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Daniel Gustav Cramer at Contemporary Art Centre

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Daniel Gustav Cramer. Nineteen

Curator Neringa Bumbliene

Contemporary Art Centre, Vilnius

15 April - 22 May, 2016

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Group show “Beginnings” at Vartai, Vilnius

Artists: Angela Bulloch, Liam Gillick, Ugnius Gelguda, Tim Kliukoit, Lina Lapelytė, Justin Morin, Quim Packard, Augustas Serapinas, the SOSka group (Mykola Ridnyi and Serhiy Popov)

Curated by Neringa Bumblienė

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Beginnings at gallery Vartai, Vilnius

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Apie Žilvino Landzbergo parodą „Be karūnos“ ir Liudviko Buklio – „Kaip liežuviai“ ŠMC

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AUJIK There Is a River Running Through Me

Curator: Neringa Bumblienė

Contemporary Art Centre, Vilnius

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On 13-17  September LIAA Project space “Malonioji 6″ featured Things in Storage exhibition by Andrius Svilys curated by Neringa Bumblienė

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Upcoming Saturday in Vilnius!

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Contemporary Art Daily. A Daily Journal of International Exhibitions. | Artist: Liam Gillick Venue: Le Magasin, Grenoble Exhibition Title: From 199C to 199D Date: June 6 – September 7, 2014 Click here to view

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MOUSSE CONTEMPORARY ART MAGAZIN.

documentation of the exhibition

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From 199C to 199D. Liam Gillick

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A Pledge. The First Part of a Trick

We might think of a trick as something fraudulent. But then, as with a modern conjuror, fraud too requires an exact mimesis of nature. Think of the airplane wing. Think of the blue feather ensuring that the arrow flies straight. So we need to be thinking of the trick as something scientific and real, bearing a scrupulous understanding and manipulation of things, including the human body in relation to such things. But the trick slides, it seduces, it cajoles (“Hey Duchess!”), it knows and enjoys the leap beyond the thingness of things.

Michael Taussig[1]

A plasterboard box, four and a half meters long, two and a half meters wide and of the same in the grand floor of Klaipeda Art Centre, is actually a room in a room. The space isolated from the inner space of the building is as an island. A bit like a boat, I would say. Just like a boat, it is stimulating imagination.

Physically it is the remnant from the French-Lithuanian exhibition “Prestige: Phantasmagoria now”, that was held in the autumn of 2012. Art critic Nicolas Bourriaud in his text, published in catalogue of the exhibition[2], adverts that the term ‘prestige’  came from the vocabulary of illusionists and is one of three component parts of a magic trick; its outcome, to be more precise. A prestige follows a pledge, when at a first glance ordinary objects are presented in a particular situation; and the trick itself that transforms conventional situation into an extraordinary moment.

I do not consider magic literally. I think about things, about stories things tell, how they tell them; about   relations of those objects, stories and storytelling techniques (with subjects), and dynamics between them.

I am thinking about situations that have the ability to create a pretext for rapture or difference to occur in a flow.

The box left from the latter exhibition (being part of the last stage of the trick) here, through the trick itself, turns into its germ – the pledge.  Now it is a trigger for another project, which is extended in time for a season, like TV series.

[1] Michael Taussig, The Stories Things Tell And Why They Tell Them, e-flux journal#36, 07/ 2012, www.e-flux.com

[2] Prestige: Phantasmagoria Now, exhibition catalog, Klaipėda: KCCC, 2012, p. 24.

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A Pledge. The First Part of a Trick – 01 – While Being in a Room I Hear a Fountain

Author of the exhibition is a young Lithuanian artist Andrius Svilys (born 1992) who now lives and works in London.

01 – While Being in a Room I Hear a Fountain

Andrius: A short story from Gert Jonke‘s pseudo-autobiographical novel The System of Vienna got me thinking about sculptures that want.  I wonder about relationships that bond things. How would sculptures express their attraction to each other?

Neringa: A desire. Also, a desire of fruit trees of distant lands.

Andrius: The only witnesses of that garden are the sculptural fragments and materials that are typical to that region, but are not from that region and not from that garden – only evoking those places.

Neringa: Looking at the garden, I notice a breast (this word sounds so strange when it’s singular) that is made from transparent resin, overgrown by false bronze… I remember a prop.

