Dags e4i

STRUCTURALISM. SCIENTIFIC WORK. DAGS VIDULEJS:

At the Latvian Academy of Arts, Dag had a project to write a Doctoral Dissertation. But very few people can read anymore. And even less to read a book. Therefore, Dag decided to cooperate with the European flagships ART MAJEUR. To write ART MAJEUR and sell Dag's painting partner superpro ART MAJEUR. Then there is more time as a painter to establish Dag's own new painting style.

I have been working on the introduction of the structuralism method in painting for several decades. After my second studies at the Academy of Arts. In-depth study of sociology as well. This is a new method in Latvian art that can enrich the range of artists’ means of expression. Which can also actively enrich the perception of society and the individual. Dozens of exhibitions have been organized in this direction and about a hundred works have been created.

Structuralism as a interdisciplinary discipline includes research in sociology and its representation in the language of painting, complementing:

1. Structuralism in painting is based on the assumption that observed objects do not exist in isolation in the sense of subjectivity, but in relation to other objects – in structures, despite the variability and ambiguity of structures.

2. The exposition is based on the form of diptych, which makes it possible to orient the paintings in the counterpoint method, to achieve interactivity with the viewer and generalizations in the process of comparison, similar to the processes of thought. Like drama, it is based on a struggle of opposites. In a structural system of thinking, thinking about the world and everything in it and going through it in binary opposites, such as black and white, high and low, person and animal.

3. Through these opposites, cultivated as “good” and “bad”, each culture and its traditions, politics, religious rituals, games, education are built. By reproducing and reproducing according to a predetermined structure, whole systems of opposing signs, a cultural strategy and ideology emerges. A culture that acts as a semiotic sign system that structures the process of communication and gives it predictability. A culture that provides a unified presentation and interpretation of the messages exchanged during the communication process.

4. Democracy – Totalitarianism, Christianity – Satanism, Communism – Fascism, Corruption – Knab, Pandemic – Vaccine, USA – Russia, European Union – Soviet Union. However, the more one tries to prove antagonism, the more the concepts merge into one whole unity of opposites, especially with the time difference, like expansive fascism and expansive communism, intertwined in one two-headed “World War II” turmoil. In the context of current social change, such a critical discourse is an analysis of the balance of power in society.

5. The social objects studied in structuralism are relative rather than substantive. The social world is explained not by individual action, but by relationships and relationships between relationships. Whole is formed as a differential articulation of subjects. Differential-stable differences between individuals and between groups of people. Articulation of interests is a function of the political system in order for political parties to identify the demands of public entities on the current political system.

6. In art, structuralism is an opportunity for a parallel development path to abstraction that occupied a large part of the art of the 20th century. Structuralism and Abstractionism have common mottos: “Attack on Realism”, “Denial of Photo Perception of Objects”.

7. The metatheoretical setting of structuralism provides a unifying and interdisciplinary approach. Structuralism opposed the positivism of scientific methodology, which defines empirical research as the only source of true, useful knowledge. Structuralism justifies the cognitive value of philosophical research. Structuralism denies the main thesis of positivism that “all true knowledge is the cumulative result of the special sciences.”

8. Structuralism denies naturalism in painting and the methods of natural sciences as an explanator of the processes of social phenomena. Because Naturalism claims that the world does not depend on consciousness and is known directly through machines and artificial intelligence. Naturalism also explains the history and future activities of society as a direction of sociology with various climatic, geographical and biological factors of nature.

9. Structuralism also denies Humanism as a method of cognition by which people shape and know their world, in which the education system teaches an imaginary model of the world, and recognizes itself as a member of an imaginary abstract, unified society. Although, in reality, society has to be seen as a place of struggle for survival by the vital antagonistic interests of the opposite group, which are hidden behind a common national, geographical identity. Without identifying one’s belonging, not understanding oneself and not being able to analyze and defend one’s real situation. In the society of the class, the strata, whose do not come into complete , did not overlap in the way of life, opportunities or rights.

10. Structuralism also denies Structural Anthropology, which projects the elementary structures of the family’s kinship into the structure of society by separating homogeneous structures. What has been preserved to this day by Eastern clan societies. As well as the ancient families of Western societies, which have all their finances, and which have been following their blood for thousands of years. Unlike cultured Western civil society, whose blood affiliation to a family is almost completely eradicated, without even acknowledging the Mother, the Father, the family as a child’s creative entity without writing in the port; not meeting grandparents and not knowing cousins, losing family property and no longer respecting family traditions and stubborn selfless self-help.

11. The method of sociology, by distinguishing the huge difference of homogeneous subcultures, more precisely and surprisingly, helps a person to identify and place himself in a local society, socializing in the context of all humanity. And to recognize, ratify the dominance of each person in the infinite range of small and large subcultures. Seeing subcultures as living collective organisms and even being able to analyze their interactions.

