latvia; installation “The Veidenbauma Street” (cat.)

“Monument” – the 3rd annual SCCA-Riga exhibition. – City space of Riga, Latvian Museum of Photography, Riga; installation “Unjustified Happiness” (booklet) Opening of the permanent collection at the Swedish School of Economics in Riga; installation “Yes and No. Disarranged Cross” “State” – the 2nd annual SCCA-Riga exhibition. – Rundåle Palace/Latvia; installation “Advertisement (Dedication)” The 15th Latvian Watercolour Exhibition. – Exhibition Hall Latvija, Riga “In the Shadow of the Hare”. – Gallery Bastejs, Riga; installation “Compex of Values” “Zoom Factor” – the 1st annual SCCA-Riga exhibition. – Exhibition Hall Latvija, Riga; installation “Untitled” (cat.)

“Sensation No. 30”. – Museum of Art Arsenåls, Riga; painting “The First Snow” All-Latvia Art Action “ep!” – graphic exhibitions in 33 towns; drawing “Me Beside the Pyramid” (cat.)

“Latvian Watercolour”. – Exhibition Hall of the Lithuanian Culture Foundation, Vilnius “Paaudze. Sukupolvi. Generation”. – Museum of Contemporary Art, Pori/Finland; installation “Feelings” (cat.)

“The Baltic Way” – International Watercolour Exhibition. – Exhibition Hall Latvija, Riga (cat.)

“Ancora Vita”. – Gallery Jåña séta, Riga; painting “Double Feelings” (cat.)

“Latvia – the XX Century Somersault”. – Exhibition Hall Latvija, Riga; installation “Taking a Detached View” (cat.)

Action at the garage of the former Japanese Embassy. – Riga; together with Sergejs Davidovs and O¬egs Tillbergs The 19th Young Artists’ Exhibition . – Museum of Art Arsenåls, Riga; watercolours “Children of Staburags” – performance together

with Sergejs Davidovs and O¬egs Tillbergs, pedestrian tunnel of the Riga Railway Terminal “La Dolce Vita”. – Gallery Jåña séta, Riga; collage (cat.)

1987 “People in Cages” – performance together with Sergejs Davidovs and O¬egs Tillbergs. – Philharmonic Square, Riga 1986 “Space and Us”. – St. Peter’s Church, Riga

ë‡ÏËÚ å‡ÎËÌfl êӉ˷Ҹ ‚ 1960 „Ó‰Û 1981–1986 ã‡Ú‚ËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‰ËÁ‡È̇.

1976–1980 êÂÁÂÍÌËÌÒ͇fl Ò‰Ìflfl ¯ÍÓ· ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡. ë 1994 „Ó‰‡ ‡·ÓÚ‡ÂÚ ‚ „‡ÁÂÚ “ÑËÂ̇” ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚Ï ‰‡ÍÚÓÓÏ. 燄‡‰˚ 1995 ÔËÁ ÏÂʉÛ̇Ó‰ÌÓ„Ó Ê˛Ë Á‡ ËÌÒÚ‡ÎÎflˆË˛ “çÂÓ·ÓÒÌÓ‚‡Ì̇fl ‡‰ÓÒÚ¸” ̇ 3-ÂÈ ÂÊ„ӉÌÓÈ ‚˚ÒÚ‡‚Í SMMC-êË„‡ “è‡ÏflÚÌËÍ”.

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B˚ÒÚ‡‚ÍË 2007 “åÓ·ËθÌ˚È ÏÛÁÂÈ”, Ä̉ÂÈ҇·, êË„‡ 2006 “ÄÎÚ‡¸” – ˆÂÍÓ‚¸ Ò‚. å‡ËË-凄‰‡ÎÂÌ˚, êË„‡ (ÒÓ‚ÏÂÒÚÌÓ Ò äËÒÚ‡ÔÓÏ ä‡ÎÌÓÏ) 2003 “ÉÎ‡Ò Ì‡Ó‰‡” – ÒÔˆˇθÌÓ ÔËÎÓÊÂÌË „‡ÁÂÚ˚ “ÑËÂ̇” – ÔÓÂÍÚ “éÒÌÓ‚Ì˚ ÔÓÂÍÚ˚ ÍÛθÚÛ˚” 2002 “çË˜Â„Ó Î˘ÌÓ„Ó”, ÅÂÏÂÌÒ͇fl „ÓÓ‰Ò͇fl „‡ÎÂÂfl, ÅÂÏÂÌ; ËÌÒÚ‡ÎÎflˆËfl “ÅÓflÁ̸ ‚˚ÒÓÚ˚” 2001 “åÂÚÓÔÓθ. êË„‡”, ÑÓÏ êËÊÒÍÓÈ îÓ̉ӂÓÈ ·ËÊË, êË„‡; (͇Ú.) “à‰ÂÌÚ˘ÌÓÒÚ¸”, êËÊÒ͇fl „‡ÎÂÂfl “ê‡ÌËχˆËfl” – Ç ‡Ï͇ı ÑÌÂÈ ËÒÍÛÒÒÚ‚‡ 2001, á‡ÏÓÍ á‚‡Ú‡Ò, ɇÛÈÂÌÒ͇fl ‚ÓÎÓÒÚ¸, ႇÚ‡‚‡; ËÌÒÚ‡ÎÎflˆËfl “è·ڸ ÑÊÛθÂÚÚ˚”(1999) “çÓ‚‡fl ‡θÌÓÒÚ¸. à‰ÂÌÚËÙË͇ˆËfl”, Ç ‡Ï͇ı 5-ÓÈ ÏÂʉÛ̇Ó‰ÌÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚ÒÚ‡‚ÍË ART MOSCOW, ˆÂÌÚ‡Î¸Ì˚È ‰ÓÏ ıÛ‰ÓÊÌËÍÓ‚, åÓÒÍ‚‡ 2000 “Distance”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î Hansabanka, í‡ÎÎËÌÌ; ËÌÒÚ‡ÎÎflˆËfl “åÓfl ÒÂϸfl” (͇Ú.) “òÓÍÓ·‰ÌÓ ËÒÍÛÒÒÚ‚Ó”, „‡ÎÂÂfl ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË, êË„‡; ÒÂËfl ÙÓÚÓ„‡ÙËÈ “Ö‰ÓÍË ¯ÓÍÓ·‰‡” “ëӈˇθÌ˚È Ë ÔÂÒÓ̇θÌ˚È. 1984–2000”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂ̇Î, êË„‡ 1999 Ç˚ÒÚ‡‚͇ ÑÌÂÈ ËÒÍÛÒÒÚ‚‡. – ŇÁ‡ ÅÂ„‡, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ŇÎÍÓÌ ÑÊÛθÂÚÚ˚”; ÒÂËfl Ó·˙ÂÍÚÓ‚ “äÓÏÔÎÂÍÒ˚ ˆÂÌÌÓÒÚÂÈ” 1998 “èÎÓÚ̇fl Â͇”, ɇÎÂÂfl çÓ‡ÒÒ, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ÅÂÁ ̇Á‚‡ÌËfl” (͇Ú.)

1997

1996

1995

1994

1993

“ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏË̇Δ, 6-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ SMMC-êË„‡, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ‡„ËÚÔÓÂÁ‰, àÒÚÓ˘ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË, ÇÂÌÚÒÔËÎÒ; ÔÓÂÍÚ “å‡ÏÓ” (͇Ú.)

2-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ·Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “éÔ˚Ú” (·ÛÍÎÂÚ) “Spike Island ‘98”. – Spike Island, ÅËÒÚÓθ; ËÌÒÚ‡ÎÎflˆËfl “Don’t worry, be happy” “éÍÌÓ/áÂ͇ÎÓ”, ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó îËÌÎfl̉ËË Ë ã‡Ú‚ËË. – Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î Taidehalli, ïÂθÒËÌÍË; ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂ̇Î, êË„‡; ËÌÒÚ‡ÎÎflˆËË “ëÓÎ̘Ì˚È ‰Â̸”, “Auguste”, “XXX” (·ÛÍÎÂÚ) “éÔÂ‡”, 5-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ˆÂÌÚ‡ ëÓÓÒ‡-êË„‡. – ã‡Ú‚ËÈÒÍËÈ Ú‡Ú чÈÎÂÒ, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “í‡ÌˆÛ˛˘‡fl ‚Ó‰‡” (·ÛÍÎÂÚ) “ã˘ÌÓ ‚ÂÏfl. àÒÍÛÒÒÚ‚Ó ùÒÚÓÌËË, ã‡Ú‚ËË Ë ãËÚ‚˚ 1945–1996”. – ɇÎÂÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ Zacheta, LJ¯‡‚‡; (͇Ú.) ñÂÌÚ‡Î¸Ì˚È ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î å‡ÌÂÊ, ë‡ÌÍÚ-èÂÚÂ·Û„; ËÌÒÚ‡ÎÎflˆËfl-ÚËÔÚËı “üÁ˚Í. ùÎÂÍÚ˘ÂÒÍËÈ ÒÚÛÎ. 똇ÒÚÎË‚Ó ‰ÂÚÒÚ‚Ó” (͇Ú.)

“Vita nova”, ɇÎÂÂfl óËËÒ, êË„‡; ͇ÚË̇ “Ñ‚Ó” “ä‡Î‡˜Ó˛ÏÒ”. – åÂÏÓˇθÌ˚È ÏÛÁÂÈ ù. ÇÂȉÂÌ‚‡Ûχ ä‡Î‡˜Ë, ãËÂÔ‡ÈÒ͇fl ‚ÓÎÓÒÚ¸; ËÌÒÚ‡ÎÎflˆËfl “ìÎˈ‡ ÇÂȉÂÌ·‡Ûχ” (͇Ú.) èÓÒÚÓflÌ̇fl ÍÓÎÎÂ͈Ëfl – ‚˚ÒÚ‡‚͇ ‚ êËÊÒÍÓÈ ùÍÓÌÓÏ˘ÂÒÍÓÈ ‚˚Ò¯ÂÈ ¯ÍÓÎÂ; ËÌÒÚ‡ÎÎflˆËfl “ч Ë ÌÂÚ. ê‡ÁÛ¯ÂÌÌ˚È ÍÂÒÚ” “è‡ÏflÚÌËÍ”, 3-fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡ – êË„‡, ë‰‡ „ÓÓ‰‡, êË„‡, ã‡Ú‚ËÈÒÍËÈ ÏÛÁÂÈ îÓÚÓ, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “çÂÓ·ÓÒÌÓ‚‡Ì̇fl ‡‰ÓÒÚ¸” (·ÛÍÎÂÚ) “ÉÓÒÛ‰‡ÒÚ‚Ó” – 2-fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ SMMCêË„‡. – êÛ̉‡Î¸ÒÍËÈ ‰‚Óˆ; ËÌÒÚ‡ÎÎflˆËfl “êÂÍ·χ (èÓÒ‚fl˘ÂÌËÂ)” (͇Ú.)

15-fl ã‡Ú‚ËÈÒ͇fl ‚˚ÒÚ‡‚͇ ‡Í‚‡ÂÎË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡ “Ç ÚÂÌË Á‡Èˆ‡”. – ɇÎÂÂfl ŇÒÚÂÈÒ, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “äÓÏÔÎÂÍÒ ˆÂÌÌÓÒÚÂÈ” “Zoom faktors” – 1-‡fl ÂÊ„Ӊ̇fl ‚˚ÒÚ‡‚͇ ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ëÓÓÒ‡-êË„‡ – êË„‡, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ÅÂÁ ̇Á‚‡ÌËfl” (͇Ú.) “óÛ‚ÒÚ‚Ó N 30”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂ̇Î, êË„‡; ͇ÚË̇ “èÂ‚˚È ÒÌ„” ÇÒ·ڂËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡ÍˆËfl “˝Ô!”, Ç˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı; ËÒÛÌÓÍ “ü ̉‡ÎÂÍÓ ÓÚ ÔË‡Ïˉ˚” (͇Ú.) “ã‡Ú˚¯Ò͇fl ‡Í‚‡Âθ̇fl ÊË‚ÓÔËÒ¸”,

1992

1990

1989 1 1988

1987

1986

Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ãËÚÓ‚ÒÍÓ„Ó äÛθÚÛÌÓ„Ó ÙÓ̉‡, ÇËÎ¸Ì˛Ò “èÓÍÓÎÂÌË”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ èÓË, îËÌÎfl̉Ëfl (ËÌÒÚ‡ÎÎflˆËfl “˜Û‚ÒÚ‚‡” (͇Ú.) “ŇÎÚËÈÒÍËÈ ÔÛÚ¸” – ÏÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇ ‡Í‚‡ÂÎË, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ‡Í‚‡ÂÎË “é˜Â̸ ‰Û¯ËÒÚ˚È”. 1992. “The great outlooks I, II”. 1992 (͇Ú.)

“Ancora Vita”. – Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ üÌfl ëÂÚ‡, êË„‡; ͇ÚË̇ “Ñ‚ÓÈÌÓ ˜Û‚ÒÚ‚Ó” “ã‡Ú‚Ëfl – ÍÛ‚˚ÓÍ XX ‚Â͇. 1940–1990 „Ó‰˚”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; ËÌÒÚ‡ÎÎflˆËfl “ÇÁ„Îfl‰ ÒÓ ÒÚÓÓÌ˚” (͇Ú.) Ä͈Ëfl ‚ ·˚‚¯ÂÏ „‡‡Ê üÔÓÌÒÍÓ„Ó ÔÓÒÓθÒÚ‚‡ (ÒÓ‚ÏÂÒÚÌÓ Ò ë.ч‚˚‰Ó‚˚Ï Ë O.íËηÂ„ÓÏ), êË„‡ 9-‡fl ‚˚ÒÚ‡‚͇ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÄÒÂ̇Î, êË„‡; ‡Í‚‡ÂÎË “La Dolce Vita”, Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ üÌfl ëÂÚ‡, êË„‡; ÍÓÎÎ‡Ê (͇Ú.) “ÑÂÚË ëÚ‡·Û‡„‡”, ÔÂÙÓχÌÒ ÒÓ‚ÏÂÒÚÌÓ Ò ë.ч‚˚‰Ó‚˚Ï Ë O.íËηÂ„ÓÏ. – è¯ÂıÓ‰Ì˚È ÚÛÌÌÂθ êËÊÒÍÓ„Ó ÊÂÎÂÁÌÓ‰ÓÓÊÌÓ„Ó ‚ÓÍÁ‡Î‡, êË„‡ “ã˛‰Ë ‚ ÍÎÂÚ͇ı”, ÔÂÙÓχÌÒ ÒÓ‚ÏÂÒÚÌÓ Ò ë.ч‚˚‰Ó‚˚Ï Ë O.íËηÂ„ÓÏ. – ëÍ‚Â ÙË·ÏÓÌËË, êË„‡ “èÓÒÚ‡ÌÒÚ‚Ó Ë Ï˚”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡; ‰ËÔÎÓÏ̇fl ‡·ÓÚ‡

Leonards Laganovskis Dzimis 1955. gadå 1973–1979 Latvijas Måkslas akadémijas Scenogråfijas noda¬a.

No 1979. gada – sadarbîba ar måkslinieku grupu “Nebijußu sajütu restauråcijas darbnîca” 1980–1983 scenogråfs Latvijas Nacionålajå operas un baleta teåtrî 1984–1988 måkslinieks Rîgas pilsétas Izpildu komitejas Pilsétas noforméßanas darbnîcå 1990–1991 Rietumberlînes måkslas izstådes “INTERFERENZEN – Kunst aus Westberlin 1960–1990” kurators No 1993. gada dzîvo un strådå Berlîné un Rîgå.

Darbîbas joma: instalåcijas, objekti, scenogråfija, grafika, fotogråfija, zîméjums.

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Stipendijas un apbalvojumi 1996 Kultüras fonda (Berlîne) stipendija 1995 Kultüras senåta (Berlîne) stipendija 1993–1994 Kunstwerke e. V. (Berlîne) stipendija 1992 Ílezvigas – Holßteinas Kultüras ministrijas stipendija 1992 Müsdienu måkslas centra Banff (Kanåda) stipendija 1991–1992 Künstlerhaus Bethanien (Berlîne) stipendija 1989 kolhoza “Låçplésis” balva par labåko scenogråfiju, veltîtu lauku témai (Lelde Stumbre “Jånis” Valmieras teåtrî) Pedago©iskais darbs 1992 Viesprofesors Muthesius Fachhochshule îlé 1996 Lekcijas Neue Berliner Kunstverein (NBK) Berlîné Personålizstådes 2007 “Vodka, seks, smarΩas”, Rîgas galerija 2005 “Tiesîbas iekårot”, Rîgas galerija 1997 “Standarti”, Rîgas galerija “Galeristes véders”. – LN galerija, Rîga Klubs Slepenais eksperiments, Rîga Ivonnas Veihertes galerija, Rîga 1996 “Die Saga”, Galerie Barbara Weiss, Berlîne 1994 Galerija Bastejs, Rîga “Happy People Laboratory”, Dirty Windows Gallery, Berlin 1993–94 “Tribînes”, Galerie Barbara Weiss, Berlîne 1993 “100 un 1 zîméjums”, Müsdienu måkslas centrs, Vi¬ña 1992 “Two Rooms”, Wewerka und Weiss Galerie, Berlîne “Leonards Laganovskis. Darbi 1988 – 1992”. – ifaGalerie, Berlîne* “Private Collection”. – Künstlerhaus Bethanien, Berlîne* “Kunst des 20. Jahrhunderts”. – Kultüras centrs Salzau, île 1991 Reiterna nams, Rîga

Doles véstures muzejs, Doles sala 1990 IzståΩu nams Jåña Séta, Rîga* Wewerka Galerie, Berlîne 1984 Zinîbu nama izståΩu zåle, Rîga* Grupu izstådes: 2007 “Politiskais / Poétiskais”, 14. Tallinas grafikas triennåle, Kumu, Tallina “Mobilais muzejs” Andrejsala, Rîga “Spotlight: The Collection of the Latvian Contemporary Art Museum”, Eiropas Centrålajå bankå Frankfurté, Våcijå 2006 “Rudens 2006”, Latvijas Dzelzce¬a muzejå 2005 grupas izståde Venécijas pilsétvidé 2004 13. Tallinas grafikas triennåle. – Rotermana Såls noliktava, Tallina*; Igaunijas Nacionålås Bankas godalga 2003 “Mare Balticum”, Kopenhagen, National museum, Denmark* ”Imagination-Romantik”, Galway arts centre, Galway, Ireland* “Labyrinth”, Gallery Vartai, Vilnius, Lithuania “Savva¬as fotogråfi”, Komunikåciju centrs “Sapñu fabrika”, Rîga 2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga* Tallinas grafikas triennåle, Rotermana såls galerija, Tallina*; galvenå balva 2000 “Téva téls müsdienu måkslå” – izståΩu cikla “Tavs pråts lai notiek” ietvaros. – Haus am Waldsee, Berlîne 1999 “Ventspils Tranzîts Terminåls”, Ventspils pilsétas vide* 1998 “2. Vispåréjå latvießu måkslas izståde”, Måkslas muzejs Arsenåls, Rîga “11. Tallinas grafikas triennåle“, Rotermana såls galerija, Tallina* “Ventspils Tranzîts Terminåls”, Måkslas a©itvilciens, Ventspils novada véstures un måkslas muzejs, Ventspils* 1997 “STAD(t)T-ART – måksla 56 homeopåtiskås devås“, Ennepetal, Zieme¬reina–Vestfålena* “Pearls Vol.V” – dinner, sounds & flowers”, Dirty windows gallery izståde Parkhaus galerijå, Berlîne* “Vienkårßo lietu måksla”, Galerija Bastejs, Rîga 1996 “Skin of White Lady”, Philips-Haus, Eindhoven, Holande* “Bekant-machung – Baltijas jüras biennåle“, Kunsthalle Rostock* “Die Galerie”, Wewerka galerijas 20 gadi. – Kulturbrauerei, Berlîne* 1995–96“Memento – Måksla – Vésture – Atmiñas“, Haus am Waldsee, Berlîne; pilsétas galerija im Sophienhof, île* “Postkonceptual Painting”, Kunstwerke e.V.,

Likörfabrik, Berlîne* “Schöne Aussichten”, NGBK izståΩu konkursa projekts. – U-Bahnhof Alexanderplatz, Berlin* (Landschaft) mit dem Blick der 90er Jahre. – Mittelrhein-Museum Koblenz; Museum Schoss Burgk/Saale; Haus am Waldsee, Berlîne* 1993–94 “Attélu atmiña” – Baltijas fotomåksla ßodien. – pilsétas galerija im Sophienhof, île; Kunsthalle Rostoka/Våcija; IzståΩu zåle Latvija, Rîga; Müsdienu måkslas centrs, Vi¬ña; Berlînes galerija im Martin Gropius-Bau, Berlîne; Baltijas måkslas centrs, Gdañska; Kunsthalle Nikolaj, Kopenhågena* “Memento.Müsdienu Berlînes måksla“, Prågas pilsétas galerija* “Kunst: Sprache”, Kunstwerke e.V., Berlîne Vislatvijas måkslas akcija “ep!” – grafikas izstådes 33 pilsétås* 1993 Zellermeyer Galerie, Berlîne 1992 “Kvalitåte ‘92”, IzståΩu zåle Latvija, Rîga* Rauma Biennale Balticum ‘92. – Rauma* “Timespace”, Sveaborg, Helsinki “Refleksija”, Walter Philips Gallery, Benfa/Kanåda “Tierra de nadie”, Andalüzijas paviljons, EXPO ’92, Sevi¬a* “Avantgarde & Kampagne”, Kunsthalle Düsseldorf* “Minimal Curating”, Städtisches Kaufhaus, Leipciga 1991 “Ar seju pret seju”, ARS BALTICA ietvaros. – pilsétas måkslas galerija Im Sophienhof, île; izståΩu zåle Latvija, Rîga; Künstlerhaus Bethanien un Kunstwerke e.V., Berlîne* 1990 “Auflagenobjekte”, Galerie Wewerka, Berlin 1989 “Riga – Lettische Avantgarde”, pilsétas måkslas galerija Im Sophienhof, île; izståΩu zåle Weserburg, Brémene/Våcija* 7. Republikas dizaina izståde, IzståΩu zåle Latvija, Rîga 1988 “Mies van der Rohe 100 gadi”, Arhitektu nams, Rîga “Riga – Lettische Avantgarde”, Valsts Kunsthalle, Rietumberlîne* 1987 Vissavienîbas scenogråfu izståde. – Maskava* 1986 “Telpa un més”, Rîga Scenogråfu izståde, Rîga “Véjß vîtolos”, Arhitektu nams, Rîga 1985 Vissavienîbas izståde “Apkårtéjå vide un dizains”, Rîga Jauno scenogråfu darbu izståde. – Republikåniskais zinîbu nams, Rîga 1984 Baltijas republiku scenogråfu izståde. – IzståΩu zåle Latvija, Rîga* “Daba. Vide. Cilvéks”, Péterbaznîca, Rîga 1983 Republikas jauno måkslinieku 15. darbu izståde, IzståΩu zåle Latvija, Rîga Rîgas jauno måkslinieku darbu izståde. – Ì.Eliasa Jelgavas véstures un måkslas muzejs, Jelgava

1982 Starptautiskå scenogråfijas kvadrinåle. – Pråga 1981 Republikas 6. dizaina izståde. – Jürmalas izståΩu zåle Vissavienîbas scenogråfu izståde. – Maskava* 1978 Baltijas republiku plakåtu izståde. – Rîga* Starptautiskå scenogråfijas kvadrinåle. – Pråga * katalogs

Leonards Laganovskis Born 1955 in Riga.

