From November 14–30, the “si:said gallery” is launching a new art festival, “Pavilion”, but this time only electronically. Five solo exhibitions and educational tours will be held in the Klaipėda Fishing Port district at Minijos 138, apartment 12, but due to quarantine, they will only be available online at www.sisaid.lt.
The Soviet-era housing estates are located in the city’s residential districts, close to a playground, a stadium, educational establishments, convenient public transport links, a factory, a canteen, and a “cultural centre”. This infrastructure is designed to ensure that all the necessary services are available to the population in the area, even though the original infrastructure has changed significantly. It is true that the geographical boundaries widen when travelling to other districts, but in principle, we should stay within our own territory if we don’t need to do otherwise. In recent years, there has been a lot of discussion about the decaying Old Town of Klaipėda, about its revitalisation, its empty streets, its shops, and its cafés. The “Pavilion” art festival is held in the apartment of a block of flats, so that it does not “pull” residents out of their neighborhood, but goes on right here, in a residential environment.
Every apartment can boast an artistic interior detail, and some even have a whole collection of artworks. In this sense, the project’s ambition is to make the art process accessible every day. An apartment in a block of flats will be transformed into an art pavilion.
The “Pavilion” art festival rethinks the concept of space. The very concept of “space” can be interpreted in many different ways, from physical, geographical, and local spaces, to conceptual spaces in personal and psychological spheres, and even cyberspace. In addition, artists construct artistic spaces that are different from the real world to express their worldview. The exhibitions explore different perceptions of space through the artists’ works.
The project will start with an exhibition of the collection of Benediktas Žiniauskas (1928–2020). B. Žiniauskas had a lifelong interest in Western European art and amassed a large collection of reproductions of paintings. The reproductions of European Old Masters, obtained through various channels, were carefully framed and exhibited at his home.
“Mediation Relations: My Body in You”, an exhibition by graphic artist Žaneta Jasaitytė-Bessonova, was presented three years ago, but it is still relevant today, exhibited in a different context, and takes on new subtexts. In the exhibition, the artist reconsiders the themes of motherhood, the status of the female artist, the body, and her own relationship to the domestic sphere.
Henrikas Riškus’ exhibition “H2R20” explores the possibility of probability as the final result. This is done through the throwing of a die, the flipping of a coin, or other interactive means that randomly determine “what will be” and “what will not be” parts of the work. In this way, the visual abstractions create a kind of binary code, opening up more space for universal interpretations. Riškus’ creative practice is based on the principles of generative art, where the rules of the artist’s system also influence the determining process. At the same time, it has some independence or autonomy, which thus contributes during the process or at the end of fully realized artwork. As the artist himself says, regardless of the process, all the possibilities of probability and unprobability reveal the real beauty.
The “Closed Exhibition” by the architect and artist Vladas Balsys continues the theme of reconsidering the limits of the possibilities of artistic processes, which he has developed in his creative practice. According to the artist, “in this period of global pandemic, it is forbidden to visit exhibitions. Day after day, living a dull life, time carries us. Now that path is becoming part of everyday life. To create or not to create – this one does not change anything. In the face of the absurd, it is possible to look at the phenomenon of creation once again, but from a slightly safer distance. Finally, we can imagine that closed exhibitions can be visited at the click of a button. From that point of view, everything is in the right place. The exhibition on the ground floor of the apartment building was locked in the visual maze of a two-room apartment without Theseus and the Minotaur. There is not even a wandering spectator. The viewer is safe. He has escaped a confrontation with the Minotaur in the kitchen by the fridge. There is only a fog of anxiety in the landscapes of the exhibition. Here we have the luxury of looking for something else in the fog, knowing that we won’t find anything there.”
Donatas Jankauskas-Duonis remains faithful to the search for the primitive, for primates. The artist creates massive, zoomorphic sculptures using a distinctive humor, monumentality, dynamics of forms and materials, and a wide range of iconographic and iconological meanings.
Two decades ago, D. Jankauskas-Duonis held a solo exhibition titled “Retrospective” at the Contemporary Art Centre in Vilnius, ironizing the status of the artist and the cult of historicity. The exhibition unselectively showcased the artist’s work (sculptures, drawings, installation pieces), texts, personal letters, sketches of commercial commissions, etc. Twenty years later, the artist returns to the theme he developed. He uses self-irony to reflect on the status of today’s artists, questioning the relationship with institutions and becoming institutionalized. Over the decades, the artist has not only created a number of apes (which have become the artist’s leitmotif), but has also amassed a collection of them (purchased or given as gifts). Donatas Jankauskas-Duonis will present the exhibition “I Cannot See, I Cannot Hear, and I Am Silent” at the art festival as an allusion to the three wise little monkeys who cover their eyes, ears, and lips. To find out what the message behind the Japanese aphorism “I see no evil, hear no evil, and say no evil” is, we invite you to follow the exhibitions virtually on the “si:said” website www.sisaid.lt. Each exhibition is accompanied by a virtual educational tour.
The project is funded by the Lithuanian Council for Culture and Klaipėda City Municipality.
November 14–30, 2020
Minijos 138–12, Klaipėda Fishing Port
From Benediktas Žiniauskas’ (1928–2020) collection of reproductions.
Žaneta Jasaitytė-Bessonova ” Mediation Relations: My Body in You”
Henrikas Riškus “H2R20”
Vladas Balsys “Closed Exhibition”
Donatas Jankauskas-Duonis “I Cannot See, I Cannot Hear, and I Am Silent”