September 21 – October 19, 2013

Solo Show by Antanas Gerlikas The Picnic at Art in General (NYC)

The Gardens are pleased to announce a solo exhibition by Lithuanian artist Antanas Gerlikas The Picnic, on view at Art in General’s Musée Miniscule from September 21 – October 19, 2013. The Picnic marks the first exhibition in a yearlong curatorial residency of The Gardens at Art in General.

The Picnic stems from a double source – modernist imagination and labor. Gerlikas employs the most traditional materials of modern sculpture, wood and brass, which require specific knowledge and meticulous hand production even if the three pieces obdurately resemble found objects, either from nature or distant cultures. The artworks in the exhibition travel through time, encompassing Brancusi-like forms and futuristic velocity of thought and movement that only a sculptor can dream.

The Picnic verges on the quotidian – be it a musical instrument, a stick, or a signature – the pieces hinting at their resemblance to existing prototypes in the world. It is a collection of quasi-objects, which as French philosopher Michel Serres asserts are not quite natural, nor quite social. “As if though I would be carving a chair and would make a move, a slight change in the direction of producing it, and in the end it would be a chair and at the same time something else,” says Gerlikas. An artist attempts to craft objects, which would not exist in a world before. Though the very instant that an object comes into sight, it bears a meaning and a function. Imagine a strange object found in an archeological expedition, instantly brought back to life because someone names its technology and recalls what it is. With The Picnic Gerlikas welcomes a viewer for meeting, sharing and noncommittal socializing while recognizing the objects on a black table and next to it as an exercise or a technique for keeping an individual memory inscribed and passed over.

Curated by Inesa Pavlovskaite

Antanas Gerlikas (b. 1978) is an artist living and working in Vilnius, Lithuania. He studied Fine Glass and later sculpture at Vilnius Academy of Arts. Recent exhibitions and projects include: Waif Shadow, Objectif Exhibitions, Antwerp, Belgium (2013), Project 35: Volume 2, Art Gallery of Windsor, Ontario, Canada (2013), Audit, CAC, Vilnius, Lithuania (2012), The Museum Problem, Frutta Gallery, Roma, Italy (2012).

Art in General is a nonprofit organization that assists artists with the production and presentation of new work. Art in General was founded in 1981 and in its 30 years, the organization has emerged as one of New York City’s leading nonprofit arts organizations. Art in General fulfills its mission in a variety of ways, including the organization and presentation of exhibitions, hosting a national and international artist residency program, and through regular public programs and membership events.

Opening is on Saturday, September 21, 6-8 pm.

Art in General, 79 Walker St., NYC.

Photo


The volume of the mouvement, 2013
Musical Instrument, 2013


The volume of the mouvement, 2013
Musical Instrument, 2013
Untitled (the movement that didn’t have a dog and a stick around it), 2012

 


June 21 – July 21, 2013
Sput

Opening 2013 June 21, 7.00 pm

The Gardens,
Konstitucijos av. 12 A, Vilnius (planetarium)

Event is supported by Ministry of Culture of The Republic of Lithuania
 
Photos

Photos by Robertas Narkus


Texts


 


Rūtenė Merkliopaitė and Konstantinas Bogdanas Jr. at Malmö Konsthall

 

The Gardens are pleased to announce the participation in the project 24 Spaces-A Cacophony to be opened on May 3rd at Malmö Konsthall, Sweden. This exhibition is dedicated to the presentation of a number of non-commercial artist- or curator-driven activities. There is a clear interest in global collaboration and an awareness of its importance as well as encouragement for the productive discussion and dialogue.

The Gardens present the exhibition of paintings, drawings and a sculpture by two Lithuanian artists Rūtenė Merkliopaitė and Konstantinas Bogdanas Jr.

Kindly supported by LR Ministry of Culture

Thank you: Embassy of the Republic of Lithuania to the Kingdom of Sweden, Vilnius Academy of Arts


March 23, 2013
Geneva Jacuzzi

Press release

Let it be later than never: a musician, writer of lyrics Geneva Jacuzzi from LA is coming to Vilnius. Geneva is a performer, whose lyricism works out your imagination, and her music is very familiar to your body and soul due to the analogue signal it is exposed over. Post punk Cleopatra, a model from the 80s and a teenager form the 90s – these are only a few of her alter egos. An album “Lamaze” is one of these rarities that, after you have listened to it for 20 times, you can continue listening forever: tuff, hammering, dreamy, synth, rap, visual, dark, deep, significant.

Online:

http://genevajacuzzi.com/

http://thegardens.lt/

http://dosclub.tk/

http://surfthroughrockcountry.tumblr.com/

Photo

 


December 15 – February 15, 2013


About


The Gardens is happy to announce the opening of the solo show of Lara Favaretto this Saturday, December 15, 2012.

