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OSZILLATIONEN ZWISCHEN DEM METAPHORISCHEN UND DEM KONKRET-MATERIELLEN: METAPHORIKEN DES BUCHS IM SPIEGEL LITERARISCHER UND BUCHKÜNSTLERISCHER ARBEITEN

100%
Schmitz-Emans M.
World Literature Studies
|
2018
|
vol. 10
|
issue 3
114 – 128
EN
Books, their materiality and their structure can have a metaphorical dimension; they may even appear as “materialized metaphors”. Artists’ books and literary works of unconventional and striking book shapes reflect the metaphorical potential of the book and make it vivid. Sometimes, however, such works of book art allow for different, even controversial interpretations, which can be exemplified by examples in which the metaphors of the “palimpsest”, the “blackening”, and the “labyrinth” appear concretized.
2

Valda Villeruša asamblāžu pasaule

88%
Nurža B.
Makslas Vesture un Teorija
|
2019
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vol. 23
56-65
EN
More than one hundred years have already passed since objects appeared in the works of art that underwent major changes in both content and form. The initial daring to overcome artists’ centuries-old ambitions to capture reality, especially manifested in trompe l’oeil effects, brought in the use of real objects resulting in avant-garde innovations. Assemblage as the intellectual, provocative, surprising, witty or poetic composition of objects was established as an independent medium of artistic expression. Today it exists both autonomously and as an integral part of physically more developed forms in terms of content, including interdisciplinary ones. Graphic artist, book designer, professor of the Latvian Academy of Art Valdis Villerušs (1942) is one of the most outstanding and consistent assemblage artists in Latvia. His works, increasingly noticed by art observers in the last decade, attract attention with their peculiar mysterious and intellectual nature, prompting the author of this article to explain and define what might be the key to and significance of the originality of his works. It was possibly this enthusiasm for history and the collection of various objects that in the 1990s encouraged him to gradually turn from traditional printmaking to assemblage that allowed more free and creative expression. In 2002, when Villerušs exhibited his works to a wider audience in the hall of the Latvian Academy of Art for the first time, he described them as “manipulations with books” in which their painterly qualities have been emphasised. The aesthetic aspect is very significant in his works but none of the compositions is purely decorative or just visually fascinating. The artist, whose scope of interests and knowledge extends beyond not only Latvia’s but also Europe’s borders, has found a comprehensive way of using his experience in assemblage. The objects included in them often have cultural-historical value, thus these compositions become “symbol-objects”. They are so rich in meanings that they can even characterise a culture and an epoch. In addition, such assemblages allow us to examine these de-contextualised objects more successfully than if they had stayed in their own environment. They are also raised to the level of symbolic artefacts, creating original time capsules.
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