DOCSLIB.ORG

Boriss Lurje Un NO!Art Boris Lurie and NO!Art Boriss Lurje

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Boriss Lurje Un NO!Art Boris Lurie and NO!Art Boriss Lurje Boriss Lurje un NO!art Boris Lurie and NO!art Boriss Lurje. Manai Šeinai Gitl/ manai Valentīnai. 1981. Papīrs, gleznojums, kolāža, 99x75 cm Boris Lurie. To my Sheina Gitl/ My Valentine. 1981. Paint, paper collage, tape on paper Boriss Lurje un NO!art Boris Lurie and NO!art Mākslas muzejs RīgAS BIRža Art Museum RIGA BOURSE 2019. gada 11. janvāris – 2019. gada 10. marts January 11, 2019 – March 10, 2019 Izstādes kuratore/ Curator of the exhibition: Ivonna Veiherte Projekta vadītāja/ Project manager: Vita Birzaka Izstādes dizains/ Design of the exhibition: Anna Heinrihsone Izstādes projekta sadarbības partneris/ Collaboration partner for the exhibition Boris Lurie Art Foundation, New York, USA: Gertrude Stein, President Anthony Williams, Chairman of the Board Chris Shultz, Collections Manager Jessica Wallen, Project Manager Rafael Vostell, Advisor Uz vāka: Boriss Lurje. Bez nosaukuma (Uzsmidzinātais NĒ). 1963. Masonīts, izsmidzināmā krāsa, 56x52 cm On the cover: Boris Lurie. Untitled (NO Sprayed). 1963. Spray paint on masonite © Boris Lurie Art Foundation Izstāde “Boriss Lurje un NO!art” turpina vienu no Mākslas muzejam RĪGAS BIRža tik svarīgajiem virzieniem – iepazīstināt skatītājus ar 20. gadsimta māks- las vēsturi, šajā gadījumā – ar tik spilgtu un neparastu kontrkultūras parādību kā NO!art kustība. Sociāli un politiski aktīvie sava ceļa gājēji, kā Boriss Lurje (Boris Lurie), Sems Gudmens (Sam Goodman), Stenlijs Fišers (Stanley Fisher), Ņujorkas kultūras dzīvē tiek atpazīti kā nepiekāpīgie opozicionāri, kuriem NO!art gars un 1960. gadu sākuma izstādes ir kļuvušas par impulsiem radošiem mek- lējumiem mūža garumā. Raksturojot šos māksliniekus un komentējot Borisa Lurje darbu izstādi savā galerijā, Ģertrūde Staina savulaik rakstījusi:” NĒ mākslā ir NĒ konformismam un materiālismam. Tas ir spēcīgs “NĒ” nebeidzamā masveidā sa- ražoto “JĀ” straumē ” (1963). Mēs esam pagodināti sadarboties ar Borisa Lurje Mākslas fondu Ņujorkā un iespēju sarīkot izstādi, kuras centrā ir viens no NO!art virziena radītājiem – bijušais rīdzinieks Boriss Lurje. īpaši vēlamies pateikties fonda prezidentei Ģertrūdei Stainai (Gertrude Stein). Mēs novērtējam viņas milzīgo ieguldījumu, kas veikts strādājot ar šo mākslinieku darbiem, tos pētot, un mērķtiecīgi atbals- tot ar to popularizēšanu saistītos procesus. Pateicamies Rafaelam Fostelam (Rafael Vostell) un Entonijam Viljamsam (Anthony Williams) par iniciatīvu un pa- veikto Rīgas izstādes organizēšanā. Paldies fonda kolekcijas pārzinātājiem un pētniekiem Krisam Šulcam (Chris Shultz) un Džesikai Veilenai (Jessica Wallen). Mākslas muzeja RĪGAS BIRža vadītāja Daiga Upeniece The exhibition “Boris Lurie and NO!art” continues to implement one of the most important objectives of the Art Museum RIGA BOURSE – to introduce viewers to the history of the 20th century art – this time, with such a vivid and unusual counterculture phenomenon as the NO!art movement. Boris Lurie, Sam Goodman, and Stanley Fisher were socially and politically active trailblazers, whose unyielding opposition found its creative expression through the spirit of their early 1960s NO!art exhibitions and cemented their reputation in New York’s cultural history. When describing these artists and commenting on the exhibition of Boris Lurie in her gallery, Gertrude Stein once wrote: “NO in art is NO to conformism and materialism. It is a powerful “NO” in the never-ending mass-produced stream of “YES””(1963). We are honored to cooperate with the Boris Lurie Art Foundation in New York and have the opportunity to hold an exhibition that focuses on one of the creators of NO!art