ARTISTS IN RESIDENCIES / 2012
SERDE
ARTISTS IN RESIDENCIES 1
SERDE
ARTISTS IN RESIDENCIES / 2012
SERDE The residency and workshop centre SERDE was founded in 2002 as a platform for both local and international inter-disciplinary collaboration. This artist-run organisation, seeks to develop the collaboration between different cultural fields, organisations and professionals. SERDE’s main activities focus on the exchange between the fields of culture, science and education; in addition to a residency programme, workshops, seminars, lectures, presentations etc.
Atmodas street 9, Aizpute, LV-3456 smg.serde@gmail.com www.serde.lv www.facebook.com/smgSERDE 2
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ARTISTS IN RESIDENCIES / 2012
THE THEME OF RESIDENCIES 2012 “ETHNOBOTANY, GARDENING AND SOCIETY” ARTISTS IN RESIDENCIES 4
Ramyah Gowrishankar & Kati Hyyppä (Finland)
http://www.tumblr.com/blog/singlewomensecrowns Electronic textiles or e-textiles is an upcoming field that aspires to combine traditional textile materials with computational and electronic elements. As various e-textile projects and DIY resources are emerging, the community of e-textile practitioners is growing. Contributing to this transdisciplinary field, we plan to explore the merging of soft circuitry into embroidery. Embroidery is an old crafting skill, and various areas and communities have their own unique styles and motifs. Drawing inspiration from local cultures, we will reinterpret traditional embroidery patterns in the context of electronic textiles. The SERDE residency would provide us an opportunity to take forward our exploration of e-embroidery, focusing on local embroidery cultures in the Baltic region. We hope to investigate traditional Latvian embroidery patterns, bringing them into new medium through electronic materials such as conductive yarn and ink. The exploration of the patterns could include interviews with local craftsmen and women in addition to researching literary sources and embroidery works. 5
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ARTISTS IN RESIDENCIES / 2012
PERSONAL FEEDBACK from Ramyah Gowrishankar & Kati Hyypp채 The making of the crowns was not only an interesting learning experience about the materials, techniques and electronics, but also a culturally rich process where we met new people, learning and sharing skills with the local craftswomen. (...) We had great and intensive time at SERDE, doing a lot of crafting, and obtaining many 6
memorable experiences. We are very happy that we go this chance to a dive into Latvian traditions and culture, visiting the folk dance practices, exchanging experiences and knowledge with the local crafters and our fellow residents, and being part of the community during the Midsummer celebrations. Ramyah Gowrishankar & Kati Hyypp채 / 7
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ARTISTS IN RESIDENCIES / 2012
Tiago Patrício (Portugal)
The knowledge of plants The woman opened the door and the forest entered into her house and she salute it. The ornamental plants first, then shrubs and wild flowers, which had entered through the window, from the small garden around the house. Trees arrived at the end with a vegetal slowness, across the hill or in the river current. And the woman spelled all their names and parts of the trunk, touched them in rough skin and finally embraced them with such a knowledge that caused a shake in roots and leaves.
Tiago Patrício catalogued some important botanic species in Aizpute, giving back the words to the trees at avenues and squares by creating badges with new sayings about the beauty and their pharmacological importance. Concurrently, he wrote short stories, aphorisms and metaphors about the plants, history and landscape of Aizpute, presenting these at a public reading/performance.
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Other times the woman went to the field, picked up their skirts before entering through the tall grass and recognized colors and shapes of each plant in her legs. She spoke to them while touching the skin through the woods and then she slept with them under the head. She picked a branch and wrapped it in her hair and when she returned home, she was followed by the animals, birds landed on her head flowers, cats appeared to the bending of trees and other followed her from afar. It was dusk and she heard the darkness saying intimacy, putting in her hands forbidden fruits and promises of secrets.
Gradually the woman stopped talking to the trees and small animals of the forest. In the morning woke up with the demands of the large beasts of burden and after the train split the woods in two. Finally the cars came and required so much space in the fields that even the small garden near the house has gone. Only the flowers remained by the window, the warm colours of roses and carnations, tulips and orchids. And when wild plants approached at the nightfall, she closed the door for them and did not understood anything of that herbal language. The woman no longer recognized their names and healing properties, she even forgot those close-friends and abandoned all the old paths of her first lifes.
