art 2004/1
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Ritmus Ivanovs (Latvija). Po Rembrandto. 2001, drobė, akrilas, 160x190
Paroda „Gyvenimo druska“. Vilnius, galerija „Vartai“ (2004 02 25–04 03)

Ritmus Ivanovs (Latvija). Po Ingres’o. 2001, drobė, akrilas, 150x150
Paroda „Gyvenimo druska“. Vilnius, galerija „Vartai“ (2004 02 25–04 03)k

Kristīne Plūksna (Latvija). Visiškai slaptai. 2000, drobė, akrilas, 55x80
Paroda „Gyvenimo druska“. Vilnius, galerija „Vartai“ (2004 02 25–04 03)

Kristīne Plūksna (Latvija). Riba. 2003, objektai
Paroda „2 SHOW. Jaunas menas iš Latvijos ir Lietuvos“. Vilnius, Šiuolaikinio meno centras (2003 11 18–2004 01 11)


The Networks of the Baltic Art

by Laima Kreivytė

The article dwells on three recent events of the contemporary Baltic art held in Vilnius: the 3rd Triennial of the Baltic Photography What Matters?, 2 Show that featured Latvian and Lithuanian art, and an exhibition of contemporary Baltic art The Salt of Life at the Vartai Gallery. Though each pursuing a different agenda, all three events displayed an open structure and refusal to make positive statements. The curators of the exhibitions did not take any theme to develop, nor did they attempt to reveal any specific aspects of the environment. The intent was rather mapping out important artistic strategies.
At the photography triennial, the artists are no longer concerned with the space in the frame or documentary record of the setting. Matters only the act personalizing the space. This time, even endemic to photography experiments with light are tinged with personal mythology. Contemporary photography reconstructs reality,
simultaneously rethinking the very process of taking pictures. A similar tendency is displayed by painting, which is recovering to existence. The importance of painting is determined by each individual artist’s attempts to re-programme the process of painting, its images and traditions. In many instances such a production may be called a parody of painting through the medium of paint.
The exhibition at the Vartai Gallery, besides other goals, pursued also one of upsetting the existing artificial opposition between experimental and commercial art. The show was largely about the role of personal experience in establishing or breaking the canons of paining. These concurrent exhibitions of the countries of the Baltic Sea demonstrated that the network of the art institutions in these countries is capable of effective functioning, and has overcome the division of artistic stage into East and West.

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