12. Structuralism in painting is a ionate method of studying art, culture and society, but not Foucault’s biased philosophy. An approach to art, closer to professional journalism that portrays facts, without an assessment of personal attitude. In addition, structuralism differs from the general analysis of scientific structures, from architectural structuring and structural differentiation in psychology, and from its structural role in the general scientific systemic approach.

DAGS VIDULEJS CREATIVITY STATEMENT:

At the moment, in painting, I am interested in professional solutions in a conditional style, structuring anthropomorphic forms, typifying groups of subcultures of society and depicting the relations of social groups. The main task of my work is to cause the viewer to think independently. Exacerbating the focus with dramatic guidance. With a paradoxical message, provoking the viewer to dialogue, with a socially active position to solve problems. I work on my style with a social message. I am glad that the organizers of international exhibitions are also interested in the series of works started.

The guiding principle of creativity is to try and find a new expression for painting as a medium. In the age of technocracy to compete with moving technology media. Orient large-format paintings in triptychs with an up-to-date contemporary message and a counterpoint method, achieving interactivity for viewers. People in the crowd have lost their individuality. The homogeneous color emphasizes the anonymous mass as a single structure from a bird’s eye view, without internal differentiated subforms. Representative art, geometrically stylized, identifies subcultures within society. With their characteristic plasticity as a feature of character, the manifestations of color as a group of emotional shades, to achieve the tendencies of movement as a direction. Works of art can also appropriate images of classical art. Because you look at human images on a completely different scale. Only as connective tissue in another larger structure that exists and functions as the subject depicted in the painting.

I am trying to portray the mirror of Civilization in a large format series. To point out different national cultures and religions. Gaining the big picture for civilization, not as a globalized cloned homogeneous mass. Different structured crowds. The confrontation of different social groups shows the paradox of urbanization, that in the urban environment there are various completely incompatible subcultures that dissolve in nature and can only be seen in the artist’s vision. Do not lose the value of academic drawing and painting. To facilitate large forms, train virtuosity is regularly drawn by romanticized ballerinas, ethereal, airy. The chamber works emphasize the context of the author’s chosen thought, the human visual image, in the author’s work. Highlighting social meaning in large socially active compositions. To form the structures of society, not as in nature, but in a subjective, crystallized vision. By referring to typified groups as a single group of people, the triptych presents problems of antagonism and clashes between social classes. In order for the viewer to guess the encoded message, Vidulejs uses anthropomorphic forms that are recognizable to everyone in the composition.

The works do not turn out to be interesting for interior decoration. They have a demand for large public spaces, museums. Needs viewer education participation. The works of art come to life in an expanded field, they are not perceptible when inserted into a scraper. Like a carpet, in a narrow room does not provide heat. Therefore, when creating such works, there is nothing to hope for a buyer decorating a private interior. Where a miracle can happen when you encounter a work of art. Each viewer can identify themselves with one of the social groups. In this way, self-praise, condemnation, post-catharsis for other actions. Works that attempt to use the language of art to talk about socio-political topics should be exhibited in an appropriate communication environment. When looking for non-engaged partners who are willing to evaluate the situation in society and are able to exhibit. Such as public opinion polling social funds with independent funding from large corporations and government agencies. It also means that Museums of Contemporary Art should be funded by donations from the civil society itself. May the overriding task of Art be to protect human rights and the constitution. In contrast to customer-funded art, which serves the art of propagating the ideology of a narrow corporate group.

Many dozens of large-scale works have been created during his creative work. The collection has become a unified concept. To structure an anthropomorphic stylized figure in a rhythmic ornament of mass. It contrasts differentiated color and rhythm solutions. In order to form diptyches of the same size. The counterpoint method in the layout further enhances the viewer’s imagination. It is an attempt to guide the viewers in the exhibition in the process of thinking. Structured anthropomorphic masses create associations of people united in the subcultures of society. However, the contrast of the homogeneous images in the paintings creates an opportunity for the educated viewer to reflect on the structure of society. Let the viewers see themselves in amorphous abstract compositions a mirror image of their vitally important ideas about the components of the structure of society.

The form of the exhibitions is characterized by large-format oil paintings. Structured homogeneous masses of anthropomorphic forms. The rhythm of plastic, color and light modulation forms an almost ornamental end product. The orientation of works of art in different forms, but in a unified style, forms counterpoints between triptychs and diptychs. Dialogues encourage associative imagery to compare the diversity that characterizes human subcultures. After completing the basic course in social studies, the author also developed a deeper understanding of how the exhibition can also serve as a study of the society through its creative method in the new field of science in social science. Assuming that the color, the rhythm of the lines, the intensity of the brightness of the light, and the other means of artistic expression characterize the typical features of a group of people more than the devalued verbal expressions can. The group of the University, the Institute of Artificial Intellect and the teaching staff of the Faculty of Social Sciences participate in the exhibition and research working group,

Judging by the comments, and criticism of the viewers, it is amazing that art lovers alone do not imagine. Group characteristics are crystallized in typified art images. Societies of society turn into homogeneous colored structures of plastic rhythms. Viewing them allows you to get inspiration from the viewer and recognize a special folk partition.

