The work of Gintaras Didžiapetris centers around an exploration of the shifting cultural and historical constructs that simultaneously underlie and undermine perception and experience. Working freely with a wide range of media film, photography, sound art, performance, drawing, prints Didžiapetris has developed an informed site-specific artistic practice characterized by its subversive ambiguity and oblique poetics.
Andrius Zakarauskas (1982), a member of the younger generation of conceptual painters, explores the medium of painting and the position of the painter in the context of contemporary art.
Eglė Budvytytė (1981) creates performative and cinematographic situations in which she explores the body’s ability to challenge conventions of conduct formed by public spaces. Authentic movement contrasts with the rational, homogenised layout of the city. Her work manoeuvres between scripted and ordinary behaviour, and searches for unseen gaps and cracks where groups of unusual codified behaviour can be found. In resisting documentary (both the clichés of film language and the realities of the city or social groups born out of urban processes), she creates poetic commentaries through her films and events that defy the usual expectations of the audience, and reminds us that the potential for change lies in the imagination.
Laura Garbštienė is born in 1973 in the small town of Vilkija and presently lives in Vilnius. She completed the Master's program in Textile Arts at Vilnius Academy of Fine Arts in 2000 and collaborated with the artist and composer Artūras Bumšteinas (artist‘s duo „G-Lab") in 2002 - 2005 creating video and sound installations. Since 2002 she is working in the fields of video art, installation, photography, action and performance art.
Ugnius Gelguda and Neringa Černiauskaitė
The cinematographic vision in the work of Neringa Černiauskaitė (1984) and Ugnius Gelguda (1977) transforms seemingly recognisable spaces and historical figures into set designs and characters in unused cinematic / historical / social scenarios. Using the language and tools of cinema (through16 mm films), in their work the artists reflect upon the utopian aspirations of art that are covered in moss , they revive forgotten science-fiction fantasies of conquering space which they filmed in 1960s architecture, and make mythologised historical events become reflections of the workings of the human memory.
The most important theme in the work of Kristina Inčiūraitė (born 1974) is female identity and changes to it in society, with its transformation because of socio-political, economic and cultural circumstances. She creates films, photographs, drawings, installations and objects. She explores the female identity through components that are meaningful to her: the female voice / narrative (in her films, the female is usually only implied by a voice off-screen), and public spaces, where her heroines usually exist. She uses this to question stereotypical representations of women.
Žilvinas Kempinas (1969) uses minimal means and materials to create compelling installations, objects and ‘pictures’, in which minimalism, as well as optical and kinetic art, find points of contact. His signature creative material is magnetic tape. The lightness,
flexibility, reflectivity and inherent ability of magnetic tape to store information have helped him to create not only visually compelling, but also conceptually significant works of art that stretch the boundaries of sculpture. Kempinas’ installations, which feature magnetic tape, elementary laws of physics such as gravity and wind, and mathematical precision, transform the audience’s understanding of space, create an impression of poetic gesture, and play with the limits of two-dimensionality and volume.
Darius Mikšys (1969) is an artist of ideas who is often introduced simply as a ‘designer of concepts’. Through projects such as a video documentation of a parapsychology fair at the Vilnius Sports Palace, the selling of an empty bottle of perfume on e-bay, or proposing the establishment of an ABBA museum in a Qantas aircraft at Templehof Airport in Berlin, he offers a new approach to art, the artist, works of art, and the viewer.
Vsevolod Kovalevskij' was born in 1988, Vilnius. In his practice is based on critical thought and humour, his works are driven by research and in that he creates tools to better question conditions of ones surrouding. This results in process-based installations that establish a relationship between the active spectator, the artist and members of the broader community.
Viktorija Damerell was born in 1992. She is an artist and a curator working mainly in fields of sculpture, sound and text. In 2017 she graduated with an MA in Contemporary Sculpture at the Vilnius Art Academy. She is currently living and working in Vilnius. In her art practice, Viktorija is interested in the observation of everyday life and the potential of turning the mundane into intense, slightly extraordinary experiences. Her work combines various cultural references and storytelling techniques enacted through objects, while focusing on subtle shifts in our perception. At Rupert. she is planning to continue working on her novel The Synchroniser, and to explore the possible links between this text and performance, visual and sound installations.
Ona Juciūtė (b. 1988, LT) is a visual artist. Her practice could be described briefly as involving the transformation of visual experiences into physical objects. She is currently doing a Master’s degree in Sculpture at Vilnius Academy of Arts, while also working in curating. She has received a JCDecaux award for the best young artist in 2016 and was awarded with a prize by artist Aleksandra Kashuba in 2017. At Rupert, she is planning to continue one of her previous projects. The new piece will focus on disassembling luxury products from the fashion industry into the smallest constituent parts she can manage, then sewing these pieces back again while allowing chance mistakes to arise in doing so. With this project Ona wants to explore how things are actually made and what is the role of an individual in the process of production.