movement - Boris Lurie, a former resident of Riga. In particular, we would like to thank the President of the foundation, Gertrude Stein. We appreciate her tremendous contribution to the research of these artists’ works and purposeful support of the processes involved in their promotion. We would like to thank Anthony Williams and Rafael Vostell for the initiative and accomplishments in organizing the exhibition in Riga. We thank the collection and project managers of the foundation Chris Shultz and Jessica Wallen. Daiga Upeniece The Head of Art Museum RIGA BOURSE 6 Boris Lurie and NO!art 7 Boriss Lurje un NO!art NOSLĒPUMAINĀ MĀKSLAS Ivonna Veiherte SASTĀVDAĻA – DROSME 10. ielas mākslinieku grupa Miltona Resnicka darbnīcā The 10th Street artists group at artist Milton Resnick’s studio © Photo: James Burke/The LIFE Picture Collection/Getty Images NO!art bija ideja, ko savā darbībā īstenoja radikāla mākslas grupa Ņujorkā 20. gs. 50.–60. gados. Tās vadošā figūra bija Rīgas ebrejs Boriss Lurje kopā ar diviem domubiedriem – Semu Gudmenu un Stenliju Fišeru. Bet šo ideju var uz- skatīt arī par grupu jeb kustību, kam uz laiku pievienojās arī citi mākslinieki, kas tajā laikā dzīvoja vai uzturējās Ņujorkā. Šajā izstādē akcentēts laika posms no 1959. līdz 1964. gadam, jo tas ir laiks, kad NO!art aktivitātes aizsākās, notika grupas pamatsastāvā un bija vis- jaudīgākās. Vēlāk NO!art ideja aizvien vēl bija dzīva, tomēr daži tās atbalstītāji bija vai nu uzsākuši individuālu karjeru, apsīkuši vai miruši. Tieši Boriss Lurje kā NO!art Man arī ir konsekventi popularizējis NO!art pasaulē un tiek saistīts ar to. Boriss Lurje tā laika mākslas dzīvē zināms ne tikai saistībā ar NO!art. Viņš bija aktīva un būtiska figūra Ņujorkas Griničvilidžas mākslinieku rajona kļūšanā par pēckara alternatīvās kultūras centru. Šis laiks Ņujorkā deva iespējas un bija piemērots viņa mākslas izpausmei. Kopumā par NO!art darbībām rakstīts samērā daudz, tikuši izdoti vairāki izstāžu katalogi arī Borisa Lurjes dzīves laikā. Viņa dzīves beigās tika radīts Boris Lurie Art Foundation (BLAF) un tas uzsācis gan atstāto darbu, foto un manu- skriptu apkopošanu, gan Borisa Lurjes un NO!art izstāžu organizēšanu dažādos pasaules muzejos. Šīs izstādes tēma ir gan Ņujorkas 60. gadu mākslas dzīve, andergraunds un NO!art, gan tādas lielās vēsturiskās traģēdijas kā ebreji un holokausts. Lai arī 20.gadsimta mākslas vēsturē NO!art grupa nav plaši apskatīta, tomēr tā laika ietekmīgie mākslas apskatnieki un kritiķi jau Lurjes dzīves laikā pievērsuši uzmanību šai parādībai un rakstījuši par to. Daži raksti publicēti katalogā šīs iz- stādes kontekstā. Par saviem nodomiem, cīniņiem un uzskatiem daudz izteicies pats Boriss Lurje – manifestos, intervijās, dažādos tekstos. Turklāt viņa atraktīvā inteliģence ļāva rakstīto formulēt asi un tēlaini. Tādēļ arī šeit tiek iekļauts Lurjes stāstījums par savām un NO!art aktivitātēm. Ar visa materiāli izpēti nodarbojas Boris Lurie Art Foundation. Vēl ir daudz neskaidrību un pilnīgāka NO!art analīze ir nākotnes uzdevums. Arī šī izstāde 8 Boris Lurie and NO!art 9 Boriss Lurje un NO!art tikai iespēju robežās iepazīstina ar NO!art. Atsevišķa, tikai Borisam Lurjem veltīta izstāde paredzēta Daugavpils Marka Rotko mākslas centrā Daugavpilī, 2019. gada aprīlī. Tur arī tiks eksponēti mākslinieka svarīgākie un tai pat laikā provo- katīvākie darbi, kuri šai izstādē nav pieejami, jo eksponēti Laikmetīgās māklsas muzejā Krakovā. Lai tomēr radītu priekšstatu par tiem arī Rīgā, vairāki reprodu- cēti atsevišķā sadaļā šajā katalogā. Fonda rīcībā atrodas arī citu NO!art līdzdalībnieku darbi, bet ne visi ir sagla- bājušies kopš 20.gs. 60. gadiem, atsevišķi nebija pieejami, tādēļ iztēle būs jāro- sina ar fotogrāfiju palīdzību. Atsevišķu un būtisku informāciju par iesaistītajiem