“Life Is Short But Love Is Long” documents and extends a performance installation by Johnston Sheard, presented in Outset Contemporary Art Fund, London in 2018. Eight musicians, including Sheard, confined in a glass-walled room for three hours, improvise on the same chord motif. This work is part of Sheard’s ongoing project “How Can You Love Me Knowing That I Could Never Love You” – a series of vignettes in sculpture, installation, séance and a feature length musical essay film dedicated to historical lovers mortally separated by tragic circumstances. The artist creates a bittersweet graveyard comprised of shrines, with sculptures as series of totems, formed from shells and organic matter, a group of denizens halfway between life and inanimacy each representing hermaphroditic creatures.
Johnston Sheard is a London based Scottish artist. His work focuses on experimental film with scored song-cycles, and intricate sculptural constructions. He combines a baroque architectural sense with anti-digital aesthetics, creating sentimental narratives reflecting on a theological universe. Johnston Sheard is one of he founders on The Deep Splash, his artistic vision in 2015-6 helped to transmute the interview format into interpretive films, serving as works themselves.
Sheard studied in Central Saint Martins and University of Westminster. Recently he had a show at Kunstraum, London and Outset Contemporary Art Fund, London and was part of the group exhibition ‘The Future Is Certain; It’s the Past Which Is Unpredictable” in Calvert 22 Foundation, London and Blaffer Art Museum, Houston.
The narrator of Flight Mode navigates between private, public and virtual spaces, dividing her attention between action and thought, while contemplating the role of individualism and complex asymmetries among individuals and the society.
‘I was thinking about subjectivity. And how, regardless of how embarrassing it can be, especially when exercised in an intellectual context, how almost always, almost inevitably, it speaks some kind of truth. It expresses a state of mind that at least one person is in. And if one person is in that state of mind, perhaps it would be safe to say, that the community that person belongs to is, possibly, in a similar state of mind. It’s as if the society itself is internalized and then externalized again, through an individual.’ – excerpt from the video.
This video carefully and subtly pictures this minute of the truth – a slow transient moment from a full body indecision and insecurity, to a small but bright change of the thought and the rising of determination. By exercising the subjectivity, this work speaks about larger symptoms of the individualistic society and its affirmative effects on depressive experiences. The work by Daiva Tubutytė shines a light on a short-lived individual experience as part of a bigger picture of the society.
Daiva Tubutytė (b. 1986) is a visual artist based in Berlin. She works with text, moving image and sound. Recent presentations include Wavelenght series at Toronto International Film festival, Kreuzberg Pavillon and Ashley Berlin. Daiva is a graduate of the graphic design departments of Gerrit Rietveld Academie (2012) and Vilnius Academy of Arts (2009) and a nominee for the 2013 Berlin Art Prize.
In this video, a conversation with the theorist evolves on the subject of the Nation State, while in the background we see helicopter views of the unfinished National Stadium of Vilnius. This Stadium was started building in 1987 but due to the collapse of the Soviet Union and later financial shortage, wasn’t finished up to this date. The image of the Unfinished National Stadium stands here as a testimony of the idea opened up by dr. Eglė Rindzevičiūtė – the Nation State is an outdated concept, she says in the conversation.
Eglė Rindzevičiūtė is a cultural historian and cultural sociologist, she is interested in how societies organize themselves. Dr. Eglė Rindzevičiūtė holds a PhD in Culture Studies from Linköping University, Sweden, and is a Senior Lecturer in Sociology at Kingston University London, UK.
Before coming to Kingston, Dr. Rindzevičiūtė did research and taught at the Paris Institute of Political Studies (Sciences Po), the University of Gothenburg and the University of Linköping in Sweden. In 2016-2019 she is a Visiting Research Fellow at the School of Public Administration, Gothenburg University, Sweden. Dr Rindzevičiūtė has published widely on Soviet governance, scientific expertise as well as cultural policy in such journals as Slavic Review, Cahiers du monde Russe, Current Anthropology and The International Journal of Cultural Policy. She is the author of Constructing Soviet Cultural Policy: Cybernetics and Governance in Lithuania after World War II (Linköping University Press, 2008) and The Power of Systems: How Policy Sciences Opened Up the Cold War World (Cornell University Press, 2016) and the editor of The Struggle for the Long Term in Transnational Science and Politics: Forging the Future (Routledge, 2015) (co-edited with Dr Jenny Andersson).
