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

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.

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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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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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.

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.

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.

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.