Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā: = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | Latvian |
| Veröffentlicht: |
Rīga
Neputns
2022
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract |
| Beschreibung: | Englische Zusammenfassung |
| Beschreibung: | 125 Seiten Illustrationen, Porträts 24 cm |
| ISBN: | 9789934601378 |
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Datensatz im Suchindex
| _version_ | 1804184849631674368 |
|---|---|
| adam_text | Saturs Ievads 5 Bērnība Sibīrijā. Atgriešanās Latvijā un mācību sākumposms 6 Iepazīšanās ar tēlniecības pamatvērtībām. Studiju laika iespaidi 10 Mājvieta un darbnīca Ikšķilē. Pirmie darbi āra vidē 16 Sods par uzdrīkstēšanos. Ierobežojumi, noklusēšana. Kultūras cilvēku solidaritāte 19 Cauri mūžiem vedošas tēmas: Brīvība. Cilvēku vienotība. Paaudžu un dzimtu saiknes Neīstenotās pieminekļu ieceres, idejas un meti 23 28 Vidē uzstādītie pieminekļi un monumentālie veidoli laika posmā līdz 1990. gadam 31 lesaiste mākslinieku apmaiņas programmā Apvienotajā Karalistē - Kārdifā un Birmingemā Starptautiskos tēlniecības simpozijos dažādās pasaules valstīs gūtā pieredze 35 38 Represiju upuriem, uz Sibīriju aizvestajiem un svešatnē mītošajiem tautiešiem veltītie pieminekļi - sargzīmes 44 Joprojām no kodola. Brīvi ideju īstenojumi, stila skaidrība un noturīgums 50 Stila skaidrība un vienkāršība dažāda rakstura akmenstēlniecības darbu tapšana 55 Kapa piemineklis kā Mūžīgās Gaismas ceļš tēlniecei 57 Līdzdalība svētvietas izveidē uz nelielas salas Daugavā Ilggadējs pedagoga darbs un izpratnes par tēlnieciski būtisko veicināšana 59 60 Ruta Čaupova. Jānis Aivars Karlovs. Defiance and the Power of Construction in Sculpture 114 Nozīmīgākie dzīves un radošās darbības dati 118 Publikācijās, kuras raksturots Jana Karlova radošais veikums 124
Ruta Čaupova Jānis Aivars Karlovs. Defiance and the Power of Construction in Sculpture Under the conditions of Soviet-era ideological regimentation and restrictions, Jānis Karlovs became a voice for resistance and people s yearnings for freedom. This role was thrust upon him by his own life experience. On 14 June 1941, his father s parents and his mother with three children were deported to Siberia, along with thousands of other Latvians. His father died in a Gulag camp at Solikamsk. The sculptor s family was persecuted because his parents had been successful farmers, managing a thriving property in Suntaži. Karlovs graduated from the Sculpture Department of the Latvian SSR State Academy of Art in 1964. He inherited and refined the formal structural principles developed by the pioneers of modern Latvian sculpture Emīls Melderis and monumentalist Kārlis Zāle. He admired the stonemasonry skills of ancient Mexican masters, and the energycharged plasticity and environmental integration of the world-famous British sculptor Henry Moore. It is possible that his expressive form and detail arrangements emerged from his intuitive understanding of the semantics of Latvian ornamentation and the deepest layers of Baltic culture. The subjects and motifs he explored throughout his creative career encompass intergenerational succession and the unity of people of good will, embodied in powerful monumental forms. In this sense, Karlovs shared a kinship with the celebration of national resilience and renewal expressed by Lithuanian old master Robertas Antinis (Senior), who had roots in
Latvia s south-eastern region of Sēlija. Antinis greatly respected his Latvian friend for his fearless stance and admired the inner power of his monumental figures. Jānis Karlovs consciously sought to highlight the shared injustices inflicted on all the peoples of the Baltic region and their spirit of defiance. By developing his skills and understanding of creative tasks in the spirit of modernist sculpture, Karlovs came into conflict with the authorities. A dramatic turn was marked by direct contact with the pressure of official censorship, when the sculptor attempted to openly display sculptures dedicated to the tragedy of oppression and the theme of spiritual resistance. It was planned to show these works at the end of 1969 in Riga s House of Artists at an exhibition dedicated 114
to three sculptors - Karlovs, Aivars Gulbis and Juris Mauriņš. In their own way, each of these artists was drawn to the possibilities offered by modernist forms. Karlovs s four quite large-scale, patinated, darktoned plaster works Breath of Fate (1967-1968), Land (1967-1969), Under the Yoke (1963-19690, and Cradle of Life (1967-1969) expressed the pathos of resistance to the regime. Gulbis also hung a challenging, vividly coloured kinetic object from the ceiling. The exposition was fully arranged. The works provoked confusion and even negativity amongst state officials and colleagues/functionaries. At a special meeting of the Latvian SSR Artists Union board and presidium with the participation of Communist Party functionaries, it was decided that the exhibition would not be opened. After this, Karlovs was placed on the list of untrustworthy artists to be silenced. However, he received support from a few artists in Latvia and other Soviet republics. With the assistance of Armenian sculptors, the opportunity arose to carve one of the works shown in the exhibition, the composition Cradle of Life, in local tufa in Yerevan in 1970. It was installed next to the university in the Armenian capital. With the assistance of colleagues from the Sculpture Section, Karlovs was admitted to the Artists Union in 1973. He took part in the young artists exhibitions (1968, 1972), and was involved as a participant and exposition arranger in the organisation of the Riga sculpture quadrennials(1972, 1976,1980,1988,1992). Despite hostility from official institutions, Karlovs was able to