1973–1979 Latvian Academy of Art, Dept. of Stage Design 1979–1989 collaboration with the artists group “Workshop for Restauration of Non-Existent Feelings” 1980–1983 Set Designer Latvijas Nacionålajå operas un baleta teåtrî 1984–1988 Artist at the Workshop of City Decoration of the Riga City Municipality 1990–1991 Curator of the exhibition of Contemporary Art from West Berlin “INTERFERENZEN – Kunst aus Westberlin 1960–1990” Fields of activity: installations, objects, stage design, print, photography, drawing.

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Scholarships and awards 1996 Scholarship of the Culture Foundation Berlin 1995 Scholarship of the Culture Senat Berlin 1993–1994 Scholarship of Kunstwerke e. V., Berlin 1992 Scholarship of the Culture Ministry of SchleswigHolstein 1992 Scholarship of the Contemporary Art Centre in Banff, Canada 1991–1992 Scholarship of Künstlerhaus Bethanien, Berlin 1989 Award of the collective farm “Låçplésis” for the best stage design on rural theme (Lelde Stumbre “Jånis” in Valmiera Theatre) Teaching Activities 1992 Guest Professor in Muthesius Fachhochshule Kiel 1996 Lecturer in Neue Berliner Kunstverein (NBK) Berlin Solo Exhibitions 2007 “Vodka, sex, perfume,Riga Gallery 2005 “Rights to desire”,Riga Gallery 1997 “Standarts”,Rîga Gallery “Gallery Owner’s Belly”, LN Gallery, Riga Club Secret Experiment, Riga Ivonna Veiherte Gallery, Riga 1996 “Die Saga”,Galerie Barbara Weiss, Berlin 1994 Gallery Bastejs, Riga “Happy People Laboratory”,Dirty Windows Gallery, Berlin 1993–94 “Rostrums”, Galerie Barbara Weiss, Berlin 1993 “100 and 1 Drawing”,Contemporary Art Centre, Vilnius

1992 “Two Rooms”,Wewerka und Weiss Galerie, Berlin “Leonards Laganovskis. Works 1988–1992”,ifaGalerie, Berlin* “Private Collection”,Künstlerhaus Bethanien, Berlin* “Kunst des 20. Jahrhunderts”. – Culture Centre Salzau, Kiel 1991 Reiterns House, Riga Dole History Museum, Doles Island, Latvia 1990 Exhibition House Jåña séta, Riga* Wewerka Galerie, Berlin 1984 Exhibition Hall of the House of Knowledge, Riga* Group Exhibitions 2007 14th Tallinn Print Triennial “Political / Poetical”,KUMU, Tallinn* “Mobile Museum” Andrejsala, Riga “Spotlight: The Collection of the Latvian Contemporary Art Museum”, European Central Bank, Frankfurt am Main, Germany 2006 Autumns 2006, Latvian Railway Museum 2005 group exhibition in city space of Venice 2004 13th Tallinn Print Triennial, Rotermann Salt Storage, Tallinn*; Prix of Estonial National Bank 2003 Mare Balticum, Kopenhagen, National museum, Denmark* ”Imagination-Romantik”, Galway arts centre, Galway, Ireland* “Labyrinth”,Gallery Vartai, Vilnius, Lithuania “Wild Photographers”, Communication Centre “Dream Factory”, Riga 2001 “Metropolis. Rîga”, Stock Exchange Building, Riga* 12th Tallinn Print Triennial, Rotermann Salt Storage, Tallinn*; Grand Prix 2000 “Image of Father in Contemporary Art”, Haus am Waldsee, Berlin 1999 “Ventspils Transit Terminal”,City space of Ventspils* 1998 “2 nd All-Latvian Art Exhibition”, Museum of Art Arsenåls, Riga “11th Tallinn Print Triennial”, Rotermann Salt Storage, Tallinn* “Ventspils Transit Terminal”, Art Propaganda Train, Rehional Museum of Art and History, Ventspils* 1997 “STAD(t)T-ART – Art in 56 homeopathic doses“, Ennepetal, Nordrein-Vestphalen* “Pearls Vol.V” – dinner, sounds & flowers”, Dirty windows Gallery exhibition in Parkhaus Gallery, Berlin* “Art of Simple Things”, Gallery Bastejs, Riga 1996 “Skin of White Lady” , Philips-Haus, Eindhoven, Holand* “Bekant-machung – Baltic Sea Biennale“,Kunsthalle Rostock* “Die Galerie” , 20 Years of Wewerka Galerie. – Kulturbrauerei, Berlin* 1995–96 “Memento – Art – History – Memories“, Haus

am Waldsee, Berlin; Stadtliche Galerie im Sophienhof, Kiel* “Postkonceptual Painting”, Kunstwerke e.V., Likörfabrik, Berlin* “Schöne Aussichten”, project of NGBK exhibitioncompetition. – U-Bahnhof Alexanderplatz, Berlin* (Landschaft) mit dem Blick der 90er Jahre. – Mittelrhein-Museum Koblenz; Museum Schoss Burgk/Saale; Haus am Waldsee, Berlîne* 1993–94 “Memory of Images” – Baltic Photo Art Today. – Stadtliche Galerie im Sophienhof, Kiel; Kunsthalle Rostock/Germany; Exhibition Hall Latvija, Riga; Contemporary Art Centre, Vilnius; Galerie im Martin Gropius-Bau, Berlin; Baltic Art Centre, Gdansk, Poland; Kunsthalle Nikolaj, Copenhagen, Denmark* “Memento – Contemporary Art of Berlin”, City Gallery, Prague, Czech Republic* “Kunst: Sprache”, Kunstwerke e.V., Berlin All-Latvian Art Action “ep!”, Print exhibitions in 33 towns* 1993 Zellermeyer Galerie, Berlin 1992 “Quality ‘92”. – Exhibition Hall Latvija, Riga * Rauma Biennale Balticum ‘92., Rauma/Finland* “Timespace”, Sculpture Project. – Sveaborg, Helsinki “Reflexion” , Contemporary art from Estonia, Latvia and Lithuania. – Walter Philips Gallery, Banff/Canada “Tierra de nadie”, Andalusia Pavilion, EXPO ’92, Sevilja* “Avantgarde & Kampagne”, Kunsthalle Düsseldorf* “Minimal Curating”, Städtisches Kaufhaus, Leipzig 1991 “Face to Face”, within the project ARS BALTICA. – Stadtliche Kunst Galerie Im Sophienhof, Kiel; Exhibition Hall Latvija, Riga; Künstlerhaus Bethanien un Kunstwerke e.V., Berlin* 1990 “Auflagenobjekte”, Galerie Wewerka, Berlin 1989 “Riga – Lettische Avantgarde”, Stadtliche Kunst Galerie Im Sophienhof, Kiel; Kunsthalle Weserburg, Bremen/Germany* “The 7 th Republican Design Exhibition”, Exhibition Hall Latvija, Riga 1988 “Mies van der Rohe’s 100th Anniversary”, House of Architects, Riga “Riga – Lettische Avantgarde”, Stadtliche Kunsthalle, West Berlin* 1987 All-Union Exhibition of Stage Designers, Moscow* 1986 “Space and Us”. – Riga “Exhibition of Stage Design”, Riga “Wind in the Willows”, House of Architects, Riga 1985 All-Union Exhibition “Environment and Design”, Rîga Exhibition of Works by Young Set Designers, Republican House of Knowledge, Riga 1984 “Stage Design of the Blatic Republics”,Exhibition Hall Latvija, Riga * “Nature. Environment. Man”, St Peters Church, Riga

1983 ”15 th Republican Exhibition of Works by Young Artists”, Exhibition Hall Latvija, Riga “Exhibition of Works by Young Artists from Riga”, Ìederts Eliass Museum of History and Art, Jelgava, Latvia 1982 ”International Quadrennial of Stage Design”, Prague 1981 The 6 th Republican Design Exhibition”,Exhibition Hall of Jürmala, Latvia “All-Union Exhibition of Stage Designers”, Moscow* 1978”Poster Exhibition of Artists from Baltic Republics”,Riga* “International Quadrennial of Stage Design”,Prague * catalogue

ãÂÓ̇‰c ㇄‡ÌÓ‚ÒÍËÒ

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êÓ‰ËÎÒfl ‚ 1955 „Ó‰Û 1973–1979 ã‡Ú‚ËÈÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ҈ÂÌÓ„‡ÙËË. ë 1979 „Ó‰‡ – ÒÓÚÛ‰Ì˘ÂÒÚ‚Ó Ò „ÛÔÔÓÈ ıÛ‰ÓÊÌËÍÓ‚ “å‡ÒÚÂÒ͇fl ÂÒÚ‡‚‡ˆËË ÌÂÔÓ‚ÚÓËÏ˚ı Ó˘Û˘ÂÌËÈ” 1980–1983 ÒˆÂÌÓ„‡Ù ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó Ú‡Ú‡ ÓÔÂ˚ Ë ·‡ÎÂÚ‡ 1984–1988 ıÛ‰ÓÊÌËÍ ÓÙÓÏËÚÂθÒÍÓÈ Ï‡ÒÚÂÒÍÓÈ êËÊÒÍÓ„Ó „ÓÓ‰ÒÍÓ„Ó àÒÔÓÎÌËÚÂθÌÓ„Ó ÍÓÏËÚÂÚ‡ 1990–1991 ÍÛ‡ÚÓ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‚˚ÒÚ‡‚ÍË á‡Ô‡‰ÌÓ„Ó ÅÂÎË̇ “INTERFERENZEN – Kunst aus Westberlin 1960–1990” ë 1993 „Ó‰‡ ÊË‚ÂÚ Ë ‡·ÓÚ‡ÂÚ ‚ ÅÂÎËÌÂ Ë êË„Â. ëÙÂ‡ ‰ÂflÚÂθÌÓÒÚË: ËÌÒÚ‡ÎÎflˆËfl, Ó·˙ÂÍÚ˚, ÒˆÂÌÓ„‡ÙËfl, „‡ÙË͇, ÙÓÚÓ„‡ÙËfl, ËÒÛÌÓÍ. ëÚËÔẨËË Ë Ì‡„‡‰˚ 1996 ÒÚËÔẨËfl äÛθÚÛÌÓ„Ó ÙÓ̉‡ (ÅÂÎËÌ) 1995 ÒÚËÔẨËfl ÒÂ̇ڇ äÛθÚÛ˚ (ÅÂÎËÌ) 1993–1994 ÒÚËÔẨËfl Kunstwerke e. V. (ÅÂÎËÌ) 1992 ÒÚËÔẨËfl ÏËÌËÒÚÂÒÚ‚‡ äÛθÚÛ˚ òÎÂÁ‚Ë„‡ÉÓθ¯ÚÂÈ̇ 1992 ÒÚËÔẨËfl ñÂÌÚ‡ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ Banff (Kȧ‰‡) 1991–1992 ÒÚËÔẨËfl “Künstlerhaus Bethanien” (ÅÂÎËÌ) 1989 ̇„‡‰‡ ÍÓÎıÓÁ‡ “㇘ÔÎÂÒËÒ” Á‡ ÎÛ˜¯Û˛ ÒˆÂÌÓ„‡Ù˲, ÔÓÒ‚fl˘ÂÌÌÛ˛ ÒÂθÒÍÓÈ ÚÂÏ (ãÂΉ ëÚÛÏ· “üÌËÒ”, LJÎÏËÂÒÍËÈ Ú‡Ú) 艇„ӄ˘ÂÒ͇fl ‰ÂflÚÂθÌÓÒÚ¸ 1992 èÓÙÂÒÒÓ “Muthesius Fachhochshule”, äËθ 1996 ãÂ͈ËË ‚ “Neue Berliner Kunstverein” (NBK), ÅÂÎËÌ èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2007 “ÇӉ͇, ÒÂÍÒ, ‰ÛıË”, êËÊÒ͇fl „‡ÎÂÂfl 2005 “è‡‚Ó Ì‡ ‚ÓʉÂÎÂÌË”, êËÊÒ͇fl „‡ÎÂÂfl 1997 “ëڇ̉‡Ú˚”, êËÊÒ͇fl „‡ÎÂÂfl

“Å˛ıÓ ‚·‰ÂÎˈ˚ „‡ÎÂÂË”, ãç „‡ÎÂÂfl, êË„a KÎÛ· “í‡ÈÌ˚È ˝ÍÒÔÂËÏÂÌÚ”, êË„a ɇÎÂÂfl à‚ÓÌÌ˚ ÇÂÈıÂÚÂ, êË„a 1996 “Die Saga”, „‡ÎÂÂfl Ň·‡˚ LJÈÒ, ÅÂÎËÌ 1994 ɇÎÂÂfl “ŇÒÚÂÈÒ”, êË„a “Happy People Laboratory”, „‡ÎÂÂfl “Dirty Windows Gallery”, ÅÂÎËÌ 1993–94 “íË·ÛÌ˚”, „‡ÎÂÂfl Ň·‡˚ LJÈÒ, ÅÂÎËÌ 1993 “100 Ë 1 ËÒÛÌÓÍ”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò 1992 “Two Rooms”, „‡ÎÂÂfl “Wewerka und Weiss”, ÅÂÎËÌ “ãÂÓ̇‰ ㇄‡ÌÓ‚ÒÍËÒ. ꇷÓÚ˚ 1988 – 1992”, “ifa-ɇÎÂÂfl”, ÅÂÎËÌ * “Private Collection”, Künstlerhaus Bethanien, ÅÂÎËÌ * “Kunst des 20. Jahrhunderts”, äÛθÚÛÌ˚È ˆÂÌÚ ë‡ÎÁ‡Û, äËθ 1991 ÑÓÏ êÂÈÚÂ̇, êË„a àÒÚÓ˘ÂÒÍËÈ ÏÛÁÂÈ ÑÓÎÂÒ, ÑÓÎÂÒ Ò‡Î‡ 1990 – Ç˚ÒÚ‡‚Ó˜Ì˚È ‰ÓÏ “üÌfl ëÂÚ‡”, êË„a* ɇÎÂÂfl “Wewerka Galerie”, ÅÂÎËÌ 1984 Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ÑÓχ á̇ÌËÈ, êË„a* ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË: 2007 “èÓÎËÚ˘ÂÒÍËÈ / èÓ˝Ú˘ÂÒÍËÈ”, 14-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, äÛÏÛ, í‡ÎÎËÌÌ “åÓ·ËθÌ˚È ÏÛÁÂÈ”, ẢÂÈ҇·, êË„a “Spotlight: The Collection of the Latvian Contemporary Art Museum”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ î‡ÌÍÙÛÚ‡, ÉÂχÌËfl 2006 éÒÂ̸ 2006, ã‡Ú‚ËÈÒÍËÈ ÊÂÎÂÁÌÓ‰ÓÓÊÌ˚È ÏÛÁÂÈ 2005 „ÛÔÔÓ‚‡fl ‚˚ÒÚ‡‚͇, ÇÂ̈Ëfl 2004 13-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, „‡ÎÂÂfl “ëÓθ êÓÚÂχ̇”, í‡ÎÎËÌÌ*; èËÁ ùÒÚÓÌÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ·‡Ì͇ 2003 “Mare Balticum”, äÓÔÂÌ„‡„ÂÌ, 燈ËÓ̇θÌ˚È ÏÛÁÂÈ, чÌËfl* “Imagination-Romantik”, ñÂÌÚ ËÒÍÛÒÒÚ‚ ɇ΂ÂÈ, à·̉Ëfl* “Labyrinth”, ɇÎÂÂfl “Vartai”, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ 2007 “Contemporary Art from Latvia”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ Ì‡ å‡ÈÌÂ, ÉÂχÌËfl 2003 “Labyrinth”, ɇÎÂÂfl “Vartai”, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “ë‚Ó‚ÓθÌ˚ ÙÓÚÓ„‡Ù˚”, ñÂÌÚ ÍÓÏÏÛÌË͇ˆËË “Ë͇ „ÂÁ”, êË„‡ 2001 “åÂÚÓÔÓθ. êË„a”, ÑÓÏ êËÊÒÍÓÈ ÙÓ̉ӂÓÈ ·ËÊË, êË„‡* T‡ÎÎËÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, ɇÎÂÂfl “ëÓθ êÓÚÂχ̇”, í‡ÎÎËÌÌ*; „·‚Ì˚È ÔËÁ 2000 “í‚ÓÈ Ó·‡Á ‚ ÒÓ‚ÂÏÂÌÌÓÏ ËÒÍÛÒÒڂ” – ‚ ‡Ï͇ı ‚˚ÒÚ‡‚Ó˜ÌÓ„Ó ˆËÍ· “í‚ÓÈ ‡ÁÛÏ ÔÛÒÚ¸

ÒÓÒÚÓËÚÒfl”, „‡ÎÂÂfl “Haus am Waldsee”, ÅÂÎËÌ 1999 “ÇÂÌÚÒÔËÎÒ. í‡ÌÁËÚ. íÂÏË̇Δ, ÇÂÌÚÒÔËÎÒ* 1998 2-‡fl ÇÒÂÓ·˘‡fl ‚˚ÒÚ‡‚͇ ·Ú˚¯ÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡ 11-‡fl í‡ÎÎËÌÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, ɇÎÂÂfl “ëÓθ êÓÚÂχ̇”, í‡ÎÎËÌÌ* “ÇÂÌÚÒÔËÎÒ í‡ÌÁËÚ íÂÏË̇Δ, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ‡„ËÚÔÓÂÁ‰, àÒÚÓ˘ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ÇÂÌÚÒÔËÎÒÍÓÈ ‚ÓÎÓÒÚË, ÇÂÌÚÒÔËÎÒ * 1997 “STAD(t)T-ART – ËÒÍÛÒÒÚ‚Ó ‚ 56 „ÓÏÂÓÔ‡Ú˘ÂÒÍËı ‰ÓÁ‡ı”, ùÌÌÂÔÂڇθ, ë‚ÂÌ˚È êÂÈÌ-ÇÂÒÚÙ‡ÎËfl* “Pearls Vol.V” – dinner, sounds & flowers”. – ɇÎÂÂfl Parkhaus, ÅÂÎËÌ* “Ç˚ÒÚ‡‚͇ ÔÓÒÚ˚ı ‚¢ÂÈ”, ɇÎÂÂfl “ŇÒÚÂÈÒ”, êË„a 1996 “Skin of White Lady” – ÙÓÚÓÔÓÂÍÚ, “PhilipsHaus”, ùÈ̉ıÓÙÂÌ, ÉÓη̉Ëfl* “Bekant-machung” – ÅËÂÌ̇ΠŇÎÚËÈÒÍÓ„Ó ÏÓfl. – “Kunsthalle”, êÓÒÚÓÍ* “Die Galerie” – 20 ÎÂÚ „‡ÎÂ “Wewerka”, “Kulturbrauerei”, ÅÂÎËÌ* 1995–96 “Memento – àÒÍÛÒÒÚ‚Ó – àÒÚÓËfl – è‡ÏflÚ¸”, “Haus am Waldsee”, ÅÂÎËÌ; „ÓÓ‰Ò͇fl „‡ÎÂÂfl, äËθ* “Postkonceptual Painting” (èÓÒÚ-ÍÓ̈ÂÔÚۇθ̇fl ÊË‚ÓÔËÒ¸), “Kunstwerke e.V., Likörfabrik”, ÅÂÎËÌ* “Schöne Aussichten” – ÔÓÂÍÚ ‚˚ÒÚ‡‚Ó˜ÌÓ„Ó ÍÓÌÍÛÒ‡ NGBK, U-Bahnhof Alexanderplatz, ÅÂÎËÌ* (Landschaft) mit dem Blick der 90er Jahre, Mittelrhein-Museum Koblenz; Museum Schoss Burgk/Saale; Haus am Waldsee, ÅÂÎËÌ * 1993–94 “è‡ÏflÚ¸ Ó·‡Á‡” – ŇÎÚËÈÒÍÓ ÙÓÚÓËÒÍÛÒÒÚ‚Ó Ò„ӉÌfl. – „ÓÓ‰Ò͇fl „‡ÎÂÂfl “Im Sophienhof”, äËθ; Kunsthalle êÓÒÚÓÍ/ÉÂχÌËfl; Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡; ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò; ÅÂÎËÌÒ͇fl ‚˚ÒÚ‡‚͇ “Im Martin Gropius-Bau”, ÅÂÎËÌ; ŇÎÚËÈÒÍËÈ ˆÂÌÚ ËÒÍÛÒÒÚ‚‡, ɉ‡Ì¸ÒÍ; Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “çËÍÓ·Ȕ, KÓÔÂÌ„‡„ÂÌ* “Memento”, ëÓ‚ÂÏÂÌÌÓ ÅÂÎËÌÒÍÓ ËÒÍÛÒÒÚ‚Ó. – è‡ÊÒ͇fl „ÓÓ‰Ò͇fl „‡ÎÂÂfl* “Kunst: Sprache”, Kunstwerke e.V., ÅÂÎËÌ ÇÒ·ڂËÈÒ͇fl ‚˚ÒÚ‡‚͇ ËÒÍÛÒÒÚ‚‡ “˝Ô!” – ‚˚ÒÚ‡‚ÍË „‡ÙËÍË ‚ 33 „ÓÓ‰‡ı* 1993 “Zellermeyer Galerie”, ÅÂÎËÌ 1992 “䇘ÂÒÚ‚Ó ‘92”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„a* “Rauma Biennale Balticum ‘92”, ê‡Ûχ* “Timespace”, ÒÍÛθÔÚÛÌ˚È ÔÓÂÍÚ, 낇·Ó„, ïÂθÒËÌÍË “êÂÙÎÂÍÒËfl”, ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ËÁ