Stemming from the Athenian context, the work reflects on the current issues of migration, displacement, resistance and the perspective of the Other. The title originates from the Sahara sand brought to europe by wind.
The text originally composed as a reader for a solo exhibition in Athens named “Raptor’s Eye” transposes into the video piece.
Made throughout the period of documenta 14 in Athens, Greece between February and July 2017.
Jokūbas Čižikas (b. 1988, Vilnius) is an artist living and workig in Athens and Vilnius. His practice combines installations, video and sound compositions, sculptures and collaborative performances. Recent work shown in exhibitions, projects and residencies:
European Everything, Documenta 14 Kassel, DE (2017); Raptor’s Eye, A-DASH, Athens, GR (2017); Marres Tourist Office, Marres House for Contemporary Culture. Maastricht, NL (2016); Riddo Duottar Museum, Lakselv, NO (2016); Abteiberg museum. Mönchengladbach, DE
(2016); Master of Fine Arts, ZHDK University of Arts, Zürich, CH (2015); EIB Art Collection, Luxembourg (2013).
Hyper-realistic pictorialism and hyper-productivity problematics of the world that came with utopian thinking of bankers/politicians, and later utopian internet and post internet thinking in the global ecologies of economics and societies driven by illusions and false ideals. We live in many worlds, in overlapped realities, or dimensions if you please. “After Affect” is here to remind us of how one should not take everything for granted.
Vsevolod Kovalevskij (b. 1988 in Vilnius, Lithuania. Lives and works between Vilnius, Tromsø and London. Vsevolod’s practice is based on critical thought and humour by which he is rethinking ever changing human condition, his works are driven by research of collective /individual memory/ies, anthropological studies, empathy and in that he creates tools to better question conditions of ones surrounding. This results in process-based installations, video works, objects that establish a relationship between the active spectator, the artist and members of the broader community.
The artist attended the Rupert Educational Program in Vilnius, LT (2014), holds a BFA and MFA from the Vilnius Academy of Arts (2015) and is a MFA candidate in Tromsø Academy of Contemporary Arts (2018) and Goldsmiths University (2018). Recent exhibitions include After Affect, Kurant (Tromsø, NO – 2017 ; Dimensional Verge, National Art Gallery (Vilnius, LT – 2015).
Becoming a Dog is an ongoing project of becoming that started in 1991. Justinas Vilutis describes it as “From one terrain to another, the heart wants what it wants. Video runtime is 189 seconds. You see 52 images, 6 seconds per slide. 1 second for fade in, 1 second for fade out. Voice is provided by Ashley, a computer generated voice software. What remains is forever.”
Justinas Vilutis currently resides in Lausanne, Switzerland, studies at ECAL.
AI never blinks is a video made entirely by convolutional and generative adversarial neural networks, created using more than half a million images. All of the images seen in the work are completely artificial, the results of optimisation process performed by these networks in order to generalise or learn from a myriad of images of faces.
The video proposes itself as a test to calibrate the senses, for both human and artificial agents, like a distant and speculative relative of ‘captcha’ software – used to prevent internet ‘bots’ from accessing secure areas of a website. The work proposes an inverted Turing test (the ultimate test for a robot, if it can convince you it is human), the backward gaze of the screen, which uncovers the slowness of human knowledge production.
Miša Skalskis (b. 1994, Vilnius) is a Lithuanian artist, currently based in The Hague and Vilnius. His recent work revolves around exploration of vision without image and hearing without sound. Skalskis explores pattern recognition and its repercussions within the fields of reception or perception and the deployment of such systems and consequent resonances within wider socio-political frameworks. His project investigates various notions of infrastructure to come, from extraneous synthesis of identity, to suggestion based economies.
‘Address‘ is filmed in Mulokas’ studio. In this video the artist recalls a prophecy he once experienced in the presence of a Madagascar shaman, who revealed that the self that belongs to him will become itself, only in the state of possession by movement. The artist questions this state of mind in relationship to performance: “performance is a serious business, sometimes it can take hours and hours in the studio” he says before embodying a new nature. This work is about the state of possession by movement, about relationships with objects, materials that become performers, about the labour of performance art and the expressive forms it takes.
“I am the living matter on stage that is searching for a physical match in revitalised matter. Through exercising live actions I look for ways to reveal the full physical consequence of the material. I found that interactions with the same material in a repetitive manner can cause varying associations that constantly redefine the nature of an object. On stage, I intuitively shift from one investigation to another, accumulating in my body the different qualities that are revealed by each encounter with an object. By using my imagination, I let the body carry the adopted qualities of all the materials. Thus a living subject (a performer) on stage becomes a self-produced matter that runs on its own established (more or less) sustainable physical structures.
