Replenishing yourself with arts

Dr. Gražina Bielousova is a Lithuanian researcher and public scholar working at the intersections of race, religion, and gender in Eastern Europe. She defended her PhD at Duke University (North Carolina, USA) and currently resides in London, where she teaches at University College London’s School of Slavonic and Eastern European Studies. When she is not researching how Eastern Europe is seen through Western eyes or how leftist feminists in Eastern Europe imagine a better society, she can be found roaming the museums, reading novels, and playing with her cat.

In the interview for The Good Neighbour Gražina reflects on the role that the arts play into her self-reflective modalities and the need to experience culture as a means to discover new ways of understanding and experiencing life. Gražina says that when she encounters a powerful artwork, it replenishes her and opens new doors of perception, as if building an inner emotional architecture, providing a source of awe and restorative space.

Produced by The Good Neighbour
Questions: Justė Kostikovaitė
Music by Koloah, album “Serenity”
Filmed by Elena Reimerytė
Text by Marija Sinkevičiūtė

Supported by the Lithuanian Council for Culture

Partners: UK Lithuanian Youth Association,
the British-Lithuanian Society

On inspirations: images from Life, Web and Film

Deividas Vytautas (b. 1996) is a Lithuanian filmmaker and visual artist based between London, Vilnius and Berlin. Vytautas graduated from the Royal College of Art, London, in 2022. His multidisciplinary practice spanning moving image, performance, installation and print explores themes of freedom, transgression, youth culture and spirituality, engaging with the contemporary condition through a process of layering, recontextualizing and sampling elements of mass media, religion and pop culture.

In the interview for The Good Neighbour Deividas Vytautas talks about what drives his practice, allowing himself to lean into recurring topics such as religious motives, elements of rave culture, sexuality, and reflects on intense experiences that influenced him. In his recent solo show at Meno Parkas Gallery in Kaunas, Lithuania which took place in September 2023 Deividas Vytautas presented a performance-based installation “Collective Healing Youth Club (ACT I)”. It was the inaugural performance of the expansive “Collective Healing Youth Club” project. “Collective Healing Youth Club” (CHYC) stands as an expansive, multidisciplinary performance-based initiative delving into healing through sensory imagery and embodied ritualistic experiences. Rooted in the thematic exploration initiated by the artists earlier film “filled up, torn open” (2022), the project evolves to centre on the collective investigation of the intersection between spiritual and hedonistic environments through live performance. This exploration unfolds within spaces like the rave and the church — environments charged with a powerful transgressive and transcendental energy.

Produced by The Good Neighbour
Questions: Justė Kostikovaitė
Filmed by Elena Reimerytė
Text by Marija Sinkevičiūtė
Music: NataTeva – LASKA
Supported by the Lithuanian Council for Culture Partners: UK Lithuanian Youth Association, the British-Lithuanian Society

Work culture

Vilte Fuller is a young generation painter born in Klaipeda, Lithuania now living and working in London. She holds a BA in Painting and Printmaking from The Glasgow School of Art. In her figurative paintings characters, landscapes and motifs are intertwined with nostalgic science fiction imagery and personal experiences from her Eastern European heritage. Currently, her exploration is deeply rooted in her evolving relationship with the concept of work and productivity. 

In her latest exhibition „Corporate Horrors“ at the Brooke Benington gallery, Vilte sheds light on the allure of the corporate lifestyle. The paintings take us back to the workplace of 80s and 90s – the epicentre of life, a promise of a better tomorrow, depending directly on hard work. The artist compares these corporate dreams (or nightmares) with the philosophy of her generation, that „grew up with a narrative that the world is broken and that fixing it will come with real change and sacrifice, it feels like we never got to enjoy the ‘anything is possible’ era“. 

Earlier Vilte’s works contain fragments of her Eastern European heritage, where fairytales don’t always have a happy ending. Feelings of terror and false security are reflected in her paintings, through whose muted tones it is difficult to see a bright tomorrow. Technology and the human form are of the same hue, one day blending into the next. Her paintings lie in the uncanny valley, where Eastern European cultural imagery is entangled with Western cinema, video games, Lithuanian folklore and its horror tales. Her take on it is humorous and curious, as if inviting us to walk together among these nightmarish scenographies, accepting them for what they are.

Produced by The Good Neighbour
Questions: Justė Kostikovaitė
Music by Koloah, from the album “Serenity”
Filmed by Elena Reimerytė
Text by Marija Sinkevičiūtė

Supported by the Lithuanian Council for Culture

Partners: UK Lithuanian Youth Association,
the British-Lithuanian Society

Adelina Sasnauskaitė: women come first

Adelina Sasnauskaitė is a Lithuanian born painter and tattoo artist living and working in London. She holds a BA in Illustration and Visual Media from the London College of Communication. Her work has been exhibited at a variety of shows across London and Manchester. Her artistic practice explores feminine identity and the feeling of ‘being watched’.

We, as spectators, find ourselves in front of two-dimensional bodies that expose themselves in various choreographies for as long as we want to explore them. The situation is familiar, we are used to commercials in which smooth, sleek bodies glistening in the sunlight of the studio try to convince us that we want to have what they have. But in Adelinas’ paintings, there’s something slightly off about this situation.

In her works, women come first. Femininity is performed in a variety of forms and angles. She plays with the aesthetics of 80s magazines and posters, elements of bling culture and adult entertainment, mixing symbols from the Eastern and Western worlds. Delving into the notion of ‘being watched’, Adelina replaces the smooth photographic bodies we are used to with the ones we would see hidden in a teenager’s locker – drawn in markers, white spaces left in some places, in bright bubbly colours. This twist makes Adelina’s works satirical, turning the usual depiction of femininity into a constantly redrawn cartoon.

Produced by The Good Neighbour in 2023
Questions: Justė Kostikovaitė
Text edit: Aistė Marija Stankevičiūtė
Filmed by Elena Reimerytė
Supported by the Lithuanian Council for Culture
Partners: UK Lithuanian Youth Association and the British-Lithuanian Society


Tinkering With Acid: Studio Visit With Urtė Janus

In the interview for The Good Neighbour artist Urtė Janus shares her creative journey and reflects an ongoing exploration of materiality, time, and the intricate relationship between art and the environment. She is speaking to us while picking up the bones, stones and plastic pieces on the shores of the Thames and tinkering with acid in her London studio.