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ùÒÚÓÌËË, ã‡Ú‚ËË Ë ãËÚ‚˚, Walter Philips Gallery, ŇÌÙÙ/Kȧ‰a “Tierra de nadie”, Ả‡ÎÛ˝ÒÍËÈ Ô‡‚ËθÓÌ, EXPO ’92, ë‚Ëθfl* “Avantgarde & Kampagne”, “Kunsthalle” Ñ˛ÒÒÂθ‰ÓÙ* “Minimal Curating”, “Städtisches Kaufhaus”, ãÂÈԈ˄ 1991 “ãˈÓÏ Í Îˈ۔ – ‚ ‡Ï͇ı ÔÓÂÍÚ‡ ARS BALTICA. – „ÓÓ‰Ò͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl “Im Sophienhof”, äËθ; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚Ëfl, êË„‡; “Künstlerhaus Bethanien un Kunstwerke e.V.”, ÅÂÎËÌ* 1990 “Auflagenobjekte”, ɇÎÂÂfl “Wewerka”, ÅÂÎËÌ 1989 “Riga – Lettische Avantgarde”, „ÓÓ‰Ò͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl “Im Sophienhof”, äËθ; ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “Weserburg”, ÅÂÏÂÌ/ÉÂχÌËfl* 7-‡fl êÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ‰ËÁ‡È̇, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ 1988 “Mies van der Rohe 100 gadi”. – ÑÓÏ ÄıËÚÂÍÚÓÓ‚, êË„‡ “Riga – Lettische Avantgarde”. – ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È Kunsthalle, á‡Ô‡‰Ì˚È ÅÂÎËÌ* 1987 ÇÒÂÒÓ˛Á̇fl ‚˚ÒÚ‡‚͇ ÒˆÂÌÓ„‡ÙËË, åÓÒÍ‚‡* 1986 “èÓÒÚ‡ÌÒÚ‚Ó Ë Ï˚”, êË„‡ Ç˚ÒÚ‡‚͇ ÒˆÂÌÓ„‡ÙÓ‚. – êË„‡ “ÇÂÚÂ ‚ ‚Â·Û”, ÑÓÏ ÄıËÚÂÍÚÓÓ‚, êË„‡ 1985 ÇÒÂÒÓ˛Á̇fl ‚˚ÒÚ‡‚͇ “éÍÛʇ˛˘‡fl Ò‰‡ Ë ‰ËÁ‡ÈÌ”, êË„‡ Ç˚ÒÚ‡‚͇ ‡·ÓÚ ÏÓÎÓ‰˚ı ÒˆÂÌÓ„‡ÙÓ‚. – êÂÒÔÛ·ÎË͇ÌÒÍËÈ ÑÓÏ Á̇ÌËÈ, êË„‡ 1984 Ç˚ÒÚ‡‚͇ ÒˆÂÌÓ„‡ÙÓ‚ ŇÎÚËÈÒÍËı ÒˆÂÌÓ„‡ÙÓ‚, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ * “èËÓ‰‡. ë‰‡. óÂÎÓ‚ÂÍ”, ñÂÍÓ‚¸ èÂÚ‡, êË„‡ 1983 15-‡fl êÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ‡·ÓÚ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ã‡Ú‚Ëfl”, êË„‡ Ç˚ÒÚ‡‚͇ ‡·ÓÚ ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚ êË„Ë, Ö΄‡‚ÒÍËÈ ËÒÚÓ˘ÂÒÍËÈ Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ É.ùΡ҇, Ö΄‡‚‡ 1982 åÂʉÛ̇Ӊ̇fl Í‚‡‰ËÂÌ̇Π҈ÂÌÓ„‡ÙËË, è‡„‡ 1981 6-‡fl êÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ ‰ËÁ‡È̇, ûχθÒÍËÈ ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ÇÒÂÒÓ˛Á̇fl ‚˚ÒÚ‡‚͇ ÒˆÂÌÓ„‡ÙÓ‚. – åÓÒÍ‚‡ * 1978 ŇÎÚËÈÒ͇fl ÂÒÔÛ·ÎË͇ÌÒ͇fl ‚˚ÒÚ‡‚͇ Ô·͇ڇ, êË„‡ * åÂʉÛ̇Ӊ̇fl Í‚‡‰ËÂÌ̇Π҈ÂÌÓ„‡ÙËË, è‡„‡ * ͇ڇÎÓ„

Evelîna Deiçmane

Evelîna Deiçmane

evelinadeicmane@yahoo.com Dzimusi 1978. gadå 2000–2007 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; MA 2003 Berlînes Måkslas universitåte UDK, Vizuålås komunikåcijas noda¬a 1999 Rîgas Lietiß˚ås måkslas koledΩas Vides objektu dizaina noda¬a

evelinadeicmane@yahoo.com Born 1978 2000–2007 Latvian Academy of Art, Department of Visual Communication; MA 2003 Berlin Art University UDK, Department of Visual Communication 1999 Riga College of Applied Art, Department of Environmental objects design

Personålizstådes 2005 “Elpot aizliegts”, Galerija “Noass”, Rîga, Latvija

Solo exhibition 2005 “Breathing Prohibited”, Galerie ”Noass”, Riga, Latvia

Grupu izstådes 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 “Jauno måkslinieku triennåle”, Tallina, Igaunija Skañu måkslas izståde “Skan”, festivåla “Skañu meΩs” ietvaros F. Brîvzemnieka ielå 26/28, Rîga, Latvija “Mobilais muzejs”, Andrejsala, Rîga, Latvija “Baltijas valstis. Latvijas laikmetîgå måksla”, Kalmåras måkslas muzejs, Zviedrija “BooM”, Latvijas Måkslas akadémijas, Vizuålås komunikåcijas absolventu izståde, Andrejsala, Rîga, Latvija “Riga Review”, NGBK, Berlîne, Våcija “Katoptron” (Direction of the Mirror glance), 2.

Maskavas laikmetîgås måkslas biennåle, Maskava, Krievija 2006 Starptautiskais nepieradinåtås müzikas un filmu festivåls “Skañu meΩs”, Andrejsala, Rîga 15.Sidnejas biennåle, Sidneja, Austrålija “Melting”, galerija newyorkriotokio, Berlîne, Våcija “Feuerzeug”, galerija Schweiss Laden, Berlîne, Våcija 2005 “(Un)Dressed”, Giedre Bartelt Galerie, Berlîne, Våcija “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2004 “Daba. Vide. Cilvéks. 2004”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “Tautas nobalsoßana”, laikraksta “Diena” speciålpielikums, veltîts referendumam par ieståßanos Eiropas Savienîbå 2002 “Rudens 2002”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2000 “Optiskås zîmes”, Dekoratîvi lietiß˚ås måkslas muzejs, Rîga, Latvija 1999 “Baltic Sea Four”, Lietiß˚ås Måkslas koledΩas izståΩu zåle, Rîga, Latvija

Exhibitions 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “Triennial of Young artists”, Tallin, Estonia Sound art project “Skan”, festival “Skañu meΩs”, Riga, Latvia “Mobile Museum”, Andrejsala, Riga, Latvia “The Baltics Part I: Contemporary Art of Latvia”, Kalmar Art Museum, Sweden “BooM”, Latvian Academy of Art, Department of Visual Communication graduates project, Andrejsala, Rîga, Latvia “Riga Review”, NGBK, Berlin, Germany “Katoptron (Direction of the Mirror glance)”, 2nd Moscow biennial for Contemporary art, Moscow, Russia 2006 International adventurous music festival “Skañu meΩs”, Andrejsala, Rîga, Latvia 15th Sidney Biennale, Sidney, Australia 2005 ”(Un)Dressed Body”, Giedre Bartelt Galerie, Berlin, Germany “Jukas”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2004 “Nature. Environment. Man. 2004”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2003 “2 Show”, Contemporary Art Centre, Vilnius, Lithuania Referendum, a special supplement to the daily Diena, dedicated to the accession to the European Union 2002 “Autumn 2002”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2000 “Optical Ornament”, Museum of Decorative Applied Arts, Riga, Latvia 1999 “Baltic Sea Four”, Exhibition Hall of the Riga College of Applied Art, Riga, Latvia

ù‚ÂÎË̇ ÑÂȘχÌ evelinadeicmane@yahoo.com êӉ˷Ҹ ‚ 1978 „Ó‰Û 2000–2007 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl a͇‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, MA

2003 ÅÂÎËÌÒÍËÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ (UDK), ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË 1999 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÓÚ‰ÂÎÂÌË ‰ËÁ‡È̇ Ó·˙ÂÍÚÓ‚ ÓÍÛʇ˛˘ÂÈ Ò‰˚ èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2005 “Ñ˚¯‡Ú¸ Á‡Ô¢ÂÌÓ”, ɇÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl

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ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007“íËÂÌ̇ΠÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚”, í‡ÎÎËÌ, ùÒÚÓÌËfl Ç˚ÒÚ‡‚͇ Á‚ÛÍÓ‚Ó„Ó ËÒÍÛÒÒÚ‚‡ “Skan” ‚ ‡Ï͇ı ÙÂÒÚË‚‡Îfl “ãÂÒ Á‚ÛÍÓ‚”, êË„‡, ã‡Ú‚Ëfl, ÛÎ. î. ÅË‚ÁÂÏÌËÂ͇ 26/28 “åÓ·ËθÌ˚È ÏÛÁÂÈ”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “ŇÎÚËÈÒÍË ÒÚ‡Ì˚. ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ò‚ˆËfl “BooM”, ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ‚˚ÒÚ‡‚͇ ‚˚ÔÛÒÍÌËÍÓ‚ ÓÚ‰ÂÎÂÌËfl ÇËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “Riga Review”, NGBK, ÅÂÎËÌ, ÉÂχÌËfl “Katoptron” (Direction of the Mirror glance), 2 åÓÒÍÓ‚Ò͇fl ·ËÂÌ̇ÎÂ, åÓÒÍ‚‡, êÓÒÒËfl 2006 åÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ÌÂÔË‚˚˜ÌÓÈ ÏÛÁ˚ÍË Ë ÙËθÏÓ‚ “ãÂÒ Á‚ÛÍÓ‚”, Ä̉ÂÈ҇·, êË„‡ 15 ëˉÌÂÈÒ͇fl ·ËÂÌ̇ÎÂ, ëˉÌÂÈ, Ä‚ÒÚ‡ÎËfl “Melting”, „‡ÎÂÂfl “NewYorkRioTokio”, ÅÂÎËÌ, ÉÂχÌËfl “Feuerzeug”, „‡ÎÂÂfl “Schweiss Laden”, ÅÂÎËÌ, ÉÂχÌËfl 2005 “(Un)Dressed”, Giedre Bartelt Galerie, ÅÂÎËÌ, ÉÂχÌËfl “Jukas”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl 2004 “èËÓ‰‡. ë‰‡. óÂÎÓ‚ÂÍ. 2004”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl 2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “ÉÎ‡Ò Ì‡Ó‰‡”, ÒÔˆˇθÌÓ ÔËÎÓÊÂÌË „‡ÁÂÚ˚ “Diena”, ÔÓÒ‚fl˘ÂÌÌÓ ÂÙÂẨÛÏÛ Ó ‚ÒÚÛÔÎÂÌËË ‚ Ö‚ÓÔÂÈÒÍËÈ ëÓ˛Á 2002 “éÒÂ̸ 2002”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl 2000 “éÔÚ˘ÂÒÍË Á̇ÍË”, åÛÁÂÈ ‰ÂÍÓ‡ÚË‚ÌÓÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl 1999 “Baltic Sea Four”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î äÓÎΉʇ ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

Famous Five (F5) Lîga Marcinkeviça, Mårtiñß Ratniks, Ieva Rubeze zliga@yahoo.com; mr@rixc.lv; ieva.rubeze@gmail.com 1995–2001 Latvijas Måkslas akadémijas Vizuålås måkslas noda¬a 1998 – Grupas nodibinåßana mediju måkslas simpozija “Polar Circuit” laikå Tornio, Somijå Izstådes, festivåli 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, V 2007 “Laikmetîgås måkslas izståde”, Césu festivåls 2007, Césis, Latvija “Latvijas Laikmetîgå måksla”, Eiropas centrålå banka, Frankfurte, Våcija “Baltijas valstis. Latvijas laikmetîgå måksla”, Kalmåras måkslas muzejs, Zviedrija 2006 “Laiks rådîs”,RDMV Mazajå zålé, Rîga, Latvija “Tumsas spuldze,“ Jürmalas pilsétas muzejs, Jürmala, Latvija “F5 laika lînija“, Faux Mouvement izståΩu zåle, Metz, Francija 2005 “Tumsas spuldze“, Latvijas nacionålå ekspozîcija Venécijas Biennåles 51. Starptautiskajå måkslas izstådé, Venécija, Itålija.

“Jukas“, VMM izståΩu zåle Arsenåls, Rîga, Latvija “The New Ten“, Manheima, Våcija; Ostende, Be¬©ija 2004 “The New Ten“, Museum Küppersmühle, Duisburga, Våcija; Künstlerhaus, Vîne, Austrija “Daba. Vide. Cilvéks. 2004“, VMM izståΩu zåle Arsenåls, Rîga, Latvija “Faster than History“, Müsdienu måkslas muzejs Kiasma, Helsinki, Somija 2003 “2 Show“, Latvijas un Lietuvas jauno måkslinieku izståde, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “Latvießi Venécijå“, Valsts Måkslas muzejs, Rîga, Latvija “Lüri˚i“, projekts Starptautiskås muzeju dienas ietvaros. – Valsts Måkslas muzejs, Rîga, Latvija “Eiforija”, projekts Venécijas biennåles 50.

Starptautiskajai Müsdienu måkslas izstådei “Baudi jauko nakti”, RIXC Médiju telpa, Rîga, Latvija 2002 “Baudi jauko nakti”, 25. Sanpaulu biennåles ietvaros, Sanpaulu, Brazîlija 2001 “Pop-Puve”, audiovizuåla akcija, Rüpnîcas VEF teritorija, Rîga, Latvija “Hip Hop.lv”, multimediåls urbånås kultüras projekts, Rîga; Roterdama, Nîderlande 2000 “Time to Jack”, video/audio projekts un Stroboscope@Stethoscope, multimediåls projekts “Artgenda 2000” ietvaros, Helsinki, Somija (kopå ar Dj AG&Raitis) “Cilpa”, VMM izståΩu zåle Arsenåls, Rîga, Latvija

“Open TV slaidlugas”, Latvijas neatkarîgå tv (LNT), Rîga, Latvija “Kristapa tapa”, Eksperimentålo un alternatîvo filmu festivåls, Rîga, Latvija 1998–2000 prezentåcijas jauo mediju festivålos, VJ sesijås daΩådos klubu un müzikas pasåkumos 1999 “Tauki”, Raiña Literatüras un måksla muzejs, Rîga “F5 DE LUX“, RoΩu galerija, Liepåja 1998 “Polar Circuit”, Mediju måkslas simpozijs, Tornio, Somija

Famous Five (F5) Lîga Marcinkeviça, Mårtiñß Ratniks,Ieva Rubeze zliga@yahoo.com; mr@rixc.lv; ieva.rubeze@gmail.com 1995–2001 Latvian Academy of Art, Department of Visual Communication 1998 Founding of the group during the Media Art Symposium “Polar Circuit” in Tornio, Finland Exhibitions, Festivals 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “Latvian Contemporary Art exhibition”, Festival of Cesis, Cesis, Latvia “The Baltics Part I: Contemporary Art of Latvia”, Kalmar Art Museum, Sweden “Contemporary art from Latvia”, European central bank, Frankfurt, Germany 2006 “F5 Time Line”, Faux Mouvement, Metz, France “Dark Bulb”, Jürmala’s City Museum, Jürmala, Latvia 2005 “Dark Bulb”, Latvian exposition in the 51 st International Contemporary Art Exhibition of the Venice Biennale, cat. ”Jukas”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “The New Ten“, Kunsthalle Manheim, Manheim, Germany; Ostend, Belgium 2004 “The New Ten“, Künstlerhaus, Vienna, Austria; Museum Küppersmühle, Duisburg, Germany “Nature. Environment. Man. 2004”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Faster than History”, Museum of Contemporary Art Kiasma, Helsinki, Finland (with F5) 2003 “2 Show”, Contemporary Art Centre, Vilnius, Lithuania “Latvians in Venice”, F5 exhibition, State Museum of Art, Riga, Latvia “Peepers”, F5 video installation for the International Day of Museums, State Museum of Art, Riga, Latvia “Euphoria”, F5 project for the 50 th International Contemporary Art Exhibition of the Venice Biennale, general catalogue “Have a Nice Night”, RIXC Media Space, Riga, Latvia

2002 25 th International Biennale of Sao Paulo, Brazil 2001 “Pop-Puve”, F5 audiovisual action in the territory of the former VEF enterprise, Riga, Latvia “Hip Hop.lv”, multimedia urban culture event, Riga, Latvia; Rotterdam, The Netherlands 2000 “Time to Jack”, video/audio edition and “Stroboscope@Stethoscope” multimedia event at Artgenda 2000, Helsinki, Finland (with Dj AG&Raitis) “Loop”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Open TV slideshows” in Latvian Independent TV Channel “Kristapa tapa”, Experimental and Alternative Film Festival, Riga, Latvia; 1998–2000 Presentations at the new media festivals, VJ sessions for the variety of club and music events 1999 “Fat”, Rainis Museum of Literature and Art History, Riga, Latvia “F5 DE LUX”, RoΩu Gallery, Liepåja, Latvia 1998 “Polar Circuit”, Media Art Symposium, Tornio, Finland

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ãË„‡ å‡ˆËÌÍ‚˘‡, å‡ÚË̸¯ ê‡ÚÌËÍÒ, à‚‡ êÛ·ÂÁ zliga@yahoo.com; mr@rixc.lv; ieva.rubeze@gmail.com 1995–2001 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓ„Ó ËÒÍÛÒÒÚ‚‡ 1998 éÒÌÓ‚‡ÌË „ÛÔÔ˚ ‚Ó ‚ÂÏfl ÒËÏÔÓÁËÛχ ωˇ ËÒÍÛÒÒÚ‚ “Polar Circuit”, íÓÌËÓ, îËÌÎfl̉Ëfl Ç˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “Ç˚ÒÚ‡‚͇ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡”, ñÂÒËÒÒÍËÈ ÙÂÒÚË‚‡Î¸ 2007, ñÂÒËÒ, ã‡Ú‚Ëfl “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂχÌËfl “ŇÎÚËÈÒÍË ÒÚ‡Ì˚. ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ò‚ˆËfl 2006 “ÇÂÏfl ÔÓ͇ÊÂÚ”, å‡Î˚È Á‡Î êËÊÒÍÓÈ ¯ÍÓÎ˚ ‰ËÁ‡È̇ Ë ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl “ã‡ÏÔӘ͇ Ú¸Ï˚”, ûχθÒÍËÈ „ÓÓ‰ÒÍÓÈ ÏÛÁÂÈ, ûχ·, ã‡Ú‚Ëfl “ãËÌËfl ‚ÂÏÂÌË F5”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “Faux Mouvement”, åˆ, î‡ÌˆËfl 2005 “ã‡ÏÔӘ͇ Ú¸Ï˚”, ã‡Ú‚ËÈÒ͇fl ̇ˆËÓ̇θ̇fl ˝ÍÒÔÓÁˈËfl, ÇÂ̈ˇÌÒ͇fl ·ËÂÌ̇ÎÂ, 51-‡fl åÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇, ÇÂ̈Ëfl, àÚ‡ÎËfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “The New Ten”, å‡Ì„ÂÈÏ, ÉÂχÌËfl; éÒÚẨ, ÅÂθ„Ëfl