Zināšanas par augiem Sieviete atvēra durvis un mežs ienāca viņas mājā un viņa to sveica. Dekoratīvie augi vispirms, tad krūmi un savvaļas ziedi, kas ienāca pa logu no mazā piemājas dārza. Koki ieradās beigās ar augiem piemītošo lēnīgumu, pāri pakalnam vai pa upes straumi. Tiago Patrício / 9
SERDE Un tad sieviete izrunāja visus viņu vārdus un stumbru daļas, pieskārās viņu kailajai miesai un visbeidzot apskāva viņus tik zinoši, ka lika viņu saknēm un lapām trīcēt. Citreiz sieviete devās uz lauku, uzrāva svārkus augšup pirms iegāja garajā zālē un spēja atpazīt katra auga krāsas un formas, kas gadījās tai ceļā. Vasarā viņa ar tiem runāja, ejot cauri mežam, kamēr tie skāra viņas ādu, tad novēlēja tiem arlabu dzīvi un ar tiem pagalvī devās gulēt. Viņa paņēma zariņu un patina ap to savus matus un kad viņa atgriezās mājās viņai sekoja dzīvnieki, putni nolaidās uz viņas galvas, kokiem noliecoties parādījās puķes un kaki un pārējie sekoja no attāluma. Bija krēsla un viņa dzirdēja tumsu tuvībā runājam, liekot viņas rokās aizliegtos augļus un noslēpumu solījumus.
ARTISTS IN RESIDENCIES / 2012 Pakāpeniski sieviete pārstāja runāt ar kokiem un mazajiem meža dzīvniekiem. No rīta modās ar nastu nesēju slogu un pēc tam vilciena sliedes sadalīja mežu divas daļās. Visbeidzot ieradās automašīnas un pieprasīja tik daudz vietas laukos, ka pat piemājas dārzs bija zudis.
Galvassāpes
Headache
Liepu ziedēšanas laikā savāciet liepziedus Pāris dienas žāvējiet tos vēsā vietā Trīs reizes ieelpojiet un sagatavojiet uzlējumu Apsēdieties pie ugunskura vai dārzā, ja tāds atrodas netālu
Tikai ziedi palika pie loga un siltās rožu, neļķu, tulpju un orhideju krāsas. Un kad krēslas stundā tuvojās savvaļas augi, viņa aizvēra tiem durvis un nesaprata neko no augu valodas.
Ja turpiniet domāt par galvassāpēm, Mēģiniet aizvērt acis un ja kļūstiet miegains Nepretojieties miegam
Collect the flowers of Linden at the time of flowering Dry them in a cool place for a few days Then inhale three times and prepare an infusion Sit by the fireplace or in the garden if you have one nearby
Sieviete vairs neatpazina to vārdus un dziedināšanas iespējas, viņa pat aizmirsa par tuvajiem draugiem un pameta visus savas kādreizējās dzīves ceļus.
Lack of Money and Bad Luck
Naudas trūkums un neveiksmes Vasaras saulgriežos noplūciet papardes ziedu Pielieciet to pie krūtīm sēžot pie ugunskura svētku laikā Aizejot mājās ielieciet to naudas makā un gaidiet Tas var iedarboties pēc dažām dienām vai vairākiem gadiem Bet vislabāk ir turpināt meklēt citus veiksmes un naudas pievilināšanas veidus Vēl viena iespēja ir atrast četru lapu āboliņu Tikai nepadodieties pie pirmās neveiksmes 10
If you continue to think of the headache try closing your eyes and if you start to get sleepy do not resist to take a nap
Pick a flower of the fern in the Summer Solstice, take it on your chest along the fires during the festival When you get home put the flower in a check book and wait It may take a few days or several years to show effect the best is to continue to seek other ways to get lucky and seduce money Finding a four leaf clover is another possibility just do not give up right away Tiago Patrício / 11
SERDE Grāmatu koks vītols Es paliku viens raudāt par saviem brāļiem, kas aizgājuši elektrības stabs Viņi apsolīja lielisku modeļa karjeru bērzs Pat esot pieradināts un dzīvojot pilsētas dārzos, bērzs gremdējas dziļā nostaļģijā pēc saviem vecajiem mežiem ozols Dziļas saknes un spēcīgi stumbri, zari, kas sniedzas debesīs, tādi ir ozoli augot brīvi nometnēs vecais bezgalvainais koks, netālu no pils Es neatceros garo, blondo cilvēku atnākšanu Bet viņi te ir jau daudzus gadus Tad nāca ģermāņi ar lieliem zirgiem un vēlāk pēc tiem nāca luterāņi. Cara kareivji arī pagāja garām un pirms pāris gadiem kājnieki no dienvidiem atkal atgriezās ar tumšām kleitām un spīdīgām galvām. Pēc tam austrumu iebrucēji arī atgriezās, tikai ar sarkaniem karogiem. Un tagad visur ir zvaigžņotie, katru dienu arvien vairāk cilvēku ierodas no ziemeļiem, dienvidiem, austrumiem un rietumiem, dažreiz visi uzreiz. Es nezinu vai tas ir labi vai slikti, bet laukos ir mazāk izlietu asiņu. liepa netālu no Aizputes muzeja Ja jūs gribat redzēt, kā koki ceļo, Liepziedu piezīmes vasaras sākumā vēro kā tās dodas prom ganāmpulkos vēju un dziesmu nestas apkārt ugunskuriem kļavas sakne pretī Aizputes muzejam Asinsvadu slimības, elpceļu problēmas Locekļu stīvums un amputācijas Sēnīšu infekcijas un parazīti Dzīvajiem uz zemes draud pārāk daudz briesmu 12
ARTISTS IN RESIDENCIES / 2012 a willow I remained alone to cry for my brothers who left an electricity pole They promised a brilliant career as a model a birch Even domesticated and living in the city gardens, birch continues to show a long nostalgia for their old forests an oak Deep roots and strong trunks, branches reaching the sky, so are the oaks growing free in the camps an old tree beheaded near the castle I do not remember the arrival of the tall blond people but they have been here for many years Then the Teutonic came in large horses and later the Lutherans. The soldiers of the czars also passed around and a few years ago, the infantry from south were back again, with dark dresses and shiny heads. After the Eastern invasors also returned, but with red flags. And now the blues are everywhere and every day more people come from the north, south, east and west, sometimes all at once. I do not know if it’s good or bad, but there is less blood in the fields. A Linden near the Aizpute museum If you want to see how the trees travel notes of linden flowers in early summer and watch how they leave in flocks carried by wind and songs around the campfires The root of the Platanus in front of Aizpute museum Vascular diseases, respiratory problems members ankylosed and amputations Fungal infections and parasites There are too many dangers for those who are alive on earth Tiago Patrício / 13