Another novelty in the culture of exhibitions in museums. With the experience gained, working as a curator of exhibitions and festivals, organizing and arranging expositions of several hundred fellow artists in Latvia and in guest exhibitions abroad. Without giving the paintings even names, journalistic indifference can be achieved. Where the author’s position is completely neutral, without any evaluation of the emotional tone. Viewers can write down the names of the paintings. By engaging even more in dialogue with the author, co-creating an image of art. The viewer must name Adam and Eve by name. In a specially developed application www.Dags.lv. can read and comment on the most clever names. As well as evaluate the prices of paintings and make a purchase, as in any usual online store. www.Dags.lv is easy to enter, just put the mobile phone next to the QR code of the painting.

DYNASTY

     Dags’ family has been professionally active and involved in culture for many generations. In the dynasties of cultural experts, it is cultivated from Mazorne. In the deepest sense, the laws of culture are the same in art, music, literature, and new cinema. Because they are aimed only at the peculiarities of human perception. Dags’ grandfather and great-grandfather played the organ and conducted choirs, trained students at home. Mother – cultural scientist, father – Opera Theater director, poet. Sister is a film director, cousin teaches art and her husband is the rector of the Academy of Arts. All conversations on a daily basis about what must be achieved in art. The strongest critics and teachers have contributed to each work of art. Although Dags studied at the Academy of Arts twice: both in the Department of Conceptual Painting and in the Faculty of Theory and Pedagogy.

DIALOGUE

The primary mission is to provoke the viewer into dialogue through catharsis. Hoping that inspiration can arise in the viewer, from which a ray of love will flourish, which in turn can thaw something frozen. Words as a medium of communication have devalued due to lies in the public sphere, so the paintings are thought through for a long time by making countless sketches until they manage to incorporate a socially active message into the language of art. Dags’ creative method is a counterpoint to trying to make the viewer think by contrasting several symbolically structured layers of society’s subcultures in the form of a triptych. Dividing reality into humanity, civilization, urban environment, virtual reality and nature. As a curd cake in the original ingredients: cottage cheese, raisins and biscuit. However, technical virtuosity and experience allow the paintings to be executed in an “alla prima” method, which preserves the liveliness of the line and the ease of predicting the stroke of the brush stroke. Structuring anthropomorphic forms in abstract large-format compositions requires knowledge of anatomy by modulating shapes, experience in drawing, and the ability to collect large-format paintings in symphonies of dramatic laws that have been tested for centuries. Using transfigurative lines, which allow the author to stand above the perception of photographic realism, in which reality is only objects and backgrounds. But build your own consciously structured canvas reality. “Kneading” the figures and twisting them into “pretzels”, like a baker when working with the dough.

FOUNDER

     While studying art theory and management, Dags toured the European Capitals of Art had the opportunity to explore how self-financing art life works in the world. By building the Museum of Contemporary Art – an exhibition and event space. “Pinakotēka-Rīga” 2000m2 with the efforts of the family of Viduleji in 2008 www.facebook.com/PINAKOTEKA/. By establishing his own gallery Happy Art Museum WWW.HAPPYARTMUSEUM.CO and with guest exhibitions, self-financing, without using state funds, traveling around the world from Hong Kong to Tel Aviv and Georgia. Looking behind the scenes, a sense emerged that Latvian art life lacks to be included in the real art world. That is why the Art Riga Fair was established, which allows Latvian artists to make s, sell works and compare them with guest artists and galleries from other countries that are held in Riga at WWW.ARTRIGA.COM.

Dags has studied various art styles, studying at the Academy of Arts twice. In search of their artistic authenticity, the combination of methods created their own technology, painting themes and forms of expression. The main periods in the artist’s work are Dags’ education and the trajectory changes created by the lands and cultures he has traveled. The main task of intellectual creation is to use the language of art to defend the socially discriminated sections of society. As the formations of civilization change, so does the message and style of Dags’ art.