2004 “The New Ten”, åÛÁÂÈ Küppersmühle, ÑÛÈÒ·Û„, ÉÂχÌËfl; Künstlerhaus, ÇÂ̇, Ä‚ÒÚËfl “èËÓ‰‡. ë‰‡. óÂÎÓ‚ÂÍ. 2004”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “Faster than History”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ äˇÒχ, ïÂθÒËÌÍË, îËÌÎfl̉Ëfl 2003 “2 Show”, Ç˚ÒÚ‡‚͇ ã‡Ú‚ËÈÒÍËı Ë ãËÚÓ‚ÒÍËı ÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “ã‡Ú˚¯Ë ‚ ÇÂ̈ËË”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “ëÓ„Îfl‰‡Ú‡Ë”, ÔÓÂÍÚ ‚ ‡Ï͇ı åÂʉÛ̇Ó‰ÌÓ„Ó ‰Ìfl ÏÛÁ‚. ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “ùÈÙÓËfl”, ÔÓÂÍÚ 50-ÓÈ åÂʉÛ̇Ó‰ÌÓÈ ‚˚ÒÚ‡‚ÍË ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ÇÂ̈ˇÌÒÍÓÈ ·ËÂÌ̇Π“ç‡Ò·‰ËÒ¸ ÔÂÍ‡ÒÌÓÈ ÌÓ˜¸˛”, RIXC å‰ˇ Á‡Î, êË„‡, ã‡Ú‚Ëfl 2002 “ç‡Ò·‰ËÒ¸ ÔÂÍ‡ÒÌÓÈ ÌÓ˜¸˛”, ‚ ‡Ï͇ı 25 ·ËÂÌ̇Π‚ ë‡Ì-è‡ÛÎÛ, ë‡Ì-è‡ÛÎÛ, Å‡ÁËÎËfl 2001 “Pop-Puve”, ‡Û‰ËÓ‚ËÁۇθ̇fl ‡ÍˆËfl, ÚÂËÚÓËfl Á‡‚Ó‰‡ VEF, êË„‡, ã‡Ú‚Ëfl “Hip Hop.lv”, ÏÛθÚËωËÈÌ˚È Û·‡Ì˘ÂÒÍËÈ ÍÛθÚÛÌ˚È ÔÓÂÍÚ, êË„‡; êÓÚÚÂ‰‡Ï, çˉÂ·̉˚ 2000 “Time to Jack”, ‚ˉÂÓ/‡Û‰ËÓ ÔÓÂÍÚ Ë Stroboscope@Stethoscope ÏÛθÚËωËÈÌ˚È ÔÓÂÍÚ ‚ ‡Ï͇ı“Artgenda 2000”, ïÂθÒËÌÍË, îËÌÎfl̉Ëfl, (ÒÓ‚ÏÂÒÚÌÓ Ò Dj AG&Raitis) “Cilpa”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “Open TV slaidlugas”, ã‡Ú‚ËÈÒÍÓ ÌÂÁ‡‚ËÒËÏÓ ÚÂ΂ˉÂÌË (LNT), êË„‡, ã‡Ú‚Ëfl “Kristapa tapa”, îÂÒÚË‚‡Î¸ ˝ÍÒÔÂËÏÂÌڇθÌ˚ı Ë ‡Î¸ÚÂ̇ÚË‚Ì˚ı ÙËθÏÓ‚, êË„‡, ã‡Ú‚Ëfl 1998–2000 ÔÂÁÂÌÚ‡ˆËË Ì‡ ÙÂÒÚË‚‡Îflı ÌÓ‚˚ı ωˇ, ̇ ÒÂÒÒËflı ‚ˉÊ‚, ̇ ÏÛÁ˚͇θÌ˚ı Ë ÍÎÛ·Ì˚ı ÏÂÓÔËflÚËflı 1999 “ÜË”, ãËÚÂ‡ÚÛÌ˚È Ë ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ ê‡ÈÌËÒ‡ “F5 DE LUX”, ɇÎÂÂfl êÓÁ, ãËÂÔ‡fl 1998 “Polar Circuit”, ëËÏÔÓÁËÛÏ Ï‰ˇ ËÒÍÛÒÒÚ‚‡, íÓÌËÓ, îËÌÎfl̉Ëfl

Kristîne Kursißa kristine.kursisha@dd.lv http://projects.dd.lv/kristinekursisa/ Dzimusi 1979.gadå 2005 Latvijas Kultüras akadémija, Kino reΩijas noda¬a 2003–2005 LMA Vizuålås komunikåcijas noda¬a; MA 1999–2003 LMA Vizuålås komunikåcijas noda¬a; BA 1998–1999 LMA Glezniecîbas noda¬a 1991–1998 J. Rozentåla Rîgas Måkslas skola Apbalvojumi 2003 LMS gada balva par veiksmîgåko multimediju projektu Personålizstådes 2003 ”Sieviete un vilki”, (ar Miku Mitrévicu), RIXC Mediju telpå, Rîga, Latvija Grupu izstådes 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 ”Latvijas Laikmetîgå måksla”, Eiropas centrålå banka, Frankfurte, Våcija ”Prågas 3. Biennåle”, Pråga, Çehija 2006 ”Art Disk Magazine”, DVD izlase, ASV 2005 ”The New Ten”, Museum voor Moderne Kunst, Oostende, Be¬©ija ”Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “The New Ten”, Kunsthalle Mannheim, Mannheim, Våcija 2004 “Riga line up”, galerija Nemo, Ekernforde, Våcija “The New Ten”, Künstlerhaus, Vîne, Austrija “The New Ten”, Museum Küppersmühle, Duisburga, Våcija “Esoterica”, galerija IBID Projects, Londona, Lielbritånija 2003 “Rudens”, VMM izståΩu zåle “Arsenåls”, Rîga ”2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija 2002 “Recikls”, galerija “Çiris”, Rîga, Latvija ”6. elements. Starptautiska sievießu måkslas izståde”, Viesnîca Nams 99, Rîga, Latvija

Kristine Kursißa kristine.kursisha@dd.lv http://projects.dd.lv/kristinekursisa/ Born 1979 2005 Latvian Academy of Culture, Department of Cinema Direction 2003 – 2005 Latvian Academy of Art, Department of Visual Communication; MA 1999 – 2003 Latvian Academy of Art, Department of Visual Communication; BA

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1998 – 1999 Latvian Academy of Art, Department of Painting 1991 – 1998 Janis Rozentåls Riga School of Art

燄‡‰˚ 2003 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È Û‰‡˜Ì˚È ÏÛθÚËωËÈÌ˚È ÔÓÂÍÚ

Awards 2003 Artists’ Union of Latvia Award of the Year for The best Multimedia Project

èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2003 “ÜÂÌ˘Ë̇ Ë ‚ÓÎÍË”, (ÒÓ‚ÏÂÒÚÌÓ Ò å. åËÚ‚˘ÂÏ), ‚ ÔÓÏ¢ÂÌËË Ï‰ˇ RIXC, êË„‡, ã‡Ú‚Ëfl

Solo Exhibitions 2003 ”Woman and Wolves”, RIXC Media space, Riga, Latvia

ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂχÌËfl “è‡ÊÒ͇fl 3-fl ·ËÂÌ̇Δ, è‡„‡, óÂıËfl 2006 “Art Disk Magazine”, DVD ËÁ·‡ÌÌÓÂ, ëòÄ 2005 “The New Ten”, åÛÁÂÈ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, éÒÚẨÂ, ÅÂθ„Ëfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “The New Ten”, Kunsthalle Mannheim, å‡ÌÌı‡ÈÏ, ÉÂχÌËfl 2004 “Riga line up”, „‡ÎÂÂfl “Nemo”, ùÍÍÂÌÙfi‰Â, ÉÂχÌËfl “The New Ten”, Künstlerhaus, ÇÂ̇, Ä‚ÒÚËfl “The New Ten”, Museum Küppersmühle, ÑÛÈÒ·Û„, ÉÂχÌËfl “Esoterica”, „‡ÎÂÂfl IBID Projects, ãÓ̉ÓÌ, ÇÂÎËÍÓ·ËÚ‡ÌËfl 2003 “éÒÂ̸”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡ “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “la Riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl 2002 “êÂ-ˆËÍΔ, „‡ÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl “6-È ˝ÎÂÏÂÌÚ”, åÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇ ÊÂÌÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, „ÓÒÚËÌˈ‡ “Nams 99”, êË„‡, ã‡Ú‚Ëfl

Exhibitions and Projects 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 ”Contemporary Art from Latvia”, European Central Bank, Frankfurt, Germany ”Prague Biennale 3”, Prague, Czech Republic 2006 ”The Art Disk Magazine”, DVD video compilation, USA 2005 ”The New Ten”, Museum voor Moderne Kunst, Oostende, Belgium ”The New Ten”, Kunsthalle Mannheim, Mannheim, Germany ”Jukas”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia ”The New Ten”, Künstlerhaus, Vienna, Austria 2004 ”riga line up”, Gallery Gonemo, Eckernford, Germany ”The New Ten”, Museum Küppersmühle, Duisburg, Germany ”Esoterica”, Gallery IBID Project, London ”2 show”, Contemporary Art Centre, Vilnius, Lithuania 2003 ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy 2002 “Re-Cycle”, Riga, Latvia ”The 6 th Element. International Women Art Exhibition”, Hotel “Nams 99”, Riga, Latvia

äËÒÚË̇ äÛÒ˯‡ kristine.kursisha@dd.lv http://projects.dd.lv/kristinekursisa/ êӉ˷Ҹ ‚ 1979 „Ó‰Û 2005 ã‡Ú‚ËÈÒ͇fl Ä͇‰ÂÏËfl ÍÛθÚÛ˚, ÓÚ‰ÂÎÂÌË ÍËÌÓÂÊËÒÒÛ˚ 2003–2005 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, åÄ 1999–2003 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, ÇÄ 1998–1999 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ͇ÚËÌÌÓÈ ÊË‚ÓÔËÒË 1991–1998 êËÊÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ¯ÍÓ· ü. êÓÁÂÌÚ‡Îfl

Maija Kurßeva cetrinieks@inbox.lv Dzimusi 1981.gadå 2006 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; MA 2004 Berlînes Måkslas universitåtes Vizuålås komunikåcijas noda¬a 2002–2006 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; BA 1999–2002 Rîgas Amatniecîbas vidusskolas Dekoratoru noda¬a Izstådes / performances 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 “Iesåkumå bija vårds”, Dzejas dienas, Rîga, Latvija “Mobilais muzejs”, Andrejsala, Rîga “Urbanolo©ika”, Andrejsala, Rîga, Latvija “Extreme Crafts”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “RigaREWIEV”, galerija NGBK, Berlîne, Våcija “Opîßa garåΩa”, Dearty Deal Cafe, Rîga, Latvija 2006 “MODA:KAPUT”, Andrejsala, Rîga, Latvija “Ielu valoda #2”, Jelgava, Latvija “Feuerzug”, Berlîne, Våcija “Grupas U25 izståde”, Laicîgås måkslas galerija K.Måksla, Karosta, Liepåja “Mulhouse 006”, Milüza, Francija “Acuraugs”, galerija Betanovuss, Rîga, Latvija “Grupas U25 izståde”, viesnîca Alberts, Rîga, Latvija 2005 “Identity”, Strasbüras Dekoratîvo måkslu augstskola, Francija “Interflugs Street Art Workshop”, Berlîne, Våcija “Jukas”, LNMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Savådie aprî¬a ˚irßi”, müzikas un performançu apvienîbas izveidoßana 2004 “Sziget festivåls”, grupas “FSHB”(Gabor Kitzinger, Paul Ooman, Maija Kurßeva) multimediåla performance, Budapeßta, Ungårija; “Bad Sheet Stories”, performances festivåls, Sentendere, Ungårija Publikåcijas 2006 Jaffa Magazine, #5, Rîga 2005 Jaffa Magazine, #4, Rîga

Maija Kurßeva cetrinieks@inbox.lv Born 1981 2006 Latvian Academy of Art, Department of Visual Communication; MA 2004 Berlin Art University UDK, Department of Visual Communication 2002–2006 Latvian Academy of Art, Department of Visual

Communication; BA 1999–2002 Riga Secondary School of Art and Crafts, Department of Interior Design

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Exhibitions, Performances 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “In the Beginning was the Word”, Poetic Day’s, Riga, Latvia “Mobile Museum“, Andrejsala, Riga, Latvia “Urbanologic“, Andrejsala, Riga, Latvia “Extreme Creafts, “ CAC, Vilnius, Lithuania “RigaREWIEV“, Gallery NGBK, Berlin, Germany “Granddaddy Garage“, Dirty Deal Cafe, Riga, Latvia 2006 “MODA:KAPUT“, Andrejsala, Riga, Latvia “Language of Street #2“, Jelgava, Latvia “Feuerzug”, Berlin, Germany “Group U25 exhibition”, Contemporary Art Gallery K.Maksla, Karosta, Liepaja “Mulhouse 006”, Mulhouse, France “Acuraugs”, Gallery Betanovuss, Riga, Latvia “Group U25 exhibition”, Hotel Alberts, Riga, Latvia 2005 “Identity”, Strasbourg University of Decorative Art, France “Interflugs Street Art Workshop“, Berlin, Germany “Jukas“, Exhibition hall “Arsenåls” of the Latvian National Museum of Art, Riga, Latvia “Odd April Cherries”, Foundations of music and performance group 2004 “Sziget Festival“, multimedial performance of the group “FSHB” (Gabor Kitzinger, Paul Ooman, Maija Kurßeva) Budapest, Hungary “Bad Sheet Stories”, Performance Festival, Szentandre, Hungary Publications 2006 Jaffa Magazine, #5, Riga 2005 Jaffa Magazine, #4, Riga

å‡Èfl äÛ¯Â‚‡ cetrinieks@inbox.lv êӉ˷Ҹ ‚ 1981 „Ó‰Û 2006 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, åÄ 2004 ÅÂÎËÌÒÍËÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÛÌË‚ÂÒËÚÂÚ, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË 2002–2006 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, ÇÄ 1999–2002 êËÊÒ͇fl Ò‰Ìflfl ¯ÍÓ· ÂÏÂÒÎÂÌÌ˘ÂÒÚ‚‡, ÓÚ‰ÂÎÂÌË ‰ÂÍÓ‡ÚÓÓ‚ ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl

2007 “Ç̇˜‡Î ·˚ÎÓ ÒÎÓ‚Ó”, ÑÌË ÔÓ˝ÁËË, êË„‡, ã‡Ú‚Ëfl “åÓ·ËθÌ˚È ÏÛÁÂÈ”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “ì·‡ÌÓÎÓ„Ë͇”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “Extreme Crafts”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “RigaREWIEV”, „‡ÎÂÂfl NGBK, ÅÂÎËÌ, ÉÂχÌËfl “щۯÍËÌ „‡‡Ê”, Dearty Deal Cafe, êË„‡, ã‡Ú‚Ëfl 2006 “MODA:KAPUT”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “üÁ˚Í ÛÎˈ #2”, Ö΄‡‚‡, ã‡Ú‚Ëfl “Feuerzug”, ÅÂÎËÌ, ÉÂχÌËfl “Ç˚ÒÚ‡‚͇ „ÛÔÔ˚ U25”, ɇÎÂÂfl ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ “ä. å‡Ísla”, ä‡ÓÒÚ‡, ãËÂÔ‡fl “Mulhouse 006”, åËÎÛÁ, î‡ÌˆËfl “Acuraugs”, „‡ÎÂÂfl “Betanovuss”, êË„‡, ã‡Ú‚Ëfl “Ç˚ÒÚ‡‚͇ „ÛÔÔ˚ U25”, „ÓÒÚËÌˈ‡ Äθ·ÂÚ, êË„‡, ã‡Ú‚Ëfl 2005 “Identity”, ëÚ‡Ò·Û„Ò͇fl Ç˚Ò¯‡fl ¯ÍÓ· ‰ÂÍÓ‡ÚË‚ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, î‡ÌˆËfl “Interflugs Street Art Workshop”, ÅÂÎËÌ, ÉÂχÌËfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “ëÚ‡ÌÌ˚ ‡ÔÂθÒÍË ‚˯ÌË”, Ó·‡ÁÓ‚‡ÌË ÏÛÁ˚͇θÌÓ„Ó Ë ÔÂÙÓχÚË‚ÌÓ„Ó Ó·˙‰ËÌÂÌËfl 2004 “Sziget festivåls”, ÏÛθÚËωËÈÌ˚È ÔÂÙÓχÌÒ „ÛÔÔ˚ “FSHB”(ɇ·Ó äËÚˆËÌ„Â, è‡ÛÎ éχÌ, å‡Èfl äÛ¯Â‚‡), ÅÛ‰‡Ô¯Ú, ÇÂÌ„Ëfl, “Bad Sheet Stories”, ÙÂÒÚË‚‡Î¸ ÔÂÙÓχÌÒ‡, ëÂÌÚẨÂÂ, ÇÂÌ„Ëfl èy·ÎË͇ˆËË 2006 Jaffa Magazine, #5, êË„‡ 2005 Jaffa Magazine, #4, êË„‡

Semjons Hañins, Péteris Dragüns Radoßå grupa “Orbîta” 2007 Dzejas dienu ietvaros sarîkots 3. starptautiskais festivåls Word in Motion Orbîtas izdotå Ingas Gailes dzejas gråmata Küku Marija sañem Dzejas dienu balvu Tîkla instalåcija Cybergraffiti müsdienu kultüras foruma Baltå nakts ietvaros (Aleksandra Çaka balva) Radoßå darbnîca Dzejas vizualizéßana Ventspils rakstnieku un tulkotåju måjå Krievijas dokumentålå kinofestivåla Kinoteatr.doc Rîgas sesija Dalîba Starptautiskajå Maskavas dzejnieku biennålé 2006 Lasîjumi Muzeju nakts, Baltås nakts un citu pasåkumu ietvaros, dalîba starptautiskos festivålos un gråmatu gadatirgos Baltijas valstîs un Eiropå Berlînes starptautiskå dzejas video festivåla Zebra Rîgas sesija Dzejas dienu ietvaros Romåna Korovina zîméjumu, foto un video darbu izståde (Fotogråfijas Gada balva) Izdots Lailas Halilovas fotoalbums 36EXP sérijå (Fotogråfijas Gada balva) 2005 Izdots multimediåls dzejas almanahs Orbîta 4: Dzeja.

Müzika. Video (CD un DVD formåtå) krievu, latvießu un ang¬u valodås (Latvijas Rakstnieku savienîbas Literatüras Gada balva) Dalîba Starptautiskajå Maskavas dzejnieku biennålé 2004 Uzståßanås vairåkos starptautiskos festivålos Baltijas valstîs, Eiropå un Krievijå 2003 Sarîkots otrais starptautiskais festivåls Word in Motion Divvalodîgå Semjona Hañina dzejas gråmata Tikko/íÓθÍÓ ˜ÚÓ Divvalodîgå Sergeja Timofejeva dzejas gråmata Gandrîz fotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË 2002 Dzejas video izlase (VHS kasete) Word in Motion 2001 Sarîkots pirmais starptautiskais dzejas video festivåls Word in Motion Sadarbîbå ar Rîgas jauno literåtu apvienîbu Izdots tematiskais divvalodîgais dzejas kråjums Dengi/ç‡Û‰‡. Dzeja par naudu Izdots almanahs Orbîta 3: dzeja, proza, atdzejojumi, esejas un fotogråfijas. (balva: Gada Skaiståkå gråmata) 2000 Izdots dzejas kompaktdisks O2 Izdots pirmais almanahs Orbîta: dzeja, proza, atdzejojumi, esejas un fotogråfijas 1999 Dalîba Dzejas dienås Rîgå un Daugavpilî ar Rainim veltîto dzejas performanci Man vårda nav...