māksliniekiem iespējams gūt pievienotajās biogrāfijās, ko saistībā tieši ar šo izstādi sagatavojuši BLAF līdzstrādnieki. Tāpat vēl jāpēta atsevišķu mākslinieku tiešā līdzdalība turpmākajās aktivitātēs pēc 1964.gada. Izstādes “Boriss Lurje un NO!art” norise Rīgā ir svarīga, jo Lurje ir īpaši ar to saistīts. No 1925.gada līdz II pasaules karam Lurjes ģimene dzīvoja Rīgā. Viņš apmeklēja vācu ģimnāziju un prata latviešu valodu. Atgriešanās Rīgā notika 1975. gadā un visas atmiņas, tikšanās un savas emocijas Boriss Lurje aprakstījis savos vēl nepublicētajos memuāros ar nosau- kumu In Riga , kas tapa vairāku gadu gaitā pēc Latvijas apmeklējuma. Lai saprastu NO!art grupu un tēmu, par ko ir šī izstāde, jāzina arī B. Lurjes biogrāfija, viņa un citu mākslinieku darbu radīšanas konteksts. Lurje dzimis 1924. gadā Ļeņingradā, ebreju ģimenē, pēc gada ģimene pārcēlusies uz Rīgu, jo, tāpat kā daudzi citi Krievijas biznesa un inteliģences pārstāvji, pēc Ļeņina nāves cerēja rast šeit patvērumu no Staļina represijām. Ienākot vācu armijai Rīgā, Lurjes ģimene tika pārvietota uz geto un vēlāk māte, vecmāmiņa un māsa tika nošautas Rumbulas mežā. Borisam Lurjem toreiz bija 17 gadu un kopā ar tēvu Eliju (Iļju) viņi līdz pat kara beigām tika pārvietoti no vienas koncentrācijas nometnes uz otru, nonākot arī nežēlīgākajā no tām – Mag- deburgas nometnes satelītā, Buhenvaldē. Šī holokausta pieredze arī nosaka visu tālāko Borisa Lurjes dzīvi, tās jēgu, motivāciju un dzīves veidu. Pēc atbrīvošanas, Boriss Lurje kopā ar tēvu, pārcēlās uz ASV un nonāca Ņujorkā, kur ritēja turpmākā dzīve. Borisa Lurjes tēvs ātri atspirga un izmantoja visas iespējas jaunajos apstākļos, kļūstot par vērienīgu Ņujorkas būvuzņēmēju un namīpašnieku. Borisu interesēja māksla un viņš uzsāka mācības Mākslas Stu- dentu līgā (Art Student League), vienlaikus savos zīmējumos un gleznojumos, attēlojot pieredzēto nāves nometnēs. Boriss Lurje bija pārāk jauns, un pēc pieredzētā nāves nometnēs viņš arī nespēja atlabt tik šķietami ātri kā tēvs. Tūlīt pēc kara, holokaustā izdzīvo- jušie, kaunējās runāt par to, kas ar tiem bija noticis, jo jutās vainīgi par to, ka izdzīvojuši. Un, ja runātu un rādītu, tad nebija skaidrs,
Load more

Recommended publications
  • Gordon Onslow Ford Voyager and Visionary
    Gordon Onslow Ford Voyager and Visionary 11 February – 13 May 2012 The Mint Museum 1 COVER Gordon Onslow Ford, Le Vallee, Switzerland, circa 1938 Photograph by Elisabeth Onslow Ford, courtesy of Lucid Art Foundation FIGURE 1 Sketch for Escape, October 1939 gouache on paper Photograph courtesy of Lucid Art Foundation Gordon Onslow Ford: Voyager and Visionary As a young midshipman in the British Royal Navy, Gordon Onslow Ford (1912-2003) welcomed standing the night watch on deck, where he was charged with determining the ship’s location by using a sextant to take readings from the stars. Although he left the navy, the experience of those nights at sea may well have been the starting point for the voyages he was to make in his painting over a lifetime, at first into a fabricated symbolic realm, and even- tually into the expanding spaces he created on his canvases. The trajectory of Gordon Onslow Ford’s voyages began at his birth- place in Wendover, England and led to the Royal Naval College at Dartmouth and to three years at sea as a junior officer in the Mediterranean and Atlantic fleets of the British Navy. He resigned from the navy in order to study art in Paris, where he became the youngest member of the pre-war Surrealist group. At the start of World War II, he returned to England for active duty. While in London awaiting a naval assignment, he organized a Surrealist exhibition and oversaw the publication of Surrealist poetry and artworks that had been produced the previous summer in France (fig.
