This marked the 20th year of a series of events organized and run by Maris Grosbahs in Roja, Latvia. While the format and name of the event has changed slightly over the years, in essence his commitment to the larger arts community, and the local village in which he was raised, remains the same. Founded primarily as a means by which he and his fellow students could continue working throughout the summers, he started with nothing more than a small kiln and a group of people interested in coming together to create. Initially called ROJARAKU, this ceramic-based event enabled a physical space to work and a community of young and aspiring artists to exchange techniques, processes and information related to ceramics—actually so ceramic-centric that it would include a ceremonial raising and lowering of a small ceramic jug atop a flagpole on the center of the property.
As all things eventually develop and change over time, so has the event. What started as a gathering rooted in ceramics has gradually moved into more of a think-tank for a larger conversation surrounding ideas and concepts. Concerns have become more related to contemporary art than technique, the dialogue surrounding ones conceptual prowess and an environment divorced from any one discipline or material specificity. One thing that has remained consistent throughout is Maris’ desire to bring contemporary art and international artists to a small fishing village in rural Latvia.
This year there was a stable of talented and inspired individuals from around the world. All with different material aesthetic sensibilities and conceptual précises, all sharing their work and ideas, coming together to make work and experiment. I use the label specifically as I know it is something that is important to Maris, our conversations regarding labels covers the gamut of events, people and work within contemporary art. For him, the event is meant to be a place where people are encouraged to experiment with the word “failure” being nonexistent. His event, now titled ROJA ART LAB is meant to be just that—a place where people come to try new things in a supportive, judgment-free environment. This is something that becomes increasingly important as we mature artistically, the freedom we once had as aspiring artists and students gets transformed into some type of framework regardless of whether we are aware of it or not. Whether aesthetically mounted, materially oriented, conceptually framed, the way in which we see and interpret all information via our psyche creates a series of ways we see the world and convey what it is we are exploring. To have the opportunity to move outside of ones comfort-zone and be encourage to fail is a beautiful thing and having both established, as well as emerging artists participating, contributes to the nature of this overall philosophy of the lab.
The work being made this year specifically covered an array of concepts and material sensibilities, and there were pieces ranging from traditional objects and materials/processes to utilizing new media and contemporary technological. Jamie Allen researched various towers in the region, denoting aspects of tracking, mapping, and communication as well as discussing historically the navigational aspects of maritime life. His recreation of a tower (10:1 scale), capable and in fact intended to travel and move around the village, to him will be as arbitrarily located as the actual towers themselves as people are encouraged to randomly relocate the object. Vasili Macharadze’s piece dealt with an infrared light source he situated atop a historical totemic architectural structure near the sea that was left from the time of the German occupation. It exists as a pseudo contemporary-day pirate technique for misleading vessels seeking their coordinates, and while this type of light is an obvious variation of what was traditionally used, its intent was a present-day variation of this method of navigation. Zanda Puče utilized a homemade recording device to document “sounds of the earth” by placing probes into the ground in various places around the Roja area. This device, primarily reading electromagnetic waves, was meant to record the range of sounds emitted in the region. Yoshie Sugito explored local clays and materials to create dioramas referencing her Japanese background and classism associated with the tea ceremony and contemporary culture. The works also involved the viewers as participants, encouraging their involvement by pouring vessels full of liquid across the tops of the pieces. Gints Malderis reconnoitered the people of the region, taking portraits harkening to passport/ID cards and asking each person what “color” they perceived as quintessential Roja. With an array of variations, he then complied them into a large grid harking to paint swatches of a Martha Stewart home décor paint display. The Estonian duo of Juhan Vihterpal and Kristin Orav combined their interest in performance and music, creating a large pyramid suspended by a cable (intended to be played as an instrument). The two performed for the opening, something referencing a tribal dance and Orav incorporated a ceramic element she had fabricated, interacting with it throughout Vihterpal’s drumming on an old oil drum until she released it only to be smashed on a nearby rock. Also contributing as a participant this year, I created an object examining the preexisting physical and psychological residue of the village. By casting a concrete negative of a crateresque form, it was then inverted and placed directly next to the original to insinuate the relationship between opposite views and perceptions of individuals while harkening to the indexical mark.