Semyon Khanin, Péteris Dragüns Creative Group “Orbîta” (Orbit) 2007 The 3rd International Poetry Film Festival Word in Motion during the Poetry Days Poetry collection Küku Marija of Inga Gaile, published by Orbîta (Prize of the Poetry Days)

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Network Installation Cybergraffiti during the Contemporary Culture Forum Baltå nakts (The White Night) (Prize of Aleksandrs Çaks) Creative Workshop Dzejas vizualizéßana (Visualising the Poetry) in the House for Writers and Translators in Ventspils Riga‘s Session of the Russian Documentary Film Festival Kinoteatr.doc Participation in the International Poetry Biennal, Moscow Presentations/Readings during the events Muzeju nakts (The Night of Museums) and Baltå nakts (The White Night), a. o., participation in international festivals and book fairs in the Baltic countries and Europe Riga‘s Session of the International Poetry Film Festival Zebra, Berlin, in connection with the Days of Poetry Exhibition of graphics, photographs and videos of Romåns Korovins (Photography Prize 2007) Photograph collection “36EXP“of Laila Halilova, published by Orbîta (Photography Prize 2006) Multimedia Almanac Orbîta 4: Dzeja. Müzika. Video (Orbit 4: Poetry. Music. Video) (as CD and DVD) in Russian, Latvian and English (Literature Prize 2005, awarded by the Writers/Poets’ Union of Latvia) Participation in the International Poetry Biennal, Moscow Presentations in several international festivals in the Baltic countries, Europe and Russia The 2nd International Poetry Film Festival Word in Motion Bilingual Poetry collection Tikko/íÓθÍÓ ˜ÚÓ (Recently) of Semjons Hañins Bilingual Poetry collection Gandrîz fotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË (Nearly photographs) of Sergejs Timofejevs Poetry Film selection (VHS) Word in Motion The 1st International Poetry Film Festival Word in Motion Bilingual Poetry collection Dengi/ç‡Û‰‡. Dzeja par naudu (Poetry for money) in co-operation with the Young Writers/Poets’ Union of Riga Multimedia Almanac Orbîta 3: dzeja, proza, atdzejojumi, esejas un fotogråfijas (Orbit 3: Poetry, Novels, Rendering, Writings and Photographs) (awarded for the most beautiful book of the year) Poetry CD O2 The 1st Multimedia Almanac Orbîta: dzeja, proza, atdzejojumi, esejas un fotogråfijas (Orbit: Poetry, Novels, Renderings, Writings and Photographs) Participation in the Poetry Days in Riga and Daugavpils with the Poetry Performance Man vårda nav... (I have no name…), dedicated to Rainis

ëÂÏÂÌ ï‡ÌËÌ, èÂÚÂËÒ Ñ‡„ÛÌÒ

Ìirts Korps

í‚Ó˜ÂÒ͇fl „ÛÔÔ‡ “é·ËÚ‡” 2007 Ç ‡Ï͇ı ÑÌÂÈ ÔÓ˝ÁËË Ó„‡ÌËÁÓ‚‡Ì 3-ËÈ ÏÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ Word in Motion àÁ‰‡Ì̇fl é·ËÚÓÈ ÍÌË„‡ ÔÓ˝ÁËË àÌ„Ë É‡ÈΠKüku Marija ÔÓÎۘ˷ ÔËÁ ÑÌÂÈ ÔÓ˝ÁËË ëÂÚ‚‡fl ËÌÒÚ‡ÎÎflˆËfl Cybergraffiti ‚ ‡Ï͇ı ÙÓÛχ ÒÓ‚ÂÏÂÌÌÓÈ ÍÛθÚÛ˚ Å·fl ÌÓ˜¸ (ÔËÁ ÄÎÂ҇̉‡ ó‡Í‡) í‚Ó˜ÂÒ͇fl χÒÚÂÒ͇fl ÇËÁÛ‡ÎËÁ‡ˆËfl ÔÓ˝ÁËË ÇÂÌÚÒÔËÎÒÍËı ÔËÒ‡ÚÂÎÂÈ Ë ÔÂ‚Ӊ˜ËÍÓ‚ ̇ ‰ÓÏÛ êËÊÒ͇fl ÒÂÒÒËfl ÓÒÒËÈÒÍÓ„Ó ‰ÓÍÛÏÂÌڇθÌÓ„Ó ÍËÌÓÙÂÒÚË‚‡Îfl Kinoteatr.doc 옇ÒÚË ‚ åÂʉÛ̇Ó‰ÌÓÏ åÓÒÍÓ‚ÒÍÓÏ ÔÓ˝Ú˘ÂÒÍÓÏ ·ËÂÌ̇Π2006 óÚÂÌËfl ‚ ‡Ï͇ı çÓ˜¸ ÏÛÁ‚, Å·fl ÌÓ˜¸ Ë ‰Û„Ëı ÏÂÓÔËflÚËÈ, Û˜‡ÒÚË ‚ ÏÂʉÛ̇Ó‰Ì˚ı ÙÂÒÚË‚‡Îflı Ë ÍÌËÊÌ˚ı flχ͇ı ŇÎÚËÈÒÍËı ÒÚ‡Ì Ë Ö‚ÓÔ˚ êËÊÒ͇fl ÒÂÒÒËfl ÅÂÎËÌÒÍÓ„Ó ÏÂʉÛ̇Ó‰ÌÓ„Ó ‚ˉÂÓÙÂÒÚË‚‡Îfl ÔÓ˝ÁËË á·‡ Ç˚ÒÚ‡‚͇ ËÒÛÌÍÓ‚, ÙÓÚÓ- Ë ‚ˉÂÓ‡·ÓÚ êÓχ̇ äÓÓ‚Ë̇ (èËÁ îÓÚÓ„‡ÙËË „Ó‰‡) àÁ‰‡Ì ÙÓÚӇθ·ÓÏ ã‡ÈÎ˚ ï‡ÎËÎÓ‚ÓÈ ÒÂËË 36EXP (èËÁ îÓÚÓ„‡ÙËË „Ó‰‡) 2005 àÁ‰‡Ì ‡Î¸Ï‡Ì‡ı ÏÛθÚËωËÈÌÓÈ ÔÓ˝ÁËË é·ËÚ‡ 4: èÓ˝ÁËfl. åÛÁ˚͇. ÇˉÂÓ (Ç ÙÓχÚ CD Ë DVD) ̇ ÛÒÒÍÓÏ, ·Ú˚¯ÒÍÓÏ Ë ‡Ì„ÎËÈÒÍÓÏ flÁ˚͇ı (èËÁ ãËÚÂ‡ÚÛ˚ ÉÓ‰‡ ã‡Ú‚ËÈÒÍÓ„Ó ëÓ˛Á‡ ÔËÒ‡ÚÂÎÂÈ) 옇ÒÚË ‚ åÂʉÛ̇Ó‰ÌÓÏ åÓÒÍÓ‚ÒÍÓÏ ÔÓ˝Ú˘ÂÒÍÓÏ ·ËÂÌ̇Π2004 Ç˚ÒÚÛÔÎÂÌË ‚Ó ÏÌÓ„Ëı ÏÂʉÛ̇Ó‰Ì˚ı ÙÂÒÚË‚‡Îflı ‚ ŇÎÚËÈÒÍËı ÒÚ‡Ì‡ı, Ö‚ÓÔ 2003 é„‡ÌËÁÓ‚‡Ì ‚ÚÓÓÈ ÏÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ Word in Motion Ñ‚ÛflÁ˚˜Ì‡fl ÍÌË„‡ ÔÓ˝ÁËË ëÂÏÂ̇ ï‡ÌË̇ Tikko/íÓθÍÓ ˜ÚÓ Ñ‚ÛflÁ˚˜Ì‡fl ÍÌË„‡ ÔÓ˝ÁËË ëÂ„Âfl íËÏÓÙ‚‡ Gandrîz fotogråfijas/èÓ˜ÚË ÙÓÚÓ„‡ÙËË 2002 ÇˉÂÓÒ·ÓÌËÍ ÔÓ˝ÁËË (͇ÒÒÂÚ‡ VHS) Word in Motion 2001 é„‡ÌËÁÓ‚‡Ì ÔÂ‚˚È ÏÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ Word in Motion Ç ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò é·˙‰ËÌÂÌËÂÏ ÏÓÎÓ‰˚ı êËÊÒÍËı ÎËÚÂ‡ÚÓÓ‚ ËÁ‰‡Ì ÚÂχÚ˘ÂÒÍËÈ ‰‚ÛflÁ˚˜Ì˚È Ò·ÓÌËÍ ÒÚËıÓ‚ Dengi/ç‡Û‰‡. èÓ˝ÁËfl Ó ‰Â̸„‡ı àÁ‰‡Ì ‡Î¸Ï‡Ì‡ı é·ËÚ‡ 3: ÔÓ˝ÁËfl, ÔÓÁ‡, ÔÂ‚Ӊ˚, ˝ÒÒÂ Ë ÙÓÚÓ„‡ÙËË. (ÔËÁ: ë‡Ï‡fl ä‡ÒË‚‡fl ÍÌË„‡ „Ó‰‡) 2000 àÁ‰‡Ì ÍÓÏÔ‡ÍÚ-‰ËÒÍ ÔÓ˝ÁËË é2 àÁ‰‡Ì ÔÂ‚˚È ‡Î¸Ï‡Ì‡ı é·ËÚ‡: ÔÓ˝ÁËfl, ÔÓÁ‡, ÔÂ‚Ӊ˚, ˝ÒÒÂ Ë ÙÓÚÓ„‡ÙËË 1999 옇ÒÚË ‚ ÑÌflı èÓ˝ÁËË ‚ êË„Â Ë Ñ‡Û„‡‚ÔËÎÒÂ Ò ÔÂÙÓχÌÒÓÏ ÔÓ˝ÁËË ì ÏÂÌfl ÌÂÚ ËÏÂÌË..., ÔÓÒ‚fl˘ÂÌÌ˚Ï ê‡ÈÌËÒÛ

korps@rixc.lv Dzimis 1976.gadå 2002–2004 Måkslas akadémijas Vizuålås komunikåcijasnoda¬a, MA 1998–2002 Måkslas akadémijas Vizuålås komunikåcijas noda¬a, BA 1992–1998 Rîgas Dizaina un Måkslas vidusskola Projekti 2004 Multimediju disks semema–industrial.net/ comrades in lost; 24.05.2004 diska prezentåcijas Valsts Måkslas muzejå, Rîga, Latvija 2003 Industriålås müzikas raidîjums Sturmvilnis, Radio Naba, Rîga, Latvija 2002 www.semema-industrial.net 2001 Multimediju disks “semema.org/Claustrum: Isolato”; 07.04.2001 diska prezentåcija klubå “Metro”, Rîga, Latvija 2000 www.semema.org Interneta radio Ozone (Clausthome industrial mix) Grupu izstådes un festivåli 2008 “Time Will Show”, Museumsber Flensburg, Flensburg, Germany 2006 ”Mit allem rechnen/ Face the unexpected”, Museum am Ostwall, Dortmunde, Våcija ”Arrivals > Latvia”, Turner Contemprorary at Substation Project Space, Margeita, Lielbritånija 2005 “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2004 “Projekts F”, VMM izståΩu zåles “Arsenåls”, Rîga, Latvija “Riga line up”, galerija Nemo, Ekernforde, Våcija 2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija ”Måksla+Komunikåcijas”, Rîga, Latvija 2001 ”Forma”, Rîgas Dizaina un Måkslas vidusskolas absolventu izståde, Rîga, Latvija 2000 Skañas performance médiju festivålå “Art Genda 2000”, Helsinki, Somija 1998 Diplomdarbu izståde Rîgas Dizaina un Måkslas vidusskolå, Rîga, Latvija

Ìirts Korps korps@rixc.lv born 1976 2002–2004 Latvian Academy of Art, Department of Visual Communication; MA 1998–2002 Latvian Academy of Art, Department of Visual Communication; BA 1992–1998 Riga College of Applied Art

Projects 2004 Multimedial CD semema-industrial.net; 24.05.2004 launching at the State Museum of Art, Riga, Latvia 2003 Industrial music programme Sturmvilnis, Radio Naba, Riga, Latvia 2002 www.semema-industrial.net 2001 Multimedial CD “semema.org/Claustrum: Isolato” ; 07.04.2001 launching at the Club “Metro”, Riga, Latvia 2000 Semema Internet radio Ozone (Clausthome industrial mix)

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Exhibitions, Festivals, Projects 2008 “Time Will Show”, Museumsber Flensburg, Flensburg, Germany 2006 ”Mit allem rechnen/ Face the unexpected”, Museum am Ostwall, Dortmund, Germany ”Arrivals > Latvia”, Turner Contemprorary at Substation Project Space, Margeita, GB 2005 ”Jukas”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2004 ”Project F”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia ”riga line up”, Gallery Gonemo, Eckernford, Germany 2003 ”2 Show”, Contemporary Art Centre, Vilnius, Lithuania ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy ”Art+Communication”, Riga, Latvia 2001 ”Forma”, Exhibition of work by graduates of the Riga Secondary School of Design, Riga, Latvia 2000 Sound Performance at the Media Festival “Art Genda 2000”, Helsinki, Finland 1998 Graduation Exhibition, Riga Secondary School of Design and Art, Riga, Latvia

ÉËÚ äÓÔÒ korps@rixc.lv êÓ‰ËÎÒfl ‚ 1976 „Ó‰Û 2002–2004 ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, åÄ 1998–2002 ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, ÇÄ èÓÂÍÚ˚ 2004 åÛθÚËωËÈÌ˚È ‰ËÒÍ semema?industrial.net/ comrades in lost, 24.05.2004-ÔÂÁÂÌÚ‡ˆËfl ‰ËÒ͇ ‚ ã‡Ú‚ËÈÒÍÓÏ Ì‡ˆËÓ̇θÌÓÏ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÏ ÏÛÁÂÂ, êË„‡, ã‡Ú‚Ëfl 2003 ꇉËÓÔÓ„‡Ïχ Ë̉ÛÒÚˇθÌÓÈ ÏÛÁ˚ÍË Sturmvilnis, ꇉËÓ Naba, êË„‡, ã‡Ú‚Ëfl 2002 www.semema-industrial.net 2001 åÛθÚËωËÈÌ˚È ‰ËÒÍ «semema.org/Claustrum:

Isolato» 07.04.2001-ÔÂÁÂÌÚ‡ˆËfl ‰ËÒ͇ ‚ ÍÎÛ·Â «Metro», êË„‡, ã‡Ú‚Ëfl 2000 www.semema.org àÌÚÂÌÂÚ-‡‰ËÓ Ozone (Clausthome industrial mix) ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË Ë ÙÂÒÚË‚‡ÎË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2006 “Mit allem rechnen/ Face the unexpected”, åÛÁÂÈ ÄÏ éÒÚ‚‡Î¸, ÑÓÚÏÛ̉, ÉÂχÌËfl “Arrivals > Latvia”, Turner Contemprorary at Substation Project Space, å‡„ÂÈÚ, ÇÂÎËÍÓ·ËÚ‡ÌËfl 2005 “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl 2004 “èÓÂÍÚ F”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “Riga line up”, „‡ÎÂÂfl çÂÏÓ, ùÍÍÂÌÙfi‰Â, ÉÂχÌËfl 2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl “àÒÍÛÒÒÚ‚Ó+KoÓÏÛÌË͇ˆËfl”, êË„‡, ã‡Ú‚Ëfl 2001 “Forma”, Ç˚ÒÚ‡‚͇ ‚˚ÔÛÒÍÌËÍÓ‚ êËÊÒÍÓÈ ¯ÍÓÎ˚ ÑËÁ‡È̇ Ë àÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl 2000 á‚ÛÍÓ‚ÓÈ ÔÂÙÓχÌÒ ‚ ÙÂÒÚË‚‡Î ÏÛθÚËωˇ “Art Genda 2000”, ïÂθÒËÌÍË, îËÌÎfl̉Ëfl 1998 Ç˚ÒÚ‡‚͇ ‰ËÔÎÓÏÌ˚ı ‡·ÓÚ êËÊÒÍÓÈ ¯ÍÓÎ˚ ÑËÁ‡È̇ Ë àÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

Katrîna Neiburga neiburga@gmail.com Dzimusi 1978. gadå 2001–2002 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; MA 2000–2001 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; BA 1999–2000 viesstudente Karaliskajå Måkslas akadémijå Stokholmå, Zviedrijå 1996–1999 Latvijas Måkslas akadémijas Måkslas pedago©ijas noda¬a Apbalvojumi, rezidences un stipendijas 2005–2006 rezidence Cite des Arts, Parîzé 2002 LMS gada balva par veiksmîgåko multimediålo projektu “6. elements” (kopå ar Moniku Pormali) 2001 LMS gada balva par radoßo sasniegumu novitåti projektå “Téjas séne” Personålizstådes un projekti 2007 Ilustråcijas bérnu gråmatai “Mazgalvîßi spélé måjås“, sarakstîjis Pauls Bankovskis 2006 Izrådes “Nakts tariffs” (autors I. Ílåpins, reΩisore M. imele) scenogråfija, Jaunais Rîgas teåtris, Latvija 2005 “Vientulîba”, Frac Ile-de-France – Le Plateau, Parîze, Francija Ilustråcijas bérnu gråmatai “Pasakas par bérnu dzîvi”, izdevniecîba Liels un mazs, Latvija Kameroperas “Dzîvais üdens” scenogråfija un kostîmi, Latvijas Nacionålå opera, Rîga 2004 Operas “Toska” video scenogråfija, Latvijas Nacionålå opera, Rîga, Latvija “No signal”, Video/Audio performance sadarbîbå ar Gonzo un Macrame, festivåls “Skañu meΩs”, Rîga, Latvija “Literatüras karaoke”, video performance sadarbîbå ar Gonzo un Macrame, Andras Neiburgas gråmatas “Stum Stum” atvérßanas pasåkumå, galerija “Noass”, Rîga, Latvija “Selecta”, Macrame, Gonzo, video performance Måkslas nama atvérto durvju dienå, Rîga, Latvija “Pornogråfija”, A. Çaka iela, Rîga, Latvija 2003 Operas “Klîstoßais holandietis” video scenogråfija, Latvijas Nacionålå opera, Rîga, Latvija 2002 Operas “Klîstoßais holandietis” video scenogråfija, Dalhalla, Zviedrija “T-Shroom” izståde Malmé, Zviedrija “T-Shroom” izståde, galerijå IBID, Londona, Lielbritånija Video måksliniece Baleta festivåla nosléguma pasåkumå, Latvijas Nacionålå Opera, Rîga, Latvija Grupu izstådes, festivåli, projekti 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija

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2007 “Word in motion”, video dzejas festivåls, videoklips Hañina dzejolim “Dzejas diagnostika“ “Internacionålie digitålås måkslas projekti”, izståde The Vernacular Terrain, Austrålija “Latvijas Laikmetîgå måksla”, Eiropas centrålå banka, Frankfurte, Våcija “Baltijas laikmetîgås måkslas izståΩu trilo©ija”, Kalmåras måkslas muzejå, Zviedrija “Urbanolo©ika”, Andrejsalå, Rîga, Latvija “Prågas scenogråfijas kvadriennåles priekßatlases izståde“, Rîga ,Latvija “Just what is it that makes today?”, galerija Antjewachs, Berlîne, Våcija “Katoptron” , speciålais 2. Maskavas müsdienu måkslas biennåles projekts, Maskava, Krievija 2006 15. Sidnejas biennåle, “Videos from Zones of Contact”, Cairns Regional Galery, Sidneja, Austrålija “Electrofringe 06”, Newcastle New South Wales galerija, Austrålija “Realitåtes arheolo©ija”, Andrejsala, Rîga, Latvija “Trajektorijas”, Rîga, Latvija “Femmes a’Europe, L’Ete Culturel 2006”, Santropéza, Francija “Baltå Nakts”, müsdienu måkslas projekts, Madride, Rîga Eskilstunda konstmuseum, Zviedrija “Mit allem rechnen”, Baltijas måkslinieku izståde Museum am Ostwall, Dortmunde, Våcija “Baltijas videomåkslas izståde”, Kunstraum Düsseldorf, Diseldorfa, Våcija “Spriedze”, Hellenic American Union galerija, Aténas, Grie˚ija, Ma˚edonijas Laikmetîgås måkslas muzejs Salonikos 2005 “EUROPART”, Contemporary Art from Europe, Austrija “(Un)Dressed Body”, Giedre Bartelt Galerie, Berlîne, Våcija “Suspense: The Rituals Gone Wrong”, Måkslas centrs “Apolonija”, Strasbüra, Francija “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “INSTANT EUROPE – Photography and Video from the New Europe”, Villa Manin Centre for Contemporary Art, Codroipo, Italy 2004 “Welcome!”, Anthony Reynolds galerija, Londona, Lielbritånija 2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “re:publika”, Starptautisks måkslas un kultüras projekts Rîgas pilsétvidé, Latvija “Adaptåcija”, Rotermana såls galerija, Tallina, Igaunija “Savva¬as fotogråfi”, Komunikåciju centrs “Sapñu fabrika”, Rîga, Latvija “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija

2002 “Nekå personîga”, Brémenes pilsétas galerija, Brémene, Våcija “6. elements”, Starptautiska sievießu måkslas izståde, Viesnîca Nams 99, Rîga, Latvija Festivåls “East Impact”, Sanktpéterburga, Krievija 2001 “Metropole. Rîga”, Rîgas Fondu birΩas nams, Rîga, Latvija “Poétiskå video festivåls”, Rîga, Latvija 12. Tallinas grafikas triennåle, Rotermana såls galerija, Tallina, Igaunija “Down the tunnelzz”, Liepåja, Latvija “Party Animals – Animal Farm”, Rîga, Latvija Sociåla måkslas projekta Latvijas Téjas Sénes Audzétåju Asociåcijas (LTSAA) téjas sénes poplarizåcijas kampaña viena no idejas un videomateriålu autoriem Darbîba radoßajå apvienîbå SOYA; vj “Curriculum Vitae”, Måkslinieku nams, Klaipéda, Lietuva 2000 “Real Face”, personålizståde galerijå “Noass”, Rîga, Latvija “Come by Immortal”, izståde sadarbîbå ar Péteri imeli galerijå “Konstakuten”, Stokholma, Zviedrija “net.congestion”, Starptautisks raidoßo mediju festivåls, Amsterdama, Nîderlande “Véstules Rîgai”, Melngalvju nams, Rîga, Latvija “-lietas”, Galerija “Noass”, Rîga, Latvija “Art + Communication 4”, Starptautiskais jauno mediju festivåls, Rîga, Latvija IOB, “RobeΩtéli – Müsdienu augoßås kultüras izpéte”, Zviedrijas paviljons izstådé “EXPO 2000”, Hanovere, Våcija: sadarbîbå ar Péteri imeli tiek vadîts seminårs “WEB-TV: tießå komunikåcija un interakcija”; Video-ART – videoperformance Zviedrijas paviljonå IOB atklåßanå “Real Time Data Jokeing” darbnîcas vadîßana kopdarbîbå ar Péteri imeli starptautiskajå mediju darbnîcå POLAR CIRCUIT, Rovaniemi, Somija “ArtGenda 2000, Jauno måkslinieku biennåle, Helsinki, Somija “Ljudgarden, grafikas darbu izståde galerijå “Mejan”, Stokholma, Zviedrija “Real Time Data Jokeing”, sesijas interneta TV BEOFF, Stokholma, Zviedrija