    [Show full text]
  • Apskates Objekti Muzeji Skatu Laukumi Iepirkšanās
    24 ANNAS IELA GRODŅAS IELA BRĪVĪBAS IELA SPORTA IELA DAGMĀRAS IELA VIĻŅAS IELA 3 11 PALĪDZĪBAS IELA VIESTURA DĀRZS ARISTIDA BRIĀNA IELA 16 HANZAS IELA 3 TALLINAS IELA HANZAS IELA ŠARLOTES IELA 1 BUĻĻU IELA VIĻŅAS IELA HANZAS IELA 19 EMBŪTES IELA ANDREJSALA VALKAS IELA VAŠINGTONA ZAUBES IELA LAUKUMS 24 VESETAS IELA 5 LENČU IELA MAIZNĪCAS IELA RŪPNIECĪBAS IELA VERU IELA MATROŽU IELA DZEGUŽKALNS VIDUS IELA GANU IELA HANZAS IELA SALDUS IELA LOČU IELA 16 BUĻĻU IELA SAKARU IELA MEDNIEKU IELA 3 STRĒLNIEKU IELA 1 MIERA IELA DAUGAVGRĪVAS IELA EMIĻA MELNGAIĻA IELA STABU IELA BRUŅINIEKU IELA DZEGUŽU IELA DZIRNAVU IELA KR. BARONA IELA APSKATES OBJEKTI 36 Kristus Piedzimšanas 31 Rīgas Jūgendstila muzejs SKOLAS IELA SIGHTSEEING pareizticīgo katedrāle Art Nouveau Museum 1 TĒRBATAS IELA TALLINAS IELA ДОСТОПРИМЕЧАТЕЛЬНОСТИ Nativity of Christ Cathedral Рижский музей югендстиля IELA AUSEKĻA 11 Кафедральный собор Jugendstilmuseum Riga VĪLANDES IELA SEHENSWÜRDIGKEITEN 31 ĢERTRŪDES IELA CENTRS ĢIPŠA IELA Рождества Христова ELIZABETES IELA RŪPNIECĪBAS IELA 32 33 P. Stradiņa Medicīnas vēstures EKSPORTA IELA ALBERTA IELA CENTER 1 Rīgas pils Christi-Geburt-Kathedrale muzejs PULKVEŽA BRIEŽA IELA Riga Castle ЦЕНТР Vecā Sv. Ģertrūdes baznīca P. Stradins Museum of the STRĒLNIEKU IELA Рижский замок 38 Old St. Gertrude’s Church History of Medicine ANTONIJAS IELA ZAĻĀ IELA ZENTRUM Rigaer Schloss A.ČAKA IELA Старая Гертрудинская Музей истории медицины RĪGABAZNĪCAS IELA ELIZABETES IELA 2 Lielais Kristaps церковь им. П. Страдыня 39 Great Kristaps ENKURU IELA Alte St. Gertrude-Kirche
    [Show full text]
  • Homage to Roberto Matta
    FIAC PARIS | BOOTH C29 | GRAND PALAIS | OCTOBER 17–20, 2019 At this year’s FIAC, in honor of the late Germana Matta, we will mount an Homage to Roberto Matta Paris was one of the principal residencies of Matta. The exhibition will therefore include parts of the archives and sketchbooks from Matta’s Parisian home. The core of the presentation consists of three highly important large scale works, executed between 1947 and 1958. It will be complemented by midsize works on canvas and paper as well as sculptures. Matta’s influence can be felt both in today’s Contemporary Art as well as in the Tech-World; his impact on fellow New York artists in the 1940’s was summarized by nobody other than Marcel Duchamp: “Still a young man, Matta is the most profound painter of his generation” MARCEL DUCHAMP, 1944 While the legendary MoMA curator and Picasso Scholar William Rubin had this to say about Matta: “Matta became the only painter after Duchamp to explore wholly new possibilities in illusionistic space” WILLIAM RUBIN, 1985 For more information on our FIAC exhibition and Matta please contact Mathias Rastorfer: [email protected] Additional works to be shown are by Yves Klein, Wifredo Lam, Fernand Léger, Joan Miró, Pablo Picasso, Antonio Saura ABOUT GALERIE GMURZYNSKA Founded in Cologne in 1965, Galerie Gmurzynska has been a leading international art gallery specializing in masterpieces of both classic modern and post-war art for more than 50 years. Galerie Gmurzynska is also the prime gallery worldwide for artists of the Russian avant-garde and early 20th century abstraction.
    [Show full text]
  • Drawing Surrealism Didactics 10.22.12.Pdf
