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Alnis Stakle
Recurring themes in Latvian photographer Alnis Stakle’s work are visual representation of collective and private trauma, loss, memories and the materiality of the medium of photography. Straddling the genres of documentary and conceptual photography he explores how socio-political ideas can be examined through both fact and fiction as well as the interplay of collective and subjective experience.
Since 1998, his works has been exhibited widely, including solo & group exhibitions at the Latvian Museum of Photography, Latvian National Museum of Art, Modern Art Oxford, Art Center ‘Winzavod’ in Moscow, Museo Nacional de Bellas Artes in Buenos Aires, Centre for Fine Arts BOZAR in Brussells. Alnis Stakle works are represented in private and public collections such as Yale University Robert B. Haas Family Arts Library, New Haven, Rijksmuseum Library, Amsterdam, Latvia Ministry of Culture of the Republic of Latvia, Latvian Photography Museum, Mark Rothko Art Center in Daugavpils (LV), The Robert Elwall Photographs Collection, RIBA British Architectural Library, Thessalonica Museum of Photography.
Not Even Something
During the Soviet era (until 1990) cities were usually divided into districts that would often differ not only with different names but also different functions. For example, there were residential, industrial, retail, entertainment districts. After the fall of Soviet Union many of these districts lost their function – factories were closed, fences were partly dismantled, bushes and plants reclaimed these territories. People started to use these new spaces as shortcuts to get to certain destinations in the city. Although public transportation connects city districts, it became easier to pass through these territories on foot during the evening and the night. Thus new pathways and roads appeared even though they were not included in any official map of the city. In turn, some areas began to appear on new maps. They never represented the resident’s destination ,, but are intermediate sections between the important parts of the city. “Not Even Something” explores these “ghost areas” at night – the most dangerous time to be in these indeterminate, less-populated areas. Pedestrian beaten tracks as often as not defined the basic aesthetic principles of the structure of work. Although the tracks themselves governed the focus of the photographs, the aesthetic results proved to be atmospheric and beautiful.
Mountains & Valleys of Uncanny Beauty