Being in a position of an artist requires a certain attitude towards playing. Inside culture this attitude persists. Once I arrive to a level of identity I move to the second part of my process: I create a video. The video demands the role to present itself.“
– Andrius Mulokas.
After studying visual arts and architecture, Andrius Mulokas’s artistic interest shifted to space in relation to the moving body. He studied dance in Finland (North Karelia College), later he moved to Amsterdam where he studied on the BA Choreography programme (SNDO) at the Amsterdam School of the Arts (AHK). Born in 1983 in Kaunas, Lithuania, he is currently based in Amsterdam and Tel Aviv and works in the artistic scene there and abroad.
Soft Screen Alien imagines future aesthetics for technologically augmented post-human perception. It is conceived as an active installation work, a dynamic composition using sculpture, architecture, audible sound and visible light. But Soft Screen Alien also operates in an extended region of the spectrum, from infrasound to ultrasonics, from radio frequency electromagnetic waves to ultraviolet light; a radical update and expansion of Robert Barry’s seminal 90mc Carrier Wave (FM) (1968, now in the collection of the Museum of Modern Art, New York). Cognitive EMP Blast is a new composition performed within the installation using its elements as instruments, a full-spectrum sensory assault designed to induce what the artist calls a “cognitive reset”.
This text is based on the material prepared by Kunsthall Oslo for Krunglevičius’ 2016 exhibition, that featured the sculptural installation Soft Screen Alien and performance work Cognitive EMP Blast.
Ignas Krunglevičius (b. in Kaunas, Lithuania), is visual artist living and working in Oslo, Norway. His installations, videos, and sculpture often combine sound, and text, where he explores the intermix between the agency of power, economy, nature and existential realities generated by global technological development.
Since 2001, Krunglevičius has exhibited in numerous solo and group exhibitions. In 2010 he was nominated for the Nam June Paik Award. Recently, he has been invited to participate in many major international art venues, such as Sydney Biennale, Australia (2011), Aichi Triennale (2016) in Nagoya, Japan, ICA Philadelphia in USA (2017), the 6th Moscow International Biennale for Young Artists (2018), Nam June Paik Art Center in South Korea (2018).
Morenotyet is a series of exhibition documentaries made in collaboration with the Lithuanian artist Gediminas G. Akstinas. Morenotyet aims to capture the continuity of exhibitions, their reciprocal relationship with all other things around them. The 4th episode of the series is dedicated to Home Entertainment 4 metres, a work by the British artist Chris Evans. The piece was temporarily installed in Yorkshire Sculpture Park as a part of the exhibition At Home, curated from the Arts Council Collection and marking the collection’s 70th anniversary. The episode celebrates travelling, weather changes and scaling.
Gerda Paliušytė (b.1987) is a Lithuanian video artist and curator currently based in Amsterdam. Her practice is focused on the shifts and delays of representation, the ways that it is shaped by predominant – yet mutable – power structures, time and social needs.
Slips in public space combines the artist discussing her work with documentation excerpts from the works Some Were Carried, Some – Dragged Behind (2015); Choreography for the Running Male (2012); and Skateboard Prayer, or Head Below the Heart (2016).
Eglė Budvytytė is a visual artist based in Brussels and Amsterdam. She creates performance situations to explore the relationships between body, architecture, environment and audience. By choreographing performers to enact gestures that can often seem contradictory to their surroundings, uncannily out of context and sometimes filled with a sense of emergency, she looks at the body’s ability to challenge conventions of conduct and the narratives of normativity implicit in public spaces.
Vincentas Seneckis (1868 – unknown) was born in Vilnius, then part of the Russian Empire. He studied Architecture in Riga Polytechnicum and worked in London as a landscape architect from 1893 to 1904. Influenced by the intellectual Barallat, whom he met at the turn of the century, Seneckis wrote the book “Et in Arcadia Ego: on the relation between landscape and the mind”, that earned some recognition. In the British capital, Seneckis met a Portuguese translator, Maria Júlia de Cardoso Mendes de Campos, the only daughter of the 4th Baron of Candal. Vincentas and Maria Júlia married in 1904 and lived in the North of Portugal – between Porto and the São Cosme e Damião coastline forest – until 1911, the year of the tragic and mysterious murder of Maria Júlia, a wrongful victim of a gunshot intended for the baron. After the death of Maria Júlia, it is said that Seneckis, in the couple’s favourite place on the coastline, designed and built all on his own a mausoleum where he buried his wife. Today, this “cemetery of the Lithuanian”, as it is known locally, is considered a funerary architecture reference in Portugal for its intricate relation with the landscape. Seneckis went back to Vilnius around 1913. He stayed there for two years until the German army occupied the city. Around this time, he tried to go back to Portugal. However, there is no evidence that he ever arrived there – it is speculated that he made it to the United States, where he dreamt of going in his youth.
