A GALERIJA (Panevėžys)
AKADEMIJA. Vilnius Academy of Arts gallery (Vilnius)
ANTAKALNIO GALERIJA (Vilnius)
ARKA. Lithuanian Artists’ Association (Vilnius)
ARTIFEX. Vilnius Academy of Arts textile gallery (Vilnius)
AUKSO PJŪVIS (Kaunas)
BAROTI. KADS (Klaipėda)
CONTOUR ART GALLERY (Vilnius)
DAILININKŲ SĄJUNGOS GALERIJA (Vilnius)
EKA GALLERY (Tallin)
GALERIE NIVET-CARZON (Paris)
GALERIJA KRISTINA NORVILAITĖ (Vilnius)
GALERIJA RA (Vilnius)
GALERIJA XX. Lithuanian Artists’ Association (Panevėžys)
GALLERIA IMMAGINARIA - FLORENCE ART DEPOT CENTER (Florencija)
IRENOS MIKULIČIŪTĖS DAILĖS GALERIJA (Kaunas)
KLAIPĖDOS GALERIJA. Lithuanian Artists’ Association (Klaipėda)
MENO NIŠA (Vilnius)
MENO PARKAS. Lithuanian Artists’ Association (Kaunas)
MENŲ TILTAS (Vilnius)
MOLĖTŲ DAILĖS GALERIJA (Molėtai)
OKAPI GALERII (Tallin)
PANEVĖŽIO MIESTO DAILĖS GALERIJA (Panevėžys)
PILOT. Experimental Art space of Art Academy of Latvia (Rīga)
Šv. Jono gatvės galerija (Vilnius)
TELŠIŲ GALERIJA. Vilnius Academy of Arts gallery (Telšiai)
TERRA RECOGNITA (Vilnius)
THE ROOM (Vilnius)
THE ROOSTER GALLERY (Vilnius)
TIFĀNA ART GALLERY (Rīga)
TITANIKAS. Vilnius Academy of Arts exhibition halls (Vilnius)
UŽUPIO MENO INKUBATORIUS (Vilnius)
VILKAMIRGĖS GALERIJA (Ukmergė)
For more than 15 years in my personal work I have been emphasizing the human figure, its plasticity, body dynamics, anatomical refinements. I portray a person in his own way — abstractly, expressively. In my art I value the form of the piece, the relationship between the elements, the proportion. I pay a lot of attention to the physical and the visual lightness of the object. I value individualism, therefore avoid straightforwardness – I leave the space for the viewer’s imagination.
Artistic direction – existentialism.
In 2007, I graduated with a master’s degree in ceramics in Vilnius Academy of Arts. I have held 5 solo exhibitions. Since 2003 I have participated in group exhibitions both in Lithuania and abroad.
The painter known for large-scale restrained-color abstract pictures. She develops the themes of passing time, transformation, decay and preservation of nature. Similar motives are characteristic to her latest installations.
Lina Pranaitytė, Urtė Pakers
BIONICS – Duo of interdisciplinary arts
We express ourselves through art and projects that combine both electronic music and elements of visual art. The foundation of creative process is teamwork and a combination of various materials and mediums involved while the result varies from an audio-visual performance to spatial objects and installation art. We are interested in exploring various links between science and art, matter and form, physics and philosophy. Music, video projections, installations, spatial objects, light, motion art – we believe these are elements can be combined to create a unique visual and sonic experience.
Sound is one of the most important focus points in many of our projects. We combine ambient, electronic, minimal, glitch styles and digitally transformed voice. The main focus is set on sounds frequency, timbre characteristics and their variations and the sound characteristics are based on atmospheric, multilayered, textural meanings.
The visual side is developed using different aesthetics such as abstraction, optic illusion, computer graphics, geometric shapes, typography. We like to emphasize the perception of space and the conjunction of real and virtual planes that is why interactivity achieved through sensory and mapping technologies plays a significant role in most of our projects. Space filled with various elements are perceived as open, dynamic and active manipulation of the senses.
