imants krumins – bum not as in person. mute

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Imants Krumins

Bum Not As In Person. Mute

play this essay

 

So here it is a thing just like the landscapes and stone walls I build ……..

some stuff that will change and disappear

 

Bio:

Born in the UK know nothing important about it, lived most of my life in Australia

Went to art school, failed at least once…… Sculpture major that’s what the piece of paper says

Exhibited on the Continent, The New World and The Old World ………. No awards prizes etc but I do have a pest control certificate

a troubled mind …with a troubled cure

 

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Imants Krumins

 

141 Responses to “imants krumins – bum not as in person. mute”


  • Apologies for all the typos and mistakes.

    Actually,I am utterly tired of “sending” posts without proof-reading them. seems a deep-seated problem with me. Ridiculous…

  • It’s what the artist himself sees that interests me.
    ———————————–

    OK, fine. you told us you have much modern art around you, on your walls, etc…
    Do you have for each one of them what it really means to the artist? And do you hang it, keep it, and/or enjoy these works only if you have that information from the artist?

  • JIM

    did you see my 3 links? What do you think about Imants’ approach in light of this work?

  • 1. Why are people, JIM this is directed maninly at you, but not only, breaking the one post rule under the essay? I waited until Jim violated this rule and it did not take long. You seem to have no respect for Burn and no respect for David.

    2. Jim, why should we all be like David Harvey? Not that it would be a bad thing to be DAH but why should all photography look the same? This could be changed to why should we all shoot like _______, fill in any name here depending on your tastes. This isnt just a post modern thing either with photography branching out beyond the so-called classical aesthetic you seem to like. Photography long ago branched out. It’s not a recent thing, it’s photographic history from guys like Man Ray to Gibson, from Harvey to Adams, from Parr to Shore. There was blurry and grainy before you were born. There was heavy photoshopping before anyone even thought of inventing a computer. What you like is not what I like, what I like is not what Imants likes, what Bob likes is probably not what Herve likes. Variety is good, except deep in the texan backwoods.

    3. As far as this essay, I just didnt like it. for a number of reasons, but primarily because I just couldnt make out the images. Too black, too dark, it seemed like there were 2 or 3 images repeating. Maybe it’s my com[uter, though I doubt that.

  • Imants requested that there be no moderation (one post rule) for his essay..

  • IMAAAANTS , comeout side into the sunshine and watch the cricket? , I’m allways interested in any artist who shows that there’s a dark side to the Australian experience , I just don’t think that the web is doing you justice but I’m thrilled to see darker more malevolent work on Burn …Cool!

  • Herve, all of the abstract art I’ve bought over the years has come from artists I’ve met and talked to about their art. It is important to me to know what the artist was thinking when he produced the piece. I’m pretty selective.

  • Rafal, Imants,

    I have the same problem with not being able to make out the images very well. Too dark on my monitor too.

    It’s taken me a while to figure out how I feel about this one. I’m a pretty simple literal guy, but can usually get into some fairly out there stuff. This is pretty out there for me Imants. I’m not sure what to make of it. I found the music irritating, too obvious, “scary, heavy, deep”, I’m being beaten over the head with it.

    However, it’s a fascinating peek through the window into your head, and good on ya for giving it to us. I have had a peek in the past via your website and have never been sure what to make of it. Maybe that is a good thing.

    I am curious about your intent. Intent, I believe, is crucial. Art pieces do not just happen, there has to be some reason for making this happen. The piece is giving me only the slightest hint at what that might be. No-one else has offered any guess about what the piece is about either. Most comments have just been pretty vaque, or defences of artistic freedom.

    So I’m left scratching my head, along with pretty much everyone else I suspect.

  • Jamie Maxtone-Graham

    Breaking, here, the one post rule but this discussion is important; perhaps one of the most important here that I’ve read in a while, though I’m a bit new to this site.
    The fact that the work is dark and not easily read imparts something that the viewer must take in. Repeating images, darkness, obscurity – these are by choice. To like the work or not like the work is a right and it is also immaterial to the work and to its author. The conversation that has arisen out of responding to the work is, I believe, the essential discussion that comes of viewing something that confounds standard tastes and pushes the limits of the ‘acceptable’. I for one love that confounding and that pushing.
    I dont need to know the particulars of this visual event, the ‘story’ if you will. But I can accept simply entering into the act of viewing it that I will not get all the answers and may even compound my questions. But I did get an ‘sense’ or a feeling of what was happening; that came through so clearly in a way that a literal ‘telling’ – clear, focussed images – might not have. I’m comfortable confusion and I happy to come to this site for a dose of it from time to time. Relevance revealed.

  • The one post rule was waved for this essay.

    What is the “sense or feeling of what was happening” that you got from it. People are talking all around what they “receive” from viewing this, but nobody will say what that is. Are you simply trying to sound “deep” and “knowing,” or did it actually mean something to you?

  • Jamie Maxtone-Graham

    The sense will certainly be different for myself than for you. But specifically, in no particular order, this: institution, insanity, obscurity, oppression, disassociation, imposed solitude…… For a start.