Eglė Bazaraitė is a PhD candidate in architecture, in Lisbon University (UL-IST), where she is completing her research on Catholic cemeteries in Europe and their pagan dimension. www.eglebazaraite.net
Eduardo Brito works in cinema and photography. Recent works include the short film Penúmbria (2016), the screenplays for Paulo Abreu’s film The Scoundrel (2012) and Manuel Mozos’ The Glory of Filmmaking in Portugal (2015). www.eduardobrito.pt
Eduardo Brito and Eglė Bazaraitė reconstructed a story of Vincentas Seneckis using facts each of them knew about this persona. Et In Arcadia Ego is a docu-fiction that leads the mind through the landscape of one person’s life, tied and torn apart from Lithuania.
In What Happens When Something Happens?, Kazlauskaitė revisits the spaces where she grew up, through sonic memories. She creates an encounter between her grandmother and the internet (google generated street images) in order to revoke her recollections of certain spatio-temporal encounters through chaotic sound structures, rather than linear visual narratives.
Sandra Kazlauskaitė (b. Kaunas, Lithuania) is an artist and researcher working across the disciplines of performance, sound and video installation, as well as theory-led projects on sonic culture. Kazlauskaitė primarily constructs sonic collages and improvisations, collects field recordings, creates audiovisual artworks and creates non-musical objects. Her artistic interest lies within the immanence and materiality of sound, as well as its techno-mediated phenomenological potential. Currently, Kazlauskaitė is undertaking a research by practice PhD at Goldsmiths, London.
Created in 2014 by Dorota Gawęda (b. Poland) and Eglė Kulbokaitė (b. Lithuania), Agatha Valkyrie Ice is an ongoing, multi-platform, multi-user, participatory, self-performance project that aims at developing a fictional postgender character within an existing confined framework of social media platforms. Agatha is a companion species, here to think with and with which to invent a body and sexuality of one’s own. Agatha is immersed in a constant process of becoming; a loop of re-posting, re-staging and re-appropriating expressed in textual form, on social media as well as IRL.
The video presents documentation of an extended enquiry into non-spaces, following the exhibitions: EPISODE X/CHAPTER 3: BEDROOM, art monte-carlo, Monaco, 2016; Agatha 184.108.40.206 and Agatha 220.127.116.11 (conceived of in two chapters in separate location in Berlin, 2015). The projects imagined Agatha’s character in several distinct spaces: a veranda, a hotel room, within an established art institution, within an art fair and bedroom setting, and were simultaneously a presentation of scents developed with the support of International Flavours and Fragrances, New York (IFF Inc.).
Ulijona’s practice embraces the margins of popular culture. She is interested in harmony and tunelessnes while looking for a moment when recognisable things lose their purpose, like a word repeated many times becomes a sound and loses its meaning.
In Eyebrow Ulijona reads a text about her grandfather.
London based Lithuanian artist Ulijona Odišarija makes video, photography, music, objects and installations. She also DJs and performs under her musical alter ego Sweatlana.
In the film Decadentia Goyd speaks about her interest, from an early age, in images of the body in art. Her works try to balance between neutral decay of bodies and the meaning of “Decadentia” as a possible phase of social degeneration, where bodies are not just decaying, but are being exploited for the sake of infinite – yet paradoxically – very finite pleasures.
Julija Goyd (b. Vilnius, 1979) lives and works in Berlin. After years working in finance management she gravitated to the worlds of acting, advertising and fashion. Since 2010 she has been working with photography and video.
In Touch to Me Vytas is on the phone, on skype, or just talking telepathically to a lover, a lonely stalker, or an automated voice. He tries to persuade the unseen and egotistical interrogator to pursue something idealistic – that is, above values – where feelings can be true and valid without superficial virtues.
