karlssonwilker inc. is a New York City design firm founded in late 2000 and run by Jan Wilker and Hjalti Karlsson. The two met while working for Stefan Sagmeister. But you knew that already if you have read their interview with Dizaina Studija magazine… So four years later, here is a quick 10+10 interview!

1. Please tell us about yourselves. Could you tell me how you got introduced to graphic design, where did you study?

Hjalti went to art school in Iceland for one year, then moved to New York to study at Parsons School of Design. Jan grew up in Ulm (check it out, it’s a city with an important design history), then started studying architecture before switching to design.

2. How did you end up in New York? What was the reason why you both left your countries and emigrated to NY?

Hjalti [see above] to study at Parsons. Jan wanted to work with Stefan Sagmeister, and he happened to have his office in New York, so i came to New York for an internship with him. that was in 1999. Now i’m very glad he was in was New York.

3. Do you feel that working at Stefan Sagmeister studio left an imprint of his working methods & aesthetics or you shared similar vision before joining him?

Absolutely, huge influence on us. Aesthetically less and less over time. When we started out with our own studio, we took over many things without questioning (like having multiple phone lines, which it turned out we didn’t need; or having one intern every 3 months, 4 times/year), some things we consciously continued (buying Filemaker and keeping a good contact list), and many others we consciously opposed (we don’t use sketchbooks). Obviously both of us were drawn to him and his work by a genuine feeling of respect, interest, maybe even empathy.

3.5 …Previous question was meant to be a bit provocative as you seem to be working almost on opposite spectrum of means to visualise projects — if Stefan uses a lot of handwriting, analogue imagery & materials, you seem to work heavily with digital tools? Is there a bit of «teenage» rebellion?

We would say that it’s more a thing of being from a different generation. For us, computers were normal, we don’t really have a life as a designer before computers. computers are not dangerous and detrimental when it comes to creativity (as our old teachers would constantly warn us); it’s actually the best tool to enable it. We sketch on the computer.

4. Ok, last one involving Stefan — In an interview with Stefan Sagmeister said that his small-studio (3 people) model was taken/inspired by Tibor Kalman, you are continuing this «tradition» in third generation… Why so? Is there a tipping-point after which there is no way back?

We tried it few times in our, by now already, 10 year history to grow to 6-7 people, but our studio always turned into a small agency, with hierarchies and group dynamics. the tightness falls apart, and politics and agendas creep in. Hjalti, myself, Nicole, and one intern seems to be a good size. but ask us again in few years, who knows what will happen by then.

5. Your projects differ very much from each other (unlike other designers who tend to impose their own style/aesthetic) — how do you achieve this, could you tell about your creative process? How do you maintain steady flow of creative & innovative output?

The one thing we could say about our process is that it is organic. There are no set rules or systems when it comes to approaching a project. Whoever is free at the time starts it, but that doesn;t mean the project is his. It’s a very low-ego office, focussing on the best outcome, and (hopefully) not on personal goals or vanity.

6. You often work with advanced technology – in The Urban Visual Recording Machine you gathered real-time data, which was then printed on the spot, for MTV idents you created a 3D ORB, which reacts to sound, designing typeface for ADC Young Guns, the temporary Vitra Store Under-Construction interiors etc. – do you collaborate with others on the technical parts or learn the tools/software yourself? Do you learn as you go along or try to explore these different tools through experimentation before using in real life projects?

We do, want and need to collaborate on some projects, makes a complicated project always better. Soemtimes the experimentation with a new tool happens within a client project, sometimes within in-house projects. In-house projects are different from personal projects. We don’t work on personal projects, meaning projects away from the studio. In-house projects for us are projects that we do within the context of our design peers, like designing a cover for design magazine.

7. Does space where you work matter to you? How long have you been at your present studio space (I assume from the begining?) and how does it influence you?

We really like our studio space, and always have. We’ve been here for 11 years, and nowadays the other 2 floors above us (there is a Dunkin Donuts on the ground floor) is all designers. It’s a small building, were we have a full floor. Our space had a bar built in when we moved in. We have a little outdoor first floor backyard space. We like being here, it almost never feels like work.

8. When visiting your studio in 2007 I was surprised about your pessimistic/non-glamurous attitude about everyday running of design studio… Now after running my own studio for 6 months and experiencing the day-to-day struggle, I see what you mean. Has anything changed in these 11 years for Karlssonwilker? What would be your advice for new studios/designers who are about to start a studio?

We are laughing every day here in our studio, and try hard (and mostly successfully) to make every day a good day in the office. We enjoy every day. We don’t look at the studio as if our lives would depend on it. What we do day to day has to makes us happy first and foremost, none else. But if that works, chances are high it also works on other people.
The reason I present daily studio life in an unglamorous light is, because it is. Students and young professionals have false hopes and notions about what we all do, and I don’t need to stand in front of a group of students and tell them how awesome everything (and in return I am) just to feel better and further confirm their mislead expectations.

