Riga, Latvia – A captivating new exhibition at the Mihaila Čehova Rīgas Krievu teātra galerija is prompting visitors to contemplate the profound significance of touch, time, and intimacy. Artist Krista Vindberga-Auzniece’s “Osculum. Basium. Suavium” – translated as “Kiss” – features a striking installation of rotating hands, inviting reflection on connection and the human experience. The exhibition, which opened on February 13th, has already garnered attention, with passersby pausing to engage with the artwork and its message.
Vindberga-Auzniece’s work isn’t confined to the gallery walls; its placement encourages spontaneous encounters. Many pedestrians notice the installation simply by walking past, often stopping to photograph it or read the accompanying description detailing the themes of touch, time, and closeness. The artwork visually embodies these concepts through two hands rotating 360 degrees, a dynamic representation of interaction and distance.
The artist’s fascination with hands extends back years. “My first work in the ‘Arsenāls’ museum was in 2016, and it featured the hands of my mother,” Vindberga-Auzniece explained in a recent interview on Latvijas Radio’s “Kultūras rondo.” “Hands, I believe, have the power to be a portrait without a face, as they are very personal and allow for clear recognition of an individual or image without direct eye contact.” In “Osculum. Basium. Suavium,” the hands depicted are those of the artist herself.
Vindberga-Auzniece often utilizes her own body as artistic material, a process she describes as demanding patience and endurance. “I often use myself as material for artworks because the way I work requires a lot of patience, many hours, and discomfort. I am a decent person to negotiate all of this with,” she joked. The process of casting her own hands, she revealed, was challenging, cold, and lengthy.
A Dialogue with Michelangelo’s “The Creation of Adam”
Beyond the physicality of the hands, the exhibition also draws a clear parallel to Michelangelo’s iconic work, “The Creation of Adam.” Vindberga-Auzniece explains, “Michelangelo created this work, which features a group of three men creating the idea of Adam, and I felt it was important to talk about the fact that this time, the act of creation is handed over to a woman’s hands – specifically, the artist’s, my hands.” This shift in perspective reinterprets the act of creation, placing agency and authorship in a female context.
The rotating hands in the installation move in and out of contact, symbolizing the fluctuating nature of intimacy and relationships. “They are like two autonomous planets or clock hands frozen in motion,” Vindberga-Auzniece describes. “But the circular motion, encompassing all 360 degrees, never ends. And in one degree, in one modest moment, this encounter still happens, where both fingers, between which the ‘great creation explosion’ takes place, still meet.”
The artist believes the meeting and separation of the fingers represent not only creation and closeness but also the idea of potential and the waiting that precedes it. “I would like my work to invite people to think about the fact that, in order for something to happen, you need to be patient, open yourself up to great work, and to cyclical repetition. And, by repeating something enough times, perhaps something will happen at some point,” she stated.
Engineering and Artistic Collaboration
Creating a kinetic artwork like “Osculum. Basium. Suavium” requires a blend of artistic vision and technical expertise. Vindberga-Auzniece embraces the engineering challenges inherent in her work. “I really like engineering solutions – I have always been looking for them, and I like to try to find solutions to puzzles,” she said. Yet, she relies on the skills of professionals for the technical execution. “Of course, from a purely technical point of view, I don’t do the creation aspect myself – there I trust professionals. And in this work, I continued to collaborate with the masters I usually work with – we are a team.”
The Nuances of a Kiss
The exhibition’s title itself, “Osculum. Basium. Suavium” – or “Kiss” – adds another layer of meaning. Vindberga-Auzniece explains that each of the three Latin words represents a different type of kiss: “In Latvian, there is only one word, but in Latin, You’ll see at least three types of kisses, each with its own name. The use of another language, which is also not used in modern times, opens a bridge to exploration for the viewer – if you read this title and a small spark of curiosity appears within you, that is wonderful. I like to encourage people to be curious and try to learn something new every now and then. I, for example, didn’t know before that there are three such words in Latin.”
“Osculum. Basium. Suavium” is on display at the Mihaila Čehova Rīgas Krievu teātra galerija, offering a thought-provoking exploration of human connection and the enduring power of touch. As the rotating hands continue their cyclical dance, the exhibition invites viewers to contemplate the delicate balance between proximity and distance, creation and anticipation.
The exhibition’s continued presence at the Čehova teātra galerija promises to spark further dialogue and reflection on the themes it presents. Visitors are encouraged to experience the artwork firsthand and consider the subtle nuances of touch, time, and the enduring human need for connection.
What are your thoughts on the use of kinetic art to explore themes of intimacy and creation? Share your perspective in the comments below.
