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From July 27 to September 2, at RIXC gallery 2 will take place exhibition of "New Sound days", wich will exhibit works of new media and sound artists from Liepaja. Works looks at themes like interaction between sound and space, physicality and materiality as well as sonyfication of different proceses. Experimental audiovisual performances also will take place during the opening.

Exhibition artists: Uldis Hasners, Milda Ziemane, Artūrs Šēnfelds, Māris Dejus, Ingeborga Skroderēna, Reinis Naļivaiko, Krista Dintere, Mikko Lipiäinen, Kaspars Endols.

Workingdays: Thursday, Friday, Saturday. 12.00-18.00
11. novembra krastmala 35 (entrance from Minsterejas ielas)

"New Sound days" in Liepaja –


Kaspars Endols, Mikko Lipiäinen
UIO - Unknown Inflatable Object

The UIO is an outcome of a sculptural improvisation with the aim to construct a body out of trash, discarded and excess objects which has qualities of autonomous living entity. It was constructed of donated and found, partly malfunctioning analogue electronic components in the spirit of Frankenstein’s monster experiment; miscellaneous bits of wire, resistors and unstable functioning piezo elements sensing the sound vibrations of the floor connected to a microcontroller formed its nervous system which controlled its communication organ: a slightly larger than human size black trash bag to be filled by air in short bursts by a large air pump hidden inside it so that the viewer could only hear the mechanics of its organ functioning, guessing what's happening inside its cavity. Originally designed to be situated among the rest of trash in one of the dark corridors of the Sound Days venue in Andreja Pumpura street 5, the autonomously and not entirely predictably animated trash bag was aimed to allow the viewer to meditate the transformation of the user-product relationship when the product is discarded. The user has lost the control over the product as its master while the product starts to live its own life either as at the service under new masters or perhaps emerge a life of its own, set free in the chaotic realm of garbage. The viewers may attempt to gain control over the animated garbage, but due its unpredictable nature he/she may be disappointed by its reluctance to follow her/his will. What kind of relationship should we then establish with the now trashed object that served earlier in an understandable way in our domestic realm? If we let ourselves follow the logic of the garbage, do we eventually find it as our ally or enemy: an annoyance at its most harmless form and lethal as its worst? The next generation of the UIO could focus more on the iconic image of the trash bag and replace the single air pump with a constellation of multiple organs, animating the bag by rattling inside it in an uncanny way. It could be an autonomous and anonymous trashbot living its life inside the trashbags, feeding by consuming the waste and reacting to its changing qualities.

Krista Dintere, Reinis Naļivaiko

The work consists of musical instruments that have lost their initial purpose - making music. The story behind each object is different - some of them broke because they were played, but some became unplayable due to carelessness. The sound qualities of each instrument are used in experiments to create a unique language of sound that reveals each instrument’s resonating frequencies and the sound qualities of its material. The sound process can be characterized by introversy - listening inside instead of outside of the sound source. Sound choices made according to internal acoustics, instead of the surrounding space acoustics.

Uldis Hasners

On September 21, 2004, at 14:05, Eastern European Time Zone, earth tremors could be felt in Riga,
Liepaja, Valmiera and other places. These seismic movements in their epicentre in the district of
Kaliningrad reached a magnitude of 5.2 according to the Richter scale. The seismic data gathered during this earthquake is converted into signals that control various parameters in the installation.

Uldis Hasners

In several countries limited use of copyrighted material is legal without acquiring permission from the author. For example, there is a fair use principle in the United States of America. Using only small parts of the original material counts as fair use. The video plays the highest grossing film of 2015 “Star Wars: The Force Awakens”. It plays the whole movie, but at any given time you can only see 1280x3 pixels and hear only one frequency. Thus it is used according to the fair use principles.

Māris Dejus

I am sitting in soundcloud different from the one you are in now. I am uploading the sound of my
speaking voice and I am going to upload it back into soundcloud again and again until the resonant
frequencies of the data compression reinforce themselves so that any semblance of my speech, with
perhaps the exception of rhythm, is destroyed. What you will hear, then, are the digital resonant
frequencies of the mp3 compression articulated by speech. I regard this activity not so much as a
demonstration of a physical fact, but more as a way to smooth out any irregularities my speech might have.

Artūrs Šēnfelds

Conway’s “Game of Life” sonification. The algorithm in “Game of Life” determines the way cells will develop in digital space. The game shows a good example of self-organization. Digital cell evolution is sonified and creates a harmonic melody. The artist says it’s an opportunity to hear the sound of F Major in perfect conditions.

Milda Ziemane

Mushrooms are unique - they are neither plants, nor animals. Mushrooms can transmit information
to nearby plants through their mycelium or mushroom web. They can sense danger and warn the
plants about it. In the installation “STAYaway” mushrooms alert each other about the proximity of humans by switching on their own alarm system. The viewer becomes part of the mushroom ecosystem.

Ingeborga Skroderēna

Every object we toss away, has an unused potential.


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