9. Could you tell us more about SahreVictoreWilker? What kind of experience & form of workshop should people expect there?

SVW was founded by Paul Sahre, James Victore, and myself (Jan) a bit over 4 years ago. We all were (and still are) teaching a lot. The three of us are very different, but then again we have some similarities. We are good friends, but don’t care too much about the others’ design. It’s an annual design workshop here in New York, with people coming from all over the world to work hard, talk and play hard with the three of us. What is very special to me is that it’s the three of us in the room, making it impossible to hide behind the usually perceived monopoly of truth that a teacher has. We have to be extra sharp and open-minded, and fantastic discussions and disagreements happen. As far as what to expect; what we hear back from past participants is amazing and very encouraging; the best one for me being an email from a former participant’s wife, telling us “whatever you did to him during that week, thank you so much!”

10. What awaits us in future? The all-knowing-source-of-knowledge Wikipedia states that KarlssonWilker is for sale with a price-tag of $30′000′000, could you tell us the joke?

Well, about that, this is by now a very very old joke, ca. 2006. Back then we wanted to prove the point that people (highly unrealistically) think New York is all golden and shiny (if you make it in New York…), so we put on our website that our studio is for sale for $10 Million. People actually believed that our tiny studio could be worth this crazy amount of money, telling us “guys, please don’t do it, don’t give up!”. Then we upped it to $30 Million. Now we are millionaires, on the web at least.

We are very pleased to present an interview with graphic designer Indre Klimaitė (www.ilegal.nl), who originally comes from Lithuania but lives and works in The Hague, Netherlands.

1. Please tell us about yourself!

So, I am from Vilnius, Lithuania, and I was studying in the Vilnius Art Academy Design Department. Then I worked at an advertising agency, and although I learned how to make the creative process factory-like, I did not feel that this is how my life would continue. So I soon decided to study. I found an opportunity in the Netherlands – affordable, English speaking, a Masters programme and in the country of design. So here I was – my first time in the Netherlands (2001), after a 26 hour bus ride, with suitcases, without a home to live in, standing in the bus station in The Hague. I studied in the Type and Media programme for one year. After that, just before going back home, I met my future husband and stayed in The Hague. Because I was kind of illegal there, I had to go back and forth across a border every three months, and sometimes I did not do this, and could not receive a working permit in order to be employed legally, even if I passed competitions. Having my own business is the only way I could work legally, and I actually started it in 2003. After that, we (Lithuania) joined the EU, but it was still very hard.

2. You studied type design in The Hague (www.kabk.nl). What do you think about new font designers making more new fonts?

Well, there can never be too many fonts, I guess, but I think font designers are often disconnected from current needs and trends, and from the context of graphic design – the surrounding where their font is going to be used (except maybe in cases when they do it for a certain function, like newspapers or signs…).
Aesthetically I think it hugely lacks in experimentation and concepts. It is too much about craft and a beautiful form.

3. What is good graphic design for you?

The more you live and work in this field, the less surprising it gets. I guess for me good graphic design is when it still manages to surprise me, no matter how – with its form, concept or function.

4. You work in Lithuania and the Netherlands – what is the difference between clients and the working atmosphere in general in both countries?

Well, I have the greatest, best and most free-thinking clients in Lithuania so I cannot complain about bad Lithuanian clients at all. They give me all the freedom I need and I don’t have to struggle to convince them about red or green. You just need to deliver the best work you can, then there shouldn’t be a problem. Also, the client should like your previous work, so he chooses to come to you for what you do, and trusts you from the beginning. I have also had difficult clients in the Netherlands, so from my experience the stereotype does not fit that Lithuanian clients want to do it all themselves, and the designer is just the one with a computer, while Dutch clients are the ones who give the designer freedom. But generally, all parties concerned in the Netherlands do tend to understand their own responsibilities better than in Lithuania.

I want to talk more about differences between designers in these countries. An independent graphic designer in the Netherlands takes much more responsibility and expands upon it, even up to the point of creating content or critically questioning the clients’ needs and problems, e.g. deciding that a client does not actually need to change their logo but change their website instead, or change the company management. The designer is also always responsible for the end product; while in Lithuania, the designer’s job ends with sending a digital file to the client with some recommendations on paper choices. That would never happen in the Netherlands – the designer is responsible for the end product and communication with the printing-house.

