Latvia Vlog #2 // Riga + Art Museum
Hey guys :3
Went to the national art museum and met cool people during my last days in Riga - enjoy :))
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Hello! My name is kristaps and I'm a fashion blogger and high school student from Latvia although I'm living in Ireland. My favorite drink is a mocha ice coffee and I love anything to do with Japanese or French culture.
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Editing
Camera - iPhone SE
Editing software - InShot
This video is not sponsored
Art Academy of Latvia & Latvian National Museum of Art
Visit to the Latvian national museum of arts
Exploring the culture of Latvia.
IMPRESSION of... - Latvian National Museum of Art
IMPRESSION of... - Latvian National Museum of Art
The Latvian National Museum of Art.wmv
Come join TheCeļotājs visit to the outside area of the Latvian National Museum of Art located at Krišjāņa Valdemāra iela 10a.
The main building of the Latvian National Museum of Art on Krišjāņa Valdemāra iela is one of the most impressive in the Park and Boulevard Circle area of Riga. It was designed by the museum's first director, the Baltic German architect and art historian Wilhelm Neumann and built in 1905. The structure, as well as the parameters of the exhibition rooms, corresponded to the level of requirements required standard for an art museum in the Europe of at the previous turn of the centuries. The majestic façade is designed in the baroque and classicist styles; the sculptural group of the central fronton was created by the sculptor August Volz. The interior of the building -- in the lobby and the ornaments of the staircase banister feature elements of Art Nouveau. The top-floor lobby is adorned by with six decorative semi-circle circular paintings by the great Latvian painter Vilhelms Purvītis and a master of Estonian classical art Gerhard von Rosen.
The building is a listed architectural landmark of national significance. Reconstruction and restoration work is scheduled in the foreseeable future.
The permanent exhibitions of the museum trace the development of professional art in the Baltic region and Latvia from the mid-1700s to the present day, as well as feature featuring a number of significant episodes periods in the Russian art of from the 18th century to the first half of the 20th century. The Russian art collection of the Latvian National Museum of Art is the richest in the Baltic countries.
In 2000 the museum was accredited and received confirmation from the State Authority of Museums its operation as a state recognized museum. The year 2000 also introduced important changes in the life of the museum; the Ministry of Culture abolished the Association of Latvian Art Museums and reorganized the structure of the member museums. It was decided to give independent legal status to individual museums. At the same time the Arsenāls Museum of Art was abolished being united with the State Museum of Art. On the basis of these two museums has been organized one united museum of national importance which since September 2005 has a new name -- the Latvian National Museum of Art.
The Latvian National Museum of Art
Krišjāņa Valdemāra iela 10a
Riga LV-1010, Latvia
Phone: (+371) 67 325051
Fax: (+371) 67 357408
Email: :lnmm@lnmm.lv
Website:
View from the Latvian National Museum of Art, ultralight
A view of the city including the Russian Orthodox Cathedral and also an ultralight plane. I apologize for the shakiness and jerks: these are amateur videos and I don't have a tripod, etc.
Latvian National Museum of Art, Edgars Vērpe installation
This installation is the the cupola of the museum.
Latvian Ethnographic Open-Air Museum.Riga (Full review)
The Latvian Ethnographic Open-air Museum is one of the oldest open-air museums in Europe. Now its territory covers 87.66 hectares of forest on the banks of Lake Jugla.
Latvian war museum - Guided Tour - Part 1
History Museum of Latvia
di Gianluca Procaccini
The mission of the National History Museum of Latvia is to collect, preserve, research and popularise spiritual and material culture from Latvia and the world from ancient times until today, which has archaeological, ethnographic, numismatic, historical or artistic significance, in the interests of the Latvian nation and its people.
On the March, 2008 Museum Park of Āraiši joined to the National History Museum of Latvia. The museum is the Lake Castle, which consists of reconstructions of buildings of Stone and Bronze Age where settlement of Latgalians in 9th -- 11th century was. There are also ruins of medieval castle dated back to Livonian time.
January 2010 Latvian Culture Museum Dauderi joined to the National History Museum of Latvia. Museum's building was built in 1897 as Waldschlössen (at present - Aldaris), family mansion of the owner Adolf von Bingner. It is surrounded with the park created in the beginning of 20th century by Georgs F. F. Kūfalts.
