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 was born in 1988. She is a visual artist. Her practice could be described briefly as involving the transformation of visual experiences into physical objects.
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.