Exhibition “Climbing Invisible Structures: Ritualised Disciplinary Practices in Social Life. Part 3: Žeimiai” on 30th July – 28th August
- Published on Wednesday, 20 July 2016 14:19
“Climbing Invisible Structures: Ritualised Disciplinary Practices in Social Life. Part 3: Žeimiai” is the third part of an exhibition project comprising four venues, and the last one in Lithuania. It presents works of eight artists and an artists’ duo. Repeated as an echo of the previous exhibitions and climbing through different exhibition spaces, this show becomes a ritual itself and extends the climbing maps from art centers to the periphery of cultural history. This time the exhibition is on show at the Žeimiai manor estate.
Opening of the exhibition on the 30 July 2016, 5PM, at Residency Centre YO YO, Žeimiai Manor (Draugystės St 28, Jonava district, Lithuania) with a performances “Five Drawings” by Gunnhildur Hauksdóttir (5.30PM) and “Skateboard Prayer, or Head Below the Heart” by Eglė Budvytytė (6PM) (Concept and choreography: Eglė Budvytytė; Performers: Greta Bernotaitė, Tomas Dapšauskas, Lema Lungytė, Greta Petrovskytė, Andrius Pulkauninkas, Matas Saladžius, Povilas Šimonis; Dramaturgy: Bart Groenendaal; Costumes: Morta Griškevičiūtė; Props: Viktorija Rybakova).
|Artists: Eglė Budvytytė, Victoria Durnak, Gunnhildur Hauksdóttir, Berglind Jona Hlynsdóttir, Saulius Leonavičius & Vida Strasevičiūtė, Robertas Narkus, Augustas Serapinas, Kristin Tårnesvik
Curators: Eglė Mikalajūnė and Samir M’kadmi
Exhibition designer: Rokas Kilčiauskas
Designer: Indrė Klimaitė
The idea of “climbing invisible structures” invokes not only something hidden, but also something vertiginous and inaccessible. It invites “us” (artists and audiences as participants) to engage and reflect on the complex and multi-layered relationships between references and meanings that pervade most of our disciplinary practices and social life. Although reflection is itself an intimate hidden process that involves careful thinking and consideration, it is, as the Latin root of the word reflex suggests, the thought “bent back” on itself.
This image corresponds with the common analogy between thought and light. It conveys the notion that we absorb and reflect thoughts and ideas similar to the way materials and celestial bodies absorb and reflect light. However, reflection implies both action and reaction, and it should not be interpreted only as a mental process. Exposition to other people’s thoughts, to others’ lights and rituals, is an all-embracing experience, intellectually, emotionally and physically. In this sense, engaging with works of art means engaging with past and present disciplines and rituals.
Ritualisation is also a kind of reflection, since it throws back (from the past to the present) practices that are no longer actual or functional, but which we maintain because of their historic and symbolic signification. Ritualisation could also mean the creation of new rituals that reflect contemporary practices. Reflection and ritualisation are thus two aspects of the same artistic procedures, the same method. Both seek to apprehend, process and project the hidden fabric that shapes our understanding and identities.
The works in this exhibition point to a wide range of ritualised practices, connecting actions by people who lived a long time ago with contemporary rituals. Ranging from social and spiritual practices, which are familiar to everyone, to contemporary strategies framing the conditions of art production and management, they investigate, explore, question, disrupt, modify and fictionalise established beliefs, disciplines and daily habits, and outline directions for new ones.The exhibition is arranged in Žeimiai manor estate. Built in the end of the 18th century, currently the manor is a place for Artists’ Residency Centre YO-YO, home for artists’ collective ŽemAt and itself is transformed into a Living Museum Aikas Žado (Aikas Žado laboratory 2016). The manor is preserved, maintained and reconstructed adapting a rare-in-Lithuania strategy when all historical layers, including the most recent, are treated as equally valuable. At the same time, the Living Museum Aikas Žado is defined as a continuous, all-encompassing art project that includes even tourists or visitors as a part of it. Thus, the “Climbing Invisible Structures” exhibition, previously shown in a white cube at Nida Art Colony, enters a completely different space, where each and every corner pulsates with complex history, creative activity and requires attention. Some works in the exhibition are directly dedicated to the place. Some artists entered into the dialogue with it, creating new versions of their works which were exhibited in Vilnius or Nida. Some works suggest new meanings just finding the right spot in this complex environment. And, finally, the whole show changes its face essentially while inviting the visitors to navigate, to find ways and even to become lost among the intermingled structures of both the exhibition and the Living Museum.
Exhibition open on Fridays, Saturdays and Sundays from 12 PM to 6 PM.
The exhibition is part of a two-years-long residency and exhibition project between six institutions in three countries, Iceland, Lithuania and Norway. The next venue will be in Lillestrøm Nørway (10 February – 12 March 2017).
|This Vilnius Academy of Arts‘ project “Discipline Today. Residency Exchange and Exhibition” project No. EEE-LT07-KM-01-K-01-035 is supported by a grant through the EEA Financial Mechanism and Lithuanian State Programme LT07 “Promotion of Diversity in Culture and Arts within European Cultural Heritage”, project is also supported by Lithuanian Council for Culture.|