MAKSLA XO from Latvia in Art Madrid?16


Obra de Helena Heinrihsons



Since 1999, the Latvian gallery MAKSLA XO, directed by Ilze Zeivate, has focused its activity in the contemporary and emerging art in all disciplines but with special fondness for painting, sculpture and works on paper.



Obra de  Ivars Heinrihsons.


Artists and themes are equally varied, ranging from the traditional representation, to the most contemporary forms of urban and social art.


For Art Madrid '16, the proposal of the gallery is based on the recent work of a couple of contemporary artists of Latvia Helena and Ivars Heinrihsone Heinrihsons.





Obra de Helena Heinrihsone.



Helena Heinrihsone - open, cheerful colors, expressive - works with painting, watercolor, lithography, animation and even porcelain. With its ability to paint a deeply personal way without any limits, the joys and pleasures experienced by the artist become adventures and feelings for the viewer. On the other hand, Ivars Heinrihsons has a sophisticated "achromatic" palette on what the line and the field in black are the basis of everything - expressiveness and stability -. Ivars Heinrihsons has a strong imaginary and he represents differents egos of people (including the the Heinrihsons itself), its original nature, spirit and intellect.




Obra de Ivars Heinrihsons.


Other artists of the gallery are Kristaps Gelzis, Ieva Iltnere, Guntars Sietins, Arturs Berzins, Kaspars Podnieks, Raimonds Staprans, Ilmars Blumbergs, Edvards Grube, Girts Muiznieks, Paulis Liepa, Pius Fox, Michel Castaignet, Tatjana Krivenkova, Jana Brike and Vineta Kaulaca .





Among the specialised professional profiles that we find in the cultural sector, and more specifically, in the field of visual arts, one of the most recent occupations is that of the curator. The ‘80s put attention on the role of the artist, with its innovative character and the enhancement of its figure as an essential articulator of creative proposals, while the end of the century moved the interest towards the exhibition centres themselves and their work as custodians of current production and as spaces to accommodate all proposals. The change of millennium strongly introduced in this panorama the role of the curator. Perhaps together with a social identity crisis, perhaps with the complexity that contemporary projects are currently acquiring, the need for building, articulating and delving into artistic discourses became evident.

Although the functions entrusted to this profession are not entirely new, since previously they belonged to conservatives, critics or experts according to the themes, the role has gained solidity because it combines all these purposes while allowing the specialisation of other professionals in their fields of competence. Now, as some curators themselves point out, the genuine spirit of this figure, who was born to facilitate the understanding of the discourse, create narratives within a sometimes chaotic and scattered context, mediate between the works and the spectator and create bridges between contemporary art and society.

The art of our day raises a multitude of unknowns for the visitor who must face proposals many times away from the aesthetic standards, which gives way to uncertainty and confusion; but, in turn, these works employ a closer language, materials and even compositions detached from the sophistication and the technical display of yesteryear, something that, far from favouring proximity to the message, generates some distancing. What we have just described is part of the very essence of current art. The questioning of the formalist guidelines and the recourse to tangible elements that are more utilitarian than embellishing are the new criteria of creation, where, above all, the message to be conveyed stands out.

Likewise, another inherent characteristic of the work of our time is the artists' concern for more immediate themes, for social, political and economic issues that seek to create a narrative and conceptual revulsion, leaving behind the aesthetic priority or, rather, making of the message its own aesthetic. In this context, strange as it may seem, contemporary creation encounters a linguistic barrier hindering the viewer's understanding. And to this circumstance, the abundant current production is added, covering a wide range of themes that are nothing more than a transcript of our diverse and globalised society.

The curator helps to facilitate this understanding by articulating a coherent discourse that allows the grouping of related ideas to set up the message. This requires to have an in-depth knowledge of the current state of the art, the lines of work of the creators, the most recent aesthetic proposals and the real demands of society to bridge the dialogue and allow the approach to art. If art deals with the same issues that concern us all, how can we not share its postulates? Cultural mediation requires the work of the curators to open a small window for reflection and to enable a space for exchange and idea generation. We share the thought that José Guirao expressed in a recent interview: "The curator is someone who reveals something new, and it would be a mistake for curators to become managers."

Understood this way curator’s role, many institutions have joined the trend of creating specific calls for new professionals to give light to their proposals. Let us remember, as an example, the call "Unpublished" of La Casa Encendida, or "Curator wanted", of the Community of Madrid or the call of Curating of La Caixa.