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

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

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.

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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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.

Nation State is an Outdated Concept

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).

Slips in public space

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.


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.

On colonizing Mars

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.

Gentrify our bodies: we are liquid green landscapes

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.

On Life

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.

Framing the Nexus

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.

Object-Oriented Ontology: on metaphors, technology and the ethereal

Philosophy researcher, translator, and critic Tomas Čiučelis lives and works in Dundee, Scotland. During the time he spent living in Vilnius and London, Čiučelis translated two books into Lithuanian (Lev Manovich’s Language of New Media; and Noam Chomsky’s Hegemony or Survival) whilst giving public talks and participating in contemporary art projects. Currently he is a columnist at magazine and in his spare time Čiučelis is also a jazz guitar performer.

In his research Čiučelis uses the heritage of continental thinkers such as Heidegger and Derrida as well as developments in speculative realism to reflect on the problems of ‘outsideness’, namely: outside language, outside reason, outside human experience.

Visualizing the Song

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.

Practicing Pathaphysics: the science of Imaginary Solutions

Robertas Narkus (b. Vilnius, 1983) describes his arts practice as the ‘management of chance in an economy of circumstances’. He brings together the ordinary and the absurd to explore notions of uncertainty, chance and symbolic capital through unexpected collaborations.

Narkus has a MFA degree from Sandberg Instituut, Amsterdam and is the founder of the Institute of Pataphysics in Vilnius.

Towards a New Hybrid Fairland

Vita Zaman lives and works in Los Angeles and New York. She is a gallerist, curator, artist and advisor, interested in what hybrid forms the art space can take. She studied both Art History and Fine Art at Goldsmiths College and the RCA in London between 1995 and 2002. She was a founder and co-director of the IBID Projects (London /Los Angeles), headed the PACE gallery (New York) and was Artistic Director for the Vienna Fair (Vienna).

Currently Zamen is starting a new venture – the Perpetual Experts – which is an art production and distribution platform, malleable and adaptive in accordance with ‘the management of circumstances’.

Carving out history: when moments become monuments

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.

Coding the digital: from net art to post-human future

“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.

Publication as practice

Povilas Utovka (b. 1981, Varena) lives and works in London. He is a designer who is passionate about “grids and solutions that are simple and well thought through”, working mostly on art publications. Utovka graduated from the Royal College of Art, London in 2009 and formed the design practice Present Perfect with Ivan Markovic in 2011.

Together they have worked on exhibition catalogues and identities for Jimmie Durham, Jonas Mekas, Rose Wylie and various other artists. Utovka lives and works in New York.

Where tradition Mmets sinology

Eglė Jauncėms (b. 1984) is a visual artist currently working in London. After studying Sinology at university in Vilnius and Taipei, Jauncems moved to London where she gained a second BA in Weaving at Chelsea College of Art and Design. Her recent shows include Khobs at the Marrakech Biennial; Reproduction Failure curated by Slate Projects at Maybe a Vole Gallery (London); and Multiplied Art Fair presented by London Print Studio.

In 2015 Egle was a participant on the The Reykjavik Association of Icelandic Visual Arts residency and later in the same year she was awarded the first Hockney Arts Foundation Grant.