Having participated in numerous events such as this over the years, ROJA ART LAB is unique in many respects. The involvement of the community and the sincere interest and concern of the local people, their physical and financial participation, and Maris’ obvious passion for the village all contributes to defining a truly unique event. I have never met anyone more proud of who they are and where they came from and I feel confident saying that without Maris’ involvement, Roja would be known as little more than a summer tourist destination for those seeking a rural, Latvian maritime community. His commitment to contemporary art, and artists, goes beyond his own personal agenda and his influence in the area has spread to other cultural programs that have since been created. He was a founder of RojaL, a now popular international film festival. He has also motivated others to create similar events in the area like the newly formed international architecture symposium currently in its second year. Thanks to Maris, there is now an overall understanding and support of art and artists in the village. The art world could only hope for more people to have such a commitment and influence, bringing what should be accessible to all in small communities everywhere.
The article was published in the art magazine “Studija” Nr.5 (110). 2016.
International art laboratory – artists’ residence
In winter 2007 American artist Catherine Forster had an exhibition in Chicago entitled Roja’s People. Elīna Cērpa’s production of Gentleness after the Jorge Luis Borges story La Intrusa, begun in Roja and performed at the New Riga Theatre was nominated as the most innovative production of the season. In Lucerne Swiss artist Ruedi Schorno exhibited panoramic photos taken in Roja. In France Hélène Gerster read her essay on Roja to capacity audiences in theatres in Lyon and Marseilles. And that is only the beginning. They all participated in the ROJARAKU art laboratory. The feelings recorded during their time there continue to be exhibited.
In 1997, while still at the Latvian Academy of Art and feeling the shortcomings of the academic system and the need to look for and find new forms of art and possibilities for self-expression, students Kristīne Lazdāne and Māris Grosbahs, together with lecturers Dainis Lesiņš and Ainārs Rimicāns, organised a ceramics symposium in Roja, which they called ROJARAKU. Roja is a small fishing town by the seashore and raku is a visually impressive yet relatively technically simple technique of firing ceramics. The event was made possible thanks to the initiative of the organisers and the support of the national and local government as well as businessmen and the inhabitants.
Although Latvia had regained its independence, the possibilities for receiving information on what was happening in the world and possibilities for communication were still quite limited. That is why ROJARAKU in the summer vacation offered students and actively creative artists from various countries an environment for the exchange of experimental ideas. In the beginning it was all centred on the treatment of clay and stone, firing in the flames of an open fire. These were later supplemented by installations, environment art, photography, video, social activities, shows, performances and other forms of media expression.
In 2002 the interdisciplinary art group Serde was founded, its members initiating and realising art projects. ROJARAKU is one of the autonomous events organised by Serde.
In that year ROJARAKU changed the traditions of previous years by transferring the emphasis from creating and locating objects in space to creating the space itself. Many high quality works were located in the Roja surroundings. I shall mention only a few of them that for one reason or another are no longer to be seen in Roja. For a short time, the works of Ivars Drulle and Rasa Jansone inhabited the breakwater of Roja harbour. In the same place Marta Ģibiete erected her installation from squares of mirrors. The American magazine New Glass Review wrote about this work in its 25th anniversary issue, which featured the world’s most outstanding artworks from glass over the last twenty-five years. Out of the thousands of pictures of works submitted, the professional jury selected the very best that were then included in a catalogue. Tina Oldknow, jury member and curator of modern glass at the Corning Museum of Glass in New York, wrote about the work: “In the installation category I was taken by the works of Marta Ģibiete and Louise Lippert. Ģibiete’s XXX is convincing with its understanding of the material. Mirror is a wonderful medium when it is used for more than simple reflection, and here it is used to amplify landscape. Ģibiete’s mosaic creates a rich surface texture that mimics the rough concrete and the shimmering edges of light on water. She takes advantage of the mirror’s ability to create space where there is none, and its reflection of the water literally makes the massive dock disappear. Themes of nature, light, reflections and illusion often used in painting and photography can also be found in glass art for example, in the works of Larry Bell and Marian Karel. However Ģibiete’s approach and method are unique. It is genius and yet so understandably simple.”
