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 They will notice and will stay Jānis Borgs, Art Critic Book They wouldn't notice. Latvian contemporary art and the international context by Helēna Demakova (Riga, 2010) | |
| When speaking of Latvian contemporary art, we are mostly thinking of the diverse expressions of avant-garde culture which have flourished in the twenty years since regaining our independence – between 1991 and 2010. And in this context, many erroneously consider that it is just a phenomenon of the newly-gained creative freedom, a complete contrast to the “depression” of Soviet period culture. It seems that such and similar opinions, which are rooted in the demonization of the occupation regime or motivated by propaganda, are not just factually incorrect, but also involuntarily belittle the vital force and productiveness of Latvian intellectual resistance. Our contemporary art is and remains the continuation of those trends in Latvian art which were set off in the early 20th century, it is a development built on the heritage, although at times disjointed, nevertheless with its own unstoppable dynamic. On examining Latvian contemporary art, alongside local and ethnic factors we will always find certain connections with international culture. Latvian art in fact has never fallen out of the common fabric of Western civilization – it has always been there as a distinctive thread. All of this is the result of long and continued work by the “weavers of art”. In recent times, one of the more prominent and active participants and creators of Latvian contemporary art processes has been Helēna Demakova. Many developments in Latvian contemporary art have taken shape directly thanks to her efforts. Demakova can surely be regarded as a consolidating, pivotal figure in the developments of Latvian contemporary art of the last twenty years. This is the reason why those who are involved in and observe artistic processes could be greatly interested in Helēna Demakova’s new book ‘They wouldn’t notice. Latvian contemporary art and the international context’, published by ¼ Satori. The 368 pages of the book contain twelve articles by Demakova about the various processes taking place in Latvian contemporary art, focussing mainly on the last decade. The topics include larger scale events, from her native Andrejsala to the breadth of documenta held in Kassel, as well as the creative work of outstanding individuals in Latvian art. In this sense it is a fundamental work, which helps to discover and gather information – what is happening and where are we headed in the labyrinths of our new art? The art critic, gives many answers and valuable insights which help to understand the situation, especially for those who are not in any way connected with avant-garde creativity. As the author herself emphasizes, this book is for “… all those who “don’t notice”… what and how “it is simmering” in our art pot”, or also for “… those who are talented and inquisitive, but … actively hate contemporary art”. Thus – once and again – it is the blessed work of enlightenment, which, so it seems, is one of the most vital aspects of Demakova’s life’s mission. Her wise judgements and thoughts are not mere academic theorization, neither have they matured behind a researcher’s desk, but they have been tried and tested in the daily practical work as an art curator and tempered in the rough conditions of reality. The book can most definitely be recommended for use as a textbook, everywhere and for everyone who is researching the history and issues of contemporary art. It is supplemented with a generous amount of visual materials. It is particularly significant that the whole work has a parallel English translation, even though the designers and editors of the book have made an unfortunate mistake which inconveniences reading of the English text – by making it the same typeface as the Latvian text. Nonetheless, the English translation is a concrete way of exiting the terra incognita zone and to lay claim at least to a more visible course in the happenings of world art. /Translator into English: Vita Limanoviča/ | |
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