5. Please describe the graphic design scene in Lithuania now. Do you see a light ahead?

Of course there is light ahead – a lot of it, because more and more designers are receiving their education all over the world, expanding their knowledge and bringing it back to Lithuania in what they produce. The Art Academy is also slowly getting refreshed by new teachers, workshops and conferences that would never have happened before, when I was studying. In 2008 the Graphic Design Department was created! It is never too late! Students themselves are also giving lectures about their experiences in studying abroad, etc… So thanks must be said for all this emigration and the winds it blows around and inside.

I would have more to criticize regarding attitude – we always think that we are weaker, that we do not have that, we do not do this. Instead we should see our stronger points and focus more on our roots – what is Eastern European design, does it have a certain style, characteristic, type, form; what is our tradition? Maybe countries like Latvia or Estonia are too small to view as a unit, but if you look at the wider context of Eastern Europe there are already huge differences. So I would encourage students to look not at who is doing what in the West and how good they are, but more at what I myself can offer, how I can surprise, what my personal uniqueness is and how I can develop it, and what my country has to offer and how it influences my style. Go to the archives; look at design done 50 -100 years ago in your city, in your village. Start from there and you will no doubt find unknown talents and inspirations.

6. As far as we know you work alone. Why not as part of a duo?

Yes, I do work alone. And it is sometimes hard to isolate yourself all the time. I guess I have not met anybody who I click with, or I am not possible to work with in a team. I really don’t know. I would definitely like to work together – call me, e-mail me if you have a plan!

7. In 2007 you (ilegal) curated a Dutch graphic design conference in Vilnius. Please tell us about this event and the results of it.

That was a very enlightening and very ambitious event, created with the enthusiasm of 3-4 people, 12 000 Euros and one year’s work. And it can be done! The most amazing thing was realizing that it is actually not super difficult, especially if you have already done it once. On the other hand, the concept is the most important thing. So in continuing this series we need to think about a clear concept. I can still say up to this day that we invited the best Dutch designers like Erik Kessels, Armand Mevis, Karel Martens, Maureen Moreen and Daniel van der Velden (already at that time) Studio Dumbar, LUST, former NLXL, and more. I would also add Job van Bennekom and Experimental Jetset, who were also invited but did not have the time to come.

I could organize another three conferences about Dutch design and the quality of speakers would be just as good. That is what is amazing about the Netherlands – that it has managed to cultivate so many good designers, all thanks to design education and a positive design climate.

Then again, I also have some different thoughts. It was a very early time and I am not sure if visitors were ready for this event or realized what kind of people were invited, and I am not convinced they really managed to take the best from it. Maybe I’m mistaken, but there is a saying, “don’t cast your pearls before swine”.  Any event should be one step above expectations, but if visitors don’t understand anything that is discussed, then maybe the level is too high. If I held this conference now, I think already 50% of people would really gain value from it, back then it was 20%. It was full and it was free; if we had not held it for free then I’m not sure so many people would have come.

8. Please name 3 Baltic designers you like.

I will name you ones that are Lithuania based – Mother eleganza, Pet Punk, Alfa60, Mantas Lesauskas, Valdas Ozarinskas, Dadada studio.

9. What do you do when you are not working?

What I do is eat, and meet people. What I would like to do is: I would still eat, then I would lie on the carpet and listen to music, study, read clever and stupid books, most importantly, spend time alone.

10. What are your future plans? Let’s say at first in 5 years and then in 15.

Future plans…. Oh my god, these several months are the first time in 5 years that I have started thinking about that. You do it when you realize that all your dreams have come true without you even noticing, and you had never dared to dream further than that. So I am still in the process of thinking. But in 5 years I will be 36 and I guess I would like not to live in Den Haag anymore by then but somewhere bigger – Amsterdam or Berlin. Shit, that is quite old already… ah. I guess I will be fed up with graphic design, so I will be doing some art stuff, painting with the body or digging some holes, maybe organizing conferences. I guess I will not be working with clients anymore for sure, only with partners or colleagues, or just doing my own stuff. No future plan about where to get money…
In 15 years I will be 46. Then I hope I will be able to share my knowledge with people, teach a lot. I hope I will have found my place in the world by then, one where I could end up when I am old. I hope before that I will have managed to find the courage and time to have a second child.
And I hope I won’t be dead or ill; that is most important.

Main image: Indrė Klimaite at 17:17.
Other images and more info: www.ilegal.nl

Viktors Timofejevs (Viktor Timofeev) ir Berlīnē dzīvojošs latviešu mākslinieks. Dzimis 1984. gadā, bet jau pamanījies piedalīties dažādās izstādēs, un tikko arī viņa darbi iekļauti IdN žurnālā, blakus Stefan Sagmeister, Stanley Donwood un citiem radošajiem/dizaineriem. Droši var piekrist tur teiktajam, ka aplūkojot Viktora darbus, zīmēt šķiet tik vienkārši! Lai arī visi, kas to mēģinājuši zina, ka nemaz tik vienkārši gan tas nav.
Viktors ir gleznotājs un darbi nav gluži dizains klasiskā izpratnē, tomēr tie, šķiet, cieši saistīti gan ar dizainu, gan arhitektūru. Tādēļ nolēmām uzzināt 10 atbildes uz 10 jautājumiem un ielūkoties mākslinieka ikdienā plkst 17:17. (Šoreiz intervija ir gan latviešu, gan angļu valodā).

