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: Linda Veinberga

Contacts: linda.veinberga@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 Mediation or art messenger 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 messengers 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.

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.

The image credits: Edd Schouten
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The LCCA Summer School Error?! is taking place in the artists’ residence at Ruckas Manor, Cēsis (Latvia) from 11 June until 15 June 2016. 

The theme of the 2016 edition Error?! focuses on the role of erring in thinking and art. Among the subjects of discussion will be slowness as a conscious strategy in cinema and contemporary art; absurd and nonsense in literature and visual art; buffoonery as a strategy – as resistance and critique; as release from learned forms of seeing and experiencing.
Taking into account that in many European languages the word "error" in the sense "to stray, err" (from Latin errorem) has a much longer history than the notion of "error" as "failure", the LCCA Summer School will revisit the various meanings of erring in creative processes and hopes to contribute in restoring the good name of errors. It will turn to such questions as: What is the role of errors and erring in acquiring new knowledge and experiences? In what ways can errors shed light on systems and structures upon which we rely? Which practices of art are located in the zone of systemic errors? Can erring and accidents become a conscious practice?

More about lecturers of the Summer School:
Michael Ramscar countsconcepts, metaphors, analogies, language learning and processing, and all manner of mental representations among his interests. He studies philosophy, computer science, and finished a PhD in Artificial Intelligence and Cognitive Science. We invited him to talk about the importance of being wrong.
We invited Rosa Bartosi and Elīna Reitere to collaborate ongivingus food for thought regarding slowness and film, and ways of watching. Rosa Barotsi is a film theoretician, her recent work looks at the notions of failure and misuse in contemporary art cinema both as tools for radical politics and as endemic characteristics of ‘debt capitalism’. Elīna Reitere is also a film theoretician, recently finished her PhD on narrative in Slow Cinema, has also worked as the director of the Riga Film Museum and writes about film.
Travis Jeppesen is an artist working in the medium of language. His books include novels such as Victims, Wolf at the Door and The Suiciders, poetry, amongst them Dicklung & Others, Poems I Wrote While Watching TV, and art criticism, such as Disorientations: Art on the Margins of the “Contemporary”. We invited him so that we could explore his method: an object-oriented writing – a metaphysical form of art writing that attempts to channel the inner lives of objects.
Kaspars Groševs is an artist and,as an artist, he works with sound, text, video, paint, other artists, he is co-founder and curator of gallery 427 in Riga.We invited him to share his ways of dealing with uncertainty.
Valentinas Klimašauskas is a curator and writer, interested in the robotics of belles-lettres. Among other things, he hosts collective reading performances and other performative acts that often deal with reading and texts. We invited him to get acquainted.
Paul Clinton is a writer and is assistant editor of Frieze. He has taught on art, stupidity and queer theory at Goldsmiths College and recently curated (together with Anna Gritz) exhibition 'duh? Art & Stupidity' at Focal Point Gallery (Southend-on-Sea, UK). We invited him to talk about unpacking the political and representational issues coming from artists and critics who work with stupidity.
Haralds Matulis has many faces – having studied philosophy and social anthropology he works as a publicist, critic, translator, and has been active in shaping cultural policies in Latvia. We invited him to talk about Daniil Kharms and his writings.
Laura Prikule is an arist interested in ideas, their formation or growth, as well as processes of interaction which link contrasting areas of culture. She works with plants, people, objects, colours, texts and sound. We invited her because she is interested in structures, and structures are full of errors.
Indrek Grigor is an art critic, curator and semiotician, he is an explosive device when it comes to art criticism. We invited him to hear more about the power of unwritten texts and his findings in typology of art criticism.
Edd Schouten is an artist and choreographer. His choreographies are often centred around structured scores with the intention of engaging both the performer and the viewer in a spatial engagement. We invited him because erring means moving.
Styrmir Örn Guðmundsson is an artist, storyteller, performer,maker of objects and illustrator who has a love for the absurd, by which he means less an obsessive passion for the ridiculous, nonsensical or the odd, than a tender and caring attitude: he looks after the absurd, he helps it develop, he gives it a place alongside everything else, where it can be your most disturbing neighbour and your best friend.

Summer School Error?! is organised within the LCCA education programme, which is based on the exploration of current contemporary art processes in the form of lectures, workshops and other discoursive events with the aim of strengthening the development of informal education, critical thinking and discussion in the Latvian art scene. One of the most visible activities of the programme is the series of reading workshops, LCCA Evening School, which turns to questions of contemporary art through the experience of reading texts by important theoreticians.

This event a part of a collaborative project "This is Tomorrow. Back to Basics: Forms and Actions in the Future" co-funded by the Creative Europe programme of the European Union, Ministry of Culture of the Republic of Latvia, State Culture Capital Foundation, Cēsis Regional Council.

Programme of the LCCA Summer School 2016__ENG.docx