Lara Favaretto (b. 1973) is an Italian artist living and working in Torino, Italy. Her works – sculptures, installations, and performances – carry references to the contemporary society, the convention of its autonomy and control systems, industrial world, and art history. Favaretto’s art is in many cases satirical; humor here is fused together with tragedy and drama. Animated objects such as “dancing” washing poles from a car-wash, sealed room full of confetti, or “whistling” gasbags, makes one smile and at the same time become worried due to the uncannines of the “physiognomies” of self-suffcient things one is facing. The artist often deals with the objet trouvé or her own pieces previously exhibited, which taken apart or in whole expose new potentialities and powers. Her artworks bear a quality of the ephemeral expressed through the shifting nature of the objects she employs for her pieces.

For the first time the three artworks are exhibited in one space: “27 Luglio” (“July 27″), 2002, “DOVE VA LA STRADA VA LO STESSO” (“WHEREVER THE ROAD GOES, IT GOES THE SAME”), 2006, “For All Ages”, 2006. Conceived especially for The Gardens the installation is composed of ventilators blowing air in a certain speed necessary to make the drawings and the calendar with the date of the artist’s birthday stay on the wall.

The idea is to think about the space in a different speed so that it could be possibly reconstituted elsewhere.

Recent solo shows include: “Momentary Monument IV” in d’OCUMENTA (13), “Just Knocked Out” at MoMA PS1, 2012, “Painlessly Consumed” at Franco Noero gallery, 2010. Selected group shows: “Making Worlds” in the 53rd Biennale of Venice, 2009, Frieze art projects at Frieze Art Fair, 2007.

Curators: Gerda Paliušytė and Inesa Pavlovskaitė
Opening this Saturday, December 15, 2012, 7-9pm
The exhibition is on view through February 15, 2013.

Kindly supported by LR Ministry of Culture.

Photos

Lara Favaretto, installation view

Lara Favaretto, 27 Luglio, 2002

Lara Favaretto, DOVE VA LA STRADA VA LO STESSO, 2006

Lara Favaretto, For All Ages, 2006.

Lara Favaretto, DOVE VA LA STRADA VA LO STESSO (detail), 2006

Photos by Robertas Narkus

 


August 31—September 21, 2012

Exhibition of Gediminas G. Akstinas  and Jurgis Paškevičius

Press release

Scale and size in this exhibition become a thought traveling between objects and distances, or it turns to be a separate shape that Odysseus has in mind when walking with an oar on the shoulder and waiting for a question of a stranger what the shovel is for.

Gediminas G. Akstinas (b. 1987) currently lives and works in Vilnius.  Recent exhibitions: Evening with dr. Sheppard , Contemporary Art Center, 2012;  Sparrows, Cntemporary Art Center , 2012; 2012; Scenario for Swimming Pool, Vilnius Lazdynai Swimming Pool, 2012.

Jurgis Paškevičius (b. 1987) currently lives and works in Amsterdam.  Recent  exhibitions:  Sparrows, Cntemporary Art Center , 2012; Who’s Knocking At My Door?, TV Series, Episode 1, 2, 3, Bosboom Toussaintstraat, 2012; Scenario for Swimming Pool, Vilnius Lazdynai Swimming Pool, 2012.

Text for the exhibition

This exposition could have many titles. Each of them would depend from the first thought of a visitor, which would lead the body from one artowk to another, from one to another. This is the way Moby Dick or Snowflakes could appear, or Moby Dick in the Snow. In this case Moby Dick wouldn’t be visible – Herman Melville said that it was a white whale and even more tangible objects loose their forms and sizes in the heavy snow. At that time their appearance is dependent from you – the spectator and snowflakes – outer factors on this side. A wish to understand things more cleary could stimulate the need for a scale and take you for a search of a subsidiary size, necessary for creation of this scale. Such as a matchbox in the pocket. A gaze would wander through the surface of the matchbox, slip back to itself and then again towards the same object or phenomena that it seeks to perceive. This is the way how some things become the scales-conventional sizes, mediators between the spectator and the view which is more complicated for grasping at once.
It’s even more interesting how the thoughts themselves become this kind of mediators, which lead to finding of a matchbox in a pocket and later on a palm, thinking about it as a size, necessary for understanding the form, which appeared just in front of your eyes that day and surprised you. Thoughts also appear as forms; independent from the direction we are guided by them. If talking about a color we notice the deep of it, at the same time we meet a thought, thriving in a spereate shape in the motion of this observation. Having understood this, it is interesting to think about a thought, which acts as a conventional size/scale, a thought-scale; to consider how the same thought strikes against particular examples, how it changes after and lets itself to be carried further by this. Pepsi or Coke?
On the other hand, exhibition is not a given map. The artworks of the exhibition each indicating the variable sizes or contours form together the mountains crest. All the exposition together with the artworks acts as the potential scales, and scales could become guides for the new maps to appear.