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ARTISTS IN RESIDENCIES / 2012
Tiago Patrício & Joanes Simon-Perret / 15
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ARTISTS IN RESIDENCIES / 2012
Joanes Simon-Perret (France)
joanes-simon-perret.wix.com My research are closely link with the place and relation with Nature and our different lifestyles. Little-by-little I strated to imagine ways to reintroduce this contact with nature which we are losing. I started to do many researches with seeds, sprouts, vegetals to mix them with other mediums as textils, lacquers, cartboard and created inside gardens, green-design items, vegetals-cloths... Those associations become “living installations”, a kind of sculptur who are growing days after days.
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Joanes Simon-Perret / 17
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ARTISTS IN RESIDENCIES / 2012
PERSONAL FEEDBACK from Joanes Simon-Perret SERDE was a perfect place to experiment and realize projects I had in mind. This month of residency gave me the possibility to create many things, such as a 3x2m growing curtain, videos about Latvian agriculture (and other tests with snails) some green installations in relation with the place of residency and more. I also collaborated with a Portugese writer (Tiago Patricio) and a German artist (Nicklas Roy) on various projects. During the residency time I met people who invited me to participate in a one week painting workshop finalized by an exibition in the farm of “Liepaja Sea Festival� which was a great opportunity to work with other painters. 18
Joanes Simon-Perret / 19
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ARTISTS IN RESIDENCIES / 2012
Gwenn-Ael Lynn (France/USA)
http://www.gwennaellynn.com/ I have been working performatively with plants for quite some years now. For my residency at SERDE, I propose to learn about the endemic plants of the Kurzeme region.
Poetics Of Herbology I am a transdisciplinary artist who is interested in questions of locality. There are two avenues available for me to learn and investigate a place: engaging with its residents, or studying its flora. The former is difficult if I don’t speak the local language, the second option always works, and through it I get to actually meet local people. During my residency at SERDE, borrowing from the knowledge compiled in the exercise book “Foraging In Central Kurzeme”, published by SERDE, and from Signe Pucena, as well as my own experience, I set out to forage, in and around Aizpute, herbs that could be brewed into teas. In order to drink tea, one needs utensils and vessels. Therefore, thanks to the facilities offered by SERDE, and the technical expertise of Ugis Pucens 20
and Armands Ausmanis, I made 39 ceramic cups (14 were Raku), and five sets of wooden utensils carved out of birch wood (a very popular tree in Latvia.) All of these activities culminated in a public performance on June 22nd. Working from the methodology I have been developing for the past three years, I served the teas ritualistically, their scents impulsing movements and mood respective to each tea. In addition, I had carved each wooden utensils specifically for each tea, where the amount of curves and angles were in direct (albeit subjective) response to each respective scent. I also asked fellow resident Tiago Ribeiro Patricio, to contribute some poetry to the performance. O Aroma em si was etched over several cups. The poem spanned both some of the Raku ware, and the brown ware typical of the region. I glazed the inside of the latter white, so the color of each different herbal tea could come forward. The actual performance was processional, as it moved across the house of SERDE, from the top floor to the ground floor and ended in the courtyard. It began in silence upstairs with Alchemilla Milefolia, moved to a second room where I poured Betula, there Tiago began improvising, and then I enticed our audience down the staircase into the main dining room, where I served Lamium Album and then Artemisia. We
ended outside with Fragraria Vesca. In terms of structure I alternated between sweeter (Alchemilla milefolia, and Lamium Album) notes and more bitter and more aggressive greener notes (Betula, Artemisia, and Fragraria Vesca.) Tiago improvised his “Medicinal poetry” in his native tongue, Portuguese. Later on, he proceeded on passing around poems translated in Latvian, written on ribbons and on papers folded in the shape of tea bags, which to our delighted surprise, some of our audience members spontaneously read aloud. We are very grateful to them. This partaking of herbal tea, grounded in local herbal, knowledge, and craft, fostered a communal moment crossing linguistic and cultural differences.
