Arūnas Gudaitis: Vilnius Postcards, 10 color postcards, offset print, 2009.
Vilnius Postcards, a series of photos, is a response to The Vilnius Notebook by artist Mindaugas Navakas – utopian sculptural interpretations of the city (1981-1986). After more than 20 years, the images of Vilnius are reconstructed in the form of postcards characteristic to 1970’s style. It allows us to experience the same situations anew and reveal an ideological basis of the selected objects and their transformation.
Arūnas Gudaitis is reacting to the work of Jana Jakimovska (MK), Skopje 2014, from Deadpan Exchange VI.
Laura Stasiulytė Suspended in the air, 2-channel video loop, 2012.
Laura Stasiulytė is interested in the act of separation – knocking off one from the many – and the exact moment before the particle is going down… the moment of overhang and disorientation.
This is a fraction of a second, as seen in the videos, when the pendulum impacts the corn and floats into the air. It becomes “intoxicated and lost” for some time (a thousandth part of a second), without being moved to one direction or the other and remains floating in the air.
The same is true of the basketball, which has been thrown out into the air and accidentally stacked in a giant kinetic public sculpture (a weathercock). It keeps moving “forever” at the whim of the wind direction.
Laura Stasiulytė is reacting to the work of Maja Kirovska (MK), Sisyphus Where is the exit?, from Deadpan Exchange VI.
Aistė Valiūtė and Daumantas Plechavičius Ultra Vires, interactive object-installation, plastic box, tablet PC, speakers, 2012.
Ultra Vires* is an interactive installation which does nothing but usurp the audience’s attention with irritating measures: it keeps on weeping as long as no one is looking at it. Equipped with custom programmed computer vision software, the insistent system monitors the audience’s faces. Once it detects a gaze, it rewards the spectator with silence. What is done with the catch at the other side of the wire, however, is left as an open-ended story. The installation is the satire of contemporary capitalist reality. It is a reality that has been forced onto the consumers’ aimless time and brain resources.
* Ultra vires is a Latin phrase meaning literally “beyond the powers”. If an act requires legal authority and it is done without such authority, it is characterized in law as ultra vires.
Aistė Valiūtė and Daumantas Plechavičius is reacting to the work of Maja Kirovska (MK), Sisyphus Where is the exit?, from Deadpan Exchange VI.
Lina Lapelyte ‘Candy Shop’ video, 3’47’’. This is London, performance, 20’, 2012.
Candy Shop is a song by 50-Cent and Lina Lapelyte; this is London is a song by Akala and Lina Lapelyte. Both of the songs belong to the series of videos and performances also called Candy Shop by Lina Lapelyte. In Candy shop Lapelyte revisits well-known hip hop songs and uses her own voice and folk song like melodies to question gender and the mundane. Using song as an object Lina examines the issues of displacement, otherness and beauty. Re-enactment supports her investigation into aesthetics, control and reality.
Lina Lapelyte is reacting to MK artist, Ilija Prokopievs’ work “Untitled”, from Deadpan Exchange VI.
Robertas Narkus The Absent audience show, sound installation, 2012.
In the early 1950’s a sound engineer Charley Douglas invented a “sweetening” technique, which is commonly known as a use of an additional laugh track to “enhance” the laughter for television audiences. Robertas Narkus re-contextualizes this method and brings the laugh track to the gallery space.
Robertas Narkus is reacting to the work of Zorica Zafirovska (MK) from Deadpan Exchange VI
Milda Zabarauskaitė, Untitled, digital print 21×28, 2012.
Milda wraps up the words “All beauty will die” used by Velimir around her hand transforming the text into an object, which reminds of a bracelet. Through this transformation the text transgress from the realm of language to the sphere of object hood.
Milda Zabarauskaite reacts to the wall text piece of Velimir Zhernovski (MK) from Deadpan Exchange VI.
Akvilė Anglickaitė, The Letter, video 4’34’’, 2012.
The text in the film is a letter from a woman taken from the Soviet woman’s magazine “Tarybinė Moteris” (The Soviet woman). The magazine issue is from the year of 1982, the year I was born. The letter is an observation of everyday life subtly with propaganda that seems a bit ridiculous from today’s perspective. It is unclear whether woman’s experience is real or fiction. The voice-over with American English accent makes these observations even more absurd and questionable. They are as questionable and absurd as the attempts to create communist society everywhere. The images will speak for themselves.
Akvilė Anglickaitė is reacting to the work of Angel Miov (MK) from Deadpan Exchange VI