    I assure you I have no pretensions of depth or a knowing any more profound than another’s and I dont believe I was attempting to come off that way, Mr. Powers. I accept your discomfort with work that is outside the usual. It isn’t easy to embrace sometimes, I admit. I would simply offer that instead of rejecting an unusual form and a non-traditional telling, being more open to possibilities within a given medium and trying to find what is there as opposed to finding what is not might be a more fruitful approach. Someone made this; someone with real human sensibilities, an eye, a mind and a creative urge constructed this that we might look and experience it.
    And so I would ask you what you asked of me – dropping all your prejudices against the form, what did you feel when you looked at this work? What came across?
    My own 5 year old daughter, as I wrote here previously, watched this with me; she was captivated by it. When it ended, her exact words were, “This scares me.”
    Isn’t that great?

  • Sculpture major that’s what the piece of paper says

    …..::)))))

    lol

  • H.P Lovecraft….
    Although as a kid i started with J.Vern soon ( after Poe & Kavafis ) i discovered H.P..
    Soon i graduated to F.Nietzche and finally ( obviously )..:)).. i stopped reading alltogether :)………..
    Twenty years later.. somewhere in west pico blvd santa monica,ca…
    i saw a little bookstore… a book grabbed my attention..
    it was rocker “Marylin Manson’s”biography…
    i saw those photos………..
    later..

  • …someone mentioned a 5 year old kid that got so “captured” in the slideshow..
    It is really like the beginning( titles ) of a goth style videogame, but as i
    already visited the website earlier…i saw more..its more than a videoclip,
    a chapter of H.P’s book… i liked the “Bones of Times”, i have to like this..
    Its a movie.. a silent movie…
    simply the artist here is “full” and wants to give… He is “expressing” himself as
    fast and accurate as his mental condition allows him to..
    The whole website is worth watching… Bravo Imants for your obssessive work and
    efforts… all that didnt happen in a day… you are a sensitive case…
    Now if i liked it personally?
    oh who cares…thats not the point…
    peace y’all…;

  • It is important to me to know what the artist was thinking when he produced the piece.
    ———————–
    Thanks Jim. At least, here, you do not make a blanket statement that should apply to all.

    My response for me would be “depends”. Basically, here, from anyone of us “emerging”, I am more interested first in being shown work that can stand for itself without going too much in depth concerning what it means to the author. Eventually, a curiosity about it may develop, with further work, further interest for that photographer.

    It is still nice to have a few pointers what the world might be about, but as I wrote, it could be unveiled by anyone, doesn’t have to be the photographer. Especially since I have been one to be rather critical of the personal texts under the essays.

  • what the work might be about….

  • Jim weave your demons into the work……….. I am sure it won’t mind and I would like to hear/ see the results.

  • Dark…….heck guys I spent a fair bit of time with stonemasonary and building nooks and crannies as a landscaper, lots of dark places there. AS teenagers we used to take the girls down to the “Darkies” but that is a different story.(on some monitors it is darker than others)

    Jamie you and your daughter seem to see the work better than most.

    Maybe if your lucky Bob(he has a set) will give some insight into the prints that go with the work……..

    I have no problems with people making what they want with the work, Intent is very different to result as intent usually evolves int something else. I have the process of this work fairly well documented visually, most is irrelevant now but I may recreate it as a visual verbal along with the comments here and elsewhere.

  • I think it’s fair to ask an artist to talk about their work and their motivations. People can view a peice of art seperate from everything, and have their own emotional response to the work and relationship with it. But there is nothing wrong with then wanting to know how the artist views his or her work.

    An artist (in the art market/gallery context) is expected to be able to talk about their work and why is is important or meaningful. Picasso talked about his work (for starts see http://en.wikiquote.org/wiki/Picasso), Bacon talked about his work (there are some interviews on tape as well as in books).

    Art is about communication, and if someone doesn’t get it then which is better, for the artist to try and explain to the person their view on the work or for the artist to say, “if you don’t get that’s tough”?

    I am one of those that likes to not only have my opinion of a piece but to hear the creator talk about their work so hopefully I would get a deeper understanding of the work then if I just viewed the work based on my background and expereinces.

  • This slideshow is not really interessant, but enough to push me to visit his website….and there….are amazing and really strong works!! Thanks for such a real discovery! it make my day!

  • Haunting. The imagery and music remind me of Andrei Tarkovsky’s film ‘Stalker’, and the computer game of the same name from some years ago.

  • Oh I don’t know, hearing an author explain their work can just suck all the mystery out of it, close off many paths of potential thought. Would I want to listen to Hemingway or Fitzgerald describe exactly what they are saying with their work? I’d rather discover my own truths, or experience my own response, enjoy the ponder of it in the spaces between rather than to be told, “this, this is the truth, here, here and here” gutted and filleted like a frog in a dish … Personal preference.

  • Yep, ask me and you’d probably get “Ahh h I don’t know..” then the other person usually opens their mouth(mute) to respond ……. as for the rest blink and remember…………….” :))

  • Peter Cleghorn

    Picasso talked about his work
    ——————————-

    I am always befundled why people can’t read exactly what others write. Especially, when they write it as precisely as possible as I did. Peter, I never said Picasso did not speak about his work, I wrote:

    Picasso never deigned to explain what his paintings were about.

