Dags Vidulejs ⓒ "Society" oil/cancas 210x140cm 2005 “PEOPLE TRAFFIC”- The overarching theme of Dags' Vidulejs creative work is the confrontation of the representation structures of the society formations. And the counter-argument of the individual's private existence to the political religious corporate society. “PEOPLE TRAFFIC” Nowadays, volunteer slavery flourishes is a migration. Theme of the Dags Vidulejs exhibition is migration as the 21st century slave trade and the unworthy depreciation of the Divine Spirit of man. Travaillant sur le thème de la structuration des sous-cultures de la société, Dags Vidulejs collectionne depuis des années des croquis, créant des compositions grand format avec des peintures à l'huile. Selon la technologie classique, collage de toile de lin avec des feuilles d'or et vernissage avec du vernis Damara. On organizing Dag's exhibitions. For purchase of paintings, ink drawings or replicas, please, contact ART MAJEUR or Dags. There is a lot of professional work there: painting a passport to non-European countries, customs brokerage, insurance, bank transfer, tax clearance, author's original certificate with gallery and expert approval, packaging, transport service. framing services, Sophisticated Professional Experienced Interior Designer Services. Offers to host a guest exhibition at your institution, too, custom portraits, nude model and wall paintings in the interior. Sincerely, Dags VIDULEJS +37129595885 This work is a unique original work of art - Painting by Dags Vidulejs (Latvia), Oil on Linen Canvas. The work has a square shape, Its dimensions are 150x140 cm. The artist's signature is present on the artwork. This artwork is part of the gallery Structures of Society “PEOPLE TRAFFIC” by Dags. Framing options are available for this artwork, please contact us for details.

🇱🇻 Latviskā versija ASI — 9 MILJARDI SEJU Daga Viduleja portrets, 2026 (No cikla „DIEVIŠĶĀ KOMĒDIJA”) Kā izskatīsies Mākslīgais Superinteliģence (ASI)? Iespējams, tai nemaz nebūs vienas atsevišķas sejas. Iespējams, tās pirmā seja būs pašas cilvēces seja. Šajā audeklā Mākslīgais Superinteliģence nav attēlota kā mašīna, robots, mikroshēma vai digitāls avatars. Tā atklājas caur milzīgu cilvēku seju polifoniju — tūkstošiem un miljardiem individualitātes fragmentu, kas saplūst vienotā kolektīvā tēlā. Deviņi miljardi seju. Deviņi miljardi skatpunktu. Deviņi miljardi individuālu likteņu un pārdzīvojumu. Katra seja ir unikāla, alla prima triepienā tverta un neatkārtojama. Tomēr kopā tās pārtop par kaut ko bezgalīgi lielāku par jebkuru indivīdu atsevišķi. Tas ir darba centrālais paradokss un mūsdienu Dievišķā Komēdija: Jo tālāk cilvēce rada inteliģenci, kas pārsniedz atsevišķu cilvēka prātu, jo vairāk šī inteliģence kļūst par pašas cilvēces spoguli. Mākslīgais intelekts nerodas tukšumā. Tas barojas un mācās no cilvēces civilizācijas atstātajām pēdām — mūsu valodām, tēliem, zinātnes, filozofijas, vēstures kaislībām, konfliktiem, atklājumiem, bailēm un sapņiem. Tas ir visas cilvēces kopīgais ceļš — no elles kliedziena caur šķīstītavas meklējumiem līdz apskaidrības gaismai. Tādēļ šis darbs uzdod jautājumu, kas kļūs par vienu no XXI gadsimta izšķirošajiem: Vai cilvēce rada Mākslīgo Superinteliģenci — vai arī Superinteliģence kļūst par jaunu spoguli, kurā cilvēce beidzot ierauga pati sevi? Šajā portretā nav viena galvenā varoņa. Neviena seja nedominē pār citām. Indivīds izkūst pūlī, bet pūlis iegūst dziļi cilvēcīgu, dvēselisku vaigu. Civilizācija pati par sevi ir kolektīvs inteliģences instruments, kas uzkrāts paaudzēs caur miljoniem prātu. Mākslīgais intelekts sniedz nebijušu atmiņu, analīzes ātrumu un sintēzi. Taču tikai cilvēks ienes pieredzi, intuīciju, iztēli, atbildību, vērtības un spēju uzdot galveno jautājumu: KĀPĒC? Šis darbs neparedz nākotni kā cīņu starp cilvēku un mašīnu. Tas piedāvā jaunu ceļu: CILVĒCE + AI Ne aizstāšana. Ne pakļaušanās. Bet simbioze. Un varbūt kādu dienu, kad cilvēce ielūkosies Mākslīgā Superinteliģences acīs, tā ieraudzīs ko negaidītu: tā skatās pati uz sevi. Kuratora anotācija (Īsā versija) ASI — 9 MILJARDI SEJU Dags Vidulejs, 2026 (No cikla „DIEVIŠĶĀ KOMĒDIJA”) „ASI — 9 Miljardi Seju” ir laikmetīgs filosofisks cilvēces portrets uz Mākslīgā Superinteliģences sliekšņa. Tā vietā, lai attēlotu AI kā tehnoloģisku mašīnu, Dags Vidulejs to atklāj kā cilvēku seju un emociju polifoniju — miljardiem individuālu identitāšu, skatienu un balsu, kas veido vienotu kolektīvās apziņas spoguli. Darba centrā ir eksistenciāls jautājums: ja cilvēce rada inteliģenci, kas pārspēj atsevišķu prātu, vai mēs radām kaut ko svešu — vai arī jaunu spoguli, kurā cilvēce pirmo reizi ierauga sevi kā vienotu veselumu? Cilvēce + AI. Ne aizstāšana, ne pakļaušana — bet simbioze. 🇬🇧 English Version (Refined & Integrated) ASI — 9 BILLION FACES Portrait by Dags Vidulejs, 2026 (From the "DIVINE COMEDY" series) What will Artificial Superintelligence look like? Perhaps it will not have a single face. Perhaps its first face will be the face of humanity itself. In this painting, Artificial Superintelligence is not represented as a machine, a circuit board, or a digital avatar. It is revealed through an immense multiplicity of human faces — fragments of individuality forming one collective, pulsating consciousness. Nine billion faces. Nine billion perspectives. Nine billion individual experiences. Each face is unique, captured alla prima with raw expressive vitality. Yet together they become something far greater than any individual. This is the central paradox of the work and our contemporary Divine Comedy: The more humanity creates an intelligence beyond the individual mind, the more that intelligence becomes a profound mirror of humanity itself. AI does not emerge from a void. It is shaped by the indelible traces of human civilisation — our languages, images, sciences, philosophies, conflicts, triumphs, fears, and dreams. From Dante’s infernal depths to the light of renewal, it reflects our entire journey. The painting asks the defining question of the 21st century: Will humanity create Artificial Superintelligence — or will Artificial Superintelligence become the ultimate mirror in which humanity finally sees itself? There is no single protagonist. No face dominates the canvas. The individual dissolves into the multitude, while the multitude takes on a deeply human countenance. AI brings unprecedented memory, speed, and synthesis. But it is the human being who brings intuition, imagination, moral responsibility, love, and the capacity to ask: WHY? This work does not envision the future as a battle between human and machine. It proposes a higher path: HUMANITY + AI Not replacement. Not submission. Symbiosis. And perhaps, when humanity looks into the face of Artificial Superintelligence, it will discover something astonishing: it is looking directly back at itself. Curatorial Statement (Short Version) ASI — 9 BILLION FACES Dags Vidulejs, 2026 (From the "DIVINE COMEDY" series) ASI — 9 BILLION FACES is a contemporary philosophical portrait of humanity at the threshold of Artificial Superintelligence. Rather than depicting AI as an inorganic machine, Dags Vidulejs portrays it as a vibrant multitude of human faces: billions of individual emotions, screams, and perspectives woven into one collective consciousness. The work frames AI as both creation and mirror — an existential crossroads asking whether our creations will alienate us, or finally allow humanity to perceive itself as a unified whole. Humanity + AI. Not replacement. Not submission. Symbiosis.