Urtė Janus is a London-based Lithuanian artist, whose multidisciplinary approach stems from a photography degree, gradually evolving into video art, sculpture, and set design. Her latest work, “All the Seas Long Gone,” displayed at the National Gallery of Art as part of the JCDecaux Prize exhibition until December 3, 2023 reflects her journey in finding diverse forms of artistic expression.

Janus recently completed a year-long residency at the Alexander McQueen Sarabande Foundation before pursuing an Art and Ecology MA at Goldsmiths. There she continues her experimental approach, blending theoretical insights with sensory perception. Janus’ introspective and interdisciplinary approach prompts discussions on the ephemeral nature of art, disrupting traditional perceptions of artistic longevity and engaging with broader ecological and existential dialogues.


Produced by The Good Neighbour in 2023
Questions: Justė Kostikovaitė
Photography: Urtė Janus

Music: NataTeva – LASKA
Filmed by Elena Reimerytė

Supported by the Lithuanian Council for Culture

Partners: UK Lithuanian Youth Association,
the British-Lithuanian Society

Antropomorphic Trouble

Anthropomorphic Trouble is a collaborative project initiated by Goda Palekaitė and joined by Adrijana Gvozdenović, Curated by Arts Catalyst in partnership with Delfina Foundation and Whitechapel Gallery. 

Adopting the lens of “Earth as a historical figure” as a mode of storytelling and as a narrative device, the project takes the coastal region of Dorset (UK) as a speculative context through which to simultaneously address ecological challenges, deep time and geological formations to unearth the troubled relationship between humans and the Earth.

From Mesopotamian personification of Ki to Incan Pachamama, to Greek Gaia – the narratives related to Earth – have often endowed the planet with human, often female features, behaviours and occurrences, including family tree, romantic relationships, personality, and other humanistic description.

Since the 18th century onwards, ‘historians of the earth’, scientists, philosophers, writers, and political figures have warned about the rapidly changing conditions of the environment. Yet these warnings have been left unheeded and the mechanisms of growing capitalism, global trade, displacement of humans, animals and plants, and military powers have continued to increase the exploitation of the earth.

Johnston Sheard documented and edited a two-day performance over the 20 – 21st November at Whitechapel Gallery, London where over six performances Goda took participants on a journey, exploring geological time, living and dead fossils, the weather on the Adriatic sea, animal horror and the effects of stones on human eyes. Rosemary tea was served and enjoyed, which has the effect of enhancing focus and slowing down aging, bringing everyone present closer to the time of a stone.

The project was produced collaboratively by Arts Catalyst and Schizma (LT), and supported by Lithuanian Council for Culture, Lithuanian Ministry of Culture and Hasselt University. The video production is supported by Lithuanian Council for Culture. 

Goda Palekaitė (Lithuania) is an artist working in the intersection of contemporary art, performance, artistic research, literature, and anthropology. Her practice evolves around projects exploring the politics of historical narratives, the agency of dreams and 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, her performances and installations have been presented at the Vilnius international theatre festival “Sirenos”, “Swamp pavilion” in The Biennale Architettura 2018 in Venice, Atletika gallery and Contemporary Art Center in Vilnius, The Institute of Things to Come in Turin, among others. In 2019 Palekaitė received The Golden Stage Cross and the Young Artist’s Prize from the Lithuanian Ministry of Culture. Goda is based in Brussels. In 2020 the artist published her first book of fiction “Schismatics” (LAPAS books) and started an artistic Ph.D. position at Hasselt University. 

Adrijana Gvozdenović (Montenegro) is an artist interested in artists’ motivation and ways of resisting (self)institutionalised structures. In the last three years, she has been developing methods of collecting and annotating symptomatic artistic practices that recognise their anxiety as a prerequisite state for criticality. One of those is a card-reading publication “7 anxieties and the world” that she performed during the 2019, among some: at FairShare: self-publishing as an artistic practice (CIAP Hasselt), during the “victories over the suns” in Brussels and for “The Hub – Between the iliac crest & the pubic bone” (GMK Zagreb). The research in these forms of “otherwise exhibiting” was supported by a.pass (a platform for artistic research, based in Brussels) and the Royal Academy of Fine Arts Antwerp and it has been published this year in an online publication

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.


Phoenix in folds

The video interview with Vika Prokopavičiūtė in December 2021 feels like a remote studio visit against the backdrop of coming home, coming from Vienna to Vilnius. It seems that Vika’s paintings, displayed at the art gallery Vartai and the artist herself battle one another for control of the explanation about the motivations behind the painting method. The video explores the relationships between the paintings and the layers, forms and shadows that these paintings inhabit. Paintings look as if they are folding, stretching, and dreaming with one another, offering a glimpse into the psychedelic, yet a very controlled system of the art-making of Vika Prokopavičiūtė.

Produced by The Good Neighbour. Questions: Justė Kostikovaitė. Camera & editing: Vytautas Tinteris. Supported by the Lithuanian Council for Culture

Vika Prokopaviciute is a painter who lives and works in Vienna. Born in 1983 in Lithuania, she grew up in Russia, where she studied design and architecture and later worked as a graphic designer. 2012 she moved to Austria to study painting at the University of Applied Arts Vienna. Her abstract works develop from one to the next and form a repertoire, a system. The next painting begins where the preceding one ends. An acting-as-algorithm set of rules adjusts itself during the painting process and leads to a highly associative, poetic, yet mechanical and abstract image. The method becomes a motif. She has recently exhibited at Vartai Gallery, Vilnius; Haus, Vienna; NEVVEN, Göteborg; xhibit, Vienna; nGbK, Berlin; Mauve, Vienna; Skulpturinstitut, Vienna; Heiligenkreuzerhof, Vienna; Kunstverein Eisenstadt, Eisenstadt.

