{"id":579,"date":"2026-11-10T12:11:11","date_gmt":"2026-11-10T12:11:11","guid":{"rendered":"https:\/\/thegoodneighbour.lt\/?p=579"},"modified":"2026-11-10T12:31:51","modified_gmt":"2026-11-10T12:31:51","slug":"power-of-the-baltic-avant-garde","status":"publish","type":"post","link":"https:\/\/thegoodneighbour.lt\/lt\/power-of-the-baltic-avant-garde\/","title":{"rendered":"Power of the Baltic avant-garde"},"content":{"rendered":"<p><b>Adomas Narkevi\u010dius<\/b><span style=\"font-weight: 400;\"> is a London based curator who graduated with a BA in Philosophy from Vilnius University and an MA in History of Art from UCL. Recently, he has curated 15th Kaunas Biennial <\/span><i><span style=\"font-weight: 400;\">\u201cLife After Life\u201d<\/span><\/i><span style=\"font-weight: 400;\"> (2025), co-curated <\/span><i><span style=\"font-weight: 400;\">\u201cWe Don&#8217;t Do This\u201d<\/span><\/i><span style=\"font-weight: 400;\"> at Vilnius&#8217;s MO Museum (2024), and is co-curating the Latvian Pavilion for the 61st Venice Biennale (2026) with Inga L\u0101ce.<\/span><\/p>\n<p><b>In this 2026 video essay that feels more like a video podcast than a studio visit, London-based curator and Founding Director of Up\u0117 Foundation, Adomas Narkevi\u010dius, reflects and explores the fluid intersections of regional art histories, institutional limits, and artistic freedom.<\/b><span style=\"font-weight: 400;\"> Reflecting on his transition from studying philosophy in Vilnius to art history at UCL in London, Narkevi\u010dius discusses how both his studies and also distance from his home country has provided the essential methodological tools to look anew at the Baltic avant-garde, gender, and sexuality. He pinpoints the motivations behind Up\u0117 Foundation\u2019s bold initiatives that range from curatorial fellowships to a forthcoming &#8220;experimentation fund&#8221; designed to back off-kilter, micro-historical, or highly ambitious artistic formats. All of those mentioned seem to slip through the cracks of conventional funding. Moving beyond institutional moralism and the mainstream pressure on artists to act as social workers, Narkevi\u010dius makes a highly compelling case for embracing instability, preserving radical curiosity, and building poetic yet powerful cross-border pathways that make new dialogues between the Baltic region and the global art ecosystem possible.<\/span><\/p>\n<div class=\"text-normal\">\n<p>Videography: Elena Reimeryt\u0117<br \/>\nProduced and commissioned by The Good Neighbour, 2026<br \/>\nCurated by Juste Kostikovaite<\/p>\n<p>Partners and supporters: Lithuanian Council for Culture, UK Lithuanian Youth Association<\/p>\n<\/div>\n<section id=\"search\">\n<form class=\"searchform\"><input id=\"s\" name=\"s\" type=\"text\" value=\"\" data-swplive=\"true\" \/><input type=\"hidden\" name=\"trp-form-language\" value=\"lt\"\/><\/form>\n<\/section>","protected":false},"excerpt":{"rendered":"<p>Adomas Narkevi\u010dius is a London based curator who graduated with a BA in Philosophy from Vilnius University and an MA in History of Art from UCL. Recently, he has curated 15th Kaunas Biennial \u201cLife After Life\u201d (2025), co-curated \u201cWe Don&#8217;t Do This\u201d at Vilnius&#8217;s MO Museum (2024), and is co-curating the Latvian Pavilion for the [&hellip;]<\/p>","protected":false},"author":2,"featured_media":581,"comment_status":"open","ping_status":"open","sticky":true,"template":"","format":"standard","meta":[],"categories":[74,9],"tags":[104],"post_year":[],"_links":{"self":[{"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/posts\/579"}],"collection":[{"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/comments?post=579"}],"version-history":[{"count":1,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/posts\/579\/revisions"}],"predecessor-version":[{"id":580,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/posts\/579\/revisions\/580"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/media\/581"}],"wp:attachment":[{"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/media?parent=579"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/categories?post=579"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/tags?post=579"},{"taxonomy":"post_year","embeddable":true,"href":"https:\/\/thegoodneighbour.lt\/lt\/wp-json\/wp\/v2\/post_year?post=579"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}