    ^ Drawing Surrealism Didactics Drawing Surrealism is the first-ever large-scale exhibition to explore the significance of drawing and works on paper to surrealist innovation. Although launched initially as a literary movement with the publication of André Breton’s Manifesto of Surrealism in 1924, surrealism quickly became a cultural phenomenon in which the visual arts were central to envisioning the world of dreams and the unconscious. Automatic drawings, exquisite corpses, frottage, decalcomania, and collage are just a few of the drawing-based processes invented or reinvented by surrealists as means to tap into the subconscious realm. With surrealism, drawing, long recognized as the medium of exploration and innovation for its use in studies and preparatory sketches, was set free from its associations with other media (painting notably) and valued for its intrinsic qualities of immediacy and spontaneity. This exhibition reveals how drawing, often considered a minor medium, became a predominant mode of expression and innovation that has had long-standing repercussions in the history of art. The inclusion of drawing-based projects by contemporary artists Alexandra Grant, Mark Licari, and Stas Orlovski, conceived specifically for Drawing Surrealism , aspires to elucidate the diverse and enduring vestiges of surrealist drawing. Drawing Surrealism is also the first exhibition to examine the impact of surrealist drawing on a global scale . In addition to works from well-known surrealist artists based in France (André Masson, Max Ernst, Joan Miró, Salvador Dalí, among them), drawings by lesser-known artists from Western Europe, as well as from countries in Eastern Europe and the Americas, Great Britain, and Japan, are included.
    [Show full text]
  • Works on Paper & Editions 11.03.2020
    WORKS ON PAPER & EDITIONS 11.03.2020 Loten met '*' zijn afgebeeld. Afmetingen: in mm, excl. kader. Schattingen niet vermeld indien lager dan € 100. 1. Datum van de veiling De openbare verkoping van de hierna geïnventariseerde goederen en kunstvoorwerpen zal plaatshebben op woensdag 11 maart om 10u en 14u in het Veilinghuis Bernaerts, Verlatstraat 18 te 2000 Antwerpen 2. Data van bezichtiging De liefhebbers kunnen de goederen en kunstvoorwerpen bezichtigen Verlatstraat 18 te 2000 Antwerpen op donderdag 5 maart vrijdag 6 maart zaterdag 7 maart en zondag 8 maart van 10 tot 18u Opgelet! Door een concert op zondagochtend 8 maart zal zaal Platform (1e verd.) niet toegankelijk zijn van 10-12u. 3. Data van afhaling Onmiddellijk na de veiling of op donderdag 12 maart van 9 tot 12u en van 13u30 tot 17u op vrijdag 13 maart van 9 tot 12u en van 13u30 tot 17u en ten laatste op zaterdag 14 maart van 10 tot 12u via Verlatstraat 18 4. Kosten 23 % 28 % via WebCast (registratie tot ten laatste dinsdag 10 maart, 18u) 30 % via After Sale €2/ lot administratieve kost 5. Telefonische biedingen Geen telefonische biedingen onder € 500 Veilinghuis Bernaerts/ Bernaerts Auctioneers Verlatstraat 18 2000 Antwerpen/ Antwerp T +32 (0)3 248 19 21 F +32 (0)3 248 15 93 www.bernaerts.be [email protected] Biedingen/ Biddings F +32 (0)3 248 15 93 Geen telefonische biedingen onder € 500 No telephone biddings when estimation is less than € 500 Live Webcast Registratie tot dinsdag 10 maart, 18u Identification till Tuesday 10 March, 6 pm Through Invaluable or Auction Mobility
    [Show full text]
  • Visits4u Itineraries: History and Heritage Route Riga, Latvia
