Latvian Centre for Contemporary Art


LCCA implements educational events for children, young people and grown-ups that stimulate understanding of contemporary art – creative workshops, excursions, talks, conversation workshops, presentations by artists and curators, discussions, thematic seminars, conferences – as well as publishing booklets, worksheets and guides. LCCA also organises LCCA Evening School, a cycle of text-reading workshops dedicated to contemporary art, an international LCCA Summer School as well as offering the opportunity to learn the skills of art messengers or mediators.

Education / For Kids and Families

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Curator: Māra Žeikare

Contacts: mara@lcca.lv

Tālr. + 371 67039282

LCCA educational programme for children and young people provides the opportunity to get to know the secrets of art and social processes through exhibitions and their accompanying events, acquire a creative attitude towards life through encounters with artists and discover the different forms of contemporary art. In this section of the page you will find information on current activities for families with children and school groups, as well as practical materials about contemporary art for children and young people – exciting guides about Latvian artists.

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Education / Art Mediation

LCCA Art Mediation programme is a special series of activities where people from different professions, each based on their own experience as well as engagement with the particular exhibition, are able to assist different viewers, enabling everyone to make the most of their visit to the exhibition. Art mediators are trained at events organised by the LCCA following pre-announced open calls, both by providing information on the themes of the particular exhibitions as well as training practical communication skills with the public.

Aija Kaula is a doctor of chemistry who has been working in the banking sector since the 1990s. Aija is particularly fond of contemporary art, which has become a serious hobby for her.
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Short portfolios of the art mediators

Education / Evening School

LCCA Evening School is a series of text reading workshops and lectures taking place since 2013. LCCA Evening School is based on the familiarisation with the current contemporary art processes with the aim of fostering the development of critical thinking and discussion in the Latvian art scene. Various issues in contemporary art are discussed through the experience of reading texts of important theoreticians. 

From November 2013 to March 2014 Latvian Centre for Contemporary Art is hosting The LCCA Evening School, a series of readings of art texts presented by art historian and curator Ieva Astahovska and philosopher Kārlis Vērpe.

The LCCA Evening School series is comprised of ten reading workshops and guest lectures by local and international professionals. Each reading workshop is focused on a specific subject or issue – institutionalism of art and its critique, post-colonialism, feminism, socio-political strategies in art etc. Each topic is explored by reading and discussing texts pertaining to art history, philosophy, anthropology and other fields, including essays by such renowned authors as Alain Badiou, Jacques Rancière, Claire Bishop, Lucy Lippard, Hans Belting, Boris Groys and others. The series is based on examining current contemporary art processes and texts with a view to strengthening the development of critical thinking and debate within the art environment of Latvia. 

Curated by Ieva Astahovska and Kārlis Vērpe.

# 1  Contemporaneity 


• Alain Badiou, “Fifteen Theses on Contemporary Art” // lacanian ink. Vol. 23, Spring 2004.

• Boris Groys, “Comrades of Time” // E-flux magazine, 2009.

• Terry Smith, “Agamben
Art”, 2012.

# 2  Criticality and critical art 


• Jacques Ranciere, “Problems and Transformations in Critical Art” // Aesthetics and Its Discontents, 2009.

• Guy Debord, The Society of the Spectacle, 1967.

# 3 Appropriation strategies 

The ‘recycling’ of images and pictures has been an important means of expression in contemporary art since 1980s, when it manifested the topical issues of so-called critical postmodernism (‘We are not in search of sources or origins, but of structures of signification’ – Douglas Crimp). It is still a widely employed strategy in art today; however, now the interests of this approach lie elsewhere. Artists today use existing works and materials to create active negotiations between various points of timespace. Art critic Jan Verwoert, who explores the relationship between contemporary art history and topical art, addresses this issue by proposing the use of the term ‘invocation’: post-1990s, artists have been living amidst multiple rotating historical axes  


• Jan Verwoert, “Apropos Appropriation: Why stealing images today feels different” // Art & Research. A Journal of Ideas, Contexts and Methods, 2007.

• Nicolas Bourriaud. “The Use of Forms” // Postproduction, 2002.

# 4 Eastern Europe 


• Boris Groys, “Europe and Its Others” // Art Power, 2008.

• Igor Zabel, „We” and „Others” // Moscow Art Magazine N°22, 1998.

• Boris Buden, “Children of Post-Communism” // Radical Philosophy, 2010.

• Katherine Verdery, Sharad Chardi, “Thinking between the Posts: Postcolonialism, Postsocialism, and Ethnography after the Cold War” // Comparative Studies in Society and History, 2009.

# 5 Strategies of participation and socio-political art 


• Claire Bishop, “The Social Turn: Collaboration and Its Discontents” // Artforum, Feb., 2006.

• Nilolā Burjo, Attiecību estētika, 2009.

• Maria Lind, “Complications; On Collaboration, Agency and Contemporary Art” // Participation, Documents in Contemporary Art, 2006.

# 6 Global art, postcolonialism 


• Hans Belting, Art History after Modernism. 2003.

# 7 Art and creative writing strategies 


• Della Pollock, “Performing Writing” // The Ends of Performance. Eds. Peggy Phelan and Jill Lane. New York: New York University Press, 1998.

• Kenneth Goldsmith, Uncreative Writing. Columbia University Press, 2011.

