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  - = Alma =  
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Ģermāņu mitoloģijā šo sajūtu precīzi atspoguļo leģendas par ūdens gariem, kuri, ieņemot dažādas formas un manipulējot ar ārējo izskatu, cenšas cilvēkus ievilināt ūdens dzīlēs. Skandināvu folklorā tos apzīmē ar vārdu Nøkken.
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In Germanic mythology, this feeling is reflected precisely by legends about aquatic spirits, which, by assuming various forms and manipulating via their outer appearance, beckon people into deep waters. In Scandinavian folklore, they are known by the name Nøkken. They are also memorably depicted in the works of the Norwegian painter and fairy tale illustrator, Theodor Kittelsen. In a turbid lake, whose surface is camouflaged with water lilies and the reflected silhouette of pine trees, one gets a fleeting glance of a strange foreign body. It has raised its head above water to the degree necessary to espy a holidaymaker or a girl out for a walk. It beguiles passers-by with its enchanting songs in order to subsequently drown them. Whereas in Greek mythology or Romantic Era operas, fantasies are propagated about beautiful water nymphs that spin the hero of the narrative some fateful insight; in Kittelsen’s paintings, water and the beings that reside there unequivocally induce fear and anxiety. Undoubtedly, because their intentions are crystal clear.
  - = Alma : GolfClayderm...  
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Tie ir centieni pietuvoties postpadomju sabiedrības pārņemtībai ar materiālo labklājību, savādajiem priekšstatiem par modi, labu gaumi un stilu, ikdienas dzīves elementiem, kurus mākslinieki pārinterpretē ar vieglu un sirsnīgu asprātību. Vārdu salikums “neredzamais lauks”, kas ir arī GolfClayderman pirmās modes skates nosaukums, eleganti raksturo šo ieceri.
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The most common misinterpretation of GolfClayderman’s creative practice is the desire to label it as so-called ‘trash’ art. Instead, the collective’s output could be better described as a nostalgic rummaging in the bygone perceptions of glamour. It’s an attempt to get closer to post-Soviet society’s preoccupation with material prosperity and its strange notions about fashion, good taste and style, and the basics of daily life, all of which are re-interpreted by the artists with a light and warm sense of humour. The term ‘invisible field’, which is also the title of GolfClayderman’s first fashion show, elegantly describes this intention. Namely, GolfClayderman strives to capture the essence of what characterised the average eastern European. As seen in the market, on public transport and among the vast sea of inhabitants.
  - = Alma : Ivars Drulle...  
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Lai gan ar identitātes jēdzienu ir viegli manipulēt, pārvēršot to tukšā un neko neizsakošā vārdu konstrukcijā, ģeogrāfiskās piederības sajūta var nostrādāt arī kā psiholoģiska terapija. Jo sevišķi digitālajā laikmetā, kad ģeogrāfiskās robežas savstarpējā komunikācijā vairs gandrīz neko nenozīmē un nekalpo par sociālās dzīves orientieri.
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Even though the concept of identity is easy to manipulate by transforming it into an empty construct, comprised of words that communicate nothing; a sense of geographic affinity can also serve as psychological therapy. Particularly so in the digital era, when geographical borders now mean next to nothing when it comes to mutual communication, and no longer serve as reference points for social life. On this occasion, Ivars Drulle has engaged in cognitive mapping by incorporating topographically direct, as well as aesthetically and emotionally abstract information within the exhibition’s works. This multi-layered approach is repeated in the visual language of the installations, using materials and techniques that incorporate and emphasise the essence of process. In their slow duration, rust “paintings”, kinetic constructions and slide projections repeat the rhythm of rural life, setting them apart from digital high tech aesthetics and technologically efficient accelerations – instead, giving precedence to artisan forms of expression.