One day in three years when the light and the temperature are just right

One day in three years when the light and the temperature are just right (2021) is a drowsy observation on constructed environments and bodies positioned there. The perception of slow-paced time merges with everlasting paradise space turning into a diminished unit of existence.

The video film is continuing the artist’s ongoing research exploring loneliness and its scale — from very personal, contained in one body to the one which pervades all the universe. In this work, by observing captivity, Gedvilė focuses on  the deep desire for an emotional connection we seek in animals where …protracted stress and disappointment with our lives and relationships coincides with fantasy projections onto wild animals we see on screens according Margaret Grebowitz.

One day in three years when the light and the temperature are just right also resembles the desktop-wallpaper-videos, where the view is un-constructed, the camera is still, and the very presence of oxygen is questionable. The frames in the film connect different moments from the lives of animal persons in the zoos. The melancholy penetrates through the images of beautiful paradise-like, yet somehow odd environments, where animals turn away from the viewer, frozen in the moments of forced slowness, in the unreality of the place as such. 9 minutes of uncanny meditation, then the body observed mirrors the body of the observer/viewer merging space and time into all-inclusive boredom.

In her artistic practice, Gedvilė Tamošiūnaitė (b. Lithuania, based in Berlin) focuses on ways of transferring contemporary human emotions and feelings into visual digital culture and non-verbal codes. Taking the former as an emotional collective entity — non-organic, bloodless, and painless — she aims to detect gaps that expose it to reality and allow for influence. Urban materiality, textures, mundane compositions, merging of nature with technology – these things fascinate her and outline the aesthetic she continues to explore. Her prior artistic experience led to an expanded creative field situating her commercial and personal work between photography, video art, and art direction.


The Mind is a Home

The Good Neighbour asked Gintė Regina to produce a video about herself, a self-referential artist’s studio visit where she examines her work and the inspirations behind it. Gintė invited Monika Baranauskaite to ask her some questions, in a direct inversion of their roles in Gintė’s film Monika in September (2018), in which Monika is the subject and Gintė — the voice behind the camera. In Gintė’s answers we find clues as to what draws the viewers into her lyrical, autobiographically flavoured films. Is it the painfully recognisable yet playful authenticity, or certain non-dogmatic insertions that challenge the suspension of disbelief within Gintė Regina’s films, reminding us of the artist at work and allowing us to keep a certain distance from the protagonists?
The video, titled “The Mind is A Home”, reflects Gintė’s process by playing with layers of staging and reality. It is a document of her filmography so far, an exploration of the themes in her work, and a self-reflexive positioning of the artist inside her practice, culminating in a dance scene and blurring the boundaries between art and life. For Gintė, by being an artist “in the broadest sense of the word”, you “create a world for your mind to inhabit — a place that’s always there and that you never have to leave”. This, for a maker whose life and practice are marked by a sense of constant movement, is a most precious possession.

Gintė Regina is a Lithuanian filmmaker working in-between artist film and narrative fiction. Her short films have been screened in leading cinemas and arts venues around the UK, including British Film Institute (Future Film Presents SCENE) and Whitechapel Gallery (Selected VII) in London. She has had two solo exhibitions, in 2018 at GAO, London, where Monika in September had its premiere, and in 2020 at CCA Derry~Londonderry, Northern Ireland. Her work was first shown in Lithuania in 2021, at Galerija 101 in Kaunas and as part of Videograms festival in Vilnius. Ginte is currently based between London and Vilnius.

Monika Baranauskaitė is a writer for stage and a voice actor. Her most recent projects as writer include the performance “Žiūredama viena į Kitą” (“Gazing at One Another”), shown in November 2021 at CAC in Vilnius, and “Eco Farm”, a comedic play that will premiere in 2022.


ON INSULA – a conversation between contemporary dancer Dovydas Strimaitis and artist & choreographer Maarja Tõnisson in Marseille.

Insula aims to dive into organic relations of space within and between bodies, where they meet complex identities, natures, movements, clothes and sounds. Transfiguring strangers are constantly defaced or obscured in dance. The space becomes a field of attention and the audience takes an active part in landscape dramaturgy. The bodies that we inhabit, made of seventy percent water, unstable materials and containers, are in constant shift. The fictional and natural merge into affective scenes to challenge the sense of physicality, belonging, the other and intimacy.

Interview setting: September 2020 Dovydas Strimaitis and Maarja Tõnisson meet in Marseille IRL after a few zoom sessions and start working together, testing the borders of their bodies and their work, they start forming their own island, their insula (s). In this conversation you will hear reflections about how does it feel to work together in an unfamiliar setting of pandemic-ridden city of Marseille, which in 2020 commemorates 300 years since the deadly bubonic plague.

Video edit: E/A/Smith

Music: Maarja Nuut & Ruum, a duo will present the work “World Inverted”(LP)
 Curated by Justė Kostikovaitė, Merilin Talumaa, Maija Rudovska

Interview was conducted by Ryan Galer and Ilze Aulmane

 Dovydas Strimaitis is a Lithuanian contemporary dancer, living and working in Marseille. He has been part of Jitti Chompee’s “18 monkeys dance theater” in Thailand, participated in the creation process in Gothenburg Opera’s Dance Company with choreographer Marina Mascarell, and performed in the restaging of Jan Martens’s “Pretty Perfect”. Since 2019, Dovydas has been dancing in Le Ballet National de Marseille, under the direction of La Horde, where he works with choreographers Alessandro Sciarroni, Lucinda Childs, Lasseindra Ninja and Tânia Carvalho.

 Maarja Tõnisson is an artist and choreographer based in Tallinn, Estonia. In her work, she mainly explores physicality and materiality through choreography. She has created four solo works: bodySHIFTbody (produced by STL, nominated for the Estonian dance award, 2015); bodyBUILDINGbody (commissioned by Tallinn Architecture Biennale, 2015); bodyIMAGEbody (group exhibition “(In)visible dreams and streams”, curated by Maija Rudovska, CAC, 2016)) and bodyWORKbody (at group exhibition “Museum Choreography” curated by Hanna Liis Kont, Tartu Art Museum, 2017). She is also part of a performance collective Olmeulmad.