The experiments of previous years in the ceramic kilns of living fire are continued in the annual fire shows on the last night of the project. Uģis Pucens hung large sized bags of fire over the sea. In contrast with the usual and by now commonplace firework displays, this show allows the author’s creativity to be expressed successfully in the existing environment without the noise of loud explosions. Taken together, the flaming bags of fire spinning in the wind and scattering sparks, their reflections in the water and the author’s constant adjustments achieve an impressive result full of vibrating feelings.
A year later Ieva Rupenheite wrote in the daily newspaper Diena: “…Raivo Armuliks had selected his contribution to the Roja environment from the world of readymade images demonstrating independence from the tempting formula of Sea+Sun+Wind. His work Brainwashing consisted of an unnatural-sized yet lifelike brain being rinsed by the waves. Funny, yes but what of it? Although it was outside the locally determined conditions and completely apolitical, Brainwashing nevertheless fitted in wonderfully with a game on a larger field; it not only fulfilled the functions of a sarcastic joke but also encouraged the observer to become suspicious of, if not already suspecting the specific target of this brainwashing.” (“Skaistāks par kuģi” [More beautiful than a ship], Diena, 30.08.2004, p.14) Armuliks’ work was not destined to be washed for long by the breakwater. A local art aficionado had used a crowbar to brutally lift the “interesting stone” from the sea and Roja had its first “brain thief”.
In Soviet times Roja, which was in the “off limits prohibited zone”, was dominated by the fishing industry. Today, as the Baltic Sea fishing stocks have become depleted, the small town is turning more and more to the development of tourism. This is one of the reasons why in 2004, Lithuanian artist Hilbertas Jetkevičius realised his Yohaidi project as a reference to the existing situation by creating “monuments of memory”, thus pre-empting the development of all-conquering tourism. The slang word “Yohaidi”, common in all three Baltic states and used as an expression of wonder or surprise, becomes, like a comic strip hero, the carrier of the clichéd name of “Japanese tourist” formed in stone. During the action Yohaidi was placed in various Roja locations – in the town centre, by the cash machine, in the port, cemetery, in a barn and by the proud sign “Roja” at the foot of the monument to fishermen by the culture centre, which had previously borne the slogan “To communism!” Yohaidi set off for reality creating its own unmediated story about the existing situation in Roja, not fearing either to look into its yet to be tidied up backyard and recording it with the stoneware camera placed on its stoneware chest.
Diagnosing the problems of the local surroundings, the following year Latvian stage designer and media artist Izolde Cēsniece demonstrated a deft dialogue with the town space and its inhabitants. She placed her installation Nike of Roja, which was reminiscent of a visually brilliant scarecrow, on the roof of a now ruined former department store from Soviet times. In the public space passions were stirred up about the building’s future. For many years, this once proud store stood in the very centre of town like a dilapidated windowless oddity while its owners changed waiting for the price to rise. Cēsniece’s Nike, like the Goddess of Victory and sister of Cratos, Bia and Zelus in ancient Greek mythology, achieved what the local council could not having fought unsuccessfully with the building’s owners to get it refurbished. In the website www.performance.lv, the artist says: “If I put everything in the right places then there is no longer any need to add anything because it all happens like I want it to of its own accord.” Perhaps it might be too rash to say it was the last straw that made the building change, but that’s what happened.
This year saw the arrival of theatre art to the laboratory. Under the leadership of Elīna Cērpa, work began on the production of Gentleness, which was based on one of Jorge Luis Borges’ more unusual stories La Intrusa. Four professional actors from the Riga Russian Drama Theatre took part in the preparations and performed the results on the last night of the laboratory. Later, the piece attracted critical acclaim when it was performed in the New Riga Theatre with a different cast. “Gentleness” is one of the happy surprises in Latvian theatre of recent times. There was no need to clamber over abstract intellectual scaffolding. There was only one main task – to describe how and what was happening – to capture the atmosphere of the performance. Material. Sensual. Real,” wrote theatre critic Undīne Adamaite in Kultūras Diena (31.03.2006)
In the first week, alongside the objects, performances and works in other media, the ROJARAKU group of artists in co-operation with the local printshop RAUDA, produced a booklet reflecting their experience in Roja. RAUDA specialises in printing labels for fish product packaging and so, by slightly changing the original RAUDA design for tins of sprats, new packaging was created for the booklet. The tin covers of this book were also produced with the help of RAUDA.
