This book is the first publication that collates all of Sarmīte Māliņa’s works for which some visual evidence has survived, from reproductions of her student watercolours to recent objects and installations. Also included are Māliņa’s illustrations and cover designs for the magazine Avots (The Source), for which she served as artistic director from the late 1980s to its demise in the early 1990s.
The texts in the book intermingle with reproductions of her works, photographs from Sarmīte’s private archive, project sketches, press clippings and interviews with her friends and colleagues. All these materials form a picture of Sarmīte Māliņa’s life and oeuvre, offering an insight into the achievements of a notable and unusual artist in the context of Latvian contemporary art.
It is much more difficult to write about some- thing one is truly moved by. Especially if it is caused by art which is succinct in its expression. In such cases, one wishes not to think about what is going on around, but solely about the artwork itself. This is harder not because the brain struggles to find the right words, but rather because when writing about art which moves you, something provokes a need to justify oneself. As in the moment after declaring love. Sarmīte Māliņa’s works provoke such a dissonance in me.Tomass Pārups
Sarmīte Māliņa belongs to that generation of Latvian artists who gained prominence in the late 1980s and 1990s. Māliņa stands beside bold personalities of Latvian contemporary art such as Ojārs Pētersons, Kristaps Ģelzis, Oļegs Tillbergs, Andris Breže and others.