Raum für Mehrdeutigkeit

A studio visit with artist Neringa Vasiliauskaitė in Munich.

Camera and edit: Julija Goyd
Music: Forgotten Plants. Where Neither Sun Nor Moon Shines Through
Curated by Monika Lipšic
Supported by Lithuanian Culture Institute, with special thanks to Rita Valiukonytė.


(Please read English interview with the artist below)


Neringa, wie gehst du bei deiner Arbeit mit deinen Ideen und Materialien um und was ist dir dabei besonders wichtig?

Ich vermische in meinen Werken inhaltlich Theorien aus Biologie und Technologie und beschäftige mich hierbei unter anderem mit den Herstellungsprozessen und den Eigenschaften der verschiedenen Materialien wie Stoff, Leder und Silikon und setze diese in einen Vergleich mit der Beschaffenheit und der „Produktion“ menschlicher Haut.
Ich arbeite grundsätzlich mit Oberflächen, die komplex und vielschichtig sind. Diese interessieren mich auch aus der psychologischen Sicht, als Ausdruck des Innenlebens einer Person oder eines Körpers. Mich interessiert, wie sich das Innenleben mit dem Außenleben zu einem Ganzen verbindet und dabei Spuren zurückbleiben.

Welche Beziehung gibt es in deiner Arbeit zwischen dem Prozess und dem Ergebnis? Ich erinnere mich daran, wie du einmal sagtest, dass Schönheit und Perfektion nicht das Gleiche sind. Wie entscheidest du, wann eine Arbeit fertig ist?

Der Prozess ist ein wichtiger Teil meiner Arbeit, da ich mich in jedem Moment umentscheiden und mir etwas anders überlegen kann, diese Freiheit genieße ich sehr.
Mit manchen Substanzen arbeite ich lieber als mit anderen, da hat jede ihre eigene ‘Macke’ und mir macht es einfach Spaß, diese zu finden und sie zu überwinden.
Aber manchmal nutze ich auch so genannte ‚assisted readymades‘. Ich kaufe Teile von verschiedenen Waren, oder schon fertige Produkte, die mir passen und nehme sie auseinander – ich dekonstruiere, um neue Konzepte zu schaffen, dem Objekt neue Bedeutungen zu geben. Ich glaube meine Arbeiten sind eine Synthese zwischen den von mir gemachten, ‘handgefertigten’ Techniken und readymades.
Das Endergebnis sehe ich immer erst ganz am Schluss beim Ausstellungsaufbau, da verwende ich oft das Eine oder das Andere, gebe ein paar Details dazu, oder nehme etwas wieder weg. Sogar die Form der Arbeit kann sich verändern, da schüttet man etwas Adrenalin aus.

Du hast vor deiner jetzigen Art zu arbeiten fünfzehn Jahre lang mit Glas gearbeitet; du kennst das Material und seine technischen Aspekte sehr gut. Was gibt dir dieses handwerkliche Wissen und wieso hast du den Weg geändert? Wie war diese Umwandlung für dich und an welchem Punkt bist du gerade?

Die Arbeit mit Glas hat mir geholfen, das Wesen anderer Materialien zu verstehen. Glas ist ein bewundernswertes Material, aber die Perfektion, die Glas mit sich bringt, ist für mich nicht unbedingt gleichzusetzen mit Schönheit. Mit Glas durfte ich mir nie Fehler leisten. Aber ich wollte Fehler machen.
Es ist mir schon manchmal passiert, dass ich in Gruppenausstellungen Kompromisse machen musste, da etwas gegenüber meiner Arbeit gehangen hat und sich in ihr gespiegelt hat. Dadurch wurde dann eine komplett andere Bedeutung erschaffen, die ich nicht kontrollieren konnte. Deshalb habe ich mich dafür entschieden, selber etwas Räumliches zu schaffen, was sich in den Flächen reflektiert. Das war für mich ein logischer Schritt. Dieses Räumliche hat mir dann so gut gefallen, dass ich damit nicht aufhören wollte und ich habe einfach weiter gemacht.

Oberflächen, Kunststoffe, Häute – wie sind diese Entitäten und die sie begleitenden Themen in deiner Arbeit entstanden und was bedeuten sie für dich? Wie gehst du mit deiner Arbeit auf die Gegenwart, den gegenwärtigen Zustand ein?

Im Jahr 2020 habe ich mit einer neuen Serie von Wandobjekten angefangen, unter der Titel „Skins“. Die Haut nimmt den Körper auf, aber auch die Umgebung, in der sie sich befindet. Dieses Endergebnis interessiert mich sehr.
Die Haut ist funktionell das vielseitigste Organ eines menschlichen oder tierischen Organismus. Sie kann sehr viele Informationen tragen, da sie eine Reflektion der Umgebung ist. Es gibt viele Bedeutungen – Schichten, die sich wie alte Geschichten überlappen. Da geht es auch um Camouflage – ich erinnere mich zum Beispiel an die Gartentischdecke meiner Oma, die mit einem künstlichen Marmormuster bedruckt war, da sie sich echten Marmor natürlich nicht leisten konnte. Dieser Moment ist für mich sehr spannend. Das Gleiche kann man auch über Fake-Haar-Extensions, oder künstliche Wimpern sagen – unsere Kleidung, unsere Masken, unsere Rollen.
Ich biete Platz für die Mehrdeutigkeit, möchte aber nicht bis zum Ende definieren, wonach das Objekt genau ausschaut. Mal kann das ein Menschenkörper sein, mal die Haut eines Tieres, oder eine modische Jacke. Es geht aber immer um die Oberfläche, die der Träger von Informationen ist.
Ich benutze die Sozialen Medien als Inspirationsquelle – da finde ich sehr interessante Sachen, vor allem Narzissmus und Selbstobjektifizierung betreffend.

Ein Gespräch zwischen Neringa Vasiliauskaitė und Monika Lipšic.



Neringa, how do you treat your ideas and materials in your work, and what is particularly important for you in this?

I combine theories from biology and technology in the content of my work. In this I engage with, among other things, the production processes and properties of different materials such as textiles, leather and silicon, setting up a comparison with human skin – how it is ‘produced’ and its composition.