1. Pastāsti, lūdzu, par sevi – kas esi un ko dari?
Es esmu dzimis Rīgā un dzīvoju Purvciemā līdz 97. gadam, kad kopā ar ģimeni pārcēlos uz Ņujorku. Tur es pabeidzu bakalaura studijas gleznošanā Hunter Universitātē un 2008. gadā aizbraucu studēt maģistrantūrā Londonā, Royal College of Art. Diemžēl man bija finansējuma nesaprašanās ar direkciju, tādēļ pametu universitāti un pārvācos uz Berlīni, kur joprojām dzīvoju.

2. Kas tevi saista mākslā? Kādēļ ne dizains vai arhitektūra?
Starp mākslu un dizainu ir fundamentāla atšķirība. Protams, ka dizains (burtu, grafiskais) ir cēlies no mākslas, jo sākotnēji mākslinieki darīja abas lietas vienlaicīgi (piemēram, mūsu pašu Gustavs Klucis). Ar laiku avangarda eksperiments noslēdzās; tika radīts dizains kā atsevišķš žanrs. Vienlaicīgi ar šo maiņu notika sasķelšanās. Vienā pusē, garīgums, kas tika saistīts ar agro abstrakto mākslu, progresēja Marka Rotko (arī no Latvijas), Eda Reinharta, Bārneta Ņūmena virzienā. Šī pasaule eksistēja tikai galerijās, muzejos un kolekcionāru majās, nemēģinot piedāvāt skatītājiem neko citu kā garīgu pārdzīvojumu. Otra puse bija dizains, korporatīvie zīmoli un logo… garīgums, ar ko tas tika asociēts iepriekš, bija pazudis.

Tas nenozīmē, ka dizainam vajadzētu pievērst mazāk uzmanības. Milzīgajā patērētāju sabiedrībā, kurā mēs šobrīd dzīvojam, šis sadalījums ir eksponenciāli pieaudzis. Mākslas spēks, atbildība – protams, tas ir grūts jautājums, taču tieši tas mani saista. Mākslai nav noteiktas funkcijas vai mērķa, tā ir diezgan nenoteikta. Labs dizains vienmēr balstās uz caurredzamību un gala produktu. Tā ir atšķirība un iemesls, kādēļ mani interesē māksla.

Arhitektūra, protams, ir cits stāsts, taču atšķirības ir līdzīgas. Labākā ir papīra arhitektūra, kas eksistē tikai skatītāja galvā – tādēļ skices, zīmējumi un iedomāti projekti vienmēr ir interesantāki par dabā realizētajiem.

Ir vēl kāda atšķirība. Es kādu laiku apguvu dizainu un arhitektūru skolā. Būtībā lielākā tās pasaules daļa tiek veidota datorā. Tieši analogā kvalitāte ir tas, kas man pietrūkst. Es sapratu, ka nevēlos visu savu dzīves atlikušo daļu 15 stundas dienā pavadīt pie datora. Tas var izklausīties ačgārni, bet ekrāns mani ietekmē un tas nav tas, ko vēlos. Gribu nokļūt līdz punktam, kad epastu pārbaudu reizi nedēļā, taču tas var prasīt vairākus gadus!

3. Kādēļ, tavuprāt, žurnālā IdN esi nosaukts kā viens no top radošajiem šobrīd?
Taisnību sakot, es pats to līdz galam neesmu sapratis…Varbūt tāpēc, ka savā darbā daudz lietu esmu mantojis no dizaina pasaules un arhitektūras. Bet par to es neesmu pārliecināts.

4. Ar ko atšķiras labs dizains no slikta? Vai laba māksla no sliktas?
Kad es skatos uz kaut kādu mākslas objektu – vai nu gleznu, skulptūru vai filmu, es sev jautāju, ko tieši šis objekts grib izteikt, un vai tam tas izdodas. Kolosālam mākslas darbam ir jāpiesaista un jāsaglabā tava uzmanība.