complete the sculptures for a war memorial ensemble in Bulduri, Jūrmala, a relief with three monumentalised soldiers heads (1968-1974, travertine, architects Leonīds Alksnis and Aleksandrs Voļatovskis). For some time after that, he did not receive any commissions. His next environmentally-integrated work was a figure embodying the power of energy titled The Archer(1981, forged copper), installed in the territory of the TEC-2 thermoelectric power station. This project was made possible by patriotic employees at the power station. The commission was formally arranged through the art enterprise Māksla (Art), therefore official restrictions and warnings did not have much impact. Karlovs s monumentalism was finally able to find expression free of external pressures during the late 1980s Awakening. In this period, he produced a monument dedicated to Latvian author Andrejs Pumpurs in Birzgale (1988-1991, travertine, bronze, architect Ingūna Rībena). 115
After the restoration of Latvia s independence, Karlovs was able to devote himself to works commemorating the victims of Stalinist repressions. At his birthplace in Suntaži, he created a monument to the victims of deportations bearing the inscription Svešumā dzītajiem 1941-1949 (To Those Driven from Home 1941-1949, polished granite, architect Ēriks Cērpiņš). The figure of a mother saving her children, carved in brownish stone, expresses the artist s owned experience. The Orphan Girl (2008, granite), installed on Pils laukums in Old Riga, is a figure of a little girl standing on a base reminiscent of blocks of ice, which commemorates the children deported to Siberia. In 2008, Karlovs received the Order of Three Stars from the state of Latvia for this work and for his creative contribution to the development of Latvian sculpture. In various periods, Karlovs s works displayed at exhibitions were dedicated to affirming intergenerational unity, the spiritual strength of the people and patriotic feelings. These works also reveal stylistically enhanced, expressively rhythmic volume and form arrangements. A few of them were intended as prototypes for monuments. He employed archetypal symbolic forms to express the metaphorical messages of his figures. For example, in the compositions Eternity (1972, bronze), The Tribe (1980, bronze), and the granite sculpture Through the Ages (1988) installed in Bauska, the arrangement of the sculptural mass aligns with the symbolism of the tree of life. He also created more abstractly ornamentalised sculptural motifs. Karlovs also headed the
international sculpture symposia at the House of Artistic Creativity in Dzintari, Jūrmala (1980, 1987). He has maintained friendly contacts with a number of foreign artists who attended these events. From the first half of the 1980s, he was also able to take part in several international symposia abroad: Yugoslavia (Slovenia) (symposium FORMA VIVA , 1983), Armenia (1986), Czechoslovakia (1988), and an artists exchange programme in Wales (1989). His work Eruption created at a granite sculpture symposium in Canada ( 1994) was installed in a square in the suburb of Scarborough, Toronto. He produced a composition in marble to commemorate the victims of Stalinist repressions titled Home of Spirits and Winds on the banks of the Volga in Samara, Russia (1996). His Phoenix (1999), created in Brooklyn, New York, from locally sourced boulders on the site of a former Native American settlement, is still the largest and most impressive object in this neighbourhood. 116
In addition to his creative work, from 1967 to 2007 Karlovs headed the Folk Sculpture Studio Dorna at the VEF Palace of Culture in Riga. It was sometimes whispered that it would have been good if he had been able to serve as a teacher at the Latvian SSR State Academy of Art Sculpture Department, but, of course, this was impossible under Soviet rule. Karlovs said that such a post would not have been desirable, as being an outsider allowed him to much more freely discuss theoretical and practical questions with the studio s members. Under Karlovs s guidance, Igors Dobičins, Solveiga Griķe, Pauls Jaunzems, Genādijs Stepanovs and other talented sculptors honed their professional skills and expanded their understanding of formal structure at Doma. This transfer of knowledge facilitated the enduring and typically Latvian preference for the formal principles which initially emerged in the context of the contemporary sculptural process.