Essentially, I work with surfaces that are complex and multi-layered. These also interest me from a psychological point of view – as an expression of the inner life of a person or a body. My interest is in how the inner life connects with the outer life to form a whole, and traces are thus left behind.

What is the relationship in your work between process and end result? I recall how you once said that beauty and perfection are not the same thing. How do you decide when a work is finished?

Process is an important part of my work, in that I can at any moment change my mind or rethink something; this freedom I enjoy greatly.

There are some substances that I prefer to others as materials to work with, since each has its own ’flaw’ and it simply gives me pleasure to find this and then overcome it.

But sometimes I also use so-called ‘assisted readymades’. I buy items that suit my purpose – parts for different goods, or finished products – and I dismantle them; I deconstruct to create new concepts, to give new meanings to an object. I believe my working methods here to be a synthesis of ‘handcraft‘ techniques that I have applied and the use of ‘readymades’.

The end result I never see until right at the end, when an exhibition is being put together; then I decide to use the one thing or the other, to add a few details or take something away. Even the form of the work can change as adrenaline gets released.

Before adopting your current methods, you worked for 15 years with glass, getting to know this material and its technical aspects very well. What does this specialist craft knowledge give you, and what made you change course? How was the transformation for you and what point have you currently reached?

The work with glass helped me to understand the nature of other materials. Glass is a material that one can admire – but, for me, the perfection that glass brings cannot necessarily be equated with beauty. With glass I could not allow myself to make mistakes. But I wanted to make mistakes.

It would sometimes happen in group exhibitions that I had to make compromises to allow for how my work reflected something hung opposite it. This would then crate a completely different meaning for my work, over which I had no control.

This is why I decided to create something spatial myself – something that, in its surfaces, would reflect itself. That was a logical step for me. This spatiality I found so appealing that I didn’t want to stop working with it, and so I pursued it further.

Surfaces, synthetics, skins – how did these entities and their accompanying themes come about in your work and what do they mean for you? How do you respond with your work to the present, the present situation?

This year (2020) I started a new series of wall objects with the title ‘Skins’. Skin assimilates the body but also the environment in which it finds itself. The end product interests me greatly. Skin is functionally the most multifaceted organ of a human or animal organism. It can carry a great deal of information, as it’s a reflection of its environment. There are many meanings – layers overlapping one another like old stories. The theme of camouflage comes into play, too. I remember, for example, my grandmother’s garden tablecloth, which was imprinted with an artificial marble pattern – because, of course, she couldn’t afford real marble. This moment is very exciting for me, for the same can be said about fake hair extensions or artificial eyelashes – our clothes, our masks, our roles.

I make space for a multiplicity of meanings, but I like to leave it until the very end before defining exactly what an object is going to look like. Sometimes it can be a human body, sometimes the skin of an animal, or it can be a fashionable jacket. But it is always about the surface, the carrier of pieces of information.

I use social media as a source of inspiration. I find very interesting things there, especially in relation to narcissism and self-objectification.

– Interview by Monika Lipšic, translated to English from German by Stephen Smithson.

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The Most Beautiful Catastrophe

The Kosovsko-Laskár wetlands are located in the Central-Western Slovakia and are probably the first example of newly emerging wetlands and marshes in Slovakia. They formed as a by-product of the underground extraction of coal near the Nitra river. These wetlands have been created during the past forty years of coal mining. The landscape has changed: large sinkholes have been created affecting both housing and the natural environment. This change in the environment forced people to move away from the area, forming an unusual habitat as a way for nature to find balance with the radical change of the ecosystem. After several years the situation was made worse by a crisis at the still operating mine, when water was discharged from its flooded tunnels up to the surface. As miners began to pump this water into the nearby creek, it burned their skin. The mixture of ash and hydraulic emulsion managed to kill all life in the creek.


Formed in 2011, APART is an artist cooperative based in Bratislava.  APART performs research, creative and artistic production, project- and exhibition-making / curatorial production, publication and archiving. The artists initiate, create, organise and exhibit group manifestations (often inviting and giving space to other artists and theoreticians) but they also operate individually. Today, its members include Ema Hesterová, Denis Kozerawski, Chiara Rendeková, Peter Sit, Andrej Žabkay.

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A visit to Agnė Juodvalkytė’s studio in Waldemarstrasse, Berlin. Video and editing by Marijn Degenaar. Concept and direction by Monika Lipšic.


Agnė Juodvalkytė (b. Vilnius, 1987) is a visual artist currently living in Berlin and Vilnius. She graduated in (BA) Painting at the Vilnius Academy of Arts (2010) and studied Visual Arts and Cinematography in Spain at the Universidad de Castilla La Mancha (UCLM, Facultad de Bellas Artes de Cuenca) (2009). Her recent shows include Core at the project space Aesthetik 01 in Berlin; Settling Dust at Si:said Gallery (Klaipėda, Lithuania); Archipelago at Reinbeckhallen with Goldrausch Künstlerinnen 2018 (Berlin).

Agnė Juodvalkytė uses textiles as a framework to understand culture, history and technology. She works with different materials, such as clothes, textiles, natural pigments, graphite dust, fabrics made by her grandmother, plants, and incorporates various mediums. Often presented in an anthropomorphic way, her works breathe their past into the present, becoming multidimensional artifacts extending not only into the space but also into time.



What’s the role of a studio in your art and life? How much private is this space and this state of mind?

Agnė Juodvalkytė: Having a studio is essential to me. Without it I feel disoriented. My working process is very slow in a way, so I need my space all the time, everyday, even if just for a short moment. It is kind of a magic place. Sometimes it becomes a refuge where I disappear for two weeks, but then I also love to have guests over there. It is refreshing to have a change of routines and the studio is the place where I can do that.

I share my studio with other artists from Sweden, New York and France. We all have different ways of working but it kind of blends together into a good atmosphere.

In your work every detail resembles the whole. As if every moment in a painting similar to a drop of paint on the floor of the studio, is a part of the bigger canvas. It creates a feeling of a certain entity. It seems like you found your way of being and painting. When do you think this happened and how do you perceive it yourself?