5. Ko dari, kad neglezno?
Katru dienu cenšos skeitot. Labprāt lasu J. G. Ballard, tikko pabeidzu ‘Concrete Island’. Arī veidoju un spēlēju mūziku… http://soundcloud.com/viktor-timofe

6. Tev bijušas izstādes Ņujorkā, Londonā, Berlīnē un citur. Kad tavi darbi būs apskatāmi LV un Ko vispār domā par mākslu un dizainu Latvijā?
Patiesībā tas tas nav atkarīgs no manis. Man ļoti patīk atrasties Rīgā, nākotnē es plānoju uz kādu laiku atgriezties. Mans draugs Jānis Avotiņš mēģināja man palīdzēt organizēt izstādi, bet diemžēl šobrīd tā neizdevās. Redzēsim… Šī intervija ir pirmā uzmanības izrādīšana no Latvijas puses.

Jāatzīst, ka man nav pārāk lielu zināšanu par darbiem no Latvijas, jo pats tur jau ilgāku laiku nedzīvoju. Ik pa brīdim sastopos ar kādu turienes darbu, kas man ārkārtīgi patīk; nevarētu teikt, ka šī patikšana ir pilnībā objektīva, ņemot vērā, ka tā tomēr ir mana dzimtene. OK, te ir dažas lietas, kas ir piesaistījušas manu uzmanību – gan jaunas, gan ļoti vecas – dizainā, mākslā, mūzikā un skeitā.

“Substance” sporta komplekss Jūrmalā, Uģa Šenberga priekšlikums par jauno pilsētas centru Rīgā. Man ļoti patīk Bruno Vasiļevska, Žaņa Valdheima un Jāņa Avotiņa gleznas. Es kolekcionēju Valda Celma grāmatas, īpaši par latviešu zīmju vēsturi. Akvareļi, ko nesen no jauna atklāju savas bērnības pasaku grāmatā „Trīs Vēja Mezgli”, ir joprojām tik interesanti – tos veidoja Ināra Garklāva 1988. gadā. Protams, žurnāla „Jaunā Gaita” vāki mēdz ietvert atsauces gan uz Latvijas lomu Krievijas avangarda attīstībā, gan uz tās dabas bagātīgo skaistumu  Man ļoti patika pēdējais Skyforger albums „Kurbads”, tas šķiet kā pagrieziens no pagānu metāla uz vispārīgāku roka/metāla žanru, tomēr zināmā mērā saglabājot unikalitāti. Madars Apse noteikti tagad ir jau viens no labākajiem Eiropas skeiteriem – ja neziniet par viņu, tad apskaties viņa devumu jaunākajā Element video, Get Busy Living

Kopumā, manuprāt, Latvija šobrīd ir unikālā situācijā. No vienas puses tai ir ļoti sena vēsture, kas ietver apspiestību vairāku gadsimtu garumā. No otras puses tā ir ļoti jauna valsts, kurai gan kā nasta, gan kā dāvana ir dota iespēja veidot savu tēlu no jauna. Ar vienu kāju skandināvu pagānismā, ar otru slāvu utopijā. Tomēr tam tā nav jābūt – tas ir pats skaistākais. Latvija var būt jebkas, jo tās īstā vēsture vēl tikai tiek rakstīta.

7. Nosauc 3 lietas, kas tevi motivē strādāt.
Būvniecības priekšmeti Berlīnes ielās, pasaules vēsture, René Magritte.

8. Kas, tavuprāt, nepieciešams lai sasniegtu lielisku rezultātu?
Tikai viens: centīgs darbs!!!

9. Kā zini, kuru ideju ir vērts attīstīt un kuru atmest?
Es cenšos neatmest nevienu ideju, labprāt atlieku malā un vēlāk pie tās atgriežos. Bet kad es par vienu ideju katru dienu domāju un pat sapņoju, tad es noteikti zinu, ka tā ir laba ideja.

10. Kādi ir tavi nākotnes plāni?
Plānoju gleznot visu ziemu, izdot jaunu kaseti WHIP leiblā, un gatavoties nākotnes izstādēm Londonā, Ķelnē un Vīnē. Un droši vien atgriezties Rīgā.

Bilde, kas uzņemta plkst. 17:17.
“Biju Ķelnē mana drauga Demida Šeronkina virtuvē. Vinš bija mans labākais draugs Purvciemā, un mēs 13 gadus nebijām tikušies. Viņa dzīvokls ir blakus manai galerijai Ķelnē. Vispār baigā nejaušība.”

Vairāk:
http://victortimofeev.com – Viktor Timofeev website
hannahbarry.com/exhibitions/local_area_networks – par izstādi pēdējo Londonā
http://www.viktortimofeev.com/files/localareanetwork/index_walk.html – pats Viktors par Londonas izstādi

Pirmā attēla autore: Ina Weise
Pārējie attēli: Viktor Timofeev.

Interview in English:

1. Please tell us a little about yourself – where you are from and what you do?
I was born in Riga, Latvia and lived in Purvciems until 1997, when I moved to New York with my family. There I finished my Bachelor of Fine Arts studies at Hunter in painting department and in 2008 moved to London to do my Masters at the Royal College of Art. Unfortunately, we had a financial misunderstanding with the bursar, at which point I left the RCA and went to Berlin, where I am still living.