Catherine Forster (USA), having found the Roja people to be reserved and cautious decided not to be obtrusive and created the video work On Foot, which records her attempts to communicate with the local residents but pointing the camera downwards. Forster depicts one day from dawn to dusk filming her feet and including those of passers-by and her partners in conversation within a one-metre radius.
By 2006 when the laboratory celebrated its ten-year anniversary, there was already considerable competition for the ten residencies. This is testimony to the growing quality of the laboratory activities. And today too, in the spring of 2007, when we know that there won’t be a ROJARAKU in summer and in future it may only be organised every two years, there is great interest from potential participants from abroad.
The Roja pine grove not far from the multi-storey housing block district was, for a couple of months, home to German artist Ursula Aschernkamp’s work Wooden curtains or, the vertical expression of a horizontal dream. As the value of private property increases, the public space decreases and private interests often prevail over the public interest. Aschernkamp’s work may be seen as a warning sign, an invitation to stop and value what exists, or as a positive ironic comment on the many new fences.
One of the perhaps less noticeable works yet one which remained long in the memory was the verbal messages on metallic plates by Brian Gillis (USA). Although they were independent and dispersed throughout Roja, they faultlessly corresponded to the aim of the laboratory – to encourage the interaction between the town’s residents and visitors with the surroundings and the works “hidden” there. Gillis says: “I’m interested in intervening in the environment with a story, in canonising everyday things and events that later change people’s perceptions. My works here are like catalysts to create a deeper understanding in people about places they use on a regular basis.” For example, one of the texts that was screwed to a bench in the bus station had the message: “I have forgotten how wonderful trees smell in the rain,” he said to himself getting off the bus. “I can’t wait to meet Maria’s children.” Gillis’s sentences, ripped from some broader context, place you in a current, they sharpen the senses and allow you to experience and extend the boundaries of what is possible.
The article was published in the art book “ROJA.ROJARAKU”, ROJARAKU un TISSU Publishing, 2007, ISBN 978.99220.127.116.11
In the summer of 1997, Māris Grosbahs organised the first art symposium in his native Roja municipality with the fine sounding title of ROJARAKU. For those less familiar with ceramics, we can explain that raku is an ancient special firing technique that has become popular in Latvia particularly in the last twenty years. While studying in the Ceramics department of the Latvian Academy of Art, Māris and his fellow students also wanted to try out something new, something different. And so, every summer for the last ten years, all kinds of funny people who call themselves artists get together in Māris’s native home. Over time the boundaries of the symposium’s creative activities expanded. They were no longer restricted to ceramics alone and became a forum for the creation of spatially oriented conceptual visions.
The www.rojaraku.lv website tells us that the International Art Laboratory run by the artist is a unique, non-commercial initiative in Latvia that provides a creative arena for artists who are creatively ambitious, who are prepared to work in a co-operative environment for the exchange of experimental ideas. Since 1997 more than sixty artists have participated in the project coming from the USA, Switzerland, Britain, Russia, Canada, Germany, Israel, Japan, Slovenia, Estonia, Lithuania and Latvia.
