Create, please spring. Interview with artist Reini Dzudzilo / Day

Reina at the Dzudzilo Exhibition Op. 89. The new geometry of irregular forms In the gallery Alma Sounds a cycle of Franz Schubert's songs Winter Way, who tells the story of a lonely wandering feeling after divorce from a loved one. Baritone Hans Hotter's voice Deutsche Grammophon The recording of 1962 has a direct, instanty of instant feelings, great openness and truthfulness, and manifests itself longing for love, pain, disappointment and hope. Reinis has cut his voice, leaving only the piano and vinyl record noise played by pianist Eric Verb. There is silence in the cut. The instrumental parts sound every time, surprising the visitors to the gallery.

Op. 89. The new geometry of irregular forms closes the trilogy that began with an exposure Never ends January 2023. At the time in the gallery Alma It was visible from the wreaths of electric candlesticks in the corner of the wall: on one plane – behind, on the other – to die. This allowed the viewer to read the words alone and together, depending on the point of view. The second exhibition of trilogy One Will Heart One happened last summer There in the room.

The new exhibition consists of twelve road signs located on a straight vertical galleries Alma Glass shop window. The first road sign – looking from left to right – is empty, second to sixth, and in the ninth and tenth has the letter « a ». In the twelfth road sign, the letter « A » is striked with a red stripe. Reinis Dzudzilo shows the abandonment of the language that begins with the letter. Exposure space is cobalt blue, it exactly matches the frozen heart of the winter traveler, Winter Way.

Looking from the inside of the gallery, a series of signs shine in the glass wall. It continues, with twenty -four marks – just as much as the song in the Schubert cycle. Twenty -four are also the number of watches, they are perpendicular to road signs. The score of each clock reflects one time zone, showing « all the days », while the clock showing Riga time is placed on a sheet music panel. The custom notes are also placed on a cane that is reference to Winter Protagonist – a wanderingman who is overwhelmed by melancholy, passing through the winter.

French art critic Pierre Restani in 1960 convinced the group artist to define a new movement called « New Realism ». Their manifest was, « New realism is a new perception of reality. » What is your new geometry manifest?

It has no manifest. Rather, it refers to a new creation in the existing structure. Create a new unit in a familiar place. Specifically name The new geometry of irregular forms is taken from Tom Stopard's play Arcadia. When I heard it, this exhibition was already imagined and its original name was Winterreise/Winter Way, But at the time, I was not yet clear that the Schubert cycle really had to sound in the exhibition, even as fragmented as it is now. Call it Winterreise There would be too many because it is so much here.

If we look at the city signs as the semiotics we recognize – at least those who have mastered the rules of the road know that the sign on a square on a blue background with a white letter « P » denotes a stop – a stop that is edited at the exhibition.

As the new geometry gets in the play Arkadia?

It is the method described by Thomasinas in numerical reproduction of all nature. Such an algorithm. It also touches entropy. You can talk about cooling down. Many that are warm in this world, after all, experiencing cooling down, even if we think of a human body, which is initially warm, warm until the island is experienced. But an island that stops any heating. I can also attribute it to Winter. This freezing phases experienced by a traveler.

Your exhibition is not posing or following the forms of contemporary culture. This is not even an observation, but a deep personal creativity. What is the prerequisite for this thinking? Are they sad?

I think they have been present. I am also fascinated by form. This particular space and time movement, and stopping it at all.

Once upon a time, David Linch was asked about suffering and creation as an example was Van Gogh. Would suffering make art better or would it be possible without them? Lynch is convinced that when Van Gogh painted, he was free from suffering. In his opinion, being in a state of suffering and creating in a way, it can be imagined – as a total headache and vomiting. Are you able to think about creating something at all? Clearly, you don't want it.

Your previous exhibitions One Will Heart One The name in Latvian can be translated as one hurts the other because « Hurt » and « Heart » (heart) sounds quite similar.

One in the hearts one. Love is very close to vulnerability. Namely, when you start to feel, you feel more than just one place – you become sensitive to yourself. At that moment you become vulnerable. If we imagine we are knights who go the world with shields and swords, this image of the knight at that moment opens up both hands, at that moment you open everything in your hands and become vulnerable.

You also played with words in this exhibition. A cane of Memento – Memorial Affairs Winter Road – has become a « monument » in life, while the clock placed on a sheet of notes has become Riga Time, It is a reference to a magazine that recently stopped existing.

This is already your interpretation. It also reads or lets you read. What is your interpretation? I do not want to say everything and I do not want to speak generally, but mostly people who work in visual arts are aware that art itself, like music, exists in the world. Its power is in a language and language interpretation. Here, let's say, in the case of watches, this is the time that is out of the context. Not outside the context, but it is chosen, one point of twenty -four who stands with the face against a passerby and becomes a score or a party. The orchestra has a common score, this is the whole orchestra read by the conductor. The party is a record of notes of each individual instrument. In this case, it is the existing time party. The clock becomes music. Like a party that is fluttered and, thanks to the movement, it is made about music. When the time is placed on a sheet music remote or pedestal, the attitude towards it becomes more fragile.