Gwenn-Ael Lynn / 21
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ARTISTS IN RESIDENCIES / 2012
Gitte Bog (Denmark)
I am interested in the poetic possibilities in everyday materials, activities and places. My work is also concerned with identity, memory, history, cultural differences (and similarities) and language. I find traditional work methods, everyday activities, hobbies and celebrations inspiring. Singing, dancing, knitting, cooking, talking, walking and planting seeds are some of the activities that form my work. My practice includes live art, video, audio and installation. Some everyday activities I find fascinating and frustrating at the same time. By resetting rules on how to do them or creating rituals of my own, I question the authoritarian presence that often masks these benign activities. Fusion and chance are central elements in my work, it is site and context responsive and participatory in nature and I think of it as a platform for dialogue.
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PERSONAL FEEDBACK from Gitte Bog The work I made whilst residing at SERDE reflects the fact that I don’t speak Latvian and therefore found it impossible to work as I normally would (in previous residencies I have been depending on participation of the local community to create one large piece with me – about their place). Although there was a very helpful translator at SERDE she could obviously not be available all the time (which I wasn’t expecting either) so instead of concentrating on one large project I decided to work on many small micro projects. At times it was frustrating not to be able to communicate with people but I really enjoyed the challenge of working in a different way. I started by going to the allotments to get in contact with some of the growers because the thematic residency I had applied for was called “Ethnobotany, gardening and society”. I met three ladies, who were interested in collaborating but I only managed to work a little bit with them because of different time schedules and the language barrier. We made a small video and some essences together. My work is site and context responsive so I spent a lot of time “sucking in” information and experiences
whilst in Aizpute. I was taught how to weave by alovely lady called Laima and arranged a 100m knitting and crocheting race on Aizpute’s running track. I also sent out a questionnaire about the town, which was called in by its citizens. I am currently using some of the gathered information to develop other pieces and the outcome will be returned to SERDE when finished. I think SERDE is a really valuable asset both for the citizens of Aizpute and for the residents, who live in the community for a short and longer period of time. The good energy that you feel there, I think, stems from the interaction between the local community and people from different professional disciplines, backgrounds and countries. The hosts are helpful and the facilities are good and whilst I was there I met residents, who had returned to continue work they started earlier in 2012 or the year before, I think this continuity is beneficial for the local community, who are involved in SERDE’s activities.
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GITTE BOG / 25
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Daniel Allen (Estonia/UK)
The main theme of the work I propose to do is landscape, expressed by exploring the potential common ground between photography and painting. Photography, using exposures of around a second and longer, and incorporating movement, can produce results that tend towards abstract expressionism, emphasising colour and form over detail and lifelike representation.
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PERSONAL FEEDBACK from Daniel Allen
For an analogue photographer the month-long residency I spent at SERDE was extremely enjoyable; but not only this, it was also both an intense learning experience and an opportunity to practise what I knew about black and white developing. SERDE has a fully equipped darkroom along with chemicals, film and cameras, all of which I was able to take advantage of during the residency. I used some of SERDE’s expired Soviet film, and other modern black and white film that I brought with me, to take pictures around the town of Aizpute in various situations and various light conditions both inside and outside. Two formats of film were used, large format (4x5 inches) and 35mm. Keeping a record of the exposure times and apertures used in these photographs was an important part of the process of collecting information. In the darkroom it was possible to experiment with different methods of developing the films, using different mixtures and strengths of chemical and different development times. This information was also recorded in order to establish a baseline for future developing. Once the negatives were dry it
was possible to begin printing, again recording enlarger exposure times and apertures, chemical mixtures and strengths, and finally the length of development for each print. During the residency I also received some tuition in the darkroom from Marcis Bendiks, one of Latvia’s most experienced black and white photographers. Marcis was great fun to work with and passed on various tips and tricks that were new to me. One of the overarching ideas of this project was to both collect baseline darkroom information, and to preserve some of the knowledge of analogue developing so that it is not completely forgotten in the digital age. Following on from the second point, the last stage of the residency was to produce a scrapbook showing the finished prints along with data from each stage of the process for each print. This book remains at SERDE as a reference for the future.
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DANIEL ALLEN / 29
SERDE Residencies program 2012 was supported by: