> Mai
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Unter Vorbehalt der Coronasituation.
7. - 23. Mai 2021
Marta Veinberga
Die Stickerserie
Geplant ist eine Eröffnung am Freitag, dem 7. Mai 2021 ab 18.30 Uhr.
mit „Collective Blanket“ einem Gemeinschaftsprojekt von Veinberga und der lettischen Modedesignerin Laima Jurča. (siehe unten). Elemente aus Veinbergas Bildern wurden aufwendig auf Stoffe übertragen, die Jurča zu einer Kollektion von 18 Kleidungsstücken verarbeitet hat. Einige Stücke aus dieser Kollektion sollten an diesem Abend von der Tanzcompagnie Kollektiva getragen und in Szene gesetzt werden. Leider werden wir vermutlich auch diesen Teil der Ausstellung in ein Onlineformat übertragen müssen.
Offnungszeiten Samstags und Sonntags 14 - 20 Uhr.
An Wochentagen nach Vereinbarung.
Galerie Stobbe • Paidere • Mondot
Kiebitzhof 6, Haus G, 2. Etage
Marta Veinberga
Die Stickerserie
Geplant ist eine Eröffnung am Freitag, dem 7. Mai 2021 ab 18.30 Uhr.
mit „Collective Blanket“ einem Gemeinschaftsprojekt von Veinberga und der lettischen Modedesignerin Laima Jurča. (siehe unten). Elemente aus Veinbergas Bildern wurden aufwendig auf Stoffe übertragen, die Jurča zu einer Kollektion von 18 Kleidungsstücken verarbeitet hat. Einige Stücke aus dieser Kollektion sollten an diesem Abend von der Tanzcompagnie Kollektiva getragen und in Szene gesetzt werden. Leider werden wir vermutlich auch diesen Teil der Ausstellung in ein Onlineformat übertragen müssen.
Offnungszeiten Samstags und Sonntags 14 - 20 Uhr.
An Wochentagen nach Vereinbarung.
Galerie Stobbe • Paidere • Mondot
Kiebitzhof 6, Haus G, 2. Etage
Marta Veinberga is a visual artist living and working in Riga, Latvia. In her paintings and three-dimensional works she explores found and readymade materials, one of them – the supermarket prize stickers – being her recent favorite. Although a material is often a starting impulse, every indivudual work builds up as a conceptual network between the general idea or the theme, the material, visual language and sometimes the creative process itself. An interest in the physical environment as a reflecion of human character in historical and social contexts is central to Veinberga's work.
These are the prize stickers. Originally it is an advertising material, something one receives in supermarkets, fuel stations and convenient stores usually for every 5 - 10 euros spent. A collection of them attached to a card gives an opportunity to buy certain products with discounts. Though many people think that they already have too much stuff and just throw them out. Others collect them with no clear purpuse. For Marta Veinberga, these stickers serve as an upcycled painting material. It has turned out that there are many, who find this particular use of them most reasonable and donate their stickers for art.
Marta Veinberga, Laima Juča
Fashion collection “Collective Blanket”
18 looks (10 female; 8 male)
The collection “Collective Blanket” is collaboration between fashion artist Laima Jurča and painter Marta Veinberga. The collection’s graphical identity is based on Marta’s paintings that are made of a material well recognizable to anybody in Baltics (and beyond) – prize stickers issued by supermarkets, gas stations and convenience stores (www.martaveinberga.com ). In short, these paintings polemicize on mass aesthetics, remains of the soviet visual culture in the contemporary environment and excessive shopping as a short-term remedy and fake solution to our desires – themes that has an equally strong presence in the earlier creative work of Laima Jurča (see, for example, her collection “Piecgades ģenerālmēģinājums” https://www.laimajurca.com/collection/piecgades-generalmeginajums ).
The central theme of the “Collective Blanket” is a contradictory thinking of two epochs. On one hand, the constant overproduction and excess of goods in the market economy makes people buy cheap and unnecessary things thus the value system of and individual is being deformed. On the other hand, the overall deficiency of goods and lack of choice characteristic to a generally ill-fated soviet planned economy were, in its turn, encouraging for individual creation. The visual language of the “Collective Blanket” joins these two epochs in somewhat utopian way: the collection carries both the advertisement-like colour palette of prize stickers with slogans, popular brand logos and pop-culture heroes and, at the same time, brings forth some familiar silhouettes from the soviet era. This counterpoint aims at the importance of an individual will to create, to dream, to flirt with the system or evade it.
Fashion collection “Collective Blanket”
18 looks (10 female; 8 male)
The collection “Collective Blanket” is collaboration between fashion artist Laima Jurča and painter Marta Veinberga. The collection’s graphical identity is based on Marta’s paintings that are made of a material well recognizable to anybody in Baltics (and beyond) – prize stickers issued by supermarkets, gas stations and convenience stores (www.martaveinberga.com ). In short, these paintings polemicize on mass aesthetics, remains of the soviet visual culture in the contemporary environment and excessive shopping as a short-term remedy and fake solution to our desires – themes that has an equally strong presence in the earlier creative work of Laima Jurča (see, for example, her collection “Piecgades ģenerālmēģinājums” https://www.laimajurca.com/collection/piecgades-generalmeginajums ).
The central theme of the “Collective Blanket” is a contradictory thinking of two epochs. On one hand, the constant overproduction and excess of goods in the market economy makes people buy cheap and unnecessary things thus the value system of and individual is being deformed. On the other hand, the overall deficiency of goods and lack of choice characteristic to a generally ill-fated soviet planned economy were, in its turn, encouraging for individual creation. The visual language of the “Collective Blanket” joins these two epochs in somewhat utopian way: the collection carries both the advertisement-like colour palette of prize stickers with slogans, popular brand logos and pop-culture heroes and, at the same time, brings forth some familiar silhouettes from the soviet era. This counterpoint aims at the importance of an individual will to create, to dream, to flirt with the system or evade it.
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