ANNA PRIEDOLA
Intermedia Artist
Anna Priedola explores issues of sustainability, alternative production modes, and mythology around media in bodily engaging art installations and creative cooking events.
ARTIST BIO
Anna Priedola
My name is Anna Priedola and I’ve been participating in media art exhibitions in Latvia and abroad since 2012. Graduated as Master of Arts (New Media Art). Currently, I am occupied as the head of Liepaja University Art Research Laboratory managing BA study programme, and organising local and international art events – exhibitions, lectures, workshops etc.
SELECTED WORK
PĒKŠŅAIS PASTĀVĪGAIS AUGS // INSTANT ETERNAL BLOOM (2015)
3D printed installation
Exploring the possibilities and outcomes of the digitalization of physical forms, and the utopian promises of domestic rapid manifacturing technology, as well as the mythology around 3D printing at the time, author began to communicate with her friend residing in Australia with things. Saving the time and residues of logistics when digitalized objects being sent, author and her friend explored the sustainability of digital transfer of objects. However, not many things felt natural to share with a friend, thus a 3D printed flower from Australia was exhibited in an exhibition (and several after) in Latvia – a copy, however unique with the added artefacts of the crude means of the actual current domestic manufacturing technology.
NEJŪTĪBA NAV IESPĒJAMA // NUMBNESS IS IMPOSSIBLE (2013 – 2017)
2 channel video installation 3’33’’
According to the founder of vegeto [psycho-]therapy – Wilchelm Reich – the biophysical structure of a person is devided into three levels – on the surface one can see the social persona that is not in contact with the real being, and between the surface and the core mess surpressed feelings, impulses and
thoughts, and only this ugly mess is uncovered when one pulls the social mask of the person off – not the actual, true being (Reich, 1933).
Author exhibits her feelings of having relationship with somebody she can never get aquinted to in a 2 channel video instalation (see Image 5 – a screenshot of the video), projected on a scoby screen – a symbiotic structure of bacteria and yiest that resembles the features of the skin, thus exploring also the biological unclarity of “self” which is made of and animated bu alien spiecies like bacteria
MEDIJS // MEDIUM (2016)
INTERACTIVE SOUND INSTALLATION
Interactive sound installation
Author was exploring folk beliefs and internet mythology in the piece “Medium”. A candle is often used as a sensor in esoteric practice, channeling interaction between different dimensions of time and materiality. There is deep symbolism of the candle in traditional folklore. Ancient Latvian beliefs say that the flickering of the flame signals about the presence of spirits in the room.
The spectator can summon the ghosts of the authors past by flickering of the flame of the piece with his breath. As the philosopher of phenomenology L. Wiesling suggests, every record can be considered a ghost because it depicts only the surface of the object and it never changes. It is very simple to take images and sound records, and to publish them immediately now, so every person has to encounter the ghosts of his or her past trapped in the media and technologies – his or her representations which depict the self of the past although the current self is different and changes over time. The audio material is voiced and recorded information about the author which is not coherent today but it is still available for public on Twitter, Facebook, Tumblr.
While triggering the voices of the past spectator must be careful not to blow the flame out – old beliefs tell that one can severe somebodies life or scorch the wings of an angel or his own soul by blowing a candle out with his breath.
“DATU RECEPTES” UN “ĒDIENS MĀKSLĀ UN KULTŪRĀ” //
“DATA RECIPES” AND RELATED COMMUNAL ART PROJECT “FOOD IN ART AND CULTURE” (2017 – 2018)
Installations, workshops and discussions
In her Data Recipes author was exploring a local “biological” food network, the development of it, and the habits of it’s participants. According to Bruno Latour’s Actor Network Theory things can be social too, and trigger the development of social networks. In the project, author mapped the network and developed Data Recipes from the gathered data – exploring data as the new materiality with more than one sense.
Author later explored the sociability of food also in art-educational project “Food in Art and Culture” inviting Liepaja-locals to join Latvian and foreign artists that work with food as a theme and/or material in their art practice challenging sustainability and cultural issues. During the project, four workshops were held at a reclaimed creative district of Liepaja:
“Cultivating Culture – Social Fermenting” (Anna Priedola, Andrew Griff Paterson, SCO/FI)
“Food for Sustainability” (Anna Priedola, Maija Demitere, LV)
“Data Recipes” (Anna Priedola, Mikko Lippiainen, FI)
“Food Hackers” (Anna Priedola, Andrew Griff Paterson, SCO/FI)
The results of the project were exibited later as part of an exhibition at the same creative district “Art as Tool for Social Change”
WALL REDRAWING #19
interactive wall projection
Wall reDrawing is part of the series of executing all the possible variations of Sol LeWitt's Wall Drawings in Processing celebrating the automation. Instructions for Wall Drawing #19:
A wall divided vertically into six equal parts, with two of the four kinds of line directions superimposed in each part.
/September 1969/
Black pencil
FACE SUSTAINABILITY | ILGTSPĒJAS SEJA (2018-2019)
an archive of sustainable design objects
Anna Priedola documented objects and recipes developed by sustainability experts – Latvian seniors. Minimal pension in Latvia in 2019 is around 70euro/month.
PLASTIC NATURE (2015–2019)
installation
Plastic is a material of imitation. It is rather an idea of an endless transformation, an alchemical miracle. Plastic is “is less a thing than the trace of a movement, […] it's like a spectacle to be deciphered,” confronted with the first mass production of plastic, said Roland Barthes (Barthes, 1957). Plastic is one of the technologies that enables man to overcome natural constraints. Yet it is also “the first magical substance which consents to be prosaic.” (Barthes) But no matter how mundane plastic has become in the postindustrial community, it still retains its miraculous aura. Even the hair on one's arms rises when getting in contact with this electrical material. We may be tired of the low resolution of simulated materials, which makes the eye and touch feel tired of inaction, but the process of transforming plastic is still surprising.
* Roland Barthes. Mythologies. The Noonday Press: NY. Farrar, Strauss & Giroux, 1971 (97–99)
MY CV
My Portfolio
EXHIBITIONS (ARTIST)
SAVE – SAVE AS, Riga (LV), 2019
FACE SUSTAINABILITY, Liepaja (LV), 2019
ART AS A TOOL FOR SOCIAL CHANGE, Liepaja (LV), 2018
Festival ENTER, Siauliai (LT), 2018
FAST FORWARD, Liepaja (LV), 2017
SECTION OF SENSES, Liepaja (LV), 2017
NEBULA, Liepaja (LV), 2017
UNDER CONSTRUCTION, Liepaja Museum (LV), 2016
IMPULSES: NEW SOUND DAYS, Riga (LV), 2016
Sound Art Festival SOUND DAYS, Liepaja (LV), 2016
ASDF, Liepaja (LV), 2015
Festival ZEMLIKA, Durbe (LV), 2012
POSITIVE PRIVACY BREACH,
Irbene (LV) – Groningen (NL), 2012
NO PAGRABA UZ PAGRABU, Liepaja (LV), 2012
MIM, Liepaja (LV), 2011
PAUSE, Liepaja (LV), 2011
EXIBITONS (CURATOR)
RESORT FOR MENTAL ECOLOGY, Ars Electronica festival online programme In Keplers Gardens, 2020
PLASTIC NATURE, Liepaja UPDATE festival (LV), 2019
ON THE CLIPBOARD, Liepaja Art Forum (LV), 2019
SAVE – SAVE AS, Riga (LV), 2019
FAST FORWARD, Liepaja (LV), 2017
BLUE SCREENS, BLACK BOXES, Liepaja (LV), 2016