# 8 Feminism  


• Lucy Lippard, “From the Center: Feminist Essays on Art, Get the Message?” // A Decade of Art for Social Change, 1984.

# 9 Art criticism versus aesthetics 


• James Elkins, “What Happened to Art Criticism?” // The Journal of Aesthetics and Art Criticism, 2009.

Education / Summer School

LCCA Summer School is an international programme of informal education for young and future artists, art and culture critics, curators and culture managers from Latvia and abroad. LCCA Summer School gives its participants the opportunity to exchange ideas with lecturers, guest-curators and workshop supervisors recognised in the art world, developing the skills of critical thinking, argumentation and debate in an interdisciplinary format as well as inviting the participants to collective creative practices.

Diāna Tamane. Mom (detail) 2016. Courtesy of the artist
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LCCA International Summer School 'Contemporary Geographies. To Map Places, Experiences and Ideas' will take place in Kuldīga from 3 to 8 August 2018 and emerging artists, art critics, curators and also audiences from other cultural fields are welcome to apply. The deadline for applications: 27 June. 

The Summer School offers an alternative to the usual educational formats and discusses topics that are beyond academic studies. The programme will consist of lectures, artists’ presentations, discussions, collective reading sessions and implementation of shared ideas. The Summer School is organised by the Latvian Centre for Contemporary Art in collaboration with Kuldīga Artist Residency and the Art Academy of Latvia. Its goal is to provide emerging professionals with an opportunity to find out about the most up-to-date contexts of contemporary culture, develop critical thinking, and implement collective artistic research and creative practices under the guidance of acknowledged lecturers and moderators of creative workshops in an interdisciplinary form.

The framework of the 2018 Summer School is ‘contemporary geographies’ –

the visible and invisible boundaries, including social and cultural boundaries, transformation processes and experiences, which often do not match national and political geographies. To study such processes and experiences, ‘other’ geographical categories are used, constructing and deconstructing knowledge from most varied fields, merging objective and subjective perspectives. In these changing circumstances art is also involved to create common knowledge, understanding and perception fields. For example, visual culture theoretician Irit Rogoff in her work Terra Infirma relates art to so-called ‘critical geography’ – a concrete, yet ever-changing space and environment, and the relationships between this space and time, geography, history and the contexts of place. Critical geography allows one to analyse and interpret the experience of transformation processes and to highlight questions about the relationships between different places, especially the relationships between the West and the ‘rest’ of the world. It allows one to examine the various cultures and histories, create connections between people, places and discourses, as well as to understand the terms and conditions of contemporary reality and to explain them through the familiar.

The Summer School will address questions of migration and mobility in the past and today – the thematic bloc of identity and memory viewed through the perspective of belonging and not belonging, alienation, displacement, changes and transit. How does a new place of residence motivated by a free choice or circumstances affect the identity and quests for creativity in the new environment and new geopolitical and culturally political conditions? To be the other, the outsider, who looks for the support in a new culture; or the opposite – to be in a continuous position of transit with no strings attached to any of the places. These conditions are characteristic of today, where tourists, migrants and urban nomads are typical figures. The transient is somebody who is continuously changing her/his place of existence before becoming deep-rooted, and her/his state of identity is based on alienation and the experience of Otherness.

How are these experiences related to the past, when life in emigration or in exile was the everyday norm for so many people? How can we interpret the big wave of migration from the countries of Eastern Europe after the enlargement of the European Union if we examine it in parallel with the negative reactions expressed against offering shelter for refugees and asylum seekers? Why, in the contemporary migration politics in the post-Soviet countries, are they portrayed as a burden and threat that must be avoided and not as a labour force that could be included in economy? How does global migration transform art geographies – the relationship between the centres and peripheries, marginal places, as well as provinces? Cultures, too, are ‘portable’ and they are increasingly less attached to a certain place and increasingly more to the movement and certain trajectories in the global space, a general condition of continuous change in physical, social and temporal relationships, indicating new relationships between their meanings and forms. How can migration or transformation experiences in the widest sense – also as migration of knowledge, resources and industries – become the forms of interdisciplinary creative workshops?

The programme of the Summer School will address these issues from the perspective of art and culture theory, emphasising the complex relationships between the social and the political, the local and the global, and the geographies constructed by facts and imagination.

The lectures, seminars and creative workshops will be led by artists, curators, theoreticians and cultural researchers, including artists Inga Erdmane, Diāna Tamane, Tanel Rander, Eléonore de Montesquiou, Mindaugas Gapševičius, Didem Pekün, curators Jonatan Habib Engqvist, Antonia Alampi, media theoretician Ilva Skulte and others. Part of the Summer School programme – the lectures and artists’ presentations – will be public and everyone is invited to attend.

The working language of the Summer School is English. Participation in the Summer School is free of charge, yet the participants have to cover partial accommodation and catering costs to the amount of 100 EUR.

To apply for the Summer School, please complete the application form on the LCCA website in English, and submit it by email with a CV and a motivation letter. Additionally, you can add a creative portfolio, publications, etc.

Application form 2018:


Deadline for applications: 27 June 2018. Please email the respective documents to: lccasummerschool@gmail.com

More information can be found at:

Māra Žeikare: mara@lcca.lv

Tel: +371 29586893