Vytautas Jurevicius a.k.a Vytas (b. 1981, Palanga, Lithuania) is a founder of the Institut of Emotional Bodies. He has studied at the University of Applied Arts, Düsseldorf; Academy of Arts, Karlsruhe; and Staedelschule, Frankfurt am Main.
In Jonas Jr Lozoraitis is approached at his graduation show and holds a casual monologue.
Jonas Lozoraitis (b. Vilnius, Lithuania, 1987) graduated from Goldsmiths, London and lives and works in New York and Vilnius.
Live Creature after Dewey is a reading by Teets of American pragmatist philosopher John Dewey’s seminal text on aesthetics, Art as Experience, from the rooftop of a Venetian Greek dovecote located in Tinos, Greece.
Jennifer Teets is a curator, writer, and researcher based in Paris. Her research and writing combines inquiry, study of sciences, philosophy, with ficto-critique, and performs as an interrogative springboard for her curatorial practice.
She recently presented (with Margarida Mendes) The World in Which We Occur at the XII Baltic Triennial in Vilnius – an event series taking place over the telephone and formulated around questions addressed by speakers across the world. The World in Which We Occur embarks on modern day issues rooted in the history of materiality and flux as well as pertinent politically enmeshed scientific affairs shaping our world today.
A reading on the poetics of de-extinction in the economy of clicks based on writings by Valentinas Klimašauskas. Using the structure of traditional Lithuanian polyphonic songs, the video unites fragments, poems, quotes, stories about: new friendships (as a metaphor for an old internet); becoming Neanderthals; why Gertrude Stein would not pass the Turing test; the AI of language; and random companies of post-humanist assemblages. The text is read by Salomėja Marcinkevičiūte.
Born after Voyager 1 left the Earth, Klimašauskas is letters, but also a curator and writer interested in the robotics of belles-lettres and the uneven distribution of the future. His book B and/or an Exhibition Guide In Search of Its Exhibition published in 2014 by Torpedo Press, Oslo, contains written exhibitions that floated in time and space with or within a joke, one’s mind, Voyager 1, Chauvet Cave or inside the novel “2666” by Roberto Bolaño.
Valentinas lives and works between Athens and Vilnius. More of his writings may be found at his website, www.selectedletters.lt.
In On Colonising Mars Geiste tells a story about her hometown Siauliai in Northern Lithuania and an area in this town called “Pietinis”. Geiste tells how the experience of growing up in this part of town surrounded by block houses and empty industrial sites echoes in her project on Mars. She is interested in the regimes of how space is represented and owned through images.
When images are abundant and circulating widely then the agency of the imagination is taken away. Martian imagery thus comes to occupy Earth.
Sisters From Another Mister have a free-wheeling practice, which embraces humour and absurd scenarios, gender play, witty sculptural forms and musical interludes. Humanity lives in the time of the transitory, near and far, ready-to-go, detachment, juxtaposition, when the impact of the internet and digital environment leads to exploring the imperceptible line between the tangible and topical space of fantasy, situated in affairs between humans and objects. Sisters From Another Mister want to turn away from this illusionary space of illusion, turning art back to the viewer by making them aware of their body.
Milda Lembertaitė (b. Lithuania, 1987) and Amelia Prazak (b. Switzerland, 1987) founded the collective Sisters From Another Mister in 2010 while studying Performance Design at Central Saint Martins. In 2014 they graduated from Chelsea College of Art with an MA in Fine Arts. Will they retire together in 2052?
Exhibitions in London have included: Anthias, Pullman Hotel; Frosted and Defrosted, 44 Albion; DE/TOURS, CGP Gallery; Chroma, The House of Peroni; Accidental Festival, Roundhouse; Sadler’s Wells Theatre; Casablanca, V&A Friday Late for Refugee Week, Victoria and Albert Museum. International exhibitions include Celeste Prize, Centrale Montemartini in Rome; and Rodin Reflections, Scenofest Street Stories, Prague Quadrennial of Performance Design and Space.
In this film Jonas Mekas discusses: the intensity of experiences; his dreams; his past life as a bumblebee; the non-linear narrative of time; the first time he made love to an American woman; why his Lithuanian accent is still so strong after 65 years in America; the Lithuanian state’s refusal to recognize the State of Palestine (after Lithuania having been in a parallel situation); voyeurism; Casanova; and his relationship with the ukulele playing falsetto singer Tiny Tim. Jonas also plays unheard early recordings of Tiny Tim made in 1962 whilst acting as his musical agent. This film was made in collaboration with Jonas Mekas and by his request has been left unedited.