Dileta Deikė is a graduate of the Vilnius Academy of Arts, has worked in the field of design, is currently the initiator and author of creative projects, based in Vilnius. The artist’s main areas of creativity and interest: feminism, the place and role of women in social and everyday life. During the last years, the author initiated the project “Handwork”, realized the ideas by analyzing the role of handicraft in the history of society, in the context of women’s leisure and education. During the creative process the author involves local communities and considers it the important signature of her creativity.
I graduated from the Vilnius Academy of Arts with a degree in stained glass, and for several semesters I studied at the Prague Academy of Arts in a conceptual art studio. In my art obects, I delve into the metaphysics of things, through which people’s relationship with everyday life is revealed. We live in a time of material abundance when fashions change very often and with my objects I try to stop that endless change, look at things by distracting them from everyday use, try to see what they encode in themselves – their function is hidden by external objectivity. I analyze the consolidation of things as human existence using glass and photographs printed on transparent film. I also actively participate in Environmental and Light art festivals, where I discuss with the environment by contrasting the objects I have created with it.
Ignė Grikevičiūtė graduated from Vilnius Academy of Arts with a bachelor degree in contemporary sculpture in 2019. In 2018, she did an internship at the Gerrit Rietveld Academy in the Netherlands. Currently, she continues to study sculpture for a master’s degree, studies art pedagogy at Vilnius University.
Ignė Grikevičiūtė’s works intertwine the fields of photography, video, object and literature, the totality of which often questions the relation between realities, interpersonal communication, and the topic of subjectivity.
Jelena Škulis works and lives in Vilnius, Lithuania.
Her main artistic interests are textuality, daily talk, text and textile relations, daily images, memory, social involvement and research, site communities.
Graduated with a degree in social and fine arts studies she researches different kind of relations between community-text-textile during her Phd studies in Fine Arts in Vilnius Art Academy.
Jelena showed several solo shows in Vilnius, also her works were presented in Italy, Portugal, Latvia, Ukraine, South Korea, Czech Republic, Slovakia.
As an individual artist, I mostly engaged in experimental graphics. In my creative practice, I use artificial light, which I describe as the phenomenon that allows us to observe the capacity of human vision. I focus on the convergence of natural and electric light, the range of vision for natural and artificial light.
Morfai is a broad-profile artist not limited to one medium.His works include photography, illustration, painting, street art, installation or design objects.
The themes touched by this artist are very diverse, often cohesive. There is a national / patriotic mood in some places, like a drawing of the longest Lithuanian word on a gigantic abandoned Soviet building, or a national strip on the banks of the Nemunas.
The artist has also left works in Denmark, the Netherlands, Ireland and Spain.
Petras Mazuras represents the generation of sculptors responsible for revolutionizing Lithuanian sculpture in the 1970s by establishing the inherent aesthetic value of form and material. The sculptor takes great interest in sculpture technology. His production are sculpture pieces of stone or in bronze. Since 1996 he started making sculpture of organic glass, plastic, starts marrying stone and living plants.
Conceptual sculptor creating spatial installations and objects using various sources of light. The work of Piesliak can be divided into periods, during which the artist dedicates all of his creative energy to the development of a specific theme. As a result of these theme-based cycles, the artworks created by the sculptor become a kind of each other’s continuation and are closely interconnected by conceptual links. One of the most important themes of the work of Piesliak, which has been an object of his extensive exploration, is the connection of a person’s mental and emotional state with the surrounding environment. In his installations, the artist reflects over the topic by changing and reshaping the exhibition space through the use of various techniques, and engaging the viewers as well as their experiences in the creative experiment. Everyday sources of light used by the sculptor as tools to transform the atmosphere symbolise facelessness and alienation of social medium. According to Piesliak, the objects used in his work have no individual meaning, while as a whole they serve as an instrument to shape new experience of the observer. In his latest series themes of synthesis and memory emerge. By reviving old porcelain for a new life and giving them a sculptural body, the artist analysis and transforms historical artefacts as well as the meanings of loss and rebirth.
Ruta Matuleviciute is a multidisciplinary artist based in Vilnius, Lithuania. The main focus in her work is holistic worldview, inspired by the ancient traditions and contemporary world reflections. Matuleviciute presents her painting as interdisciplinary, her performance as a tool of overcoming inherited, established in culture trauma.