    visits4u itineraries : History and Heritage Route Riga, Latvia visits4u is co-funded by the COSME Programme of the European Union Riga, Latvia: History and Heritage Route Description of the town Riga, capital of Latvia is located on the shore of Baltic Sea, on the creek of Daugava river and with almost 700,000 inhabitants and 18 different districts is the biggest metropolis in the Baltics. Riga was founded in 1201 and is a former Hanseatic League member. Riga's historical center is a UNESCO World Heritage Site, noted for its Art Nouveau/Jugendstil architecture and 19th century wooden architecture. Over the centuries, the city has developed as a center for trade, transit and later became an industrial center. Riga is also known for being a green and blooming city – large and well- kept parks, romantic squares, beautiful gardens. Already since the 18 th century, Regan’s have taken great interest in the art of gardening, creating lush public parks and picturesque squares. Unhurried walks, colourful flowerbeds, leisurely sitting in benches or lawns in a park, bird songs and leaves rustling in the wind – this is Riga where city meets Nature. Landscape of Old Riga featuring Dome Cathedral in the center www.visits4u.eu Project No: 699484 | Call: COS – TOUR – 2015 – 3 – 04 – 1 Page 1 The content of this document represents the views of the author only and is his/her sole responsibility; it cannot be considered to reflect the views of the European Commission and/or the Executive Agency for Small and Medium-sized Enterprises or any other body of the European Union.
    [Show full text]
  • KZ – Kampf – Kunst BORIS LURIE: NO!ART
    KZ – Kampf – Kunst (CONCENTRATION CAMP – STRUGGLE – ART) BORIS LURIE: NO!ART The works of Boris Lurie have the power to shock. Many were created more than fifty years ago, but have lost none of their potential to rattle cages, to polarise opinion and to test the boundaries of tolerability. Boris Lurie’s comprehensive and controversial body of work will be presented in the NS Documentation Centre in Cologne as of 27 August 2014. The exhibition – developed in cooperation with the Boris Lurie Foundation in New York and under the curatorial direction of gallery owner Gertrude Stein – features the first impressive works created directly after Lurie’s release from Buchenwald concentration camp, as well as works from the 1940s and 1950s that have never been seen in Europe before. A selection of his impressive sculptural works from the 1970s will also be presented for the first time in the basement. The profoundly human existentialism and peculiarly European characteristics that inform his works – and, not least, his aggressively political outlook – made Lurie something of an outsider in a New York art world in thrall to abstract expressionism and pop art, a state of affairs that endured until his death in 2008. Born in Riga in 1924 to a wealthy Jewish middle-class family, the artist experienced the catastrophes and upheavals of the 20th century at first hand. Together with his father, he survived the Stutthof and Buchenwald concentration camps. His mother, grandmother, younger sister and childhood sweetheart were all murdered in the Massacre of Rumbula, near Riga, in 1941. Lurie described himself as a privileged concentration camp survivor who quickly gained a foothold as a translator in post-war Germany, emigrating to New York with his father in 1946, where he lived and worked for the rest of his days.
