/2017/

Body, love and empowerment of women form the basis of all Elina Maligina's works. Within her works these three concepts manifest themselves in an ironic, even grotesque and yet tender manner. Her female characters live, suffer and move through a land of nowhere between their vulnerable selves in the alienating presence of others. 

 

In the development of interdependence one such woman sets off from a clearing that is surrounded by a forest. Or rather, a live performer does so in a room where four walls are covered with video projections illustrating said forest. Figures are approaching from the eastern edge of the forest. Naked women wander unerringly through the landscape towards the west. What drives them? And how does this virtual movement affect the living figure at the center of this mysterious occurrence? Latvian artist Elina Maligina presents herself as a virtuoso of uncanny images that compel with their stylized perfection that is taken to an artificial and absurd extreme.

/2017/

Curled in an embryonic position, a creative individual at a blank page. Naked, not protected from the world outside but sequestered from it, in order to sell his or her soul to the devil of art. The blank page becomes a black square, in which the immensity of life and art life’s and art gets lost. Then within it with difficulty is born a white point – the creative soul, which has surrendered itself to the mystery of art.

In 2012 in Riga the artist Elīna Maligina put on a two-part art performance entitled ‘Living. Mother.’ 

‘Living’, the first part of the art installation, involved Maligina sitting for 24 hours in a glass cube in the centre of the city as a symbolic act against the ruthlessly racing time of our century, positioning herself as an artefact of art imprisoned in a cage trying to understand her place in it.

 

The second part ‘Mother’, was a two-hour improvised performance with the accompaniment of live music, lights and video projection, representing the artist’s breakout from the glass cube, that is from generally accepted norms, clichés, and societal hypocrisy. The climax of the performance – a human head cast from plaster of Paris chopped up on a firewood chopping block as an artistic slap to the face of a philistine and unenlightened society.

 

With the performance ‘Living. Mother.’ Elīna Maligina began her very individual path in art – one of openness and uniqueness, presenting herself as an artefact of art.