ACTIVITY

The social activity of Dags Vidulejs is to establish non-governmental structures in culture, as set by Vaira Vīķe Freiberga during her presidency. In complete solitude, without the of financial structures, going upstream in the former post-Soviet society in Eastern Europe. Establishment and free exchange of non-governmental self-financing art traditions, symbolizing the free individualism of Western culture and Celts www.linkedin.com/in/artriga/. Dags Art Process Manager. Producer group curator and financing organization 2006-2020. Working at Pinakoteka www.facebook.com/PINAKOTEKA/ exhibition building 2500 m2, board member, financial schemes and construction. Happy Art Museum www.HAPPTARTMUSEUM.co was created for more than 300 international exchange art exhibitions at www.facebook.com/HappyArtMuseum. Dags, Founder of ART RIGA FAIR www.facebook.com/ArtRigaFair. For the long-term growth of the Latvian art market. Start of auctions www.ARTRIGA.com.

The guiding principle of Dags’ Vidulejs work is to try to find a new expression for painting as a medium. In the age of technocracy, compete with mobile technology media. It took many years and 1,000 drawings to learn to sketch figures from nature in order to be able to create compositions of anthropomorphic forms freely. Exhibiting large-format paintings in the counterpoint method in triptychs with current contemporary messages, achieving interactivity with the audience. The primary mission of Dags’ Art is to inspire the viewer to a conversation, www.facebook.com/ArtFairRiga to inspire love through the exchange of art exhibitions. Participating in ART MOSCOW, Belgian, German, Lithuanian, Chinese, Finnish, Israeli and other art fairs and international exhibition halls with their paintings.

The studies of the Academy of Arts, not only in conceptual painting, but also in sociology, arranging museums and curating exhibitions, gave the opportunity to work in the style he had created. Over the years, dozens of large-format paintings have been made. In recent years, most have been sold at foreign exhibitions to maintain the family-run HAPPY ART MUSEUM and ART RIGA FAIR. Public activity goes against the current in the former totalitarian corrupt society of Eastern Europe, establishing non-governmental self-financing art traditions and free exchange, which symbolizes the free individualism of Western Culture. However, in the last two years, there have been no sales opportunities due to regulations restricting travel and suspending exhibitions. The self-employed and the creative industries are currently banned from serving people and earning a living. However, a total of forty paintings have been successfully accumulated. Not included in one hall, they are exhibited in two parallel solo exhibitions. Latvian Railway Museum and Līgatne Gallery ZEIT. The author continues to work in his individual style. Looking forward to cooperation plans with the budgeted institutions. Awaiting invitations from other museums.

L'éducation et l'esprit de liberté de la société française ont toujours été l'espoir de la société mondiale. Le tableau est dédié aux étudiants français qui, tout au long de l’année 2020-2022, n’ont eu peur ni des punitions ni des bâtons et ont défendu leurs droits humains. Cela a mis en lumière la vérité sur les politiciens corrompus. Qui, soudoyés par les grandes sociétés financières, étaient prêts à introduire des couvre-feux et des confinements, paralysant ainsi la nation comme dans les années 1940-1945. Les manifestations et grèves françaises ne l'ont pas permis et ont mis en lumière la fausse plandémie et ont sauvé la société. Même si la presse européenne n'a pas couvert les événements de Paris, des gens courageux sont également allés de Lettonie en , couvrant les combats de rue de manière arbitraire sur les réseaux sociaux. Un tableau dédié à ces aigles français héroïques. Ce n’est pas RED BULL qui lève les ailes, mais les idéaux de la révolution éternelle française. A l’heure où les gouvernements corrompus se noient sous les mensonges et se dirigent vers le barrage !!!

https://youtu.be/kR8z067WyhM?si=bHXz3xIcafcia_IO

WITH TORN WINGS ANGELS © DAGS (2023) Painting by 

DAG ART

The Mirror of Civilization is depicted in the Dags Vidulejs large-format series. Pointing out different national cultural religions gives an overview of civilization. Not as a globalized cloned homogeneous mass.

Variously structured crowds. The confrontation of different social groups shows the paradox of urbanization. In parallel, there are various completely incompatible subcultures in the urban environment. They have dissolved in each other in nature and can only be seen in the artist's vision.

Not to lose the value of academic drawing and painting. Large shapes can be made easier with virtuosity in line drawing. Regularly drawing romanticized ethereal, airy ballerinas. The chamber works emphasize the central context of the chosen person's visual image in the author's work. Variations in anthropomorphic images turn the work invested into the meaning of a social message. Therefore, large compositions become socially active.

To form the structures of society not as in nature, but in a subjective, crystallized vision. To direct the typified groups that unite groups of people. The triptych presents problems of antagonism and clashes between social classes.

In order for the viewer to guess the encoded message, Vidulej uses antropomorphic forms that are recognizable to everyone in the composition.

Dag's works of art come to life in an expanded field. Not for interior decoration, not perceptible when inserted into a scraper, like a carpet. Demand for large public spaces, museums. Needs the viewer's education, participation.