2. What attracted you to art? Why not design or architecture?
There is a fundamental difference between art and design. Design (typography, graphics) evolved from the arts, with initially artists doing both at the same time (our own Gustavs Klucis for example). Eventually, the avant-garde experiment was over; the graphic design genre was created. With this exchange, a schism occurred. On the one hand, spirituality that was associated with early abstraction moved on, towards the Mark Rothko (also from Latvia) Ad Reinhardt, Barnett Newman direction. This world existed in galleries, museums and collectors’ homes, attempted to give nothing to viewers other than a spiritual experience. The other side was design, corporate branding and logos… the spirituality associated with early abstraction was gone. That is not to say that design should be given any less attention. In huge consumerist society that we live in today, this divide has exponentially grown. The power of art, its responsibility is a hard question of course, but that is what appeals to me. There is no definite function or goal of art, it is pretty ambiguous area. Good design always relies on transparency, clarity and an end product. That is the difference and what draws me to art. Architecture of course is a different history, but ultimately a very similar divide. The best architecture is paper architecture, one that exists in the viewers imagination – its why renderings, drawings visionary projects are always more interesting than the actual realization. There is another difference also that is unrelated. I did some time studying architecture and design in school. Generally speaking, most of that world is constructed on a computer. The analog quality of drawing, painting is something that I realized I need. I realized I don’t want to spend 15 hours a day for the rest of my life on a computer. This may sound backwards in the 21st century in the light age of Twitter and Facebook, but the monitor does affect me and it is not something I want in my life. I want to be get the point where I check my email once a week but this may take more years!

3. In your opinion, why were you named by IdN magazine about of today’s top 10 creatives?
To be honest, I haven’t exactly understood this…Maybe because so much of my visual vocabulary comes from the design and architecture world…But I am not exactly sure about that.

4. What is the difference between bad and good design? Or bad and good art?
When I look at an art object – a painting, sculpture or film, I have to ask what the object is exactly trying to say, and is it successful in doing so. I think a great work of art has to grab your attention and hold it.

5. What do you do when not painting?
I try to skate everyday. I love reading J. G. Ballard, have just finished his ‘Concrete Island’ book. I also write and perform music… http://soundcloud.com/viktor-timofe

6. You have participated in exhibits in New York, London, Berlin among others. When will your work be shown in Latvia and what do you think in general about art and design in Latvia?
To be honest, this does not depend on me. I love being in Riga and in the future plan to move back for some time. My friend Jānis Avotiņš was trying to help me organize a show but nothing has succeeded yet. We will see. This interview is the first attention I have gotten from the Latvian side.
I have to admit my knowledge of work coming from Latvia is not the best because I have not been living there for quite some time. Every now and then I come across work from there that I absolutely love; its impossible to say this love is without bias, it is my homeland after all. OK so here are some things that have really gotten my attention, both new and very old, in design, art, music and skateboarding.

‘Substance’s’ sports complex in Jurmala (substance.lv), Ugis Senbergs proposal for the new city center in Riga (senbergs.lv). I love the paintings of Bruno Vasiļevskis, Zānis Waldheims and Jānis Avotiņš. I collect some books by Valdis Celms, especially about the history of Latvian folk symbols. The watercolors I have recently re-discovered in my childhood fairy tale book Trīs Vēja Mezgli, they are still so interesting, done in 1988 by Inara Garklāva. Of course, the covers from the magazine Jaunā Gaita, sometimes reference both the role of Latvia in the development of the Russian avant-garde and its rich beauty found in nature. The most recent Skyforger album I liked very much, it seemed like a turn from pagan-metal to a general rock/metal genre, while still maintaining some level of uniqueness. Madars Apse has got to be one of the best skateboarders in all of Europe by now – if you don’t know then check out his part in the latest Element video – Get Busy Living

Overall, I do think Latvia is in a unique position at this time in history. On the one hand, it has a very old history, one that has been repressed for so many centuries. One the other hand, it is a very new country, which has both the burden and the gift of making its own image from ‘scratch’. One foot in Scandinavian paganism, the other in Slavic utopianism. But it doesn’t also have to be that way – that is the most beautiful part. It can be anything and everything, for its true history has yet to be written.

7. Name three things that motivate you to work.
Construction sites in Berlin streets, world history, René Magritte.
8. In your opinion, what is necessary to achieve a good result?
Only one: hard work!!!

9. How do you know which ideas to toss and which ones to keep?
I try not to toss any ideas out, only to put them aside and return to them later. When you have an idea that you are thinking about each and every day and even dream about, then you definitely know it is a good idea!