Katrîna Neiburga neiburga@gmail.com Born 1978 2001–2002 Latvian Academy of Art, Department of Visual Communication; MA 2000–2001 Latvian Academy of Art, Department of Visual Communication; BA 1999–2000 Guest student of the Royal Art Academy in Stockholm, Sweden 1996–1999 Latvian Academy of Art, Department of Art Education

Awards and Scolarships 2005–2006 resident in Cite des Arts, Paris 2002 Artists’ Union of Latvia Award of the Year for the best multimedial project “The 6 th Element” (with Monika Pormale) 2001 Artists’ Union of Latvia Award of the Year for creative novelty in visual arts – for the project “Tshroom” Solo Exhibitions and Projects 2007 Illustrations for children’s book ”Mazgalvîßi spélé måjås”, written by Pauls Bankovskis 2006 Set design and costume design for play ”Night Tariff”, New Riga Theater, Latvia 2005 Illustrations for children’s book ”Pasakas par bérnu dzîvi”, Latvia Solitude, Gallery Le Plateau, Paris, France Stage design, video concept, costumes for opera ”Living Water”, Latvian National Opera, Riga, Latvia 2004 Video stage design for the opera ”Tosca”, Latvian National Opera, Riga, Latvia ”No signal”, Video/Audio performance together with Gonzo un Macrame , Festival Sound Forest, Riga, Latvia ”Literature karaoke”, video performance together with Gonzo un Macrame, launching of Andra Neiburga’s book ”Stum Stum”, Gallery “Noass”, Riga, Latvia ”Selecta”, Macrame, Gonzo, video performance during the Open Doors Day of the Artists House, Riga, Latvia 2003 Video stage design for the opera ”Wandering Dutchman”, Latvian National Opera, Riga, Latvia 2002 Video stage design for the opera ”Wandering Dutchman”, Dalhall, Sweden ”T-Shroom” Exhibition, Malmo, Sweden ”T-Shroom” Exhibition, Gallery IBID, London, UK Video artist of the gala show of the Ballet Festival, Latvian National Opera, Riga, Latvia 2000 Solo Exhibition Real Face, Gallery “Noass”, Riga, Latvia Come by Immortal, with Péteris imelis, Gallery “Konstakuten”, Stockholm, Sweden Exhibitions, Festivals, Projects 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “Word in motion, video poetry festival, video for Hanin poem “Diagnostic of poetry“ ”IDAprojects – presents The Vernacular Terrain“, The Block, Queensland University of Technology, Australia ”The Baltics Part I: Contemporary Art of Latvia”, Kalmar Art Museum, Sweden Contemporary art from Latvia, European central

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2002

2001

bank, Frankfurt, Germany ”Urbanologic”, Andrejsala, Riga, Latvia ”Just what is it that makes today?”, Gallery Antjewachs, Berlin, Germany ”Katoptron”(Direction of the mirror glance), special Project of 2 Moscow biennale of contemporary art, Moscow, Russia 15th Biennale of Sydney, Cairns Regional Gallery, Australia ”Electrofringe 06,” A festival of digital, electronic, new media and experimental culture Newcastle New South Wales, Australia ”White Nights”, Contemporary art project in five European cities, Madrid, Spain Eskilstuna konstmuseum, Sweden ”Femmes a’Europe, L’Ete Culturel 2006”, SaintTropez, France 15 th Biennale of Sydney, Sydney, Australia ”Trajectories”,Riga, Latvia ”Face the unexpected”, Dortmund, Germany ”Video art from the Baltic States”, Kunstraum Düsseldorf, Germany ”Suspense”, Macedonian Modern art museum, Thessalonica, Greece ”Suspense”, Hellenic-American Union, Athens, Greece ”EUROPART – Contemporary Art from Europe”, Vienna, Austria ”Suspense, Gallery “Apollonia” , Strasbourg, France ”(un)Dressed Body”, Gallery Giedre Bartel, Berlin, Germany ”Jukas”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia ”Instant Europe”, Villa Manin, Italy ”Pornography”, A. Çaka iela, Riga, Latvia ”Welcome!”, Anthony Reynolds Gallery, London, UK ”2 Show”, Contemporary Art Centre, Vilnius, Lithuania ”re:public”, International Art and Culture Project in the suburbs of Riga, Latvia ”Adaptation”, Rotermann Salt Storage, Tallinn, Estonia ”Wild Photographers”, Communications Centre “Sapñu fabrika”, Riga, Latvia ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy ”Nothing Personal”, Bremen City Gallery, Bremen, Germany ”The 6 th Element”, International Women Art Exhibition, Hotel “Nams 99”, Riga, Latvia ”Festival East Impact”, vj, St Petersburg, Russia ”Metropolis. Riga”, Riga Stock Exchange Building, Riga, Latvia ”Poetic Video Festival”, Riga, Latvia 12th Tallinn Print Triennial, Rotermann Salt Storage, Tallinn, Estonia

”Down the tunnelzz”, Liepåja, Latvia ”Party Animals – Animal Farm”, Riga, Latvia Social art project Teashroom popularization campaign of the Latvian Teashroom Growers’ Association – author of the idea and video Activities within the creative association SOYA; vj ”Curriculum Vitae”, The Artists’ House, Klaipeda, Lithuania 2000 ”net.congestion”, International Transmitting Media Festival, Amsterdam, The Netherlands ”Letters to Riga”, Gallery of the Blackheads’ House, Riga, Latvia ”-things”, Gallery “Noass”, Riga, Latvia ”Art + Communication 4: , International New Media Festival, Riga, Latvia; transmission of the Festival conference from the Gallery “Noass” (with Péteris imelis) and videoperformance on the AB Dam at the Festival conclusion “IOB – Images of Borders”, Swedish Pavilion at the EXPO 2000, Hannover, Germany; chairperson (together with Péteris imelis) of the seminar WebTV – direct communication and interaction; VideoART – videoperformance in the Swedish Pavilion at the opening of IOB “Real Time Data Jokeing”, workshop (with Péteris imelis) at the International Media Workshop “Polar Circuit”. Rovanniemi, Finland “ArtGenda 2000”, Young Artists Biennial, Helsinki, Finland; video performance and Real Time “Data Jokeing”, (with Péteris imelis) “Ljudgarden”, Graphic art exhibition, Gallery “Mejan”, Stockholm, Sweden “Real Time Data Jokeing”, sessions on the internet TV BEOFF, Stockholm, Sweden

ä‡ÚË̇ çÂÈ·Û„‡ neiburga@gmail.com êӉ˷Ҹ ‚ 1978 „Ó‰Û 2001–2002 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË; åÄ 2000–2001 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË; ÇÄ 1999–2000 ÒÚÛ‰ÂÌÚ͇ äÓÓ΂ÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, ëÚÓÍ„ÓθÏ, ò‚ˆËfl 1996–1999 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ Ô‰‡„Ó„ËÍË ç‡„‡‰˚, ÂÁˉÂ̈ËË Ë ÒÚËÔẨËË 2005–2006 ÂÁˉÂÌÚ Cité des Arts, è‡ËÊ 2002 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È Û‰‡˜Ì˚È ÏÛθÚËωËÈÌ˚È ÔÓÂÍÚ “6-ÓÈ ˝ÎÂÏÂÌÚ” (ÒÓ‚ÏÂÒÚÌÓ Ò åÓÌËÍÓÈ èÓχÎÂ) 2001 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ú‚Ó˜ÂÒÍÓ ÌÓ‚‡ÚÓÒÚ‚Ó ÔÓÂÍÚ‡ “ó‡ÈÌ˚È „Ë·”

èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË Ë ÔÓÂÍÚ˚ 2007 àÎβÒÚ‡ˆËfl ‰ÂÚÒÍÓÈ ÍÌË„Ë “å‡ÎÓ„ÓÎÓ‚ËÍË Ë„‡˛Ú ‰Óχ“, ‡‚ÚÓ è‡ÛÎÒ Å‡ÌÍÓ‚ÒÍËÒ 2006 ëˆÂÌÓ„‡ÙËfl ÒÔÂÍÚ‡ÍÎfl “çÓ˜ÌÓÈ Ú‡ËÙ” (Ä‚ÚÓ à. ò·ÔËÌÒ, ÂÊËÒÒÂ M. äËÏÂÎÂ), çÓ‚˚È êËÊÒÍËÈ Ú‡Ú, ã‡Ú‚Ëfl 2005 “é‰ËÌÓ˜ÂÒÚ‚Ó”, Frac Ile-de-France – Le Plateau, è‡ËÊ, î‡ÌˆËfl àÎβÒÚ‡ˆËË ‰ÂÚÒÍÓÈ ÍÌË„Ë “ë͇ÁÍË Ó ‰ÂÚÒÍÓÈ ÊËÁÌË”, ËÁ‰‡ÚÂθÒÚ‚Ó “Liels un mazs”, ã‡Ú‚Ëfl ëˆÂÌÓ„‡ÙËfl Ë ÍÓÒÚ˛Ï˚ ͇ÏÂÌÓÈ ÓÔÂ˚ “ÜË‚‡fl ‚Ó‰‡”, ã‡Ú‚ËÈÒ͇fl 燈ËÓ̇θ̇fl éÔÂ‡, êË„‡ 2004 ÇˉÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ToÒÍa”, ã‡Ú‚ËÈÒ͇fl 燈ËÓ̇θ̇fl éÔÂ‡, êË„‡, ã‡Ú‚Ëfl “No signal”, ÇˉÂÓ/ÄÛ‰ËÓ ÔÂÙÓχÌÒ ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò Gonzo Ë Macrame, ÙÂÒÚË‚‡Î¸ “ãÂÒ Á‚ÛÍÓ‚”, êË„‡, ã‡Ú‚Ëfl “ãËÚÂ‡ÚÛÌÓ ͇‡ÓÍ”, ‚ˉÂÓ ÔÂÙÓχÌÒ ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò Gonzo Ë Macrame, ÏÂÓÔËflÚËÂ, ÔÓÒ‚fl˘ÂÌÌÓ ‚˚ÔÛÒÍÛ ÍÌË„Ë Ä̉˚ çÂÈ·Û„Ë “Stum Stum”, „‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “Selecta”, Macrame, Gonzo, ‚ˉÂÓÔÂÙÓχÌÒ, ‰Â̸ ÓÚÍ˚Ú˚ı ‰‚ÂÂÈ, êË„‡, ã‡Ú‚Ëfl “èÓÌÓ„‡ÙËfl”, ÛÎ. A. ó‡Í‡, êË„‡, ã‡Ú‚Ëfl 2003 ÇˉÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ãÂÚÛ˜ËÈ „Óη̉ˆ”, ã‡Ú‚ËÈÒ͇fl 燈ËÓ̇θ̇fl éÔÂ‡, êË„‡, ã‡Ú‚Ëfl 2002 ÇˉÂÓÒˆÂÌÓ„‡ÙËfl ÓÔÂ˚ “ãÂÚÛ˜ËÈ „Óη̉ˆ”, чÎı‡Î·, ò‚ˆËfl “T-Shroom” ‚˚ÒÚ‡‚͇, MaÎÏÂ, ò‚ˆËfl “T-Shroom” ‚˚ÒÚ‡‚͇, „‡ÎÂÂfl IBID, ãÓ̉ÓÌ, ÇÂÎËÍÓ·ËÚ‡ÌËfl ÇˉÂÓıÛ‰ÓÊÌËÍ Á‡Íβ˜ËÚÂθÌÓ„Ó ÏÂÓÔËflÚËfl ŇÎÂÚÌÓ„Ó ÙÂÒÚË‚‡Îfl, ã‡Ú‚ËÈÒ͇fl 燈ËÓ̇θ̇fl éÔÂ‡, êË„‡, ã‡Ú‚Ëfl ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË, ÔÓÂÍÚ˚ 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “Word in motion”, ÙÂÒÚË‚‡Î¸ ‚ˉÂÓÔÓ˝ÁËË, ‚ˉÂÓÍÎËÔ ÒÚËıÓÚ‚ÓÂÌËfl ï‡ÌË̇ “Ñˇ„ÌÓÒÚË͇ ÔÓ˝ÁËË“ “àÌÚÂ̇ˆËÓ̇θÌ˚ ‰Ë„ËڇθÌ˚ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚ ÔÓÂÍÚ˚”, ‚˚ÒÚ‡‚͇ “The Vernacular”, íÂ‡ÈÌ, Ä‚ÒÚ‡ÎËfl “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂχÌËfl “íËÎÓ„Ëfl ‚˚ÒÚ‡‚ÓÍ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ŇÎÚËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ò‚ˆËfl “ì·‡ÌÓÎÓ„Ë͇”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “Ç˚ÒÚ‡‚͇ Ô‰‚‡ËÚÂθÌÓ„Ó ÓÚ·Ó‡ è‡ÊÒÍÓÈ ÒˆÂÌÓ„‡Ù˘ÂÒÍÓÈ Í‚‡‰ËÂÌ̇Δ, êË„‡, ã‡Ú‚Ëfl “Just what is it that makes today?”, „‡ÎÂÂfl

2006

2005 120

2004 2003

2002

Antjewachs, ÅÂÎËÌ, ÉÂχÌËfl “Katoptron” , ÒÔˆˇθÌ˚È ÔÓÂÍÚ 2-ÓÈ åÓÒÍÓ‚ÒÍÓÈ ·ËÂÌ̇ΠÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, åÓÒÍ‚‡, êÓÒÒËfl 15-‡fl ëˉÌÂÈÒ͇fl ·ËÂÌ̇ÎÂ, “Videos from Zones of Contact”, Cairns Regional Galery, ëˉÌÂÈ, Ä‚ÒÚ‡ÎËfl “Electrofringe 06”, Newcastle New South Wales „‡ÎÂÂfl, Ä‚ÒÚ‡ÎËfl “ÄıÂÓÎÓ„Ëfl ‡θÌÓÒÚË”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “í‡ÂÍÚÓËË”, êË„‡, ã‡Ú‚Ëfl “Femmes a’Europe, L’Ete Culturel 2006”, ë‡ÌíÓÔÂÁ, î‡ÌˆËfl “Å·fl çÓ˜¸”, ÔÓÂÍÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, 凉ˉ, êË„‡; Eskilstunda konstmuseum, ò‚ˆËfl “Mit allem rechnen”, Ç˚ÒÚ‡‚͇ ıÛ‰ÓÊÌËÍÓ‚ ŇÎÚËË, Museum am Ostwall, ÑÓÚÏÛ̉, ÉÂχÌËfl “Ç˚ÒÚ‡‚͇ ‚ˉÂÓËÒÍÛÒÒÚ‚‡ ŇÎÚËË”, Kunstraum Düsseldorf, Ñ˛ÒÒÂθ‰ÓÙ, ÉÂχÌËfl “ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl “Hellenic American Union”, ÄÙËÌ˚, ÉˆËfl, åÛÁÂÈ å‡Í‰ÓÌÒÍÓ„Ó ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ë‡ÎÓÌË͇ı “EUROPART”, ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó Ö‚ÓÔ˚, Ä‚ÒÚËfl “(Un)Dressed Body”, Giedre Bartelt Galerie, ÅÂÎËÌ, ÉÂχÌËfl “Suspense: The Rituals Gone Wrong”, ñÂÌÚ ËÒÍÛÒÒÚ‚‡ “Apolonija”, ëÚ‡Ò·Û„, î‡ÌˆËfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “INSTANT EUROPE – Photography and Video from the New Europe”, Villa Manin Centre for Contemporary Art, Codroipo, àÚ‡ÎËfl “Welcome!”, „‡ÎÂÂfl “Anthony Reynolds”, ãÓ̉ÓÌ, ÇÂÎËÍÓ·ËÚ‡ÌËfl “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “re:publika”, åÂʉÛ̇Ó‰Ì˚È ÔÓÂÍÚ ËÒÍÛÒÒÚ‚‡ Ë ÍÛθÚÛ˚, êË„‡, ã‡Ú‚Ëfl “A‰‡ÔÚ‡ˆËfl”, „‡ÎÂÂfl “ï‡ÌËÎˢ ëÓÎË êÓÚÂχ̇”, í‡ÎÎËÌ, ùÒÚÓÌËfl “ÑËÍË ÙÓÚÓ„‡Ù˚”, ñÂÌÚ äÓÏÏÛÌË͇ˆËË “Ë͇ „ÂÁ”, êË„‡, ã‡Ú‚Ëfl “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl “çË˜Â„Ó Î˘ÌÓ„Ó”, ÅÂÏÂÌÒ͇fl „ÓÓ‰Ò͇fl „‡ÎÂÂfl, ÅÂÏÂÌ, ÉÂχÌËfl “6-È ˝ÎÂÏÂÌÚ”, åÂʉÛ̇Ӊ̇fl ‚˚ÒÚ‡‚͇ ÊÂÌÒÍÓ„Ó ËÒÍÛÒÒÚ‚‡, ÉÓÒÚËÌˈ‡ “Nams 99”, êË„‡, ã‡Ú‚Ëfl îÂÒÚË‚‡Î¸ “East Impact”, ë‡ÌÍÚ-èÂÚÂ·Û„, êÓÒÒËfl

2001 “åÂÚÓÔÓθ. êË„‡”, ÑÓÏ êËÊÒÍÓÈ îÓ̉ӂÓÈ ·ËÊË, êË„‡, ã‡Ú‚Ëfl “èÓ˝Ú˘ÂÒÍËÈ ‚ˉÂÓÙÂÒÚË‚‡Î¸”, êË„‡, ã‡Ú‚Ëfl 12-‡fl í‡ÎÎËÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, „‡ÎÂÂfl “ï‡ÌËÎˢ ëÓÎË êÓÚÂχ̇”, í‡ÎÎËÌ, ùÒÚÓÌËfl “Down the tunnelzz”, ãËÂÔ‡fl, ã‡Ú‚Ëfl “Party Animals – Animal Farm”, êË„‡, ã‡Ú‚Ëfl é‰Ì‡ ËÁ ‡‚ÚÓÓ‚ ˉÂË Ë ‚ˉÂÓχÚÂˇÎÓ‚ ÒӈˇθÌÓ-ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÔÓÂÍÚ‡, ͇ÏÔ‡ÌËË ÔÓÔÛÎflËÁ‡ˆËË ˜‡ÈÌÓ„Ó „Ë·‡ ã‡Ú‚ËÈÒÍÓÈ ‡ÒÒӈˇˆËË ÍÛθÚË‚‡ÚÓÓ‚ ˜‡ÈÌÓ„Ó „Ë·‡ 옇ÒÚË ‚ ‡·ÓÚ ڂÓ˜ÂÒÍÓ„Ó Ó·˙‰ËÌÂÌËfl SOYA; ‚ˉÊÂÈ “Curriculum Vitae”, ÑÓÏ ıÛ‰ÓÊÌËÍÓ‚, ä·ÈÔ‰‡, ãËÚ‚‡ 2000 “Real Face”, ÔÂÒÓ̇θ̇fl ‚˚ÒÚ‡‚͇, „‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “Come by Immortal”, ‚˚ÒÚ‡‚͇ ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò èÂÚÂËÒÓÏ äËÏÂÎÂÏ, „‡ÎÂÂfl “Konstakuten”, ëÚÓÍ„ÓθÏ, ô‚ˆËfl “net.congestion”, åÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ωˇ Ú‡ÌÒÎflˆËÈ, ÄÏÒÚÂ‰‡Ï, çˉÂ·̉˚ “èËҸχ ê˄”, ÑÓÏ óÂÌÓ„ÓÎÓ‚˚ı, êË„‡, ã‡Ú‚Ëfl “-‚¢˔, ɇÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “Art + Communication 4”, åÂʉÛ̇Ó‰Ì˚È ÙÂÒÚË‚‡Î¸ ÌÓ‚˚ı ωˇ, êË„‡, ã‡Ú‚Ëfl IOB, “É‡Ì˘Ì˚ ӷ‡Á˚ – ËÒÒΉӂ‡ÌË ÒÓ‚ÂÏÂÌÌÓÈ ‡ÒÚÛ˘ÂÈ ÍÛθÚÛ˚”, ‚˚ÒÚ‡‚͇ ¯‚‰ÒÍÓ„Ó Ô‡‚ËθÓ̇ “EXPO 2000”, ɇÌÌÓ‚Â, ÉÂχÌËfl, ‚ ÒÓÚÛ‰Ì˘ÂÒÚ‚Â Ò èÂÚÂËÒÓÏ äËÏÂÎËÒÓÏ ·˚Î Ôӂ‰ÂÌ ÒÂÏË̇ “WEB-TV: Ôflχfl ÍÓÏÏÛÌË͇ˆËfl Ë ËÌÚÂ‡ÍˆËfl”; VideoART – ‚ˉÂÓÔÂÙÓχÌÒ Ì‡ ÓÚÍ˚ÚËË ò‚‰ÒÍÓ„Ó Ô‡‚ËθÓ̇ IOB “Real Time Data Jokeing”, ÛÍÓ‚Ó‰ÒÚ‚Ó Ï‡ÒÚÂÒÍÓÈ, ÒÓÚÛ‰Ì˘ÂÒÚ‚Ó Ò èÂÚÂËÒÏ äËÏÂÎËÒÓÏ, ÏÂʉÛ̇Ӊ̇fl ωˇ-χÒÚÂÒ͇fl POLAR CIRCUIT, êÓ‚‡ÌËÂÏË, îËÌÎfl̉Ëfl “ArtGenda 2000”, ÅËÂÌ̇ΠÏÓÎÓ‰˚ı ıÛ‰ÓÊÌËÍÓ‚, ïÂθÒËÌÍË, îËÌÎfl̉Ëfl “Ljudgarden”, ‚˚ÒÚ‡‚͇ „‡Ù˘ÂÒÍËı ‡·ÓÚ, „‡ÎÂÂfl “Mejan”, ëÚÓÍ„ÓθÏ, ò‚ˆËfl “Real Time Data Jokeing”, ËÌÚÂÌÂÚ-ÒÂÒÒËfl TV BEOFF, ëÚÓÍ„ÓθÏ, ò‚ˆËfl

