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- Author Andris Eglītis
- Date of production 2016
- Dimensions height: variable, width: variable
- Author's designation none
- ID no. BS/1102
- Availability in stock
- Acquired date 2016
- Object copyright Bunkier Sztuki Gallery of Contemporary Art
- Digital images copyright CC BY-NC-ND 4.0 Attribution – NonCommercial – NoDerivatives 4.0
- Digitalisation RDW MIC, Virtual Małopolska project
The site-specific installation by Andris Eglītis, who combines oil paintings on canvas and spatial objects, straddles the border of materiality and immateriality, documentation and imagination. The artist analyses the abstract ideas of post-war modernism (utopian design, simplicity of forms, and fascination with technology) and confronts them with the organic substantiality of reality. The structure of the work is on the one hand the historical and social context of the Gallery, its functioning in communist times, as well as the fate of its architecture and collections preceding 1989.more
The site-specific installation by Andris Eglītis, who combines oil paintings on canvas and spatial objects, straddles the border of materiality and immateriality, documentation and imagination. The artist analyses the abstract ideas of post-war modernism (utopian design, simplicity of forms, and fascination with technology) and confronts them with the organic substantiality of reality. The structure of the work is on the one hand the historical and social context of the Gallery, its functioning in communist times, as well as the fate of its architecture and collections preceding 1989. On the other hand, the creation of this installation is the result of careful observation and recording the process of changes to the interior of the building for the needs of the exhibition, Z mojego okna widać wszystkie kopce [All mounds can be seen from my window], including the demolition of a wall that earlier obliterated the row of windows on the first floor of the building of Bunkier Sztuki Gallery of Contemporary Art. Situations and elements encountered in the gallery, such as the grey material covering the glazing or wall remains, were recreated by the artist in the form of painting or directly incorporated into the installation itself. It was the same with the oil painting by Irena Trzetrzewińska-Gaj, Mała Polana [Small Glade] (1970), which belongs to the collection. Some of the discovered objects served as the skeleton for a packaging object, hiding its interior under layers of black foil. Neither did Eglītis hesitate to intervene in the matter of the building, which showed the structure of its walls, ventilation, and electrical systems. The illusionist forms of the paintings painted by the artist and the objects found in space and transformed or extracted by the gesture of the artist, interpenetrate each other, creating a spatial unity in which abstract forms shape the reality.
This work is licensed under a Creative Commons Attribution 3.0 Poland License.
Andris Eglītis (b. 1981) is a multimedia artist, and the author of paintings, photographs, objects, and installations. His works reveal interest in the issue of the dualism of materiality and immateriality of art, which corresponds to the duality of human nature, combining corporeality with spirituality. He studied at the Art Academy of Latvia, the Ilya Repin Institute of Arts St. Petersburg, Manchester Metropolitan University, and at HISK in Ghent. In 2013, he obtained the Purvitis Prize – the most important prize in the field of fine arts in Latvia. Since 2008, he has been a lecturer at the Art Academy of Latvia. He is the author of individual exhibitions, including: Near ideal (Gallerie Krome, Berlin, 2012), Possible place (De Filatuur Gallery, Aalst, 2014), Dirty Modernism (Gallery Alma, Riga, 2014) and has participated in many collective presentations. Together with Katerina Neiburg, he is the author of the installation Armpit, presented at the Latvian Pavilion at the 56. Biennale di Venezia (2015) and in California, at the Coachella Valley Music and Arts Festival (2016). He lives and works in Riga.