    [Show full text]
  • Salvador Dalí. Óscar Domínguez Surrealism and Revolution
    Salvador Dalí. Óscar Domínguez Surrealism and Revolution The publication in 1929 of the Second Manifesto of Surrealism marked a new stage in surrealism, character- ised by a move closer to revolutionary ideologies aimed at transforming not just art but society and its whole moral doctrine. Fundamental to this new stage was the innovative drive of two Spanish artists: Salvador Dalí and Óscar Domínguez. The founding of the journal Le Surréalisme au service de la révolution Dalí attempted to translate the mind’s dreamlike processes into in 1930 offers an exemplary account of the ideological premise that painting, exhibited in Freud’s The Interpretation of Dreams. Aside the surrealist movement had achieved. The year before, the second from his admiration for Freud, Dalí’s encounter with Jacques surrealist manifesto proposed its “threefold revolution in solidarity”: Lacan in 1932, shortly after the artist published his thesis on that is, an artistic and literary transformation, a moral transformation paranoia, would greatly influence his work. Soon after, Dalí would and a societal transformation. In this manner, the connections some develop his “Paranoiac-Critical Method,” which entailed an en- artists had to the Communist Party and its influence on the surrealist tire revolution for the movement. This method, which drew from movement were made explicit. surrealist techniques, distinguished itself from the others in two In its second stage, the movement needed to reinvent itself, and two main aspects: by introducing the active condition and realism figures like Salvador Dalí (1904-1989) and Óscar Domínguez (1906- to the movement. On the one hand, Dalí’s method rejected the 1957) could foster this necessary change.
    [Show full text]
  • Events in Riga April / May / June 2015 Planeta 210X100mm PRINT.Pdf 1 09.12.2014 10:09:28 EVENTS in RIGA APRIL / MAY / JUNE 2015
    Events in Riga April / May / June 2015 planeta 210x100mm _ PRINT.pdf 1 09.12.2014 10:09:28 EVENTS IN RIGA APRIL / MAY / JUNE 2015 CONTENTS 2 April Events 21 May Events 37 June Events 48 List of venue addresses RIGA TOURIST INFORMATION CENTRES At the Riga Tourist Information Centre (Rātslaukums 6), you can receive more information, as well as tickets to most of the events mentioned. Rātslaukums 6. Phone: +371 67037900 Kaļķu iela 16. Phone: +371 67227444 Riga International Coach Terminal Prāgas iela 1. Phone: +371 67220555 Working hours: April: 10:00–18:00 May, June : 9:00–19:00 [email protected] www.LiveRiga.com in cooperation with: This information has been prepared on 25.02.2015. The Riga Tourism Development Bureau is not responsible for any changes made by event organisers. On national holidays (03.-06.04., 01.-04.05., 22.-24.06.2015), certain locations may be closed or have shortened working hours. EVENT CALENDAR Date Time Event Venue Pg. 01.04.- 9:00-19:00 Egle's Crafts Fair Egle's Crafts Fair 8 31.12. 10:00- Two Centuries of Italian Art Museum Riga 01.-19.04. 18:00 Portrait Painting. 1580-1780: 8 Bourse (II-VII) An Exhibition 10:00- Jewellery artist Emmanuel 18:00 (I-V), 01.-11.04. Lacoste`s exhibition: "The Art gallery Putti 8 11:00-17:00 Seven Deadly Sins" (VI) 10:00- 04.03.- Exhibition "Gem of Art Riga Art Nouveau 18:00 8 24.05. Nouveau: Riga Synagogue" Museum (II-VII) The Pauls Stradins 01.04.- 11:00-17:00 Exhibition "Anatomist: The museum of 8 16.05.
    [Show full text]
  • Art Boris Lurie and NO!Art
    1 Boris Lurie in NO!art Boris Lurie and NO!art Boris Lurie in NO!art Boris Lurie and NO!art Kazalo 4 Boris Lurie Andreja Hribernik 24 Uvod Introduction Ivonna Veiherte 26 Skrivna sestavina umetnosti – pogum 40 The Secret Component of Great Art – Courage Stanley Fisher (1960) 56 Izjava ob Vulgarni razstavi Vulgar Show Statement Boris Lurie (1961) 58 Izjava ob Vključujoči razstavi 59 Involvement Show Statement Stanley Fisher (1961) 62 Izjava ob razstavi Pogube Doom Show Statement Boris Lurie (1964) 66 Spremna beseda k razstavi kipov NO! Sama Goodmana 68 Introduction to Sam Goodman ‘NO-sculptures’ Thomas B. Hess (1964) 70 Spremna beseda k razstavi kipov NO! 71 Introduction to the NO-sculptures show Tom Wolfe (1964) 73 Kiparstvo (Galerija Gertrude Stein) 74 Sculpture (Gallery Gertrude Stein) Dore Ashton (1988) 76 Merde, Alors! 78 Merde, Alors! Harold Rosenberg (1974) 80 Bika za roge 81 Bull by the Horns Contents 84 Boris Lurie 107 Sam Goodman 122 Stanley Fisher 128 Aldo Tambellini 132 John Fischer 134 Dorothy Gillespie 138 Allan D’Arcangelo 142 Erró 148 Harriet Wood (Suzanne Long) 152 Isser Aronovici 154 Yayoi Kusama 158 Jean-Jacques Lebel 164 Rocco Armento 166 Wolf Vostell 172 Michelle Stuart Marko Košan 176 Pričevanje podobe (Lurie, Mušič, Borčić) 184 The Testimony of an Image (Lurie, Mušič, Borčić) 190 Seznam razstavljenih del List of exhibited works BORIS LURIE Portret moje matere pred ustrelitvijo / Portrait of My Mother Before Shooting, 1947, olje na platnu / Oil on canvas, 92,7 x 64,8 cm © Boris Lurie Art Foundation BORIS LURIE Tovorni vagon, asemblaž 1945 Adolfa Hitlerja / Flatcar.