10. What are your future plans?
I am planning on painting all winter, release a new cassette with the WHIP label, and get ready for some upcoming exhibits in London, Cologne and Vienna. And definitely come back to Riga.

Picture which was taken at 17:17.
“I was in Cologne in the kitchen of my friend, Demid Šeronkin. He was my best friend in Purvciems, and we didn’t see each other for 13 years. His apartment is next to my gallery in Cologne, basically a huge coincidence.

More:
http://victortimofeev.com – Viktor Timofeev website
hannahbarry.com/exhibitions/local_area_networks– About the last exhibition in London.
http://www.viktortimofeev.com/files/localareanetwork/index_walk.html – Viktor talks about the exhibit.

Studio photograph by: Ina Weise
Other pictures: Viktor Timofeev

Par arhitektūru un dizainu 10+10 intervija ar arhitektu Uldi Lukševicu no arhitektu biroja NRJA.

1. Kas ir NRJA? Kas esat, kāpēc esat un kas jūs visus vieno?

NRJA (no rules just architecture) ir arhitektu birojs. Maināmies līdzi procesiem, kas notiek nozarē un valstī – no 12 cilvēkiem gada sākumā, šobrīd esam palikuši 3. Vienojošais ir tas, ka mums patīk tas, ko mēs darām.

2. Kā kļūt par labu arhitektu?

Easy ) jāiegūst laba izglītība, ko Latvijā vairs nevar izdarīt, jānokļūst labā birojā, jo tas, kā tiek sākumā sakārtotas smadzenes, pārsvarā atstāj neizdzēšamu iespaidu uz tālāko darbību (arhitektiem pēc augstskolas beigšanas vismaz 3 gadi jāstrādā sertificēta arhitekta vadībā un tikai tad var pretendēt uz sertifikātu, kas dod tiesības pašam izstrādāt un parakstīt projektus), jāiegūst pieredze – bez pieredzes šajā profesijā vari būt tikai ‘daudzsološais’, un pārējais viss kā jebkurā lietā – jāgrib darīt, jāsaglabā pozitīvā attieksme, jāmīl, jādzīvo un jārada )

3. Vai Latvijā ir kaut kas, ko nevar atrast nekur citur pasaulē?

Māju sajūta. Pārējais viss ir arī citur.

4. Kāds, jūsuprāt, ir Latvijā veidotais dizains? Kas ir mūsu stiprās un kuras vājās puses?

Īsti objektīvi par to nevaru spriest, jo pilnīgas kopainas sajūtas man nav, bet galvenā problēma ir tāda pati, kas visām lietām, kas paredzētas vietējai lietošanai – mazais tirgus. Grafiskais dizains it kā nav saistīts tikai ar vietējo patērētāju, tā ir priekšrocība, no otras puses, katrs, kuram ir pieejams internets un pašā ir interese par savu darbu, neglābjami seko līdzi tam, kas notiek pasaulē, kā rezultātā Latvijā veidotajam dizainam nav īpašu atšķirību no citā vietā radītā.

5. Vai arhitektiem ir vajadzīgi dizaineri?

Protams, ka arhitektiem ir vajadzīgi dizaineri un dizaineriem ir vajadzīgi arhitekti, jo kaut kur tās radītās lietas ir jāliek un apģērbtajiem cilviņiem ir jādzīvo ). Un tā kā arhitektūra ir visu mākslu māte, tad Welcome back )

6. Ko jūs darat, kad ‘iestrēgstat’?

Iedzeram. Apzinām problēmu, kuras dēļ kaut kas ir uzkāries un meklējam variantus, kā to atrisināt savādākā ceļā. Ja tu nespēj atrisināt problēmu, tad tas ir tikai tāpēc, ka tu spēlē pēc kaut kādiem noteikumiem )

7. 3 lietas, kas jums patīk un ko ieteiktu citiem.

Darīt to, ko gribas darīt, pats būsi apmierināts un apkārtējos spēsi pavilkt līdzi. Tas neattiecas uz maniakiem-slepkavām.

8. Bez kā gandarījums par rezultātu nav iespējams?

Arhitektūra ir sociāli atbildīgs mākslas paveids, jo lielākoties, cilvēks piedzimst mājā, lielu daļu mūža pavada mājā un arī nomirst mājā. Un arhitektam ir tā iespēja uzlabot cilvēkam dzīves scenogrāfiju, izdarīt tā, lai tas justos labi, lietojot tam radīto telpu. Tāpēc gandarījums par rezultātu nav iespējams bez fīdbeka, bez pasūtītāja prieka par kopīgi veikto darbu, kas parasti parādās jau procesā.

9. Kas jums ir svarīgi arhitektūrā? Kas vispār ir svarīgi?

Nemelot sev. Darīt to, ko gribās darīt. Mīlēt.

