Friday, 27 September, 16:00–16:30 (Jakobi 2, Room 107)
Language of presentation: Latvian
Art Academy of Latvia, PhD student
zanda_jankovska [ät] inbox.lv
Interaction of Art and Science in Latvia (1970s – 2010s)
Regarding art during the last fifty years the definition of style and movements has become more flexible and nebulous, therefore the evaluation of an art work – precautious. During this period aesthetics of technology play dominant roles in visual arts. It gives artists a new world where to materialize ones ideas; those that have not been possible to realize that before. This aspect has given way for and intensified discussions about the convergence of these two industries. It creates a question where art either starts or ends. As a result a new hybrid form of art develops - “scientific art”.
1. Stimulates its creators and viewers to discover new aesthetic values. Striving to be scientific and reasonable, it is not balancing with wit as a game of words;
2. Does not seek restoration of forms and themes of traditional art. Science serves an innovation of themes which inspire new formal and technical solutions;
3. Does not refer to other art works and it does not require comprehension of viewers which is based on memory, but it requires knowledge on different fields;
4. Although scientific art is associated with intertexuality, text is not as important as in conceptual art. It is not connected to reorganization of “conceptual complexity” but with the integration of other industries in the art.
The paper consists of subtopics: definitions and comparisons, space, image, and research as a method of art.
All these aspects are discussed focusing on the art practice in Latvia from 1970s until 2010, from a development of kinetic art until foundation of New Media Art Centre RIXC and creative work of independent artists, such as Voldemārs Jahonsons, Gints Gabrāns and Zane Bērziņa who are focusing on the question of relations between science and art.
Key words: art, science, kinetic art, technology, RIXC, Voldemārs Johansons, Gints Gabrāns