AJ: I guess I am still trying to find this. On the other hand, it is true that there was a certain period of time when I had put a lot of hours and effort without really thinking about it, just trusting my feeling and slowly going forward through the process of working a lot. After I came to Berlin it took me few years to slowly find my ways of doing things.

You read a lot and visit many shows and events in Berlin. How did you decide to move here and how is this city affecting your creative routines? How do you feel part of the Berlin art space?

AJ: Berlin has so many artists who want to be seen and at the same time just to have fun. I came here in 2011 and it had changed so much since then. I am still learning to navigate the complicated art waters. I don‘t belong to any institutional place, which is a freedom and a hard work at the same time.

It is so easy to get lost in just being busy and not doing much of a creative work. So I am learning to take time and step back sometimes. Vilnius is a good place for me to reflect on what I did and what I want. I couldn’t really say, that I moved to Berlin because I also still live in Vilnius, I spend time being in Austria, in art residencies and moving around.

Being in Berlin gives a chance to work with people that I really admire. My two recent solo exhibitions happened in a project space called Aesthetik 01, run by Kristina Nagel, who is one of these people. Preparing exhibitions together with her was very organic and intuitive, which I really love a lot. Few years ago, in 2017, I had a great experience working with Gruppe Magazine (Fritz Schiffers, Nele Ruckelshausen, Tim Heyduck and Aaron Kalitzki). It is a wonderful project that connects and chronicles young creative underground in Berlin.

Community is important to me. It’s hard for any creative person without it, I think. When one feels heard and understood in their creative surrounding, things tend to have a different speed and energy.

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Blue Carbon, Intertidal

Blue Carbon, Intertidal is an interstitial section of Hydrangea. Written by Holly Childs. Music by J. G. Biberkopf. Voiced by Elif Ozbay. Film by Holly Childs

Co-produced by The Good Neighbour and Runway Journal. Originally commissioned by Runway Journal for Issue 39 Oceans.

The Good Neighbour: I got a familiar feeling from watching this work. The voice seems to channel many meanings from subjective line to computerised self to poetic voice, and the images are very global, pointing to different parts of the planet. How did it all come together as a piece?

Holly Childs: I recently learned that a step-cousin who I’ve never met is an expert in “blue carbon”, the name for underwater and coastal ocean ecosystems that hold carbon. This piqued my interest, and after researching coastal ocean ecosystems, I came to think of how much time I spend in intertidal zones, the areas that are underwater at high tide, and dry land at low tide, and to contemplate what records I had taken of these beach-and-other locations. All footage used in Blue Carbon, Intertidal was shot over a 3 year period in which I lived in London, Naarm (Melbourne), Auckland and Moscow.

In the summer in Auckland, and my routine was that I would work every day and when it was close to high tide, I walked or jogged (depending on how hot the day was) to beaches on Waitemata Harbour to swim. Each day, high tide occurred approximately 50 minutes later than the previous day creating a stretchy rhythm across weeks. I found no documentation of water from this period.

The voice, several people have mistaken for a computerised system voice, is actually Elif Özbay. The text, and the work in general, purposely invites various projections and interpretations.

TGN: The image of an Ocean as an entity and Ocean politics are continuously reverberating in today’s global ecological thought (resulting from Anthropocene effects). What qualities of the ocean (as an idea, image, metaphor?) could you describe as inspiring and connecting to you?

HC: I grew up in proximity to the ocean, took it for granted and only later moved to landlocked regions where I experienced strange effects. In Moscow, every night I dreamt of beaches, and in the Netherlands, surrounded by water in every conceivable way, but with none hitting land in the satisfying beachy way I knew from home, for months I stopped dreaming. Blue Carbon, Intertidal is a poem, longer than the excerpt used in this video, that iterates like tides. Awareness that the edges will always change, iterating almost imperceptibly over a scale of days, while shifting dramatically over larger timescales.

Some years ago, I stayed up a hill, overlooking a zone that was anecdotally and socially projected to be underwater in the near future due to the effects of climate change. It was claimed that the local government was aware of this impending reality, but didn’t or couldn’t let its residents know, as to do so would render their pre-sunk properties worthless, and void residents’ insurance policies. Climate change creates a range of catch-22s, direct and indirect.

TGN: Hydrangea is a long term project you’ve been working on together with J. G. Biberkopf. What is at the core of Hydrangea, what kind of tools and thinking?

HC: In a performance context, Blue Carbon, Intertidal is an interstitial section connecting Hydrangea I to Hydrangea II, both sound works for performance in greenhouses. A spray of salt between the emotion of Hydrangea I and the lost forest of Hydrangea II. The nature of the project is essentially a mystery, and we are happy to keep it that way for the moment.

Holly Childs is an Australian writer and artist. Her most recent work, an evolving performance series for greenhouses made with J. G. Biberkopf, is Hydrangea, a myth about myths, in which every flower is a story in a forest of never-ending branching narratives. Other recent works include writing for Angela Goh’s Uncanny Valley Girl, and the co-creation of Patternist, an augmented reality sci-fi urban exploration game. She is the author of two novels: Danklands (Arcadia Missa) and No Limit (Hologram). Her third novel Greenhouse Parking will be published in 2020.

J. G. Biberkopf is an artist based in-between Amsterdam and Vilnius. They work within the fields of sound, documentary, performance, and installation. Their recent solo work and collaborations predominantly work to deconstruct the political imaginaries effective in the Western world. In previous work, they have focused on aural memes, while their ‘Ecologies’ album series explored initiating ecological discourse in the realm of experimental electronic music.



Saulius, or Sal as his friends from London called him, was a Dj, a passionate vinyl collector aswell as one of the creative minds behind the internet radio project in its early beginnings. He was a universal restless character, a rebel, an anti-system, always part of collaborations and multiple creative projects, organizing parties and events, listening to music and gathering people. Born as Saulius Čemolonskas in 1964 in Kaunas, he escaped Soviet Lithuania with forged documents in 1989 and spent most of his life in London. Countless hours of his archive of music, sound and videos recorded on VHS, DV and 8mm cassettes encapsulates Saulius’ rebellious character, his playfulness and creativity aswell as his surroundings from times of turmoil and revolt in 1980’s Lithuania to the late 90’s London music scene to recent times and his own private past.

