All Senses / Day must be developed to apply for change

The Riga International Biennale of Contemporary Art, RIBOCA, takes place for the first time and has aroused general interest not only in the narrow circle of contemporary art consumers. Thanks to the honorable project coordinator Katerina Grega and the respectable budget of the event, it was not difficult for the biennial to anchor quickly and occupy a solid position in the artistic environment of Riga. However, we will not say that art organizers in Latvia receive it enthusiastically.

In addition to other existential, rational and irrational considerations, one wonders about how the local artistic environment, perceived as an ecosystem with highly viable inhabitants. "The event, however friendly and of high quality it seems." A more paradoxical situation is due to the fact that the content of the biennale clearly signals the inevitable changes everywhere in the world – in nature, in people built in public facilities and in the people themselves.

The Logical Structure

However, the purpose of this article is not to replace a public discussion not held on the reasons why large fish circulate or do not cover small fish, but to get acquainted with the generous offer.More than 100 artists exhibited at the Biennale, exhibited in eight venues and in the urban environment.In spite of the huge amount, the event is easy to grasp thanks to the logical and ecological structure, however, it takes several days to see the exhibitions. first party The Central Biennale is located at the former Faculty of Biology of the University of Latvia, with work dedicated to the development of science and technology and its impact on nature and society. . The third part – Andrejsala – is devoted to demographic, social and economic changes in the post-industrial landscape. In the fourth part – in the old textile factory Bolshevich – the artists turned to questions of eternal contradictions of nature and culture, consequences of entropy, destruction and moral depreciation. various manifestations of speed and acceleration, scientific, technological and social consequences that change the world both physically and virtually. Art Center Zuzeum as part of the sixth biennial, tackles the problem of reconciling the pace of personal life with the exuberance of information and the dynamic spirit of the 39; era. Seventh Part – Cannabis Cultural Center, where a Swedish study on the organization of female art is projected to shape the future of feminist politics. The last, eighth biannual stop is the Dubulti Art Center, in which Sensorius is arranged. Laboratory for slowing down bodily reactions and new sensory policies . All the works in these places reflect the common motto of the biennale Everything was eternal until it ceased to exist.

Aesthetically and Emotionally

I decided to take a closer look at this section of the first and last sections (A and H) of the Biennial, which will take me seems subjective of the most interesting questions and reveals the interest of Commissioner Katerina Gregma who is not ashamed to be aesthetic and emotional and, without losing its depth, can also be linked to non-spectators professionals.

The exhibition in the former Faculty of Biology is impressive. It represents all the media, with the share of video, photo and installation. Particularly appreciate the successful audio installations, whose main image and means of expression are the space itself. A very active and interesting building that has survived the scientific aura and has three museums in the authentic environment – zoology, history of chemistry and botany – created, with artists , many works emotionally impressive and thoughtful. Although contemporary art lacks images, the creation of new images, multiple works and the overall impression of the show are interconnected with images that already exist in consciousness, of which Frankenstein is without any doubt the most brilliant

. I really did not perceive the curator's intentions in dramaturgy in the dense layout of the relativistic message and the work of expression, but the regulated viewing allowed us to sneak our head and not waste time on look for art in the labyrinths of the building. The exhibition can be studied in two to three hours because the video is not long and the texts containing the texts do not require that they be read from one end to the other. l & # 39; other. However, some work would be desirable to learn more deeply than perception because of the limitations of perception during a visit to the exhibition, because behind them there are several years of research that have often been done by artists collaborating with academics in their field.

Waiting for a New World

The exhibition of the former Faculty of Biology illustrates what is often outrageous but rarely succeeds in considering contemporary art as a great tool for enriching knowledge and experiences. significant new insights into the usual phenomena, apparently obvious or incomprehensible. The concept of the biennale already underlines the fact that we are on the eve of a new world and makes us ponder with ourselves whether rapid technological progress will plunge us into the abyss or allow us to live in a world different, maybe better. Quite simply, the art selected for the exhibition by Katherine Greg is not always pbadively considered, but with an ambition expressing his sense of life and his opinion of the world today.

The exhibition shows that contemporary stories can be told in all media. It is striking in the first exhibition work – the ironic mural of the Greek artist Stella Faitak The New Religion. It was created in accordance with Greek orthodox iconography, the attribution of God's place to science and the development of a whole hierarchy of scientific cultures. The viewer is already forced to re-evaluate his beliefs, truths, badumptions and verifiability when he enters the building.

Among the many works in the exhibition, the most striking are those that characterize the content and form of equally active emotions. The installation of the American artist Linnas Härmsman-Lyson of the American artist Infinity Engine has been studied and staged with the latest technologies for handling the l & # 39; DNA and regenerative medicine, provoking critical reflections on life, death, immortality,

The installation of Swedish artist Šeštins Hamilton in the field of feminism, in which the ten -septual Baltic and Nordic scholarly photographic portraits of the twentieth century are found in layers of visual and textual information, seemingly both educational and enjoyable. Grand was the film of the German artist Sven Jones The feeling of warmth – a contemporary history about Sanmikelu . For impressive, I also call the bag the encapsulating installation of the Corpel building theme with a sensationally effective texture and shape, as well as the collection of the Polish Diagne Lelonecka, whose carefully studied exhibits grew on living beings – mosses, mushrooms, hybrids. The installation of the Greek Nika Navrida with sculptural ancient books was abandoned on the shelves of the library, while the choreographic film of Julian Rossefelt, born in Germany, on the disappearance of civilizations left the back visually strong plan.

Body Experience

The Art Station Dubulti created the impression of a good and interesting art and has carefully built the design of the exhibition. The curator Solvey Helvega Ovesen worked in the station building, in which Sensoria created four artists and nine musicians immersed in the body experience – the madness, often overlooked in favor of the view. The installation and performance of the Portuguese and German artist Maris Benjamin, doomed to taste, propose a new concept of food – recipes of local plants and flowers, as well as a diet different each week.

Anne Duk Hyderand, Korean and German artist. dedicated video installation that enchants everyone who downloads it. In the installation and in the accompanying study Gender change in ecology serious topics were discussed – climate change of the hydrosphere, ecosystem adaptation, baduality – but the way to solve it is playful and attractive. It even happened to me to observe that an accidental visitor from the exhibition had decided to miss the train to enjoy the facility.

The Norwegian and German artist Sister Tolosa focused on various aspects of the skin. 50 perfumes locked in the installation The corner of perfume with a place of origin indicated on the map. The good idea came to viewers in a completely suspicious way that looks like Bertie Bota Visgarse Peas because it can also inhale the misty forest smell.

The hearing of the senses is represented by the German and Turkish artist Virona Erola Verta Ambereum – the second floor space, which has a fascinating amber atmosphere with a film tonic and glbad reinforced by electronic music pieces. This is also an installation from which you do not want to leave – the mind is withheld and the listening body starts. This is also the most important message of the RIBOCA Riga Biennial – all the senses must be developed to adapt to the inevitable changes in the world.