Category: STORIES LONG AND SHORT

Antropomorphic Trouble

Posted on by Monika Lipšic

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. palekaite.space 

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 ArchivingArtisticAnxieties.me.

Johnston Sheard is a London based Scottish artist. His work focuses on experimental film with scored song-cycles, and intricate sculptural constructions. He combines a baroque architectural sense with anti-digital aesthetics, creating sentimental narratives reflecting on a theological universe. Johnston Sheard is one of he founders on The Deep Splash, his artistic vision in 2015-6 helped to transmute the interview format into interpretive films, serving as works themselves. Sheard studied in Central Saint Martins and University of Westminster. Recently he had a show at Kunstraum, London and Outset Contemporary Art Fund, London and was part of the group exhibition ‘The Future Is Certain; It’s the Past Which Is Unpredictable” in Calvert 22 Foundation, London and Blaffer Art Museum, Houston.

 

The Mind is a Home

Posted on by Monika Lipšic
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.

Feedback

Posted on by Monika Lipšic

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 last.fm 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

Posted on by Monika Lipšic

‘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

Posted on by Monika Lipšic

“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.

I love the past, I do look forward

Posted on by Monika Lipšic

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.

Nation State is an Outdated Concept

Posted on by mindaugas

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).

Sahara Signal

Posted on by mindaugas

Stemming from the Athenian context, the work reflects on the current issues of migration, displacement, resistance and the perspective of the Other. The title originates from the Sahara sand brought to europe by wind.

The text originally composed as a reader for a solo exhibition in Athens named “Raptor’s Eye” transposes into the video piece.

Made throughout the period of documenta 14 in Athens, Greece between February and July 2017.

Jokūbas Čižikas (b. 1988, Vilnius) is an artist living and workig in Athens and Vilnius. His practice combines installations, video and sound compositions, sculptures and collaborative performances. Recent work shown in exhibitions, projects and residencies:

European Everything, Documenta 14 Kassel, DE (2017); Raptor’s Eye, A-DASH, Athens, GR (2017); Marres Tourist Office, Marres House for Contemporary Culture. Maastricht, NL (2016); Riddo Duottar Museum, Lakselv, NO (2016); Abteiberg museum. Mönchengladbach, DE 
(2016); Master of Fine Arts, ZHDK University of Arts, Zürich, CH (2015); EIB Art Collection, Luxembourg (2013).

ADDRESS

Posted on by mindaugas

‘Address‘ is filmed in Mulokas’ studio. In this video the artist recalls a prophecy he once experienced in the presence of a Madagascar shaman, who revealed that the self that belongs to him will become itself, only in the state of possession by movement. The artist questions this state of mind in relationship to performance: “performance is a serious business, sometimes it can take hours and hours in the studio” he says before embodying a new nature. This work is about the state of possession by movement, about relationships with objects, materials that become performers, about the labour of performance art and the expressive forms it takes.

“I am the living matter on stage that is searching for a physical match in revitalised matter. Through exercising live actions I look for ways to reveal the full physical consequence of the material. I found that interactions with the same material in a repetitive manner can cause varying associations that constantly redefine the nature of an object. On stage, I intuitively shift from one investigation to another, accumulating in my body the different qualities that are revealed by each encounter with an object. By using my imagination, I let the body carry the adopted qualities of all the materials. Thus a living subject (a performer) on stage becomes a self-produced matter that runs on its own established (more or less) sustainable physical structures.

Being in a position of an artist requires a certain attitude towards playing. Inside culture this attitude persists. Once I arrive to a level of identity I move to the second part of my process: I create a video. The video demands the role to present itself.“

– Andrius Mulokas.

After studying visual arts and architecture, Andrius Mulokas’s artistic interest shifted to space in relation to the moving body. He studied dance in Finland (North Karelia College), later he moved to Amsterdam where he studied on the BA Choreography programme (SNDO) at the Amsterdam School of the Arts (AHK). Born in 1983 in Kaunas, Lithuania, he is currently based in Amsterdam and Tel Aviv and works in the artistic scene there and abroad.

Et in arcadia ago

Posted on by mindaugas

Vincentas Seneckis (1868 – unknown) was born in Vilnius, then part of the Russian Empire. He studied Architecture in Riga Polytechnicum and worked in London as a landscape architect from 1893 to 1904. Influenced by the intellectual Barallat, whom he met at the turn of the century, Seneckis wrote the book “Et in Arcadia Ego: on the relation between landscape and the mind”, that earned some recognition. In the British capital, Seneckis met a Portuguese translator, Maria Júlia de Cardoso Mendes de Campos, the only daughter of the 4th Baron of Candal. Vincentas and Maria Júlia married in 1904 and lived in the North of Portugal – between Porto and the São Cosme e Damião coastline forest – until 1911, the year of the tragic and mysterious murder of Maria Júlia, a wrongful victim of a gunshot intended for the baron. After the death of Maria Júlia, it is said that Seneckis, in the couple’s favourite place on the coastline, designed and built all on his own a mausoleum where he buried his wife. Today, this “cemetery of the Lithuanian”, as it is known locally, is considered a funerary architecture reference in Portugal for its intricate relation with the landscape. Seneckis went back to Vilnius around 1913. He stayed there for two years until the German army occupied the city. Around this time, he tried to go back to Portugal. However, there is no evidence that he ever arrived there – it is speculated that he made it to the United States, where he dreamt of going in his youth.

Eglė Bazaraitė is a PhD candidate in architecture, in Lisbon University (UL-IST), where she is completing her research on Catholic cemeteries in Europe and their pagan dimension. www.eglebazaraite.net

Eduardo Brito works in cinema and photography. Recent works include the short film Penúmbria (2016), the screenplays for Paulo Abreu’s film The Scoundrel (2012) and Manuel Mozos’ The Glory of Filmmaking in Portugal (2015). www.eduardobrito.pt

Eduardo Brito and Eglė Bazaraitė reconstructed a story of Vincentas Seneckis using facts each of them knew about this persona. Et In Arcadia Ego is a docu-fiction that leads the mind through the landscape of one person’s life, tied and torn apart from Lithuania.

What happens when something happens?

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In What Happens When Something Happens?, Kazlauskaitė revisits the spaces where she grew up, through sonic memories. She creates an encounter between her grandmother and the internet (google generated street images) in order to revoke her recollections of certain spatio-temporal encounters through chaotic sound structures, rather than linear visual narratives.

Sandra Kazlauskaitė (b. Kaunas, Lithuania) is an artist and researcher working across the disciplines of performance, sound and video installation, as well as theory-led projects on sonic culture. Kazlauskaitė primarily constructs sonic collages and improvisations, collects field recordings, creates audiovisual artworks and creates non-musical objects. Her artistic interest lies within the immanence and materiality of sound, as well as its techno-mediated phenomenological potential. Currently, Kazlauskaitė is undertaking a research by practice PhD at Goldsmiths, London.

Eyebrow

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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.

Decadentia

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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.

Touch to Me

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In Touch to Me Vytas is on the phone, on skype, or just talking telepathically to a lover, a lonely stalker, or an automated voice. He tries to persuade the unseen and egotistical interrogator to pursue something idealistic – that is, above values – where feelings can be true and valid without superficial virtues.

Vytautas Jurevicius a.k.a Vytas (b. 1981, Palanga, Lithuania) is a founder of the Institut of Emotional Bodies. He has studied at the University of Applied Arts, Düsseldorf; Academy of Arts, Karlsruhe; and Staedelschule, Frankfurt am Main.

Gentrify our bodies: we are liquid green landscapes

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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

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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.

Practicing Pathaphysics: the science of Imaginary Solutions

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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.