You use the word « segment ». In your and Christ's Dzudzilo exhibition Alma Materwhat happened in the gallery Alma In the autumn of 2020, you liked the gallery itself to the segment: « The transparent rectangular parallel, the glass is like an analogy to the vehicle, the segment who is physically moving and moving inside it. » In your new exhibition, you have created a new segment – the cobalt blue bench almost throughout the gallery along the outside of the exhibition.

This is another time index.

But with the function – sit down?

It would be recommended. If you enter between the two parallels – the gallery and the bench – you cross the sight and go through it. Both the gallery and the bench are made of an alley or an arch that is inevitably crossed, precisely due to the fact that the two are opposed to each other. Surrounded or covered the street. The viewer is the most important thing that is. One who is alive and can experience something at all. Without it. And he can …? To get into. Enter and sit down. I have heard that many have never been inside this gallery. And don't want to enter at all. Because it allows you to give the distance. Gallery Alma is simply ideal for the relationship between the subject and the object. Can go short enough to see all the exhibit as one whole. This is similar if we imagine we have stopped at the railway barrier and start counting the passing train wagons, let's say they are fifty -four. We see each one. This gallery admits that we can retreat from this barrier to the extent that we see all fifty -four wagons at a time. It is special, I really like it.

How did you get the voice out of Schuberta Winter?

Quite simply. Because Wilhelm Miller's poetry is so bleeding, so open and crying. It seemed to me that it would be too much. Although German, which most people living here do not have a conversational language, would include a distance. Cutting music is not only in visual art, in which the silence is part of it, but also with my past. It is associated with my grandparents who were deaf, as well as Christ (artist Krista Dzudzilo – KF) because, living with her, I felt her love for music, her attention, she has worked with it … There are definitely references to this experience.

And losing love can also lose language. Twitch the language.

Yes, can. I also tried to make a neckline that would have inhaled and exhaled, leaving the presence of a person, but in the end, I also released it. This may be related to the mentioned in this conversation Riga Timebecause I remember that Uldis Tyrone has said several times … I don't remember whether it was referring to Flober, who said, « remove himself from the text ». At all, take out yourself. Don't put yourself in the foreground.

But where does love stay? Does it end?

I think never ends. Love is greater than the end.

How did you get to Schubert at all?

He came to me. (Laughs.) We think we come to things, but they come to ourselves. Of course, there is some kind of mutuality. I had heard the whole cycle before this exhibition at the Cesis Concert Hall when I already knew when to create it. But this record, who … You mentioned the album we hear. It reminds me of the winter image – crunching in the snow. And why no snow, falling, heavy flakes.

In the description of the exhibition, you mention the interview with Sasha Oku (1949) Riga Time In July 2024. In it, the Israeli painter claims that the work is no different from prayer: « Pray with words and silently, painting by hand, but also silent. The difference is not. Marina Cvetajeva said very rightly that a true artist will never say, » I created it, « he said, »

Well, there he also uses the « real artist »… I mean what he points to?

He points to himself.

Yes. Not only, but respectively, those he considers to be true artists. But why this reference exists (in the text of the exhibition KF)… It seems to me that a person is always smaller than creation. Because he is created himself and he can be present. Much depends on you, but the biggest and decisive not. Will depends on you, courage. Even if we look at such a big event as the birth of a child – creating – you can try, and a lot of people are trying, and also succeeds. Mostly succeed. But there is also the fact that you can't choose. It is about the gift, just like spring, let's say. So… relatives, please spring.

Spring is a gift.

Similarly, winter. It is the opposite. Well, not the opposite…

But now the blue snow will be blown away.

Isn't it? Yes, but look – there is no snow today.

And where are you flowing?

Different I will flow. The exhibition will not be over, but will be premiered at the National Theater (director Matisse Kaza's production National channel; Reinis Dzudzilo is the author of its visual drama – KF). I like to do art. I like going to that area, it's so interesting. Ilmārs Blumbergs said, « The most valuable conversation with you is if I don't go to you. If I tell you, the conversation is dead. » I remember in the past I didn't want to talk much at all. Now I understand that this is important. Perhaps the most valuable conversation tends to be just if I try to tell you something to the end. Is it possible to say at all? Blumberg leaves the room where something remains discovered. Perhaps in his case, it is associated with the inner fear of the fact that when you name something, it may break there. Or disappear. I have been trying to go different ways lately. Allow to name, let other times break if it has to break.

What I realized directly from you and this exhibition – that the end is not the end, but a new entrance and a new beginning.

This is always the case. As a birth where you leave the interior – the mother's body – and enter the exterior – in the world. End and start as exit or inside. The way out brings you to the new irregular forms of geometry.

Reinis
Exhibition Op. 89. The new geometry of irregular forms

In the gallery Alma up to 11.III