Latvian artist uses works from different series to create a narrative that is ambicious, atmospheric and uncertain but relates to Latvia’s socio-political legacy and the author’s own emotional state.
Performance 'Jelena & Vera'
Contemporary Art Center
Kipras Dubauskas 'Daynighting'
The CAC Vilnius presents parts from one of its last productions – works by Kipras Dubauskas from his video installation “Daynighting”, which from July 10 to September 6 was exhibited on the rooftop and the North Hall of the CAC building. At ArtVilnius the artist’s works will be presented in two spaces – his large-scale sculptures will be exhibited outside the Litexpo building, and in the project spaces area the viewers will have the opportunity to see Kipras Dubauskas’ film program.
Kipras Dubauskas’ works feature his dedication to the underground both geographically and urbanistically, as well as institutionally and politically. The artist explores little-known urban spaces and routes, such as underground tunnels of urban infrastructures that connect different parts of the city, or trails only known to specific groups or locals, or otherwise forgotten. In his practice, Dubauskas organises walks around these places, capturing film footage, which is later incorporated into his installations to create semi-fictional narratives and experiences. Underground territories are parallel urban spaces, which in the artist’s work turn into the unique poetics of institutional and social criticism. Since 2010 Dubauskas has been particularly interested in the expression of analogue cinema, integrating his films into the characteristic architectural and sculptural environments he creates. Installation will consist of several architecturally separated spaces, corresponding to the different modes of night and day, the underground and the world, and the underground and public life. The exhibition includes architectural interventions, several new large scale works, a new 16mm film among new photographic works presented as transparencies in a lightbox.
Kipras Dubauskas (b. 1988) lives and works in Vilnius. He studied Installation at the Royal Academy of Ghent and Sculpture at the Vilnius Academy of Arts. The artist’s works have been presented in solo exhibitions at the CAC Vilnius (2020), the POST Gallery in Kaunas (2019), the Ex Elettrofonica Gallery in Rome (2018); and in the group exhibitions Waiting for Another Coming in Vilnius and Warsaw (2018), Some Pieces from a Cracked Sidewalk (through an intent gaze) in Gdansk (2017) and the 12th Baltic Triennial (2015), and Words aren’t the thing at the Contemporary Art Centre in Vilnius (2015); he regularly participates in film festivals, self-organised events in public spaces, and in exhibitions by other artists. Kipras Dubauskas is the founder of the “Spongé” analogue film laboratory collective.
Vygandas Šimbelis’ ART VALUE project examines the functional art-market mechanisms, which enable the values of particular artworks, the relationship of institutional powers and the use of art in general. The project examines the notion of political economy in the realm of art-constitutive processes, i.e. production, evaluation, circulation, and consumption. Numerical codes of different values ocuppy an essential aesthetic place in the project and communicate through interlaced cultural, technological, ecological, economic etc. narratives, while creatively exploiting the potential of digital and analogue art media.
Jonas Mekas Visual Arts Center
Secret archives of Mekas Center
Guns of the Trees (1962 m.)
The Brig (1964 m.)
Walden (Diaries, Notes, and Sketches) (1969 m.)
Reminiscences of a Journey to Lithuania (1971–72 m.)
Lost, Lost, Lost (1976 m.)
Zefiro Torna or Scenes from the Life of George Maciunas (1992 m.)
Out-takes from the Life of a Happy Man (2012)
Kai aš filmuoju, aš nedarau filmų. Aš tiktai filmuoju, filmuoju, filmuoju.
Jonas Mekas sukūrė daugiau kaip 160 avangardistinio kino portretų, beveik 5 valandų trukmės filmą „Lietuva ir SSRS griūtis“, kiekvienai metų dienai skirtą filmukų ciklą „365 dienos“, ciklą „Tūkstantis ir viena naktis“.
