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SURVIVAL KIT 13 | THE LITTLE BIRD MUST BE CAUGHT

NEON Grants

03/09/2022 - 16/10/2022

Antonis Pittas | Scene | © Courtesy the artist
Anton Vidokle | Gilgamesh (2022) © Courtesy the artist
Laure Prouvost | This voice is a pink cloud | Sound Installation (2014) © Courtesy the artist
Mykolo Ridny | NO NO NO (2017-2022)
Chrysanthi Koumianaki | Down with the abstract | State of Concept (2016) Installation View © Constantinos Caravatellis

DETAILS

SURVIVAL KIT 13 | THE LITTLE BIRD MUST BE CAUGHT

03/09/2022 - 16/10/2022

Latvian Centre for Contemporary Art, Riga, Latvia

CURATOR

iliana Fokianaki

ARTISTS

Forensic Architecture, Andrius Arutiunian, Sammy Baloji, Rufina Bazlova, Candice Breitz, Juris Boiko and Hardijs Lediņš, Vera Chotzoglou, Sanja Ivekovic, Kapwani Kiwanga, Chrysanthi Koumianaki, Rojava Film Commune, Ansis Epners, Kristaps Epners, Dora García, Almagul Menlibayeva, Marina Naprushkina, Ahmet Öğüt, Antonis Pittas, Susan Philipsz, Laure Prouvost, Tabita Rezaire, Mykola Ridnyi, Krišs Salmanis, Erica Scourti, Indrė Šerpytytė, Sabīne Šne, Maryam Tafakory, Wu Tsang, Raed Yassin, Valdis Villerušs, Anton Vidokle

OPENING HOURS

Tuesday to Friday | 2pm – 8pm
Saturday, Sunday | 12pm – 6pm
Monday | Closed

OPENING

2 September, 7pm
3 September, 12pm-3am

INFORMATION

lcca.lv/en 


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 Press Release >

“In the dark times
Will there also be singing?
Yes, there will also be singing.
About the dark times.”
Bertolt Brecht, Svendborg Poems, 1939


The Latvian Centre for Contemporary Art (LCCA) launches the 13th edition of its annual contemporary art festival Survival Kit, one of its key endeavors and a major art event in the Baltics.

The upcoming edition of Survival Kit 13 is conceived by curator iLiana Fokianaki and takes as its form of departure the cultural imprint of the Russian occupation of Latvia. The exhibition is titled The little bird must be caught, and is inspired by the homonymous title of a poem by Latvian poet Ojārs Vācietis, known and loved in the country not only for his literary talent, but also for his courage in discussing the political conditions of his time. His work addressed the oppression of the Soviet regime, but also spoke about global social issues, from his native Latvia.

The poem written during the latter period of the Soviet Union in the late ‘70s during Brezhnev’s rule, warns of the dangers of letting the little bird free to sing, hatch its eggs and continue being. It is an ironic allegory, in favor of free speech and against authoritarianism and repression. The poem reads urgent and timely, in a global reality where free speech and self-determination are threatened by far-right nationalism and authoritarianism.

Supported by NEON.

Candice Breitz | Whiteface | Video Installation (2022) | Courtesy Museum Folkwang

Sammy Baloji | Tales of the Copper Cross Garden | Installation (2017) | Photograph © Sebastien Laval

Vera Chotzoglou | Under the Sand the Waves (2022) | © Courtesy the artist

Erica Scourti | Exit Scripts (2018) | Digital video | Installation view 7th Athens Biennale 2021 ECLIPSE | Photograph © Emilios Haralambous | Courtesy Athens Biennale and the artist

Latvian Centre for Contemporary Art

Alberta 13

LV1010, Riga

Latvia


Latvian Centre for Contemporary Art

Alberta iela 13, Central District, Rīga, Latvia

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