10. Kas, jūsuprāt, notiks ar Latviju un pasauli kopumā, teiksim nākamajos 10 gados? Kādi ir jūsu plāni?

Gribās jau būt optimistam, bet Latvijas sakarā grūti tādam būt, turpmākos 10 gadus katrs, kas šeit legāli strādās, maksās šodien sataisītos valsts parādus. Ar pasauli, pa lielam, viss būs kārtībā. Mēs turpināsim strādāt, darbināsim ‘zaļās’ enerģijas, zīmēsim ‘nākotnes spējīgas’ mājas, tā, lai patīk pašiem un pasūtītājiem.

Attēlā (augšā) NRJA plkst. 17:17.

Zemāk daži no NRJA projektiem. Vairāk NRJA mājas lapā.

Pēc neilga pārtraukuma atkal publicējam 10+10 interviju. Diemžēl vasara ir vasara un regularitāti solīt vairs nav mūsu spēkos.
Šoreiz grafiskie dizaineri Lesley Moore, kas atrodami Amsterdamā. Tas ir 2 cilvēku kolektīvs: Karin van den Brandt un Alex Clay, kas ir pārliecināti, ka mazāk ir vairāk. Attēlā viņi izmēģina savu jauno skeneri.

1. What is lesley moore?
Creating maximum result with less effort.

what drives you?
Lust for life.

2. what is design?
What isn’t?
There are even people who say that humans and nature are part of (intelligent) design.

: ) what’s good design and what’s bad?
Good design is what makes bad design superfluous.

3. What’s so special abut dutch design? Has it something in-common?
An autonomous way of working, even for clients.

4. What you do when you are not making visual stuff? (don’t work, so to say)
Looking at stuff from other artists, directors, writers.

5. How it is to be a designer in NL?
Great!

How to become a good designer?
Always try to be better than just ‘good’.

6. What do you do when you’re stuck? (if you ever do so : )
Try to think even more simple.

7. 3 things what you really like and would recommend to others.
Less answers – More questions
Less medium – More message
Less ego – More team

8. What is important to get a result you like? (are there any ingredients without ‘good design’ is impossible?)
Content and form need to intensify each other.

9. What’s important in design process?
Surprise yourself!

What’s important in general?
Don’t stop breathing.

10. Where the world is going?
Towards a green and peaceful future.

And what are your plans?
I will follow that direction…

Daži darbi no http://www.lesley-moore.nl:

Otrajā intervijā Petpunk — lietuviešu duo, kas sastāv no Gediminas Šiaulys un Andrius Kirvela. Viņi parasti sastopami Viļņā. Petpunk darbi ir izrādīti Print magazine, Stash, Young Europe designers un citur. Gediminas ilustrācijas redzētas arī Baltijas ilustratoru izstādē ‘Trīs mazās māsas’ Rīgā. Intervija šoreiz angliski.

1. I read a lot about PetPunk in internet, and what I see is motion, design, illustration… could you please explain — who are you and what do you do?
We are just two guys, that want to make their everyday life more interesting. The best thing is to create something. No matter what and for whom. Media also comes with a process. We just try not to limit ourselves with any tools or concepts.
So basically what we do we create stuff, no matter what we need for it to be created – motion, design, illustration, ceramics etc.

2. How it is to be a designer in Lithuania?
Great. It’s not a big country so it’s easier to be a leader :)))

3. Is there something you could call Lithuanian design?
Wooden crosses and PetPunk.

4. What you do when you are not making visual stuff?
Gediminas plays with his daughter Ursula.
Andrius watches TV.

5. How to be a good designer?
The thing is that you are a good designer already, just be honest to yourself, do what you like to do. Don’t follow mainstream. Don’t imitate. Look deeper into yourself – true things are there waiting for you to pick them up.

6. What do you do when you’re stuck?
We let our selves to be stucked.  Listen to music to catch a mood, or just go home as good things comes another day.

7. 3 things what you really like and would recommend to others.
Animations by Vladislav Starevich.
Music by Fused Marc.
Linocuts by Aurimas Šandaris.

8. When you do something there always is a starting point and kind of end, when the work is done. Could you please describe what’s in the middle? And which part do you like the most?
The best part is beginning, because you are full of energy and naive will, that this work will be great.
The middle is about diving in the process and being overflowed by idea.
The end is stressful and disappointing.

9. What’s important in design process? What’s important in general?
In the process it’s important not to be afraid to trash everything what’s done and start over. Not to limit yourself in any way. In general the result is not important, but if you had great time doing it – it’s priceless. And in a very very general the design is not important, the most important is if you are happy.

10. Where the world is going? And what are your plans?
The world is going to have cold shower, and after it’s going to be SO FRESH! SO CLEAN!
Gonna be great time. And our plans is to try ourselves in another disciplines.