Kaspars Podnieks podnieks@one.lv http:// www.podnieks.lv Dzimis 1980. gadå 2001– 2007 Latvijas Måkslas akadémija, Vizuålås komunikåcijas noda¬a; MA 1996–2001 Rîgas Lietiß˚ås måkslas koledΩa 1992–1996 Césu Måkslas skola Izstådes, festivåli 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 “BooM“, Latvijas Måkslas akadémijas, Vizuålås komunikåcijas absolventu izståde, Andrejsala, Rîga, Latvija “Riga Review“, NGBK, Berlîne, Våcija “BITE Open Art“, pilsétvide, Rîga, Latvija 2006 “Spriedze“, Hellenic American Union galerija, Aténas, Ma˚edonijas Laikmetîgås måkslas muzejs Tesalonikos 2005 “Spriedze”, Apollonia Art Exchanges måkslas centra galerija. – Strasbüra, Francija “Latvian Artists in Residence: Eriks BoΩis, Kaspars Podnieks”, Alsace, France “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2004 “Balts kå sniegs, sarkans kå asinis”, Giedre Bartelt Galerie, Berlîne,Våcija “Videofestivåls Ëdensgabali”, Galerija “Noass”, Rîga, Latvija “Daba. Vide. Cilvéks. 2004”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Kas ir svarîgi?“, bij. Rîgas domes éka K.Valdemåra ielå 3, Rîga, Latvija 2003 “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “Rudens 2003: Privåtå telpa”, VMM izståΩu zåle “Arsenåls”, Rîga un galerija “Laipa”, Valmiera “The Project”, Tallina Kunstihoone, Igaunija “Piebalgas novada svétki”, Drusti, Latvija “Césu måkslas skolai – 15”, Césu pils izståΩu zåle, Césis, Latvija “The Project”, Latvijas Måkslas akadémija aula, Rîga, Latvija “Zanussi projektu izståde”, Latvijas Dzelzce¬a muzejs, Rîga, Latvija “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija “Saint-Etienne, Post Factum”, Dekoratîvi lietiß˚ås måkslas muzejs, Rîga, Latvija 2002 Starptautiskå dizaina biennåle, Senetjéna, Francija “Freewaves”, 8. eksperimentålo mediju måkslas festivåls, LosandΩelosa, ASV “Rudens 2002”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija

2001

2000 1999

1998

“Pjüçer”, Valsts Måkslas muzejs, Rîga, Latvija “Muksifons”, Dekoratîvi lietiß˚ås måkslas muzejs, Rîga, Latvija “Rudens 2001”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Müsu labå griba savai videi un pilsétai”, îpsalas Starptautiskais izståΩu centrs, Rîga, Latvija “Lietiß˚ås måkslas izståde”, Drusti, Latvija “Més Rîgai”, Valsts Måkslas muzejs, Rîga, Latvija “Rudens ’99“, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Garaståvoklis”, galerija ”Laipa”, Valmiera, Latvija “Visapkårt üdens”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Starp varu un mîlestîbu”, Gustava Kluça piemiñas izståde, Valsts Måkslas muzejs, Rîga, Latvija

2002

Kaspars Podnieks

121

podnieks@one.lv http:// www.podnieks.lv Born 1980 2001 Latvian Academy of Art, Department of Visual Communication 1996–2001 Riga College of Applied Art, Department of Wood Carving 1992–1996 Césis Art School Exhibitions, festivals 2008 “Time Will Show”, Museumsberg Flensbur, Flensburg, Germany 2007 “BooM“, Latvian Academy of Art, Department of Visual Communication graduates project, Andrejsala, Rîga “Riga Review“, NGBK, Berlin, Germany “BITE Open Art“, publicé space, Riga 2006 “Suspence”,Hellenic American Union gallery, Athens, Macedonian Museum of Contemporary Art, Thessaliki, Macedonia 2005 “Suspense”, Apollonia exhibition space, Strassbourg, France “Latvian Artists in Residence: Eriks BoΩis, Kaspars Podnieks.“, Alsace, France “Jukas“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2004 “White as Snow, Red as Blood“, Giedre Bartelt Galerie, Berlin, Germany Video Festival “Waterpieces“, Gallery “Noass”, Riga, Latvia “Nature. Environment. Man. 2004“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “What is Important?“, the former Riga City Council Building, Latvia 2003 “2 Show“, Contemporary Art Centre, Vilnius, Lithuania

2001

2000 1999

1998

“Autumn 2003: Private Space“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga and Gallery “Laipa”, Valmiera, Latvia “The Project“, Tallina Kunstihoone, Estonia “Festivity of the Piebalga District“, Drusti, Latvia “Césis Art School – 15“, Exhibition Hall of the Césis Castle, Césis, Latvia “The Project“, Latvian Academy of Art, Riga, Latvia “Zanussi Project“ Exhibition, Latvian Railway Museum, Riga, Latvia “la riga“, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy “Saint-Etienne, Post Factum“, Museum of Decorative Applied Arts, Riga, Latvia International Design Biennial, Saint-Etienne, France “Freewaves“, The 8 th Experimental Media Art Festival, Los Angeles, USA “Autumn 2002“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Pjüçer“, State Museum of Art, Riga, Latvia “Muxifon“, Museum of Decorative Applied Arts, Riga, Latvia “Autumn 2001“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Our Goodwill for our Environment and City“, îpsala International Exhibition Centre, Riga, Latvia “Applied Art Exhibition”, Drusti, Latvia “Our Homage to Riga”, State Museum of Art, Riga, Latvia “Autumn ’99“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Mood”, Gallery “Laipa”, Valmiera, Latvia “Water All Around”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia; First Prize “Between Power and Love”, Commemorative Exhibition of Gustavs Klucis, State Museum of Art, Riga, Latvia

2006

2005

2004

2003

ä‡ÒÔ‡Ò èÓ‰ÌËÂÍÒ podnieks@one.lv http:// www.podnieks.lv êÓ‰ËÎÒfl ‚ 1980 „Ó‰Û 2001–2007 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË; MA 1996–2001 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡ 1992–1996 ñÂÒËÒÒ͇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ¯ÍÓ· Ç˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “BooM”, ‚˚ÒÚ‡‚͇ ‚˚ÔÛÒÍÌËÍÓ‚ ÓÚ‰ÂÎÂÌËfl ÇËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, Ä̉ÂÈÒ‡ÎÒ, êË„‡, ã‡Ú‚Ëfl

2002

“Riga Review”, NGBK, ÅÂÎËÌ, ÉÂχÌËfl “BITE Open Art”, êË„‡, ã‡Ú‚Ëfl “ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl “Hellenic American Union”, ÄÙËÌ˚, å‡Í‰ÓÌÒÍËÈ ÏÛÁÂÈ ëÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ‚ ë‡ÎÓÌË͇ı “ç‡ÔflÊÂÌÌÓÒÚ¸”, „‡ÎÂÂfl ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ˆÂÌÚ‡ “Apollonia Art Exchanges”, ëÚ‡Ò·Û„, î‡ÌˆËfl “Latvian Artists in Residence: Eriks BoΩis, Kaspars Podnieks”, ÄÎÒ‡ˆ, î‡ÌˆËfl “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “ÅÂÎ˚È Í‡Í ÒÌ„, Í‡ÒÌ˚È Í‡Í ÍÓ‚¸”, „‡ÎÂÂfl “Giedre Bartelt Galerie”, ÅÂÎËÌ, ÉÂχÌËfl ÇˉÂÓÙÂÒÚË‚‡Î¸ “äÛÒÍË ‚Ó‰˚”, ɇÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “èËÓ‰‡. ë‰‡. óÂÎÓ‚ÂÍ. 2004”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “óÚÓ ‚‡ÊÌÓ?”, ·˚‚¯Â Á‰‡ÌË êËÊÒÍÓÈ ÑÛÏ˚ ÛÎ. ä. LJΉÂχ‡ 3, êË„‡, ã‡Ú‚Ëfl “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “éÒÂ̸ 2003: ã˘ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡ Ë „‡ÎÂÂfl “Laipa”, LJÎÏËÂ‡ “The Project”, „‡ÎÂÂfl “Tallina Kunstihoone”, í‡ÎÎËÌ, ùÒÚÓÌËfl “è‡Á‰ÌËÍ èË·‡Î„ÒÍÓ„Ó Í‡fl”, ÑÛÒÚË, ã‡Ú‚Ëfl “ñÂÒËÒÒÍÓÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ¯ÍÓΠ– 15”, Ç˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ñÂÒËÒÒÍÓ„Ó Á‡Ï͇, ñÂÒËÒ, ã‡Ú‚Ëfl “The Project”, ÄÍÚÓ‚˚È Á‡Î ã‡Ú‚ËÈÒÍÓÈ ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓÈ ‡Í‡‰ÂÏËË, êË„‡, ã‡Ú‚Ëfl “Ç˚ÒÚ‡‚͇ ÔÓÂÍÚÓ‚ Zanussi”, ã‡Ú‚ËÈÒÍËÈ ÊÂÎÂÁÌÓ‰ÓÓÊÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl “Saint-Etienne, Post Factum”, åÛÁÂÈ ‰ÂÍÓ‡ÚË‚ÌÓ-ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl åÂʉÛ̇Ӊ̇fl ·ËÂÌ̇Π‰ËÁ‡È̇, ëÂÌ-ùÚ¸ÂÌ, î‡ÌˆËfl “Freewaves”, 8 ˝ÍÒÔÂËÏÂÌڇθÌ˚È Ï‰ˇÙÂÒÚË‚‡Î¸, ãÓÒ-ÄÌÊÂÎÂÒ, ëòÄ “éÒÂ̸ 2002”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “Pjüçer”, ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓ̇θÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “Muksifons”, åÛÁÂÈ ‰ÂÍÓ‡ÚË‚ÌÓ-ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡, êË„‡, ã‡Ú‚Ëfl

2001

2000 1999

1998

122

“éÒÂ̸ 2001”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “燯‡ ‰Ó·‡fl ‚ÓÎfl – ‰Îfl ÓÍÛʇ˛˘ÂÈ Ò‰˚ Ë „ÓÓ‰‡”, åÂʉÛ̇Ó‰Ì˚È ‚˚ÒÚ‡‚Ó˜Ì˚È ˆÂÌÚ ̇ äËÔÒ‡ÎÂ, êË„‡, ã‡Ú‚Ëfl “Ç˚ÒÚ‡‚͇ ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡”, ÑÛÒÚË, ã‡Ú‚Ëfl “å˚ ê˄”, ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓ̇θÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “éÒÂ̸ ’99”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “ç‡ÒÚÓÂÌË”, „‡ÎÂÂfl “Laipa”, LJÎÏËÂ‡, ã‡Ú‚Ëfl “äÛ„ÓÏ ‚Ó‰‡”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “åÂÊ‰Û ‚·ÒÚ¸˛ Ë Î˛·Ó‚¸˛”, ‚˚ÒÚ‡‚͇, ÔÓÒ‚fl˘ÂÌ̇fl Ô‡ÏflÚË ÉÛÒÚ‡‚‡ äÎÛˆËÒ‡, ã‡Ú‚ËÈÒÍËÈ Ì‡ˆËÓ̇θÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl

Miks Mitrévics

Miks Mitrévics

miks.mitrevics@dd.lv http://projects.dd.lv/miksmitrevics/ Dzimis 1980 2003–2005 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; MA 1999–2003 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; BA 1992–1999 Jaña Rozentåla Rîgas Måkslas skola

miks.mitrevics@dd.lv http://projects.dd.lv/miksmitrevics/ Born 1980 2003–2005 Latvian Academy of Art, Department of Visual Communication; MA 1999–2003 Latvian Academy of Art, Department of Visual Communication; BA 1992–1999 Janis Rozentåls Riga School of Art

Apbalvojumi 2003 LMS gada balva par veiksmîgåko multimediju projektu

Awards, Scholarships 2003 Artists’ Union of Latvia Award of the Year for the best multimedial project

Personålizstådes 2006 “Vérotåjs“, Pîterboro digitålas måkslas galerija, Anglija “Kaut kur tepat“, LNMM izståΩu zåle ”Arsenåls” Radoßå darbnîca, Rîga, Latvija 2003 “Motelis”, RIXC Mediju telpa, Rîga, Latvija Izstådes, projekti 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 “Mobilais muzejs”, Andrejsala, Rîga “Latvijas Laikmetîgå måksla”, Eiropas centrålå banka, Frankfurte, Våcija “Baltijas laikmetîgås måkslas izståΩu trilo©ija”, Kalmåras måkslas muzejå, Zviedrija 2006 “Aizmirstås atmiñas”, Künstlerhaus Büchsenhausen, Insbruka, Austrija 2005 “Fantasmagorijas fabrika”, Polija “Jukas“, VMM izståΩu zåle ”Arsenåls”, Rîga “Kristaps lüko”, alternatîvo filmu festivåls, Rîga, Latvija “rainis_2005.lv”, Raiña dzejas kolekcijas vizuålå interpretåcija 2004 “7. Mazo formu måkslas izståde”, Rîgas galerija, Rîga, Latvija “Riga line up“, galerija Nemo, Ekernforde, Våcija 2003 “2 Show“, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “Iluminåcijas“, galerija “Noass”, Rîga, Latvija “la riga“, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija 2002 “Rudens 2002“, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Re-cikls“, Galerija “Çiris”, Rîga, Latvija 2001 “VKN intro”, interneta projekts http://www.vkn.lv/ “Atrodi sevi! “, interneta projekts http://relab.lv/atrodisevi/ 2000 “Rudens 2000“, Måkslas muzejs “Arsenåls”, Rîga, Latvija “ArtGenda 2000“, Helsinki, Somija Izståde “Stroboscope@Stethoscope”, Rîga, Latvija

Solo Exhibitions 2006 “Observer“,Peterborough Digital Arts gallery, England “Somewhere Nearby“, Creative Laboratory in the Exhibition Hall “Arsenåls” of the Latvian National Museum of Art, Riga, Latvia 2003 “Motel“, RIXC Media space, Riga, Latvia Exhibitions, Projects 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “Mobile Museum”, Andrejsala, Riga, Latvija “Contemporary art from Latvia“, European central bank, Frankfurt, Germany “The Baltics Part I: Contemporary Art of Latvia“, Kalmar Art Museum, Sweden 2006 “Forgotten Memories“, Project presentation, Künstlerhaus Büchsenhausen, Innsbruck, Austria 2005 “Factory of Phantasmagoria“, Exhibition, Poland “Jukas“, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Kristaps lüko”, The alternative film festival, Riga, Latvia “rainis_2005.lv”, The visual interpretation of Rainis’s collection of poems 2004 “7th Small Size Art Exhibition”, Riga Gallery, Riga, Latvia “riga line up”, Exhibition, Gonemo gallery, Eckernford, Germany 2003 “2 Show“, Contemporary Art Centre, Vilnius, Lithuania “Illuminations“, Gallery “Noass”, Riga, Latvia la riga, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy 2002 “Autumn 2002“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “Re-cycl“e, Gallery “Çiris”, Riga, Latvia 2001 “VKN intro“, internet project http://www.vkn.lv/ “Find Yourself! “, internet project http://relab.lv/atrodisevi/ 2000 “Autumn 2000“, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia “ArtGenda 2000“, Helsinki, Finland Exhibition “Stroboscope@Stethoscope”, Riga, Latvia

åËÍÒ åËÚ‚ˈ miks.mitrevics@dd.lv http://projects.dd.lv/miksmitrevics/ êÓ‰ËÎÒfl ‚ 1980 „Ó‰Û 2003-2005 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, MA 1999–2003 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË, ÇA 1992–1999 ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ¯ÍÓ· ËÏ. ü. êÓÁÂÌÚ‡Îfl 燄‡‰˚ 2003 ÔËÁ „Ó‰‡ ëÓ˛Á‡ ıÛ‰ÓÊÌËÍÓ‚ ã‡Ú‚ËË Á‡ Ò‡Ï˚È Û‰‡˜Ì˚È ÏÛθÚËωËÈÌ˚È ÔÓÂÍÚ èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2006 “ëÓÁÂˆ‡ÚÂθ”, ÑË„Ëڇθ̇fl ıÛ‰ÓÊÂÒÚ‚ÂÌ̇fl „‡ÎÂÂfl èËÚÂ·ÓÓ, ÄÌ„ÎËfl “ɉÂ-ÚÓ Á‰ÂÒ¸”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, í‚Ó˜ÂÒ͇fl χÒÚÂÒ͇fl, êË„‡, ã‡Ú‚Ëfl 2003 “åÓÚÂθ”, RIXC ωˇ Á‡Î, êË„‡, ã‡Ú‚Ëfl

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Ç˚ÒÚ‡‚ÍË, ÔÓÂÍÚ˚ 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “åÓ·ËθÌ˚È ÏÛÁÂÈ”, Ä̉ÂÈ҇·, êË„‡ “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂχÌËfl “íËÎÓ„Ëfl ‚˚ÒÚ‡‚ÓÍ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡ ŇÎÚËË”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ò‚ˆËfl 2006 “ᇷ˚Ú˚ ‚ÓÒÔÓÏË̇ÌËfl”, Künstlerhaus Büchsenhausen, àÌÒ·ÛÍ, Ä‚ÒÚËfl 2005 “Ë͇ Ù‡ÌÚ‡Òχ„ÓËË”, èÓθ¯‡ “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “Kristaps lüko”, ÙÂÒÚË‚‡Î¸ ‡Î¸ÚÂ̇ÚË‚Ì˚ı ÙËθÏÓ‚, êË„‡, ã‡Ú‚Ëfl “rainis_2005.lv”, ÇËÁۇθ̇fl ËÌÚÂÔÂÚ‡ˆËfl ÍÓÎÎÂ͈ËË ÔÓ˝ÁËË ê‡ÈÌËÒ‡ 2004 “7-fl ‚˚ÒÚ‡‚͇ χÎ˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl “Riga line up”, ɇÎÂÂfl “Nemo”, ùÍÍÂÌÙfi‰Â, ÉÂχÌËfl 2003 “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “àÎβÏË̇ˆËfl”, „‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl 2002 “éÒÂ̸ 2002”,VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl

“êÂ-ˆËÍΔ, ɇÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl 2001 “VKN intro”, ËÌÚÂÌÂÚ-ÔÓÂÍÚ http://www.vkn.lv/ “ç‡È‰Ë Ò·fl!”, ËÌÚÂÌÂÚ-ÔÓÂÍÚ http://relab.lv/atrodisevi/ 2000 “éÒÂ̸ 2000”, ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “ArtGenda 2000”, ïÂθÒËÌÍË, îËÌÎfl̉Ëfl Ç˚ÒÚ‡‚͇ “Stroboscope@Stethoscope”, êË„‡, ã‡Ú‚Ëfl