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| adam_txt |
Saturs Ievads 5 Bērnība Sibīrijā. Atgriešanās Latvijā un mācību sākumposms 6 Iepazīšanās ar tēlniecības pamatvērtībām. Studiju laika iespaidi 10 Mājvieta un darbnīca Ikšķilē. Pirmie darbi āra vidē 16 Sods par uzdrīkstēšanos. Ierobežojumi, noklusēšana. Kultūras cilvēku solidaritāte 19 Cauri mūžiem vedošas tēmas: Brīvība. Cilvēku vienotība. Paaudžu un dzimtu saiknes Neīstenotās pieminekļu ieceres, idejas un meti 23 28 Vidē uzstādītie pieminekļi un monumentālie veidoli laika posmā līdz 1990. gadam 31 lesaiste mākslinieku apmaiņas programmā Apvienotajā Karalistē - Kārdifā un Birmingemā Starptautiskos tēlniecības simpozijos dažādās pasaules valstīs gūtā pieredze 35 38 Represiju upuriem, uz Sibīriju aizvestajiem un svešatnē mītošajiem tautiešiem veltītie pieminekļi - sargzīmes 44 Joprojām no kodola. Brīvi ideju īstenojumi, stila skaidrība un noturīgums 50 Stila skaidrība un vienkāršība dažāda rakstura akmenstēlniecības darbu tapšana 55 Kapa piemineklis kā Mūžīgās Gaismas ceļš tēlniecei 57 Līdzdalība svētvietas izveidē uz nelielas salas Daugavā Ilggadējs pedagoga darbs un izpratnes par tēlnieciski būtisko veicināšana 59 60 Ruta Čaupova. Jānis Aivars Karlovs. Defiance and the Power of Construction in Sculpture 114 Nozīmīgākie dzīves un radošās darbības dati 118 Publikācijās, kuras raksturots Jana Karlova radošais veikums 124
Ruta Čaupova Jānis Aivars Karlovs. Defiance and the Power of Construction in Sculpture Under the conditions of Soviet-era ideological regimentation and restrictions, Jānis Karlovs became a voice for resistance and people's yearnings for freedom. This role was thrust upon him by his own life experience. On 14 June 1941, his father's parents and his mother with three children were deported to Siberia, along with thousands of other Latvians. His father died in a Gulag camp at Solikamsk. The sculptor's family was persecuted because his parents had been successful farmers, managing a thriving property in Suntaži. Karlovs graduated from the Sculpture Department of the Latvian SSR State Academy of Art in 1964. He inherited and refined the formal structural principles developed by the pioneers of modern Latvian sculpture Emīls Melderis and monumentalist Kārlis Zāle. He admired the stonemasonry skills of ancient Mexican masters, and the energycharged plasticity and environmental integration of the world-famous British sculptor Henry Moore. It is possible that his expressive form and detail arrangements emerged from his intuitive understanding of the semantics of Latvian ornamentation and the deepest layers of Baltic culture. The subjects and motifs he explored throughout his creative career encompass intergenerational succession and the unity of people of good will, embodied in powerful monumental forms. In this sense, Karlovs shared a kinship with the celebration of national resilience and renewal expressed by Lithuanian old master Robertas Antinis (Senior), who had roots in
Latvia's south-eastern region of Sēlija. Antinis greatly respected his Latvian friend for his fearless stance and admired the inner power of his monumental figures. Jānis Karlovs consciously sought to highlight the shared injustices inflicted on all the peoples of the Baltic region and their spirit of defiance. By developing his skills and understanding of creative tasks in the spirit of modernist sculpture, Karlovs came into conflict with the authorities. A dramatic turn was marked by direct contact with the pressure of official censorship, when the sculptor attempted to openly display sculptures dedicated to the tragedy of oppression and the theme of spiritual resistance. It was planned to show these works at the end of 1969 in Riga's House of Artists at an exhibition dedicated 114
