MAIN Program

YES MASTERCLASS Art Camp main goal was to create props and sculptures for an exhibition and a collective curatorial manifesto that critically mirrors Europe’s core values, pressing issues and modes of existence (2018, Latour).

The “idea of Europe” was in constant flux. Understanding Europe as an intrinsic “coordination of differences”, as Montesquieu reminds us, or “Europe as Borderland”, as Etienne Balibar (2009) emphasizes, how could we act together despite all inequalities, distances, beliefs, hopes and fears?

Methodologically, this art camp engaged with the concepts of reversed flux and situated knowledge (from local to global, periphery to center). We proposed to analyze the old town of Kuldīga (resident population 10,448). Located in the west of Latvia at the confluence of the Venta and Alekšupīte rivers in the central part of Kurzeme, approximately 150 kilometers west of Riga. First mentioned in historical documents in 1242, Kuldīga had been part of the Hanseatic League since 1368.

Kuldīga could be grateful for its importance in Hanseatic trade mainly to the Venta River, which provided the most convenient transportation of goods from the port of Ventspils to the inland areas at that time. Until recently, land roads were often in very poor condition, and land transport was slow, unsafe and expensive. Therefore, the location by the waterway provided Kuldīga with an opportunity to engage in Hanseatic trade. In addition, the Rumba waterfall was an insurmountable barrier for boats, so goods had to be reloaded in Kuldīga, and this “forced” mediation provided the town with an active commercial life.

Local products were brought to the town by land from the surrounding area: corn, flax, hemp, wax, honey, etc., which traders could then transport to Ventspils by river, reload in suitable ships and export to Western Europe. Western European goods destined for the domestic market were transported in the opposite direction: fabrics, salt, salted fish (which were so important in the Middle Ages for their religious beliefs) from the Swedish coast or the North Sea; later also luxury (wines, precious stones) and colonial goods (spices). Since 2023, the old town of Kuldīga has been inscribed on the UNESCO World Heritage List.

Based on this context, we wanted to reflect upon broader challenges facing Europe in relation to the cultural heritage, environment, capitalism, sustainability, social and climate justice, civic engagement, possible threats to liberty, diversity and democracy.

To put forward these approaches and drive content and experiences from our YES MASTERCLASS Art Camp, we collaborated with local agents that either represented municipality, digital innovation center manager and a master piano builder whose life’s work had redefined the boundaries of acoustic piano design.

The workshop was held at the Art & Creativity Cluster Adatu Fabrika (Needle Factory). The participants were gathered through their main subject affinities in smaller work groups, each working in its specific location: Adatu Fabrika, Mākslas Nams, Kalku kvartāls and Pils iela, that, in the end, tended to unstable, plural and incomplete representations of the YES MASTERCLASS Art Camp props and sculptures for an exhibition and a collective curatorial manifesto, which could crossover, defy, reiterate and bend toward each other.

In times of global crises, whether conflicts or disasters, artists played a crucial role in reflecting the experiences of communities. Yet, they often faced significant repercussions for their work. In such emergency situations, the cultural and creative sectors emerged as symbols of resilience and hope, with artistic expression becoming an act of courage.

The workshop consisted of talks, walks, fieldwork, individual projects, assemblies, the development of props and sculptures for an exhibition and a provisional manifesto.

The primary pedagogical theme of this year’s Masterclass #3 was the intersection of innovation and tradition. Throughout the week, participants engaged in a series of reflective and experimental activities designed to explore new perspectives and methodologies in sculpture training. This exploration assessed the possibilities, advantages, and potential limitations of innovative approaches, offering a balanced view of the evolving practices in the field of sculpture. During the camp, each group built collective and/or individual projects that inhabited a common ground, formed by the interventions of all the participants at Adatu Fabrika.

Each project, whether individual or collective, reflected the exploratory themes that emerged from our fieldwork in Kuldīga. The outcomes were shaped by your active participation in this thought-provoking and creative process.

Procedures

• Participants were divided into four working groups supported by different teachers.
• Each working group was assigned a workspace, a package of raw materials, and a set of tools.
• The work of each working group was developed according to the major axes already defined in the YES project (materials, space, society, and social practices).
• The masterclass spanned seven days, with five days dedicated to intensive teaching and learning activities tailored for sculpture students. These sessions provided a mix of theoretical and hands-on experiences, fostering a deep understanding of the subject matter. The remaining two days were reserved for travel, ensuring participants could fully immerse themselves in the experience from start to finish.
  

MAIN BIBLIOGRAPHY

• Balibar, Étienne (2009). “Europe as Borderland.” Environment and Planning D: Society and Space, 27, 190–215.