Culture Communication Center Kulturpolis (Klaipeda, Lithuania) celebrates its 5th anniversary and presents the art project “Art permanence rule” at Eskilstuna art museum in Sweden. Curator of the project Ignas Kazakevicius invited Lithuanian artists experimenter of different spheres of art: Audronė Andrulevičienė, Juratė Kazakeviciūtė (objects of the soft sculpture), Ligita Marcinkevičiūtė (marker drawings), Bronė Neverdauskienė (installation), Auksė Petrulienė (audio visual performance), Žygimantas Augustinas (painting), Anatolijus Klemencovas (objects, instalations), Tadas Vosylius (kinetic objects). Authors intriguingly emphasize constituent parts of “visual art culture”, i.e. form and colour, texture and facture, materiality and time dimension, semantics, its codes and canons. Both virtuosity, mastery of technique and intrigue of contents are given equal importance in their artworks. The authors pay much attention to remakes of the form or the idea of artwork, paraphrasing it by means of different media, replicating the motives of bodily physiology. Artworks presented in “Art permanence rule” ranges from elementary plastic effects to visualization of creative process.

Painter Žygimantas Augustinas represents contemporary Lithuanian painting. The author doesn’t transfer reality to painting, but converts it to painting.  Painted human turns to paint and canvas but successful painting can live and communicate almost like real human. By combining Baroque stylistics and modern art concepts, the artist couples a person with his/her subcultural clone, couples pseudo -environment and encyclopaedic reality, pseudo-self and pseudo-symbol. Neorealism by Ž. Augustinas is playfully existential and intrusively romantic.

Manipulating with contrasts of substance and relativity of time, Tadas Vosylius creates objects, unclassifiable neither to junk nor to kinetic art. His artworks need to be observed, for they affect not even viewer’s physical senses, but metaphysical feelings too. A usual sculpture turns into a four - dimensional object, i.e. illusion, or the provocation for an observer. The author’s artworks rumble, moan, print invoices and faxes, respond to a touch. His objects Corpses seem to be snatched from the very last minutes of life inertia. Thus the artist presents us the simulacrum of post move and post rhetoric, as a thin red line between the canons of traditional sculpture and contemporary aesthetics.

Artworks of Jūratė Kazakevičiūtė question the image of a woman-artist. Plastic shapes of artworks dressed in female stockings embody the chill of surrealistic, a little bit creepy physiology, and our glances slide carefully over the surfaces of the sculptures, bringing fragments of fear and erotica, death and pop - art to our evaluation criteria.

Anatolijus Klemencovas speaks about the magical something. “1 Klem“ – conditional unit of inspiration, measured by  blowing bubbles of own ego, promotion and  other forms of art. „The beginning of everything is a shy attempt to create “SOMETHING“. Creation of that “convincing something” often acquires forms of grotesque suffering”, - says the author.

Culturally tamed street-style icons, standardized slang… Primitivism, grotesque, eclecticism, triviality and romance interlace in Ligita Marcinkevičiūtė’s artworks. Crossroads of galleries and public places links conventional and pop art. Kitsch is the best adhesive for different ranges. But don’t trust the first impression. The ancestors of Ligita’s characters were born in streets, while their gallery relatives are carved out at a stroke, a la Mikelangelo. Daring, open, sharp, reverse, bold, in places jumping, tattered as the awry stitch of jeans, calligraphic – wide, linear and dotted – brushes of markers. Just one line is enough for the author to express her original ideological attitude and emotional scale.

Bronė Neverdauskienė tells 1000 stories... It is about serialised beauty, its adaptation and imitation, i.e. about things accessible and understandable to all.  The beginning. A point in space. A pixel. An enlarged knot of the carpet turns into a ball. The relationship between ornamental surfaces and voluminous objects turns into a room, a gallery, any intimate or public space. The hyperbolization of a single essential structural element allows her to develop a spatial structure up to infinity towards the x y z directions. The chosen silkscreen technique grants a communicational space to this installation. This work can be copied; it can be touched; it can be entered...  And beauty becomes accessible to everyone. And everybody has a right to repeat 1000 times – “What the beauty”. 

Auksė Petrulienė has developed the print technique and the printing process to a theatrical action, audiovisual performance. Her Psilicone theatre makes the boundaries between visual and stage arts to vanish. Psilicone theatre performance is a public game with silicone puppets, texts, personal belongings and items borrowed from the spectators, visual and audio effects. An unbelievable vitality of the puppets determined the social themes of Psilicone theatre performances. Since 2005 Psilicone theatre has been making performances at the places untouched by the art: in the yards of block flats, in swimming pools of sports clubs, in order to meet more unusual spectators, to form a notion about their needs and to understand expectations of the wide public in regard to contemporary art.

Project organizer: Culture communication center „Kulturpolis“ (Klaipeda, Lithuania)

Project curator: Ignas Kazakevicius

Project presented:

(Eskilstuna art museum (Sweden), 2009 11 28 – 2010 01 31)

Project supported by:

(Culture support fund,  Nordic Baltic Mobility progamme and journal “Namas ir aš”)

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