to three sculptors - Karlovs, Aivars Gulbis and Juris Mauriņš. In their own way, each of these artists was drawn to the possibilities offered by modernist forms. Karlovs's four quite large-scale, patinated, darktoned plaster works Breath of Fate (1967-1968), Land (1967-1969), Under the Yoke (1963-19690, and Cradle of Life (1967-1969) expressed the pathos of resistance to the regime. Gulbis also hung a challenging, vividly coloured kinetic object from the ceiling. The exposition was fully arranged. The works provoked confusion and even negativity amongst state officials and colleagues/functionaries. At a special meeting of the Latvian SSR Artists' Union board and presidium with the participation of Communist Party functionaries, it was decided that the exhibition would not be opened. After this, Karlovs was placed on the list of untrustworthy artists to be silenced. However, he received support from a few artists in Latvia and other Soviet republics. With the assistance of Armenian sculptors, the opportunity arose to carve one of the works shown in the exhibition, the composition Cradle of Life, in local tufa in Yerevan in 1970. It was installed next to the university in the Armenian capital. With the assistance of colleagues from the Sculpture Section, Karlovs was admitted to the Artists' Union in 1973. He took part in the young artists' exhibitions (1968, 1972), and was involved as a participant and exposition arranger in the organisation of the Riga sculpture quadrennials(1972, 1976,1980,1988,1992). Despite hostility from official institutions, Karlovs was able to
complete the sculptures for a war memorial ensemble in Bulduri, Jūrmala, a relief with three monumentalised soldiers' heads (1968-1974, travertine, architects Leonīds Alksnis and Aleksandrs Voļatovskis). For some time after that, he did not receive any commissions. His next environmentally-integrated work was a figure embodying the power of energy titled The Archer(1981, forged copper), installed in the territory of the TEC-2 thermoelectric power station. This project was made possible by patriotic employees at the power station. The commission was formally arranged through the art enterprise Māksla (Art), therefore official restrictions and warnings did not have much impact. Karlovs's monumentalism was finally able to find expression free of external pressures during the late 1980s Awakening. In this period, he produced a monument dedicated to Latvian author Andrejs Pumpurs in Birzgale (1988-1991, travertine, bronze, architect Ingūna Rībena). 115
After the restoration of Latvia's independence, Karlovs was able to devote himself to works commemorating the victims of Stalinist repressions. At his birthplace in Suntaži, he created a monument to the victims of deportations bearing the inscription Svešumā dzītajiem 1941-1949 (To Those Driven from Home 1941-1949, polished granite, architect Ēriks Cērpiņš). The figure of a mother saving her children, carved in brownish stone, expresses the artist's owned experience. The Orphan Girl (2008, granite), installed on Pils laukums in Old Riga, is a figure of a little girl standing on a base reminiscent of blocks of ice, which commemorates the children deported to Siberia. In 2008, Karlovs received the Order of Three Stars from the state of Latvia for this work and for his creative contribution to the development of Latvian sculpture. In various periods, Karlovs's works displayed at exhibitions were dedicated to affirming intergenerational unity, the spiritual strength of the people and patriotic feelings. These works also reveal stylistically enhanced, expressively rhythmic volume and form arrangements. A few of them were intended as prototypes for monuments. He employed archetypal symbolic forms to express the metaphorical messages of his figures. For example, in the compositions Eternity (1972, bronze), The Tribe (1980, bronze), and the granite sculpture Through the Ages (1988) installed in Bauska, the arrangement of the sculptural mass aligns with the symbolism of the tree of life. He also created more abstractly ornamentalised sculptural motifs. Karlovs also headed the
international sculpture symposia at the House of Artistic Creativity in Dzintari, Jūrmala (1980, 1987). He has maintained friendly contacts with a number of foreign artists who attended these events. From the first half of the 1980s, he was also able to take part in several international symposia abroad: Yugoslavia (Slovenia) (symposium "FORMA VIVA", 1983), Armenia (1986), Czechoslovakia (1988), and an artists' exchange programme in Wales (1989). His work Eruption created at a granite sculpture symposium in Canada ( 1994) was installed in a square in the suburb of Scarborough, Toronto. He produced a composition in marble to commemorate the victims of Stalinist repressions titled Home of Spirits and Winds on the banks of the Volga in Samara, Russia (1996). His Phoenix (1999), created in Brooklyn, New York, from locally sourced boulders on the site of a former Native American settlement, is still the largest and most impressive object in this neighbourhood. 116