In this video, filmmaker Simona Žemaitytė who had known Saulius for almost a decade, uses his archive material to depict the story which could be called a universal human quest to escape or an attempt against the system (any, really). The longer we look beyond the ‘patina’ of time through the VHS and the DV (bringing images of long lost cities, both Kaunas and London) the more we understand that perhaps Sal was one of such persons that each of us had known once, anywhere, anytime in our lives. Saulius had passed away in 2017. His ashes are in his friend’s music studio in London.

Simona Žemaitytė (b. 1984) is a Lithuanian artist and filmmaker, living and working in London and Vilnius. It took Simona almost five years to find VHS tapes that Sal occasionally mentioned in their conversations after giving her a copy of his entire archive. She had filmed Sal performing with Terry Burrows and Laure Prouvost among others and made few projects based on his biography. She is currently editing a full feature on Sal and his life.

Simona’s own work was previously awarded at 15th Tallinn Print Triennial, also nominated at Sheffield Documentary film Festival. Previous exhibitions and shows include Kasa Gallery, Galata Perform (Istanbul); BAFTA, RichMix (London), CAC (Vilnius) and others.


Unreality of reality of Jurgis Baltrušaitis

‘It was a mysterious person. Everything he wanted to say he wrote in his books’ wrote art historian Jean-Francois Chevrier in his biography about Jurgis Baltrušaitis (1903-1988), art historian and art critic, a founder of comparative art research. The video invites to a journey with art historian Odeta Žukauskienė through the books of Jurgis Baltrušaitis and main topics of his research – Medieval decoration, imaginary forms, anamorphoses, aberrations and irregular perspectives. It was important for Baltrušaitis to find common mechanisms of fantasy or imagination that float from one culture to another by acquiring different forms. Baltrušaitis brought innovation to art research, by publishing books on art from the Caucasus, the interaction between Eastern and Western art during the Middle Ages, the imagery of fantasy, distorted perspectives, and enigmatic vision. His work received wide recognition: his books, written in French, were awarded prizes, and translated into Italian, Spanish, English, Romanian, Japanese and other languages.

Ieva Kotryna Skirmantaitė (b. 1994) is a video artist interested in alternative documentary forms in theory and in practice. By capturing and connecting real events, other people’s practices, discussions, sounds and bits from everyday life, she has found a way to create an imaginary path and to reveal invisible excitements and anxieties. She explores how different technical qualities of the digital image act as separate memory systems and represent different contemporary political and economical values.

Akvilė Kabašinskaitė (b. 1990) is a professional film researcher working in film production in parallel. She lives and works in Paris. Previously she had studied Culture Mediation in Sorbonne Paris 3 and wrote her masters on the research for documentaries. Currently she is doing an MA thesis about the construction of a documentary film.

Jurgis Baltrušaitis spent most of his life in Paris and wrote in French, though he never lectured there. Born in Moscow, a son to a Lithuanian diplomat and writer, Juozas Baltrušaitis studied in Sorbonne, lectured in Kaunas and Warburg Institute London. After WWII he delivered lectures in New York University, Yale University, Harvard University and Metropolitan Museum of Art.

Unknown Mushrooms

“As I’ve mentioned not once in my previous interviews, besides my main activity and business (a gallerist at Galerie Uberall), I’m a dedicated mushroom picker and, like the majority of gallerists, have a great passion for collecting. Currently I own quite a large collection of mushrooms consisting of specimens picked in Lithuanian forests in 2016.

While building this mushroom collection, I couldn’t but notice a new mushroom species that I keep coming across… (I’m not sure how it should be called…) But it’s a highly resilient or, perhaps we should say, invasive mushroom species, which multiplies at the speed of geometric progression and is found in forests, near expanding settlements. I’ve never picked this species, but in this year, 2018, I decided to give it a try.

As I don’t know how this species is called, I’m going to call it ‘Unnamed’ or ‘Unknown’.

Mushrooms of these unknown species are presently found in almost all forests all around the world. It’s difficult not to notice them… It’s even more difficult in the woods of Mickūnai environs, where I go quite often… or what’s left of them…

Perhaps these woods have such a large population of these mushrooms because there’s enough humidity and darkness…? Or perhaps these mushrooms grow in exactly the opposite climatic conditions…? I have no clue…

It is thought that these mushrooms reproduce via spores. It is also thought that spores are carried by animals in their stomachs. They also say: “mushrooms ‘travel’ underground, together with tree roots and species…”

Sometimes it seems to me that like all the others, ‘Unknown Mushrooms’ are reproduced not only by rodents or hoofed animals, but also by ‘Animals Wearing Boots’…

Some people say: “It’s better to pull out mushrooms”,
and others say: “It’s better to cut them”.

Myself, as an experienced collector, I follow the classical tradition/rule of picking mushrooms – I cut them slightly above the root.

It’s important to distinguish known mushrooms from unknown.”

– Andrej Polukord

Andrej Polukord (b. 1990) is an artist based in Vienna and Vilnius. He is a graduate of the Academy of Fine Arts Vienna and co-recipient of the 2016 Kunsthalle Prize Vienna. His painting, installation, performance, and video art create unpredictable environments and absurd situations that produce double meaning and ambiguity.

Andrej Polukord’s work was presented in GAK, Bremen, –20 degrees biennale, Flachau, Austria, Zachęta Project Room, Warsaw, Survival KIT, Riga and elsewhere. Polukord is also a co-founder of Galerie Uberall, a mobile art gallery that is one of the first private mobile galleries, founded in 2014. Since then it has traveled and exhibited internationally including Vienna Contemporary 2015, documenta (14), Athens, Hoftallungen | mumok, Vienna, Austria and more.