Krißs Salmanis kriss@rixc.lv Dzimis 1977. gadå 1997–2003 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; MA 1995–1997 Latvijas Ev. lut. Kristîgås akadémijas Måkslas noda¬a 1993–1995 Whitgift School Londonå, Anglija Apbalvojumi 2004 13. Tallinas grafikas triennåles laureåts 2003 Izstådes “Rudens 2003: Privåtå telpa” laureåts 1997 1. un 2. vieta konkurså “EX LIBRIS” Kanådå Personålizstådes 2006 ”Sudrabs, zelts, plastilîns.”, (kopå ar D.Krüzi), Rîga, Latvija 2004 ”100 % vilßanås“, (kopå ar D. Krüzi), Rîga, Latvija 1999 ”Veçi“, Mencendorfa nams, Rîga, Latvija Grupu izstådes, festivåli 2008 “Time Will Show“, Museumsberg Flensburg, Flensburga, Våcija 2007 ”Mobilais muzejs“, Andrejsala, Rîga ”Samtids Video Mønstringen 2007“, KunstiBadet, Bergena, Norvé©ija ”Urbanolo©ika“, Andrejsala, Rîga, Latvija ”Latvijas Laikmetîgå måksla“, Eiropas centrålå banka, Frankfurte, Våcija ”Baltijas valstis. Latvijas laikmetîgå måksla“, Kalmåras måkslas muzejs, Zviedrija ”Prague Biennale 3“, Pråga, Çehija 2006 “Mit Allem rechnen“, Museum am Ostwall, Dortmunde, Våcija “Amsterdam Film eXperience“, Amsterdama, Nîderlande “ermeña Spéks“, Rîgas galerija, Rîga, Latvija “Art Moscow“, Maskava, Krievija “Blinks“, Saloniki, Grie˚ija “Lettra 2006“, Krakovas grafikas triennåle, Polija “Emergency Biennale“, topoßå Pilsétas izståΩu zåle, Rîga, Latvija 2005 “Jukas”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija 2004 13. Tallinas grafikas triennåle, Rotermana Såls galerija, Tallina, Igaunija “Talking to me?“,Rauma Biennale Balticum 2004, Rauma, Somija Videofestivåls ”Trampoline“, Berlîne, Våcija ”Videoex“, Experimentalfilm&Video Festival, Cîrihe, Íveice ”Kas ir svarîgi?“, bij. Rîgas domes éka K.Valdemåra ielå 3, Rîga, Latvija ”7. Mazo formu måkslas izståde“, Rîgas galerija, Rîga, Latvija

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2003 ”Rudens 2003: Privåtå telpa“, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “2 Show”, Laikmetîgås måkslas centrs, Vi¬ña, Lietuva “13. dzîvoklis“, Zirgu pasts, Rîga, Latvija “6. Mazo formu måkslas izståde“, Rîgas galerija, Rîga “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milåna, Itålija 2002 ”Re-cikls”, Galerija “Çiris”, Rîga, Latvija ”Ëdensapgåds“, Pedvåles måkslas parks, Sabile ”The BigM”, Anglija ”Grafomånija”, Brand Sellers DDB, Rîga 2001 ”Ulmanis müsu sirdîs”, Latvijas Måkslas akadémija, Rîga, Latvija ”Apcerot pagåtni, pievienojot nåkotni”, Valsts Måkslas muzejs, Rîga, Latvija ”Break 21”, Òub¬ana, Slovénija ”Cukurvate”, Latvijas Dzelzce¬a muzejs, Rîga, Latvija ”Ugunszeme”, Pedvåles måkslas parks, Sabile, Latvija ”Grafikas seja”, Rîgas galerija, Rîga, Latvija ”Parnu Vilm & Fideo Festival”, Academia Non Grata, Pérnava, Igaunija 2000 “Rudens 2000”, VMM izståΩu zåle “Arsenåls”, Rîga, Latvija “Véstules no Rîgas”, Melngalvju nama galerija, Rîga, Latvija “-lietas”, galerija “Noass”, Rîga, Latvija “Ainavas laboratorija”, Pedvåles måkslas parks, Sabile, Latvija ”U turn me on”, Zirgu pasts, Rîga, Latvija ”Genesis”, Galerija “Bastejs”, Rîga, Latvija 1999 ”Dzîres. Einßteina sapñi”, Zirgu pasts, Rîga, Latvija ”Barîba”, Universålveikals “Centrs“, Rîga, Latvija 1998 ”Dziesmusvétki”, Latvijas Måkslas akadémija, Rîga, Latvija ”Suitcases”, Kotka, Somija 1997 ”Rudens 97”, Rîga, Latvija ”Latvießu studentu darbi”, Amjéna, Francija

Krißs Salmanis kriss@rixc.lv Born 1977 1997–2003 Latvian Academy of Art, Department of Visual Communication; MA 1995–1997 Latvian Ev. lut. Christian Academy, Department of Art 1993–1995 Whitgift School in London, UK Awards 2004 Laureate of the 13th Tallinn Print Triennial 2003 Laureate of the exhibition “Autumn 2003: Private Space”

1997 1st and 2nd Prize at the competition “EX LIBRIS” in Canada Solo Exhibitions 2006 ”Silver, gold, plasticine (with D.Krüzi), Riga 2004 ”100% Disappointment, with D. Krüze, Riga, Latvia 1999 ”Mates”, Mencendorfs House, Riga, Latvia Exhibitions 2008 “Time Will Show“, Museumsber Flensburg, Flensburg, Germany 2007 ”Mobile Museum, Andrejsala, Riga ”Samtids Video Mønstringen 2007, KunstiBadet Bergen, Norway ”Urbanologic, Andrejsala, Riga ”Contemporary art from Latvia, European central bank, Frankfurt, Germany ”The Baltics Part I: Contemporary Art of Latvia, Kalmar Art Museum, Sweden ”Prague Biennale 3, Prague, Czech Republik 2006 ”Mit Allem rechnen, Museum am Ostwall, Dortmund, Germany ”Amsterdam Film eXperience, Amsterdam, The Netherlands ”Body Power, Rîgas Gallery, Riga, Latvia ”Art Moscow, Mocow, Russia ”Blinks, Saloniki, Greece ”Lettra 2006, Graphic Triennale of Krakov, Polija ”Emergency Biennale, Rîga, Latvia 2005 ”Jukas, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia 2004 13th Tallinn Print Triennial, Rottermann Salt Storage, Tallinn, Estonia ”Talking to me” – Rauma Biennale Balticum 2004, Rauma, Finland Video Festival ”Trampoline”, Berlin, Germany ”Videoex”, Experimentalfilm&Video Festival, Zurich, Switzerland ”What is Important?”, the former Riga City Council Building, Riga, Latvia ”The Small is Beautiful” – 7th Small Size Art Exhibition, Riga Gallery, Riga, Latvia 2003 ”Autumn 2003: Private Space”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia ”2 Show”, Contemporary Art Centre, Vilnius, Lithuania ”Apartment No. 13”, Zirgu pasts, Riga, Latvia ”6th Small Size Art Exhibition”, Riga Gallery, Riga, Latvia ”la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, Milano, Italy 2002 ”Re-cycle”, Gallery “Çiris”, Riga, Latvia ”Water-supply”, Pedvåle Art Park, Sabile, Latvia ”The BigM”, England

”Grafomania”, Brand Sellers DDB, Riga, Latvia 2001 ”Ulmanis in Our Hearts”, Latvian Academy of Art, Riga, Latvia ”Reflecting on the Past, Adding the Future”, State Museum of Art, Riga, Latvia ”Break 21”, Ljubljana, Slovenia ”Candyfloss”, Latvian Railway Museum, Riga, Latvia ”Fireland”, Pedvåle Art Park, Sabile, Latvia ”The Face of Graphic”, Riga Gallery, Riga, Latvia ”Parnu Vilm & Fideo Festival”, Academia Non Grata, Parnu, Estonia 2000 ”Autumn 2000”, Exhibition Hall “Arsenåls” of the State Museum of Art, Riga, Latvia ”Letters from Riga”, Gallery of the Blackheads House, Riga, Latvia ”-things”, Gallery “Noass”, Riga, Latvia ”Landscape Laboratory”, Pedvåle Art Park, Sabile, Latvia ”U turn me on”, Zirgu pasts, Riga, Latvia ”Genesis”, Gallery “Bastejs”, Riga, Latvia 1999 ”Fiest, Einstein’s Dreams”, Zirgu pasts, Riga, Latvia ”Food”, Department store “Centrs“, Riga, Latvia 1998 ”Song Festival”, Latvian Academy of Art, Riga, Latvia ”Suitcases”, Kotka, Finland 1997 “Autumn 97”, Riga, Latvia “Works of Latvian Students”, Amiens, France

äË¯Ò ë‡ÎχÌËÒ kriss@rixc.lv êÓ‰ËÎÒfl ‚ 1977 „Ó‰Û 1997–2003 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË; åÄ 1995–1997 ïÛ‰ÓÊÂÒÚ‚ÂÌÌÓ ÓÚ‰ÂÎÂÌË ã‡Ú‚ËÈÒÍÓÈ ïËÒÚˇÌÒÍÓÈ ‡Í‡‰ÂÏËË 1993–1995 òÍÓ· ìËÚ„ËÙÚ‡ (Whitgift School), ãÓ̉ÓÌ, ÄÌ„ÎËfl 燄‡‰˚ 2004 ã‡ÛÂ‡Ú 13-ÓÈ í‡ÎÎËÌÒÍÓÈ ÚËÂÌ̇Π„‡ÙËÍË 2003 ã‡ÛÂ‡Ú ‚˚ÒÚ‡‚ÍË “éÒÂ̸ 2003: ã˘ÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó” 1997 1 Ë 2 ÏÂÒÚÓ ‚ ÍÓÌÍÛÒ “EX LIBRIS” ‚ ä‡Ì‡‰Â èÂÒÓ̇θÌ˚ ‚˚ÒÚ‡‚ÍË 2006 “ëÂ·Ó, ÁÓÎÓÚÓ, Ô·ÒÚËÎËÌ.”, (ÒÓ‚ÏÂÒÚÌÓ Ò Ñ. äÛÁÂ), êË„‡, ã‡Ú‚Ëfl 2004 “100 % ‡ÁÓ˜‡Ó‚‡ÌË”, (ÒÓ‚ÏÂÒÚÌÓ Ò Ñ. äÛÁÂ), êË„‡, ã‡Ú‚Ëfl 1999 “ëÚ‡ËÍË”, ‰ÓÏ åÂ̈ẨÓÙ‡, êË„‡, ã‡Ú‚Ëfl ÉÛÔÔÓ‚˚ ‚˚ÒÚ‡‚ÍË, ÙÂÒÚË‚‡ÎË 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl

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2007 “åÓ·ËθÌ˚È ÏÛÁÂÈ”, Ä̉ÂÈ҇·, êË„‡ “Samtids Video Mønstringen 2007”, KunstiBadet, ÅÂ„ÂÌ, çÓ‚„Ëfl “ì·‡ÌÓÎÓ„Ë͇”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “ëÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó ã‡Ú‚ËË”, Ö‚ÓÔÂÈÒÍËÈ ˆÂÌÚ‡Î¸Ì˚È ·‡ÌÍ, î‡ÌÍÙÛÚ, ÉÂχÌËfl “ŇÎÚËÈÒÍË ÒÚ‡Ì˚. ã‡Ú‚ËÈÒÍÓ ÒÓ‚ÂÏÂÌÌÓ ËÒÍÛÒÒÚ‚Ó”, ä‡Î¸Ï‡ÒÍËÈ ıÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, ò‚ˆËfl “è‡ÊÒ͇fl ·ËÂÌ̇Π3”, è‡„‡, óÂıËfl 2006 “Mit Allem rechnen”, åÛÁÂÈ am Ostwall, ÑÓÚÏÛ̉, ÉÂχÌËfl “Amsterdam Film eXperience”, ÄÏÒÚÂ‰‡Ï, çˉÂ·̉˚ “ëË· Ú·”, “êËÊÒ͇fl „‡ÎÂÂfl”, êË„‡, ã‡Ú‚Ëfl “Art Moscow”, åÓÒÍ‚‡, êÓÒÒËfl “Blinks”, ë‡ÎÓÌËÍË, ÉˆËfl “Lettra 2006”, ä‡ÍÓ‚Ò͇fl ÚËÂÌ̇Π„‡ÙËÍË, èÓθ¯‡ “Emergency Biennale”, ÒÓÁ‰‡‚‡ÂÏ˚È ÉÓÓ‰ÒÍÓÈ ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î, êË„‡, ã‡Ú‚Ëfl 2005 “Jukas”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl 2004 13 í‡ÎÎËÌÒ͇fl ÚËÂÌ̇Π„‡ÙËÍË, „‡ÎÂÂfl “ï‡ÌËÎˢ ÒÓÎË êÓÚÂχÌ̇”, í‡ÎÎËÌÌ, ùÒÚÓÌËfl “Talking to me?”, Rauma Biennale Balticum 2004, ê‡Ûχ, îËÌÎfl̉Ëfl ÇˉÂÓÙÂÒÚË‚‡Î¸ “Trampoline”, ÅÂÎËÌ, ÉÂχÌËfl “Videoex”, Experimentalfilm&Video Festival, ñ˛Ëı, ò‚ÂȈ‡Ëfl “óÚÓ ‚‡ÊÌÓ?”, ·˚‚¯Â Á‰‡ÌË êËÊÒÍÓÈ ÑÛÏ˚, ÛÎ. ä. LJΉÂχ‡ 3, êË„‡, ã‡Ú‚Ëfl “7-‡fl ‚˚ÒÚ‡‚͇ χÎ˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl 2003 “éÒÂ̸ 2003: ó‡ÒÚÌÓ ÔÓÒÚ‡ÌÒÚ‚Ó”, ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î ã‡Ú‚ËÈÒÍÓ„Ó Ì‡ˆËÓ̇θÌÓ„Ó ıÛ‰ÓÊÂÒÚ‚ÂÌÌÓ„Ó ÏÛÁÂfl “AÒÂ̇Δ, êË„‡ “2 Show”, ñÂÌÚ ÒÓ‚ÂÏÂÌÌÓ„Ó ËÒÍÛÒÒÚ‚‡, ÇËÎ¸Ì˛Ò, ãËÚ‚‡ “13 Í‚‡ÚË‡”, Á‰‡ÌË ãÓ¯‡‰ËÌÓÈ ÔÓ˜Ú˚, êË„‡, ã‡Ú‚Ëfl “6-‡fl ‚˚ÒÚ‡‚͇ χÎ˚ı ÙÓÏ ËÒÍÛÒÒÚ‚‡”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡ “la riga”, Fabbrica del Vapore, C/O Careof & VIAFARINI, åË·Ì, àÚ‡ÎËfl 2002 “Re-cikls”, ɇÎÂÂfl “óËËÒ”, êË„‡, ã‡Ú‚Ëfl “ÇÓ‰ÓÒ̇·ÊÂÌË”, è‡Í ËÒÍÛÒÒÚ‚‡ 艂‡ÎÂ, 뇷ËΠ“The BigM”, ÄÌ„ÎËfl “É‡ÙÓχÌËfl”, Brand Sellers DDB, êË„‡ 2001 “ìÎχÌËÒ ‚ ̇¯Ëı ÒÂ‰ˆ‡ı”, ã‡Ú‚ËÈÒ͇fl

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ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, êË„‡, ã‡Ú‚Ëfl “ê‡ÁÏ˚¯Îflfl Ó ÔÓ¯ÎÓÏ, ‰Ó·‡‚Îflfl ·Û‰Û˘Â”, ÉÓÒÛ‰‡ÒÚ‚ÂÌÌ˚È ïÛ‰ÓÊÂÒÚ‚ÂÌÌ˚È ÏÛÁÂÈ, êË„‡, ã‡Ú‚Ëfl “Break 21”, ã˛·Îfl̇, ëÎÓ‚ÂÌËfl “ë‡ı‡̇fl ‚‡Ú‡”, åÛÁÂÈ ã‡Ú‚ËÈÒÍÓÈ ÊÂÎÂÁÌÓÈ ‰ÓÓ„Ë, êË„‡, ã‡Ú‚Ëfl “é„ÌÂÌ̇fl ÁÂÏÎfl”, è‡Í ËÒÍÛÒÒÚ‚‡ 艂‡ÎÂ, 뇷ËÎÂ, ã‡Ú‚Ëfl “ãËˆÓ „‡ÙËÍË”, êËÊÒ͇fl „‡ÎÂÂfl, êË„‡, ã‡Ú‚Ëfl “Parnu Vilm & Fideo Festival”, Academia Non Grata, èflÌÛ, ùÒÚÓÌËfl “éÒÂ̸ 2000”, VMM ‚˚ÒÚ‡‚Ó˜Ì˚È Á‡Î “ÄÒÂ̇Δ, êË„‡, ã‡Ú‚Ëfl “èËҸχ ËÁ êË„Ë”, ɇÎÂÂfl ÑÓχ óÂÌÓ„ÓÎÓ‚˚ı, êË„‡, ã‡Ú‚Ëfl “-‚¢˔, „‡ÎÂÂfl “Noass”, êË„‡, ã‡Ú‚Ëfl “ㇷÓ‡ÚÓËfl ÔÂÈÁ‡Ê‡”, è‡Í ËÒÍÛÒÒÚ‚‡ 艂‡ÎÂ, 뇷ËÎÂ, ã‡Ú‚Ëfl “U turn me on”, ቇÌË ãÓ¯‡‰ËÌÓÈ ÔÓ˜Ú˚, êË„‡, ã‡Ú‚Ëfl “Genesis”, ɇÎÂÂfl “Bastejs”, êË„‡, ã‡Ú‚Ëfl “èË. å˜Ú˚ ùÈ̯ÚÂÈ̇”, ቇÌË ãÓ¯‡‰ËÌÓÈ ÔÓ˜Ú˚, êË„‡, ã‡Ú‚Ëfl “èËÚ‡ÌË”, ìÌË‚Âχ„ “ñÂÌÚ”, êË„‡, ã‡Ú‚Ëfl “è‡Á‰ÌËÍ èÂÒÌË”, ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, êË„‡, ã‡Ú‚Ëfl “Suitcases”, äÓÚ͇, Somija “éÒÂ̸ 97”, êË„‡, ã‡Ú‚Ëfl “ꇷÓÚ˚ ·Ú˚¯ÒÍËı ÒÚÛ‰ÂÌÚÓ‚”, ÄϸÂÌ, î‡ÌˆËfl

Armands Zelçs armbox@inbox.lv Dzimis 1978.gadå 2007 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a 2003–2007 Latvijas Måkslas akadémijas Vizuålås komunikåcijas noda¬a; BA 1999–2003 Rîgas Lietiß˚ås Måkslas koledΩa 1985–1997 Rîgas 2. vidusskola Izstådes un projekti 2008 “Time Will Show”, Museumsberg Flensburg, Flensburga, Våcija 2007 “RîgaREVIEW“, galerija NGBK, Berlîne, Våcija “BooM“, Andrejsala, Rîga, Latvija “Future Shorts White Trash“ 2006 Ikméneßa îsfilmu skates “FUTURE SHORTS“

Armands Zelçs armbox@inbox.lv Born 1978 2007 Latvian Academy of Art, Department of Visual Communication 2003–2007 Latvian Academy of Art, Department of Visual Communication; BA 1999–2003 Riga Design and Art School 1985–1997 Riga 2nd Secondary School Exhibitions and Projects 2008 “Time Will Show”, Museumsberg Flensburg, Flensburg, Germany 2007 “BooM“, Andrejsala, Riga, Latvia “RigaREVIEW“, Gallery NGBK, Berlin, Germany “Future Shorts White Trash“ 2006 Monthly Short Films Program “FUTURE SHORTS”

ÄÏ‡Ì‰Ò áÂΘc armbox@inbox.lv êÓ‰ËÎÒfl ‚ 1978 „Ó‰Û 2007 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË 2003–2007 ã‡Ú‚ËÈÒ͇fl ïÛ‰ÓÊÂÒÚ‚ÂÌ̇fl ‡Í‡‰ÂÏËfl, ÓÚ‰ÂÎÂÌË ‚ËÁۇθÌÓÈ ÍÓÏÏÛÌË͇ˆËË; ÇA 1999–2003 êËÊÒÍËÈ ÍÓÎÎÂ‰Ê ÔËÍ·‰ÌÓ„Ó ËÒÍÛÒÒÚ‚‡ 1985–1997 2-‡fl êËÊÒ͇fl Ò‰Ìflfl ¯ÍÓ· Ç˚ÒÚ‡‚ÍË Ë ÔÓÂÍÚ˚ 2008 “Time Will Show”, Museumsberg Flensburg, îÎÂÌÒ·Û„, ÉÂχÌËfl 2007 “RîgaREVIEW”, „‡ÎÂÂfl NGBK, ÅÂÎËÌ, ÉÂχÌËfl “BooM”, Ä̉ÂÈ҇·, êË„‡, ã‡Ú‚Ëfl “Future Shorts White Trash” 2006 ÖÊÂÏÂÒfl˜Ì˚È ÒÏÓÚ ÍÓÓÚÍÓÏÂÚ‡ÊÌ˚ı ÙËθÏÓ‚ “FUTURE SHORTS”

Izdevéjs Publisher àÁ‰‡ÚÂθ Biennåle 2005 Redakcija Editing ꉇ͈Ëfl Ojårs Pétersons, Lîga Marcinkeviça Dizains Design ÑËÁ‡ËÌ Ingrîda Zåbere Tulkojumi Translations èÂ‚Ӊ˚ Dace Akmene, Marina Gehta, Andris Mellakauls, Stella Pelße Foto Photocredits îÓÚÓ måkslinieki, the artists, ıÛ‰ÓÊÌËÍË Production Iespiedéjs 蘇ÚÌËÍ a/s “Preses nams” © Teksti Texts íÂÍÒÚ˚ the authors, autori, ‡‚ÚÓ˚ © Reproducétie darbi Reproduced Works êÂÔÓ‰ÛˆËÓ‚‡ÌÌ˚ ‡·ÓÚ˚ måkslinieki, the artists, ıÛ‰ÓÊÌËÍË Izståde Exhibition B˚ÒÚ‡‚Ía 08.04.–11.05.2008 VLMC Zoologiçeskaja 13, Maskava NCCA Zoologicheskaja 13, Moscow www.ncca.ru Éñëà áÓÓÎӄ˘ÂÒ͇fl ‰.13, åÓÒÍ‚‡