ICUL CTION C o n t e m p o r a r y
A r t
Rihards Vitols
R e v i e w
Special Issue
Generally people love to get involved – to touch, be engaged. But I believe that work has to be independent in its integrity and then it can be fully open so a viewer can get involved with it. In my own work I try to think about how I can create emotional link between a viewer and a work. For me it is important that a narrative is immersive and the exterior of a work is just a trigger that helps to make the immersive experience. Your work conveys a effective inquiry concerning both crictical ecological issues as well as the consequences the technology driven culture that saturates our contemporary age. But while artists from the contemporary scene, as Ai WeiWei or more recently Jennifer Linton, use to express open socio-political criticism in their works, you seem more interested to hint the direction, inviting the viewers to a process of self-reflection that may lead to subvert a variety of usual, almost stereotyped cultural categories. Do you consider that your works could be considered political in a certain sense or did you seek to maintain a more neutral approach? And in particular, what could be in your opinion the role that an artist could play in the contemporary society?
Photo whit part of work akA Cloudfarming from the ex
I have never thought about political side of my works. It haven't even crossed my mind before. I'm trying to hold to neutral approach. But of course if there is someone who see my work from that side I would love to
here it and discuss his opinion. One of the work goals was to give a hint about the potential future scenario using things that might be associated to or previous experience. As I mentioned I wanted to get the feeling
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