    [Show full text]
  • Liveriga.Com
    RIGA – A CITY WITH A STORY FOR EVERYONE 1 INDEX INTRODUCTION TO RIGA 2 RIGA’S ARCHITECTURE 4 NEIGHBORHOODS 8 ART AND CULTURE 12 FOOD SCENE 18 GOING OUT 21 FASHION AND DESIGN 24 ANNUAL EVENTS 28 RIGA TOURIST INFORMATION CENTRES Rātslaukums 6, ph. + 371 67037900 Kaļķu iela 16, ph. + 371 67227444 WORKING HOURS: 10:00 – 18:00 [email protected] RIGA TOURISM DEVELOPMENT BUREAU www.LiveRiga.com 2 1 Do you know what’s the one question about Riga visitors to the city most often ask? No, it’s not about the current economic situation or what time of year is best to visit Riga. In fact, it’s more of an observation than a question: "It feels like Riga is bubbling over with life and has become something like the creative epicentre of the Baltics. There’s so much going on, especially in INTRODUCTION culture. Why exactly Riga, and why right now?" Historically, Riga has always been a crossroads, a melting pot of various nations and cultures. But the unique patina in this city of more than 600,000 inhabitants has in large part also been formed by the proximity of water – the Daugava River and the Gulf of Riga. The city has always lived in TO RIGA close cooperation with nature, which is still an important part of its residents’ daily lives – the many public parks, forests, squares, lakes and city canal. Riga has hills and islands as well as beaches. Nesting birds and even beavers call the city home. In addition, considering the relatively compactness of the city, many of its sites are within walking distance: special urban pulse points and green relaxation zones, a dynamic city atmosphere and the romance of rural idylls.
    [Show full text]
  • Manolis Projects Gallery HUNT SLONEM
    HUNT SLONEM - Biography Hunt Slonem was born on July 18, 1951 in Kittery, Maine, and his father’s position as a Navy officer meant the family moved often during Hunt’s formative years, including extended stays in Hawaii, California and Connecticut. He would continue to seek out travel opportunities throughout his young-adult years, studying abroad in Nicaragua and Mexico; these eye-opening experiences imbued him with an appreciation for tropical landscapes that would influence his unique style. After graduating with a degree in painting and art history from Tulane University in New Orleans, Slonem spent several years in the early 1970s living in Manhattan. It wasn’t until Janet Fish offered him her studio for the summer of 1975 that Slonem was able to fully immerse himself in his work. His pieces began getting exhibited around New York, propelling his reputation and thrusting him into the city’s explosive contemporary arts scene. He received several prestigious grants, including from Montreal’s Elizabeth Greenshields Foundation, the National Endowment for the Arts, and the Cultural Counsel Foundation’s Artist Project, for which he painted an 80-foot mural of the World Trade Center in the late 1970s. He also received an introduction to the Marlborough Gallery, which would represent him for 18 years. As Slonem honed his aesthetic, his work began appearing in unique, contextual spaces. By 1995 he finished a massive six-by-86-foot mural of birds, which shoots across the walls of the Bryant Park Grill Restaurant in New York City. His charity work has resulted dozens of partnerships, including a wallpaper of his famous bunnies designed specifically with Lee Jofa for the Ronald McDonald House in Long Island.
    [Show full text]