It is a well known fact (whether we want to admit it or not) that the country’s art and cultural life is concentrated in the capital Riga and not every country district has its own born and bred artist who is young and talented and moreover, who has managed to organise and manage an international symposium or laboratory for ten consecutive years. The 4500 inhabitants of Roja should be proud of having such an artist. He could have gone off to make great art somewhere else in the world and come home just to visit and relax by the sea where there is sun and an ideal beach. But no, every year some mystical force drives Māris to take on all those organisational headaches and the struggle for financial support etc. Who needs this Sisyphean task? Is it a wish to become famous, to acquire as many foreign friends and acquaintances as possible, to turn one’s native district into an internationally recognised centre for art? I don’t think any of these are the real motivation behind Māris Grosbah’s activities. If you haven’t taken part in a symposium and felt the special atmosphere, you’ll never understand its unique character, the positive drive or virus that, despite all the problems, forces him to include this activity in the trajectory of his creative life. You could, of course, come for the last days of the event and take a look and marvel at what these artists have come up with; you could talk to the authors but you would only be an observer on the sidelines and never be one of them. You can only get the real feeling by TAKING PART. Every time is different – the shyness of the first days, getting used to the new surroundings is exchanged for work; a complex network of human understanding and spiritual closeness gradually forms, then there’s work again and the informal festive moments. But the main thing is conversation – about art, life, everything. Conversation is extremely important for many artists because in their deepest essence, everyone feels alone and sometimes you need someone who thinks like you or thinks differently, just to listen. In the rush of the city these conversations are often lacking but in the calm pace of life of Roja, in the romance of this never-never land, they are possible. The main thing in the ROJARAKU laboratory is the process, the taking part and not what has been produced. It’s not important whether during this being together over sixteen days all the participants produce works of genius or not. It’s possible that the results will come a long time later, once they’ve returned home…
Speaking of the 2006 ROJARAKU laboratory and comparing it to the activities of previous years, I think that these ten years have seen a process of increasing quality; the event has acquired its own unique identity characteristic of its organisers, the location itself and the atmosphere. All this is a positive precondition that has given rise to some good works of art created during the symposia. For example Ursula Aschernkamp (Germany) enclosed a 13 square metres area of the public park (or a simple pine grove) in red. This didn’t hinder passers-by, as it was several metres above ground. The artist drew her inspiration to make a traditional red fence from observing the Roja private houses but everyone forms their own different associative story. Ronit Porat (Israel) documented her walks around Roja and the people she met on the way. She demonstrated the results on the last day with a slideshow in the local art school. This was nothing new but the work had an intangible sincerity and a disarmingly positive energy. The artist also produced another work-ephemera, a site-specific project in the middle of the Roja forest. In a crater-like hollow cleared of all the garbage, the voice of Laura Feldberga (also a laboratory participant)) could be heard singing a rarely heard ancient Latvian folk song. Isamu Krieger (Switzerland, Japan) caused a surprise on the Roja beach with an object reminiscent of a children’s toy from the sandpit. It turned out to be a precise scale-model in concrete of an oil tanker. Alongside the environment objects and the ceramic works, this year saw a project of a different character, which you are currently holding; Hélène Gerster and Ruedi Schorno (Switzerland) worked with Anete Melece (Latvia) to produce a book on Roja and ROJARAKU – an original documentation of visual feelings in time and space. Whether this year the artworks created will integrate with the Roja surroundings and what will they mean to the local inhabitants is a matter of time. The main thing is for the artworks to mean something to the artists themselves.
However, there was one symposium work that created a great deal of interest and response among the locals. This was the “Mežrozes” (Wild Roses) project by Latvian photographer Gints Mālderis who documented a Soviet style apartment block in the Rojupe village, which, despite its prosaic and humble appearance, has been given such a beautiful name. The artist recorded the building and its inhabitants. These anthropological projects are nothing new and we can draw an analogy with Katrīna Neiburga’s installation intended for the “White Nights” culture forum in Madrid. However, whereas Neiburga’s scenes from Soviet apartment block life have been staged, in Mālderis’ project everything is for real: domestic life as a living organism that changes, grows and ages with time. This project is a cultural historical testimony to time without pretence – direct and open in its everyday surroundings. Behind every door of the building there are many others and behind each of these – a different world. Every household is a surprise. And, of course, there are many similarities because the common elements are time and the environment, the world of the moment (from the author’s description of the work).
We can join in the work of Mālderis’ large format portrait of the building: just like children with a chocolate Advent calendar, we can open windows and see the life behind them. Which of us at some stage hasn’t wanted to peep through others’ windows? However, Mālderis’ work has none of the voyeuristic because all the “Mežrozes” residents posed for the author of their own free will. And it was this good will, the positive aura of the interaction between photographer and models that gave the work its added value.
Friendship, openness, frankness, good will, love, mutual tolerance of all creative expressions – the most important is what happens between and to people during the laboratory, that which in some way possibly changes or illuminates their view of life in the future. That is the most essential added value of ROJARAKU.
The article was published in the art book “ROJA.ROJARAKU”, ROJARAKU un TISSU Publishing, 2007, ISBN 978.9918.104.22.168