National History Museum of Latvia - Guided Tour - Part 1
''The Arsenal'' The Latvian National Museum of Art.wmv
Come join TheCeļotājs visit to the outside area of The Arsenal The Latvian National Museum of Art located at Torņa iela 1
The Arsenāls Exhibition Hall of the Latvian National Museum of Art LNMA is housed in a significant architectural monument, an early 19th century customs warehouse building or arsenal built in the late Russian Classicism style; it has now been converted to suit the needs of a museum.
The building was originally designed by Johann Eduard de Witte. Later the design was expanded, adapting the suggestions of Julius Adolph Spazier 1790 and after 1870, in 1828, architects from Saint Petersburg, Alexander Nellinger 1789--1840 and Ivan Franzevich Lucchini 1784--1853, an architect representing the customs office, developed the final version; in 1832, the official unveiling of the building took place.
The building in which the Arsenāls Exhibition Hall is located was used as a warehouse for the most part of its existence. In the 1920s -- 1930s it served as storage space for military equipment. After World War II the building was used by the Soviet military as a commercial goods warehouse and as facilities for a military college. In the 1980s it was taken over by the Ministry of Culture and converted into an art museum. On 1 January 1989, after the transfer of the late 1900s collection from the National Museum building in Krišjāņa Valdemāra iela, the Arsenāls Museum of Art started its work here.
According to the Cabinet of Ministers Decree of 20 December 2000, the Latvian Association of Art Museums was abolished and the structures of the National Museum of Art and the Arsenāls Museum of Art were organized simultaneously. Merging the holdings of both institutions, a single museum of national significance the State Museum of Art was created. On 1 September 2005, the museum was given the name Latvian National Museum of Art; Arsenāls continues to function as an exhibition hall of the LNMA.
The Arsenal The Latvian National Museum of Art
Website:
We Are Museums 2017 (Riga, Latvia)
A few minutes glimpse of what was We Are Museums 2017 at the Art Academy of Latvia and the Latvian National Museum of Art
Staro Rīga 2012 HD - Latvian National Museum of Art - Latvijas Nacionālais mākslas muzejs.
Latvian National Museum of Art Installation. Samsung Smart Sessions. Musical Stairway
FIXING WHAT ISN'T BROKEN - PART 9 - Hilkka Hiiop
Hilkka Hiiop (Conservation Specialist, Art Museum of Estonia, Tallinn)
How to Preserve the Ephemeral? Contemporry Art Preservation at the Art Museum of Estonia, Tallinn)
Dr. Hilkka Hiiop is specialist at the Conservation Department of the Art Museum of Estonia and an Associate Professor at the Department of Conservation within the Estonian Academy of Art. She was trained as an art historian at Tartu University and got her MA degree in the conservation of cultural heritage from the Estonian Academy of Art. She finalized her PhD research on the conservation management of contemporary art in 2012. Her professional experience in conservation includes an internship at the Gemäldegalerie in Berlin (1999), practice at a conservation studio in Amsterdam (1999-2002), and a course on the conservation of contemporary art at the ICR (Instituto Centrale per il Restauro) in Rome (2003). From 2003-09 she was working part time as a conservator of mural paintings in Rome, where among her projects were the church of Santa Maria Antiqua, Forum Romanum (6th–9th century); the Domus Aurea (1st century AD); and the church of San Pietro in Tuscania (11th–12th century). She has supervised many conservation and technical investigation projects in Estonia and has curated exhibitions on the topics of conservation and technical art history.
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
10:00 - 17:00
Conference Hall, Latvian National Museum of Art
K. Valdemara iela 10, Riga
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
Riga Art Museum (Latvia)
LNMM (Latvijas Nacionālais Mākslas Muzejs)
Īss Ieskats izstādē.
School work.
Video by Sandis Bušmanis
National History Museum of Latvia - Guided Tour - Part 3
Latvijas Nacionālais mākslas muzejs / Latvian National Museum of Art (Jūnijs 2016)
FIXING WHAT ISN'T BROKEN - PART 1 - Vivian van Saaze
Vivian van Saaze
Traveling Concepts in the Filed of Conservation
Dr. Vivian van Saaze is an Assistant Professor at the Faculty of Arts and Social Sciences at Maastricht University and the co-founder and Director of the Maastricht Centre for Arts and Culture, Conservation and Heritage (MACCH). Her research explores the challenges that museums are facing in the wake of new artistic practices (such as new media, installation and performance-based art), as well as the implications of digitization for museums. She was the founder of the International Network for Ph.D. and Postdoctoral Researchers in the Field of Contemporary Art Conservation, and was a co-investigator in the Tate research network Collecting the Performative, which sought to examine emerging practices for collecting and conserving performance-based art. In 2013 she was a research fellow at Tate, London. Recent publications include Installation Art and the Museum: Presentation and Conservation of Changing Artworks (Amsterdam University Press, 2013), “Collecting Performance-Based Art: New Challenges and Shifting Perspectives” with Pip Laurenson in Performativity in the Gallery: Staging Interactive Encounters (Peter Lang, 2014), and “In the Absence of Documentation. Remembering Tino Sehgal’s constructed situations” in Performing Documentation in the Conservation of Contemporary Art, a special issue of Revista Historia da Arte (2015).
