La t v i a
by Vilnis Auzins
Arno Antums - Jansons (23.07.1962) represents the generation of Latvian photographers whose artistic development coincides with the time of "perestroika" in Latvia. This was the agony of the Soviet regime, and it had a similar impact on photographers who started their exhibition activities during 1988- 1989. Their attempt to avoid reality was the uniting feature of the group. The existing social atmosphere suggested the use of rougher means than those used in the photography of delicate subjective document. The desire to announce oneself when society paid no attention to the callings of the soul of an individual was another impelling force. Lack of professional studies and partial (fragmentary) knowledge of post-modernism trends stimulated the creation of peculiar photographic artifacts.
Arno Antums-Jansons is one of the most illustrious representatives of this group and this generation as a whole. The photographic image is used as an inducement, creating the atmosphere of plausibility that is his individual story about human beings. The story is usually about a person depressed by soci- al contradictions and lost ideals.
At the beginning of 1990's, the atmosphere of humiliation was like a storm cloud. Unfortunately, it does not give way to encouraging summer rain. A sequel of Soviet philosophy still manifests itself in a paradoxical and deformed way.
The attributes of Arno Antums-Jansons' art works seem to undergo self-multiplication and self-deformation. The photographer attempts to mount them in one piece, and then he paints over the scars of the junctions and borders in a naive manner. In his works, graphic and pictorial qualities should be mentioned first. Human motivation may remain hidden for a person lacking similar life experience. These works characterize the interaction of the artist and the epoch not only in Latvia during the 2nd half of 1990's. They characterize the spiritual atmosphere in post-socialist countries as a whole.
Gatis Rozenfelds (20.09.1977) represents the new generation of creative photographers in Latvia. He debuted in 1995 participating in exhibitions and working on his own projects. The development of his aesthetic principles and artistic style has been influenced greatly by his photography teacher Andrejs Grants, following the photographic theory emphasized by Egons Spuris - meditative, non-commercial photography. This style contains both the decisive instant and repletion of the photographic space with continuing time. This incredible combination - "it happened at one and the only moment" together with "it happens time after time" - is the most fascinating thing in the works of these photographers. They consistently use black and white film and make prints on silver bromide photo paper. The prints are small. Gatis Rozenfelds tries to find the optimum size for his images so that their quality is not affected by enlargement. The size is significant, stressing intimacy and the fragility of the private world.
Gatis Rozenfelds photographs are interesting in a historical context because they reflect the heritage of a certain school known for its ability to draw attention to the essential problems of human beings by using seemingly insignificant details. The development of such artistic language was caused by the Soviet regime, since it was then impossible to speak directly and openly about problems affecting people's self-awareness. This pictorial style greatly influenced Latvian national awareness and, in a way, furthered the social changes of 1990-1991.
Gatis Rozenfelds approaches the viewer with this enduring photographic value.
Vilnis Auzins
Translated by Andra Piebalga
Galleri Image ©1999 Toldbodgade 8, 8000 Aarhus C, Denmark.
