ABSTRACT
In this chapter Laine Kristberga examines performance art in Latvia in the 1970s through the concepts of appropriation and intermediality. She claims that performance art adapted to the given social reality by the hybridization of different media: photography, painting and printed canvas. This intermedial appropriation was not only a counter-cultural side effect of sociopolitical circumstances, but also the result of individual efforts to establish a community and a micro-environment. The collaborative projects ensured creative agency allowing the artists to remain immune against the indoctrination epitomized by the New Soviet Man’s and the Homo Sovieticus’ synthetic construction.