SYMPOSIUM
FIXING WHAT ISN'T BROKEN
What is Reconstruction in Contemporary Art?
December 3, 2016
Conference Hall, Latvian National Museum of Art
The symposium Fixing what isn’t broken. What is reconstruction in contemporary art? will address the dilemmas that arise when trying to reconstruct contemporary artworks, with a particular focus on works that are unstable or changing - installations, performances, kinetic or multimedia artworks. At the centre of the discussion will not only be themes of materiality and the physical process of reconstruction of the artwork, but also such issues as authorship, authenticity, original vs. copy, material vs. immaterial, author’s intent, and re-interpretation. The questions asked in the symposium spring forth from two exhibitions organized by the Latvian Centre for Contemporary Art that take place parallel to the symposium: Juris Boiko. Salt Crystals at the Latvian National Museum of Art and Archaeology of Kinetics by artist Valdis Celms and restorer Ieva Alksne at the Riga Art Space.
One of the works revived in these exhibitions is Saltblower (1990), a complex video installation by Latvian artist Juris Boiko (1954-2002). Saltblower consists of a heap of three tons of salt, a video projection of moving clouds, eight muted televisions sets broadcasting live TV and a sound piece in the background. Boiko created the work for the seminal exhibition Latvia – 20th Century Somersault. 1940-1990, which took place in the background of the struggle for Latvian independence of the late 1980s and early 1990s.
Realising this reconstruction brings up a series of unexpected conservational and curatorial questions. For instance, the original TV sets no longer exist – do you find exactly the same TVs of the original piece or it does not matter as long as they are analogue? What place do the original exhibition and the socio-political events that inspired it have for the understanding of this work and how that context should be presented? Is it possible to make an accurate reconstruction of this site-specific installation? And why is it meaningful to do it now? To further complicate matters, all these questions will have to be answered without the usually indispensible input of the author himself.
In the symposium we will look at these questions and themes through case studies of two important actors in the reconstruction process: the curator and the conservator-restorer. The symposium will welcome professionals from a wide range of European institutions, who will share their experiences with reconstructing changing artworks. Participants include Stephanie Weber (Lenbachhaus Munich, Germany), Daniel Muzyczuk (Muzeum Sztuki in Lodz, Poland), Louise Lawson (Tate Modern, UK), Hilkka Hiiop (Art Museum of Estonia), Ieva Alksne and Evita Melbārde (conservators-restorers, Latvia), Astrīda Rogule (Latvian National Museum of Art), Ieva Astahovska (Latvian Centre for Contemporary Art), Francesca Bertolotti-Bailey (Liverpool Biennial, UK), and Kaspars Vanags (ABLV Charitable Foundation, Latvia). Prior to their talks, conservation expert Dr. Vivian van Saaze (Maastricht University, Netherlands) will open the symposium with a lecture on the key concepts of conservation theory.
The symposium will also present a publication - An Incomplete Guide Fixing what isn't broken. What is reconstruction in contemporary art?, edited by Simon van der Weele (researcher, Netherlands).
Room No.1 Latvian Museum
EXITROOM, Matīsa iela 46/1, Rīga
#leisureandfun #realitygame #escaperoom
The exposition of Latvian national objects, authentic things, an ancient culture - but everything is not in the best order at the Museum! Even worse – the doors of Latvian exposition room has clam in this the chaos. You, the student-trainee group, have to deal with unfinished mixed indications to open the room. How much do you know about Latvian items & wisdom of life? Test yourself & explore more. Hurry up, there is only 1 hour remaining till the museum room should be open for its visitors.
Game room Latvian Museum is a real museum in direct sense of the word. The visiting of it will be interesting & valuable especially for admirers of ancient items & Latvian history explorers. 2 birds with one stone - test your quickness & learn more about the Latvian heritage at the same time.