Viktorija Damerell was born in 1992. She is an artist and a curator working mainly in fields of sculpture, sound and text. In 2017 she graduated with an MA in Contemporary Sculpture at the Vilnius Art Academy. She is currently living and working in Vilnius. In her art practice, Viktorija is interested in the observation of everyday life and the potential of turning the mundane into intense, slightly extraordinary experiences. Her work combines various cultural references and storytelling techniques enacted through objects, while focusing on subtle shifts in our perception.
Vytautas Kumza was born in 1992). Heis Lithuanian-born, Amsterdam-based photographer of the younger generation.
The artist focuses on interventions in everyday situations that result in the manipulation of the physical, temporal and aesthetic laws of the subjects within his images. These simulations create a space of contemporaneity in which the beholder can only linger and experience the present moment. By provoking the performativity of depth and surface both in the three-dimensional elements of his displays casting a shadow on the flat photographs and in the misleading interplay of background and foreground within images, the installations beckon: “Look. Yes, look again, and longer this time.” Artist tries to dismantle the logic of the objects so as to be able to rebuild them in different ways using sculpture and photography. Kumža makes assemblies oscillating between absurdity, encryption, transcription and inefficient functionality, sometimes revealing the banality of the genre.
Emilija Škarnulytė is a nomadic visual artist and filmmaker. Between the fictive and documentary, she works primarily with deep time, from the cosmic and geologic to the ecological and political. Her use of video expands into a multidimensional experience, confronting many of the major issues facing humanity which are often left unspoken. Recent group exhibitions include Hyperobjects at Ballroom Marfa, Texas; Moving Stones at the Kadist Art Foundation, Paris; and the first Riga International Biennial of Contemporary Art; as well as a new commission for Bold Tendencies, London and a solo show at Künstlerhaus Bethanien in Berlin. Škarnulytė is the winner of the Future Generation Art Prize 2019. Škarnulytė is representing Lithuania at the XXII Triennale di Milano and has an upcoming shows: Toronto Biennial of Art, Toronto, Canada; 95% of the Universe is Missing, Science Gallery, London, UK. She currently co-directs Polar Film Lab, a collective for 16mm analogue film practice located in Tromsø, Norway.
Goda Palekaitė is an artist working in the intersection of contemporary art, performance, artistic research, literature, and anthropology. Her long-term projects explore the politics of historical narratives, the agency of dreams and collective imagination, and social conditions of creativity. Her recent solo shows were opened at the Centre Tour à Plomb in Brussels (Architecture of Heaven 2020), Konstepidemin in Gothenburg (Liminal Minds 2019) and RawArt Gallery in Tel Aviv (Legal Implications of a Dream 2018). In the last years, Goda presented her performances and installations at the Vilnius International Theatre Festival Sirenos, Kanal – Centre Pompidou in Brussels, Swamp Pavilion in The Biennale Architettura 2018 in Venice, Atletika Gallery and Contemporary Art Center in Vilnius, among others. In 2019 Palekaitė received The Golden Stage Cross and the Young Artist’s Prize from the Lithuanian Ministry of Culture. In 2020 she published her first book of fiction Schismatics (Lapas books). Palekaitė holds a BFA in fine arts (Vilnius Academy of Fine Arts), MA in social and cultural anthropology (University of Vienna), Post-Master in artistic research (A.pass, Brussels) and currently is a Ph.D. candidate at Hasselt University and PXL-MAD School of Arts. Goda is based in Brussels.
Anastasija Piroženko is an audio-visual artist and filmmaker from Lithuania, currently based in Amsterdam. She holds a BA in Photography and Media Arts from Vilnius Academy of Arts (2012) and a MA in Film from the Netherlands Film Academy (2016). Anastasija’s artistic practice spans between film, video, and photography. The notions of home, community and utopia, are recurring themes in her work. Often, her films balance between fiction and real.
Laura Kaminskaitė (born 1984) creates traces of real and imagined events: installations, textual and graphic gestures. Her work can be best described by the expression tongue-in-cheek – like a conspiratorial wink at the viewer. Elegant forms of Kaminskaitė’s works occupy the space architecturally. Lines of ‘Its Own Unfolding Elsewhere’ (2019) turn into a supporting column. The neon light of ‘Not Yet Titled’ (2018) defines its own field of vision. The installation ‘Today’ (2017), made from shoelaces, seems to tie the observer’s eyes up in a loop. This effect is achieved not by taking strict design actions but by relying on small random movements that change one’s experience of the world subtly but irreversibly. Kaminskaitė is a graphics and sculpture graduate and in her work one can trace the influence of both these foundations – an intuitive perception of spatial form combined with attention to the plane and the signs left on it. In the artist’s virtual book ‘Ghost Bag’ (The Baltic Notebooks of Anthony Blunt, Vilnius, 2018), we find many inserts – not only illustrations or texts by invited authors but also fragments of other books with traces of their materiality. In Kaminskaitė’s works, recursion, characteristic of post-conceptual creation, turns into a powerful emotional intelligence which speaks about a world with no banalities.