“Climbing Invisible Structures. Ritualized Disciplinary Practices in Social Life”. Exhibition I: ARTISTS

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The exhibition “Climbing Invisible Structures. Ritualized Disciplinary Practices in Social Life” presents works by five artists: Tanya Busse, Victoria Durnak, Saulius Leonavičius & Vida Strasevičiūtė, Robertas Narkus and Kristin Tårnesvik. The works in the exhibition point to a wide range of ritualized practices, from performances executed by people who lived ages ago, to contemporary rituals. We invite you to take a closer look at the participating artists and their works.
ROBERTAS NARKUS (LT)
Residency at Skaftfell Ceter for Visual Art (Iceland), October-November 2015

Robertas Narkus describes his practice as the ‘management of circumstance in the economy of coincidence’. He brings together the ordinary and the absurd to explore notions of chance economics, hypothetical experiences and symbolic capital.

 Robertas Narkus
Robertas Narkus. Still from a video “Eurostar”, 2016
In one of his visions of the future, the prophet Nostradedamus describes a device, a heavy, monstrous machine, a train whichgoes to the sky, in a human attempt to conquer Heaven. And the train climbs higher, but just as Icarus burned his wings by flying too high, the train is doomed to fall and open the gates to Hell. Can this prophesy ever be overcome? “Atlantic Biennale: Untold Saga” is driven by faith in progress, in the future and growth. It thrives on unrealisable dreams, on the urge to succeed, and the melancholic, enigmatic, relieving joy of failing. For thousands of years, the ocean defined the limits of the known world. For centuries, it inspired humanity to overcome the impossible. So what is the Atlantic today? Follow on www.atlanticbiennale.com

VICTORIA DURNAK (NO)
Residency at Nida Art Colony of VAA (Lithuania), October-November 2015
 
Past and future encounters trigger Victoria Durnak's introduction of narrative structure into the mishmash of lived experience. Her narratives can be personal, detached, informed by others, nonetheless directed and arranged by her. Personal mythologies unfold through her performances, not just by turning life into art, but also by placing herself in odd situations where any task might become art.
Victoria Durnak
Victoria Durnak. Still from a video “Ex-boyfriend Jewellery”, 2016
www.exboyfriendjewelry.com is a site where you can buy/sell/trade and blog about all of those little painful reminders in your jewelry box that make you wonder “what did I ever see in him?" You set your own price. You get it off your chest and out of your sight. Just because you don’t want it, doesn’t mean somebody else isn’t dying for it. Everyone’s a winner! Maybe you love him, maybe you never want to speak to him again, but either way, you’re ready to move on and make a little rent money in the process (insert “wink” icon here). Here’s the story, you don’t want it and he can’t have it back (insert another “wink” icon here, and then stop winking, seriously).

 SAULIUS LEONAVIČIUS (LT)
Residency at Nordic Artists' Centre Dale (Norway), November-December 2015
 
Saulius Leonavičius’ practice is a critique of art production, ideologies and institutions that formulate identity of art object. This critique, often in a form of small subversive acts in itself is a discursive shape and can be discussed in terms of plastic arts. Self-reflection of art production is a method and also task. Situations that can’t be appreciated from the view of contemporary cultural norms produce ambiguity in the moment of encounter with an art object. Appropriation of other artworks, intervention in to set of given rules, self-reference and contradiction repeats throughout different situations and contexts. Awareness of limitations and play with them, irony towards value hierarchies in art and culture in general are important as well as using the institution as a medium for comments on questions and issues that are already layered in particular space/time.
        Saulius Leonavičius  Vida Strasevičiūtė
Saulius Leonavičius & Vida Strasevičiūtė. Fuck Language. The costume of a psychonaut, 2016
The costume is for travelling in the nature. It can be transformed into a hermetic shell which covers you when sitting; it also makes you feel comfortable while you are on your feet. The costume is made an inner one and outer part, it includes shoes, a backpack and accessories. The trousers and a shirt are tight, breathable and flexible. The coat’s hood unfurls into a helmet form; folds of the coat can be pulled together to make a hermetic bag for your feet when you sit. A belt holds together the coat’s folds while you are walking, it also can be used a sitting belt: folded around your knees and waist, it helps you to sit on the ground for long time without getting tired. The costume is water resistant, thermal and designed with reflective components (stripes and thread). It is suitable for a psychedelic trip, a ceremony, being in the nature, a walk in a park, to wear in an event. Fuck Language is an agonized scream cried out when you unexpectedly face the limits of the known.

KRISTIN TÅRNESVIK (NO)
Residency at Residency Centre Yo-Yo (Lithuania), August-September 2015
 
Kristin Tårnesvik is a practicing artist in a wide range of fields and also produces, and she has an active voice in national art policy, holds positions on committees and is involved in private initiatives. In addition to her own artistic endeavours we can mention her collaboration in the Sami Art Festival together with Hilde Methi, which stretched over a period of 4 years (2008 – 2012). RRR, Rural Reading Room, along with Espen Sommer Eide, Hilde Methi and Morten Torgersrud, and Weed biologist Korsmo’s weed archive with Espen Sommer Eide. She is a member of the collective art studio group Flaggfabrikken in Bergen. Her work often considers social and historical questions and can be viewed as a long-term research project that explores the relationship between art, ideology of activism. Her formal expression involves the use of different materials and media, often using experimental combinations of these.
                Kristin Tårnesvik
Kristin Tårnesvik. Time Between Life and Death, 2016
Genius loci, means the current character or atmosphere of a place. In classical Roman religion a genius loci was the protective spirit of a place. It was often depicted as a goddess holding a horn of plenty, symbol of abundance and nourishment; or holding a bowl of libation, symbol of ritual pouring of liquid as offering to a god or spirit; or holding a snake, symbol of the fertility of nature, good and evil. Kristin Tårnesvik work is driven by the genius of the place. She asks: So what if the trees and plants could talk, they might reveal the story of what actually happened through history, they are the silent witnesses, observing the changes in the landscape and observing the movements of the people. They might be able to tell us about ritual activities such as making liquor of plants from a specific area but also food or our daily coffee. It’s Tårnesvik’s way to preserve memory and cultivate bonds with plants, inspired by the different seasons.
She wants to explore our determination to question life and its meaning both scientifically and spiritually, and our more universal desire to delay death and prolong life.

TANYA BUSSE (NO)
Residency at Nida Art Colony of VAA (Lithuania), October-November 2015
 
Tanya Busse is a visual artist whose conceptual practice raises questions concerning deep-time, invisible architecture and larger systems of power, with an experimental and often playful approach. She works primarily with video, photography and print. Alongside her own artistic practice, she is also involved in the organization of various artistic and curatorial platforms, through her role as the director of Small Projects Gallery (Tromsø) and co-director of Mondo Books, an independent book distro that focuses on art publications, fanzines, and printed matter from the Northern region.
Tanya Busse
Tanya Busse. The logotype of the Sunken City Radio, 2016
As part of Climbing Invisible Structures, Tanya Busse has used the Dead Dunes of the Curonian Spit as a starting point to develop a radio program, which will air next month on NERINGA FM. Looking into the archaeological digs that took place there (between 1974-1978 and 2011-2014), she’s using the radio as an everyday, ritualistic object from which to speak about buried histories. Inside the water reservoir, you can hear an archaeo-acoustic sound sample echoing along the concrete walls, signaling both the radio program and the sunken cities of Nagliai.