  • Whenever I’ve been asked to explain what my art and/or photographs mean, I want to say–and sometimes do–if I could have put it into words, I would have. You are seeing an image precisely for that reason.

    Patricia

  • Stuff as…………

    By 1998 I tired of producing artwork, I couldn’t see the point of producing artwork that is placed on the wall. Mind you this has never been an important aspect of my artmaking even though most of the time the artwork eventually takes a physical form it’s relevance is usually lost by that stage. There has always been an underlying thing that process and production and involvement is more important than the work, this unfortunately too many times it excludes the audience.

    Residing in Asia I encountered Chinese calligraphy books once again and saw them as a nice path of creating visual narratives. Thus I embarked on a series of work called “etrouko”. The series name etrouko is a combination of the words trout and gecko. The trout embodies aspects of my Western cultural upbringing, which was as a “displaced Latvian” something that was dear and close to my parents and the gecko is about life in Australia/Asia. I lived through the usual trials and dilemmas of a migrant child peering out at our adopted society Australia from the safe “Latvian” confides of my parents backyard.

    The books are presented as an installation in a random order as they reflect general a “in the head” experience that is not static and tied to a rigid formula . There was/is a book one and they may be viewed individually in a chronological order of completion if one desires, book four http://www.etrouko.com.au/etroukoIV.htm

    Etrouko the book series is still an ongoing artwork as well as being the backbone of some of my recent work (2008-) The upcoming book “no me saques sin razon” http://www.etrouko.com.au/artouko.htm closely aligned to the original series of books and currently it exists as a slide show and is only viewed via the net. There is a chance that it may remain that way and evolve with older versions continually discarded and replaced by a new one http://www.etrouko.com.au/imants.htm

    Work prior to the 1999, has been either discarded or is being re appropriated into the etrouko series. Eventually all work prior to the 1999 will probably no longer exist in its original form, whether this is a good or bad thing I’m not sure but it sits comfortably with me.

  • IMANTS/ALL:

    i wrote a long long comment this morning, which has never materialized…weird….so, well…that’s karma…but, i tried imants to both talk about the work, but also about the pitching of others to get you to speak (a silly request)…anyway…sorry….now, im too pooped to write…

    sending u across-the-pond hugs
    b

  • You are seeing an image precisely for that reason.
    ————————————
    ?????

    You got me, here, Patricia. You have very substantive texts under many of your pictures on Pbase.

  • I do mean that if one is of the opinion the/a picture needs no text, the best is really to leave it (the picture) alone, I’d think.

  • Stuff as…………

    By 1998 I tired of producing artwork, I couldn’t see the point of producing artwork that is placed on the wall. Mind you this has never been an important aspect of my artmaking even though most of the time the artwork eventually takes a physical form it’s relevance is usually lost by that stage. There has always been an underlying thing that process and production and involvement is more important than the work, this unfortunately too many times it excludes the audience.

    Residing in Asia I encountered Chinese calligraphy books once again and saw them as a nice path of creating visual narratives. Thus I embarked on a series of work called “etrouko”. The series name etrouko is a combination of the words trout and gecko. The trout embodies aspects of my Western cultural upbringing, which was as a “displaced Latvian” something that was dear and close to my parents and the gecko is about life in Australia/Asia. I lived through the usual trials and dilemmas of a migrant child peering out at our adopted society Australia from the safe “Latvian” confides of my parents backyard.

    The books are presented as an installation in a random order as they reflect general a “in the head” experience that is not static and tied to a rigid formula . There was/is a book one and they may be viewed individually in a chronological order of completion if one desires.

    Etrouko the book series is still an ongoing artwork as well as being the backbone of some of my recent work (2008-) The upcoming book “no me saques sin razon” closely aligned to the original series of books and currently it exists as a slide show and is only viewed via the net. There is a chance that it may remain that way and evolve with older versions continually discarded and replaced by a new one
    Work prior to the 1999, has been either discarded or is being re appropriated into the etrouko series. Eventually all work prior to the 1999 will probably no longer exist in its original form, whether this is a good or bad thing I’m not sure but it sits comfortably with me.

    Your comment is awaiting moderation.

  • makes me think of the metamorphosis by kafka. there is a sense of abandonment, disorientation and surrendering

  • Imants you are a great Sport…

    this is the music i hear when i see your photos,,,
    you are trying to look and sound “deep”… but i can see through you…
    laughing…..

  • and this…

    http://www.youtube.com/watch?v=Q3G2BQVrcOs&feature=related

    but who wants this? when i have plenty of CASH in my pocket?

  • pretense,
    fake aesthetics …lies…

    see the truth below…CASH..
    http://www.youtube.com/watch?v=jQcNiD0Z3MU

    ok… enough of that…

  • ok… one last… so u dont think im just destructive…

    use your photos as a TOOL….
    example below:

  • I liked this, Imants; it’s like Kafka with pictures.

  • Decided to turn towards 117º back to the boneyard http://www.etrouko.com.au/im/book25.htm

  • now that was a while ago

  • I see I’m not the only one who wonders round the Burn library :-).

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