Jonas Mekas (b. 1922) is a Lithuanian-American filmmaker, poet, artist, curator and former music agent. He is often referred to as the “Godfather of American avant-garde Cinema”.
Mekas escaped Lithuania with his brother Adolfas in 1944 having experienced both Russian and German occupation. Whilst crossing Europe they were captured by the Nazis and imprisoned in a Labour camp for eight months. They subsequently escaped and hid in a farm near the Danish border until the War ended. After living in various displaced person camps he studied Philosophy at the university of Mainz. In 1949 Jonas and his brother emigrated to the USA where they settled in Williamsburg, Brooklyn, New York.
In Framing the Nexus Paul speaks about his fascination with the internet communities from his teenage years when he lived in a block house in Vilnius. He explains the ideas behind Sraunus and his collaboration with Max Marshall on Blog Reblog. The film acts partly as an interview and partly as a remediation of both projects.
Paul Paper (b. Vilnius, 1985) lives and works in Vilnius, London and online. He is a curator, photographer (after photography), and a PhD candidate at Middlesex University, London. His recent project Blog Reblog features two hundred images by two hundred photographers. It reflects questions surrounding authorship, curatorship, and crediting in the online culture and was showcased at the Austin Center for Photography in US. Recently he gave a talk at the Photographer’s Gallery in London.
For her performance at David Roberts Art Foundation in 2014 Lapelytė was interested by the history of castrates in Europe, where the Catholic Church would not permit women to sing in choirs. In lieu of this, boys were castrated to prevent their voices breaking at puberty, creating a specific genre of high-pitched voice that was highly appreciated by opera composers. Lina explores the possibilities of reversing this dynamic by instead using females with low pitched voices.
Lina Lapelytė (b. Vilnius, 1984) lives and works in London and Vilnius. She is an artist, composer, musician and performer exploring the phenomena of song. She graduated from the Royal College of Art in 2013 and has been exhibiting and performing internationally, including:
David Roberts Art Foundation (London); ICA (London); CAC (Vilnius); CCA (Glasgow); Ikon (Birmingham); BBC Proms (London); Tate Modern (London); Skopje Biennial; Royal Festival Hall (London); Spor (Aarhus); Echoraum (Wien); Holland Festival (Amsterdam) and recently presented a Park Nights project at the Serpentine Gallery (London). Together with Vaiva Grainytė ir Rugilė Barzdžiukaitė they created an opera Sun and Sea to represent Lithuanian Pavilion in Venice Biennial 2019 and it was nominated the Golden Lion award.
Šerpytytė’s work is the result of an investigation into war and its consequences. Her recent work 1944 – 1991 is related to the period of “war after war”. Her series of NKVD-NKGB-MVD-MGB photos tell the stories of people that were interrogated and tortured in village houses. Rather than representing the buildings themselves, Serpytyte uses hand-carved wooden models, based on site visits and photographs excavated from the archives. Buildings in her works become the active participants in the process of torture, where everyday surroundings and elements of the house – the doors, handles and walls – become witnesses and partners in crime.
Indre Šerpytytė (b. Vilnius, 1983) lives and works in London. She is a photographer and researcher exploring the phenomena of memory and trauma. She graduated with a first–class MA in Photography at the Royal College of Art (2009) and is currently doing her PhD at the RCA in London. Her work is represented in public and private collections, including the Victoria and Albert Museum, London.
She is the recipient of numerous awards including: Magenta Bright Spark Award (2010); Hyeres International Festival; National Media Museum Bursary (2009); Hoopers Gallery prize; Metro Imaging prize; Jerwood Photography award winner (2006); the Fujifilm Distinction Award; and the Terry O’Neill Award. Her work has been published and exhibited widely including recent shows at Tate Modern.
“The definition of post-digital suggests it has a feature of hybridity, a balance of physical and virtual. Aside from the hybridisation, we can point to the generation born in the 1990s, who do not remember times without computers; the ‘digital’ is a given for them, per se.“
Mindaugas Gapševičius (b. 1974) is an artist, facilitator, and curator living and working in Berlin, London and Vilnius. He earned his MA at Vilnius Academy of Arts in 1999 and started his MPHIL/PhD research program at Goldsmiths University in 2010.
Gapševičius has been an active participant in international new media art networks, which stimulated the formation of networks between Western countries and the Baltic States in the 1990s. His work is most associated with net art, software and interactive user interfaces.