Jis vienas pirmųjų pasaulyje išplėtojo dokumentinio filmo – dienoraščio – žanrą, galima sakyti, jis vienas pirmųjų pasaulio vlogerių… Jo dienoraščiai sudėlioti iš gyvenimiškų gabaliukų, persmelktų poetinio jausmingumo ir subtilumo. Nors tikriausiai ne vienam eiliniam žiūrovui gali būti nesuprantami ir nepriimtini J. Meko stiliui būdinga improvizacine maniera (trumpi gabaliukai, daug judėjimo, spalvų, ne linijinis, o trūkčiojantis, tarsi drebančia kamera filmavimas) sukurti filmai, jo kūryba darė ir vis dar daro įtaką žymiausiems pasaulio kino kūrėjams.
JMVMC pristato ištraukas iš žymiausių Jono Meko filmų ir kviečia žiūrovus pasinerti į Jono Meko taip unikaliai atskleidžiamas asmenines grožio, gyvenimo šventės ir džiugesio akimirkas.
Lewben Art Foundation
Dr. GoraParasit 'Tristan and Isolde'www.lewbenart.com
This year at the art fair ArtVilnius Lewben Art Foundation presents Dr.GoraParasit with the performance-live sculpture ‘Tristan & Isolde’. The performance was first shown at the interdisciplinary music, theatre and performance festival BERLIN is not BREGENZ (2020), which turned the Plötzensee Lido in Berlin, Wedding district, into a stage on the water for Richard Wagner’s operas Lohengrin and Tristan and Isolde. Dr.GoraParasit’s contribution to the festival was dedicated to the final act of the monumental Wagner opera.
The live installation which can be viewed both as a performance and as a piece of visual art, presents the Liebestod aria performed together with Jekaterina Bezumenko, LMTA student and soprano vocalist (teacher Ausra Liutkute), and DJ Zentralmuster from Berlin with their electronic orchestral music arrangement, accompanied by actresses / dancers, playwright Erik Zielke and assistant sculpture / set designer Emilija Paciunaite. In her exclusive stage language, Dr.GoraParasit questions death for love and emphasizes the staged nature of death, allowing Tristan to become the smith of his own life and death / the director of the final act of his life.
Lithuanian Nacional Opera and Ballet theatre
One-act comic opera “La serva padrona” by Giovanni Battista Pergolesi
Performance 'Pan/demics' & 'The Ball'
Museum of Contemporary Art in Krakow MOCAK
The Artist as a Medium
Katarzyna Górna (Poland)
Ragnar Kjartansson (Iceland)
Natlia LL (Poland)
Małgorzata Markiewicz (Poland)
The exhibition The Artist Is Present: The MOCAK Collection will show photographs and videos in which the images of the artists themselves appear. Presented works focus on different models of femininity, the role of the woman in society, motherhood, family relationships and the issues of the traditional family model.
Performance 'Hot Salon'
HOT SALON works as real nail bar. Hyperbolized aesthetic nail decor services are provided here
Carl Lee ,,Last House"
,,When I first moved to Buffalo I was struck by everyday beauty of the many single-family homes that make up a large part of the city. The iconic image of the house seemed to have endless variation, each a unique instance with its own histories. If houses are containers for our memories, the structures within which so many minor and major domestic events take place, then each week in this city a collective amnesia grows block by block, a city disappearing before our eyes. The demolition of these structures – by design or accident – and the speed, indifference, and violence with which it takes place; the transmutations of the scale, space, and even one’s sense of time – is breathtaking and tragic, and full of contradictions. Last House is an inquiry, part document, part memorial, to this changing built environment.”
For several hours we had been driving a small jeep around the tracks of ancient Gobustan, near Baku. This was my second expedition in these parts, and I still cherished the hope of seeing the first stone drum in human history. Once again I was disappointed and doubtful that we would ever discover anything more than a small resonant stone in the area belonging to the museum, but Ali, a Baku artist, assured Vitaly Patsyukov and I that he remembered the location and we would definitely find it. It was almost evening before a huge boulder balanced on two other stones came into view on the mountainside and we realised this was the Great Ritual Instrument. Clearly this was the way it had to be. The stone with its penetrating sound that carried across the entire territory of this ancient human encampment was only revealed to us after an arduous search.