In addition to his creative work, from 1967 to 2007 Karlovs headed the Folk Sculpture Studio Dorna at the VEF Palace of Culture in Riga. It was sometimes whispered that it would have been good if he had been able to serve as a teacher at the Latvian SSR State Academy of Art Sculpture Department, but, of course, this was impossible under Soviet rule. Karlovs said that such a post would not have been desirable, as being an outsider allowed him to much more freely discuss theoretical and practical questions with the studio's members. Under Karlovs's guidance, Igors Dobičins, Solveiga Griķe, Pauls Jaunzems, Genādijs Stepanovs and other talented sculptors honed their professional skills and expanded their understanding of formal structure at Doma. This transfer of knowledge facilitated the enduring and typically Latvian preference for the formal principles which initially emerged in the context of the contemporary sculptural process. |
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| genre | (DE-588)4006804-3 Biografie gnd-content |
| genre_facet | Biografie |
| id | DE-604.BV048678946 |
| illustrated | Illustrated |
| index_date | 2024-07-03T21:24:50Z |
| indexdate | 2024-07-10T09:45:53Z |
| institution | BVB |
| isbn | 9789934601378 |
| language | Latvian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-034053342 |
| oclc_num | 1378490851 |
| open_access_boolean | |
| owner | DE-12 |
| owner_facet | DE-12 |
| physical | 125 Seiten Illustrationen, Porträts 24 cm |
| psigel | BSB_NED_20231023 |
| publishDate | 2022 |
| publishDateSearch | 2022 |
| publishDateSort | 2022 |
| publisher | Neputns |
| record_format | marc |
| spelling | Čaupova, Ruta 1939- Verfasser (DE-588)133671453 aut Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Ruta Čaupova Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Rīga Neputns 2022 125 Seiten Illustrationen, Porträts 24 cm txt rdacontent sti rdacontent n rdamedia nc rdacarrier Englische Zusammenfassung Karlovs, Jānis Aivars 1939- (DE-588)1286989728 gnd rswk-swf (DE-588)4006804-3 Biografie gnd-content Karlovs, Jānis Aivars 1939- (DE-588)1286989728 p DE-604 Karlovs, Jānis Aivars 1939- (DE-588)1286989728 art Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034053342&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034053342&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract |
| spellingShingle | Čaupova, Ruta 1939- Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Karlovs, Jānis Aivars 1939- (DE-588)1286989728 gnd |
| subject_GND | (DE-588)1286989728 (DE-588)4006804-3 |
| title | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| title_alt | Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| title_auth | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| title_exact_search | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| title_exact_search_txtP | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| title_full | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Ruta Čaupova |
| title_fullStr | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Ruta Čaupova |
| title_full_unstemmed | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture Ruta Čaupova |
| title_short | Jānis Aivars Karlovs. Nepakļaušanās un uzbūves spēks tēlniecībā |
| title_sort | janis aivars karlovs nepaklausanas un uzbuves speks telnieciba janis aivars karlovs defiance and the power of construction in sculpture |
| title_sub | = Jānis Aivars Karlovs. Defiance and the power of construction in sculpture |
| topic | Karlovs, Jānis Aivars 1939- (DE-588)1286989728 gnd |
| topic_facet | Karlovs, Jānis Aivars 1939- Biografie |
| url | http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034053342&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034053342&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA |
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