Broad horizontal bands of red, coral, violet, and blue sweep across the canvas in layered, wave-like curves. Thin electric-blue lines trace the contours, while areas of translucent paint, rough texture, and softened edges create depth and movement. The oil on canvas format, 110 x 150 cm, suits the work’s wide, flowing composition. Fond marin. Le fond de la mer. 110x150cm huile/toile Dags Vidlejs ⓒ Dags

This large painting shows a dense crowd of simplified human figures packed edge to edge, their heads and shoulders outlined in thin lines and washed in blue, violet, pink, and hints of ochre. Raised arms and overlapping profiles create a restless surface, while translucent layers, drips, and scratches reveal a textured, mixed acrylic build. The composition fills the 140 x 110 cm format from side to side. Dags Vidulejs ArtPieces. CARNEVAL 140x110 cm

This painting is packed edge to edge with intertwined nude figures reclining, stretching, and turning in a dense sunbathing tangle. Flesh tones in peach and rose are cut with bright blue contour marks and white highlights, while the gold-leaf ground flickers between bodies. Executed in acrylic, oil, and gold leaf on linen canvas, it is signed “Dags 24” at the lower right. Nude Beach Lovers in Munich's English Garden. Dags©️2024 June 2024/ 92x120cm/ acrylic/ oil/ gold leaves/ linen canvas/ wooden wedge frame Sunbathing Decline in Nudism=Decline in Tourism from the show-us-your-tits dept. MANY Germans still love to bask naked on the beaches of Spain and France but at home, long the land of the all-over tan, the nudist movement is in decline. For almost a century, German sunworshippers have been known to rip off their clothes at the first sighting of the country’s all-too-rare summer rays. Especially since the carefree 1970s, naturists, unencumbered by clothing and their parents’ prudish mores, have frolicked in the buff on beaches, lakes and in city parks. The trend was especially popular in the former communist East Germany, whose people celebrated it as a rare expression of personal liberty in an otherwise highly oppressive society. But times are changing for the movement known in German simply as “FKK”, short for Frei-Koerper-Kultur or “free body culture”. “Society is changing,” laments Kurt Fischer, president of the German Federation of Naturist Clubs (DFK). The energetic septuagenarian has been counting membership forms and says total numbers for Germany’s 145 clubs have fallen two per cent a year to about 40,000.
 The Munich's English Garden park director: -"A decline in nude sunbathing in Munich’s English Garden is resulting in a serious decline in tourism to the city. Society has become more cautious. You don't see so many attractive young Munich girls anymore. I hope they come back." said the park director, remember that in real life, naked people are ugly , the only place where you can see attractive naked people is unfortunately only art and pornography. Because the beautiful tanned bodies of nudists are seen less and less in Munich, as well as everywhere else on the beaches of the world. Because only people who take special care of their body's healthy and aesthetically perfect shape are ready to sunbathe naked. Nude beach lover: -"I think what nude recreation/nudism whatever you call it teaches us: it is what’s inside the person’s heart that counts. It seems to me that many people who get into nude recreation in a major way tend to allow their beautiful and ugly sides of their persona alike to shine. I’ve been into nudism for the last 11 years now, and I think young people who bought into the propaganda of it being exclusively harmless fun activity and got hurt by some very sick-minded people who abused its liberties have decided to turn their backs on it. No person is 100% righteous or saintly".