Today Is the Color Day Meets at Day

‘Today Is the Color Day Meets at Day’ glides through the exhibition under the same title by two artists Laura Kaminskaitė and Antanas Gerlikas, curated by Audrius Pocius at P/////AKT, Amsterdam in September-October 2018. Ieva Kotryna Skirmantaitė glues transitions and movements in the exhibition space with moments from the opening and a voice-over reading a text written by Laura Kaminskaitė.

‘Art is more than meets the eye’, the folk saying goes, and I believe there might be some truth to that. Despite its fragility, related to its thingness, it acts as if it were space within a space, bigger on the inside, as if it is a portable black hole. It devours every-thing around it without consuming anything, transforming objects into time, creating cracks in the sameness of our days, letting us feel the futility of our everyday in the background of which we may encounter the richness of reality itself.

This ‘richness’ is a relative term, obviously, generally indicating something that is out of reach, a longing for things that are yet to come. Maybe, this is why there is another saying – ‘a man who has everything, has nothing at all’. To be rich, then, means to be able to appreciate a lack.

Perhaps, it is within this lack where the meeting between an artwork and the observer’s eye occurs. It is a distant gaze, although a loving one – a gift that is being gifted both ways, forming a relation. A bond, where the ones bonded cannot touch, but nevertheless constitute each other. Similar to how one imperceivably recognizes oneself through the reflection in another’s eye or like a memory of a glass, which refuses to be touched by lips.

So, what is ‘more’ within a meeting with an eye? What is this excess dwelling inside a lack? Artworks, so it seems, just like us, are their own doppelgangers: double, dual – a movement between the first and the third person in a sentence, perpetually seducing us to entangle them in language, while at the same time constantly evading an explicit definition. An object craving for a gaze, though evaporating as soon as we think we start recognizing it as familiar.

That is why exhibitions are peripatetic – more suitable for movement than observation. Move through the space, or better let the space move you and the path will bend accordingly to the steps you take. On your way, you will find a Station in Conversation lurking, waiting for the right moment, ready to catch the possibilities that are yet to be envisioned. Or a Researcher’s Outfit, inviting the curiosity of others to whisper alien questions in passing, leading you to a space of dreams and uncertainty, offering to cease control and give yourself up to the passage of time. This time becomes a space in Prototype of Dunes.

On the other side there are three Nameless surfaces which came from the past and by which you possibly once passed, reflecting your present gaze back at you in the form of a memory or a wish. You will also find a piece, which is Not Yet Titled, but suspended in a state of eternal becoming; a thing patiently waiting for its word, anticipating a sense of belonging. Walk some more to find a shoelace dangling from the ceiling – an object of the everyday, standing before you Today. And if sometimes time ceases to pass in this space, can there still be any News? Through the multitude of these ‘todays’, time reveals itself as a vehicle, a mode of travel, a rhythmical Exhition. Eventually, you will notice that you are not alone in your travels, with Friends’ Names delicately watching over, revealing nothing but the difference they profess. These appearances, as vivid as they may be, once touched will quickly melt away as if they were a kind of Sugar Entertainment – sweet to the eye, saturated for the tongue.

An exhibition is a kind of promise that cannot be delivered. It is untouchable, yet fragile, a meeting point enabling a difference to be noticed, yet disenchanting any illusion of its realness. It is a lack, that needs to be addressed with love. Soothingly, there is no magic here.

– Audrius Pocius


Ieva Kotryna Skirmantaitė (b. 1994) is a video artist interested in alternative documentary forms in theory and in practice. By capturing and connecting real events, other people’s practices, discussions, sounds and bits from everyday life, she has found a way to create an imaginary path and to reveal invisible excitements and anxieties. She explores how different technical qualities of the digital image act as separate memory systems and represent different contemporary political and economical values.

Antanas Gerlikas (b. 1978) has recently taken part in group exhibitions in Vilnius, Riga, Tartu, Bucharest, Rome, Athens, Moscow and Reykjavik. His solo exhibitions so far have been held at Plungė House for Culture (1999), Tulips & Roses gallery (with Liudvikas Buklys, 2008), CAC Vitrine (2011) and CAC Kitchen (2014), Art in General in New York (2013) and Objectif Exhibitions in Antverp (2013).

Laura Kaminskaitė (b.1984), lives and works in Vilnius, Lithuania) has exhibited her works in solo exhibitions, including Something something, Vermilion Sands, Copenhagen (2016); Exhition, BWA Warszawa, Warsaw (2013); Walking in a Title, The Gardens, Vilnius (2012); Exhibition, Objectif Exhibitions, Antwerp (2012); and in group exhibitions, including A Rock That Keeps Tigers Away, Kunstverein Munchen, Munich (2017); XII Baltic Triennial, Dailes theatre, Riga (2016); A Million Lines, Bunkier Sztuki Contemporary Art Centre, Krakow (2015); Helsinki group, Hiap Augusta gallery, Helsinki (2015); A Cab, Kunsthalle Athena, Athens (2014); The Moderna Exhibition 2014 – Society Acts, Moderna Museet Malmö, Malmö (2014); The excluded third, included , Galerie Emanuel Layr, Vienna (2014); Vilnius Pavilion, National Contemporary Art Centre (NCCA), Moscow (2013); Thinging , Frutta, Roma (2012); Sparrows, CAC, Vilnius (2012).



I love the past, I do look forward

The title of the video borrows a line from a song in a performance ‘Ghost Writer and the Broken Hand Break’ by Miet Warlop and Raimundas Malašauskas. Bringing together brief periods of time in Paris, Vilnius and Marseille, Ieva Kotryna captures moments of ecstasy, social events and everyday life which are at times melancholic, weighty or consequential, from images of people dancing in the streets and at vogue ball parties, to art performances, and strikes. ‘Fore me scattered low quality images captured with a smart-phone camera best reflect the unstable and chaotic world around and a personal life full of random swerves’ says Ieva Kotryna.

Ieva Kotryna Skirmantaitė is a video artist interested in alternative documentary forms in theory and in practice. By capturing and connecting real events, other people’s practices, discussions, sounds and bits from everyday life, she has found a way to create an imaginary path and to reveal invisible excitements and anxieties. She explores how different technical qualities of the digital image act as separate memory systems and represent different contemporary political and economical values.