Andrius: According to Wikipedia, props are elements of scenography, which are manipulated by actors, i.e. are touched or hand-held.

Neringa: Installation as a scenography or a game?..

Andrius: But what do you think about art as a detective fiction?

  Author of the exhibition: Andrius Svilys

Curator: Neringa Bumblienė

Organizers: KCCC, The Purple Swamphen

Dates of the exhibition: 19 April - 26 May, 2013

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A Pledge. The First Part of a Trick – 01 – While Being in a Room I Hear a Fountain, Andrius Svilys, 2013

Curator Neringa Bumblienė

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A Pledge. The First Part of a Trick – 02 – As If the Arrow Is Thinking

Authors of the exhibition “A Pledge. The First Part of a Trick – 02 – As If the Arrow Is Thinking” are young artists’ duet Tim Kliukoit (b. 1984, lives and studies in Vilnius) and Paul Paper (b. 1985, lives and studies in London). They are interested in a possible dynamics of relation between an artwork, an artist and a viewer. 

02 – As If the Arrow Is Thinking

It is as if the arrow is neither in the room, nor on the stage. I keep remembering a slide that Tim has found somewhere and even though there is no arrow in the slide either – I am thinking about circus and performances of conjurers (in duet!), where the arrow could be found at.

That is how the arrow is touching you with one of its verges. Therefore, once you enter a room, the room is also a stage. And once you are in the stage, it becomes less clear if you are here as a random follower, or as a performer, a conjurer, an artist; or as a tamer of it, of the arrow, who pulls in the string of the bow. Not necessarily the bow, perhaps. Perhaps the arrow could slice the air without the bow. Could it fly without you?

And since you are the tamer, the artist, the conjurer, the performer or just an arrow-following, room-entering stranger, insensibly you start thinking about the plurality of the roles. And if you drew a certain parallel here, it may become clear that there is also a target or a point in the plural (i.e. there are targets and points) that are being aimed at.

But.

Maybe the arrow is self-dependent and even when you think you are aiming with it at a target (or, as has been clarified previously, at targets), the arrow might turn back and aim itself at you. At this moment all the essence of a game is poured out from its box and all figurines on a board are rearranged in a completely new order.

Thus you start thinking that the arrow necessarily exists. It is aiming at a target, at targets, at a network of targets, at a line, at a spiral, stretching itself into an infinite, and at you. As I was once told: if there is a weapon (the arrow!) on a stage, it will inevitably shoot at the end.

  Authors of the exhibition: Tim Kliukoit and Paul Paper

Curator: Neringa Bumblienė

Organizers: The Purple Swamphen, KCCC

Dates of the exhibition 31 May - 14 July, 2013

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A Pledge. The First Part of a Trick – 02 – As If the Arrow Is Thinking, Tim Kliukoit and Paul Paper, 2013

Curator: Neringa Bumblienė 

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A Pledge. The First Part of a Trick – 03 – Against Their Reason

Author of the exhibition “A Pledge. The First Part of a Trick – 03 – Against Their Reason” is a young French artist Simon Nicaise (born 1982). S. Nicaise works with sculptural objects. He lives and creates in Paris. The artist’s works often reveal unexpected and unpredictable, yet somehow possible sides of things and gestures.

03 – Against Their Reason 

Somehow recently, I have become able to step into moments of misunderstanding. It is not only about language (nails nailed into themselves). It is also about gestures and objects (penetrating whiteness of the wall in front of your half-closed eyes).

I was really baffled at first, but then I realized I can now concentrate on lining instead of linen. This is how the football field has been marked anew. A smell of paint. A whistle of a coach; frightening and hypnotizing simultaneously.

Coronation of misunderstanding (the game is dead, long live the game!) is an opportunity to understand, misunderstand and understand everything anew. There is a space of seven breaths in this playground, where you can add some things or take them away, where you can redirect causality. Here, a windmill does not turn because of winds anymore. Now it is celestial bodies, conceptualized movement of celestial bodies that determine the spin.

Time.

After all, these moments of misunderstanding rarely occur in solitude. Even though it is not always obvious, it is still about different kinds of interactions in the end.

Somehow recently...

  Author of the exhibition: Simon Nicaise

Curator: Neringa Bumblienė

Organizers: The Purple Swamphen, KCCC

Dates of the exhibition: 19 July - 18 August, 2013