Gerda Paliušytė

Photos

Gediminas G. Akstinas, Wish from the Idea, 2012
Drawing on paper put in the corridor next to the main entrance of the Hall of Stars.

Gediminas G. Akstinas, Untitled, 2012
Two stills from the video, which was made in Vilnius Picture Gallery at the same day, when the curtains were being washed. Prints are hanging next to the back entrance of the Hall of Stars.

Gediminas G. Akstinas, Screening of the shot, 2012
Shot is shown in the cinema hall on 31.08 at 7:30pm and 8pm.

Jurgis Paškevičius, Look-alike, 2012
Black and white photography hanging on the column in the hall on the second floor.

Jurgis Paškevičius, Fonts, 2012
Black and white slide projection in The Gardens exhibition space.

Jurgis Paškevičius, Tracking the Satelite, 2012
A photography of an object from the roof of the planetarium, that would appear on the Internet. The object will stay on the roof till the first meeting with the satelite taking picture of him.


August 15th, 2012

Francesco Pedraglio
“…an ordinary healthy romance, which is the old story (and other stories)”

Performance at The Gardens starts at 6.30pm.

Photos

Photos by Robertas Narkus

 


July 1—July 28, 2012

Exhibition by Laura Kaminskaitė 

Press release

Walking in a Title by Laura Kaminskaite at the exhibition room The Gardens

July 1—July 28, 2012
Opening on the 1st of July at 6 pm.

Walking in a Title is a solo show by Laura Kaminskaite where an artwork, a title, the exhibition space and the texts—ghosts are constantly exchanging their places. Living structures create here different times through which one can stroll in various styles.

Other participants are Valentinas Klimasauskas, Francesco Pedraglio, Matthew Post (aka Post Brothers).

Laura Kaminskaite (born in 1984) is a young generation artist who creates objects, books and texts. The logic of everyday world and the one of art world (as well as the absence of both) are lapping in Kaminskaite’s oeuvre. The infinite actualization of forms is happening here restlessly at every wink.

Recent shows: “Sparrows” (Lithuanian Art 2012), CAC, Vilnius, 2012; “Evening with Doctor Sheppard” (Lithuanian Art 2012), CAC, Vilnius, 2012; “Intermission”, Riga, 2011.

Curator: Inesa Pavlovskaite

The Gardens
Konstitucijos pr. 12A (planetarium), Vilnius, Lithuania
Opening hours: 
Thursday-Friday
 5—7pm
 or by appointment
www.thegardens.lt

Event is supported by Ministry of Culture of The Republic of Lithuania

Photos

Photos by Laura Kaminskaitė

 


May 19 – June 12, 2012

Solo show of Marija Olšauskaitė

Titanium towers

I
Marija Olšauskaitė says that Titanium crystal resembles St. Ann‘s church towers, that she sees through the window in her studio. I persuaded myself when we were looking the Kazimieras Vilčinskis „Vilnius Album“ (1842-1875). Opening the first plate, the portrait of the author was standing there as if in a travelling altar. Big and beautiful. Accompanied by him we travelled through the plates of the album, the city reflected in its own engravings. Colourful blisses in soviet time reproductions – on the pavement of a street, on the corner of a facade, on a lady‘s sitting on a bench shoe.

It is interesting that the same album reproductions one can see in a hospital in Pylimo street. And in front of it, on the very same street as the hospital, there is a crystal and mineral shop. The shopkeeper had to curate Marija‘s exhibition first. That time she wore a high tower-form hat and read us the description of the Titanium crystal:

Титаниум или титанит – минерал, силикат калция и титана. Встречается в виде уплошенных кристаллов. Цвет бурый, желтый, желто-зелёный, иногда красный, розовый, зелёный. Синоним титанита – сфен. Слово «сфен» в переводе с греческово означает «клин», и действительно, кристаллы етого минерала имеют характерную клиновидную форму. Минерал сфен – замечятелной красоты камень…

II
Things can be properties of the world. Gaston Bachelard called the ball or the sphere as such – essential quality of the world. The other philosopher, mexican Manuel deLanda said that the cube, the crystal structure is a form through which one can constitute the surrounding world. M. deLanda is also known for his research of a so-called state of changed consciousness in psychedelic experience. For fifty years already with a guidance of his shaman, M. deLanda experiences something that he says to change the material substance of his brain. According to him, the brain at that moment become liquid form.

(Try a cocktail)

III
My ex-roommate was a herbalist. Once she called Marija „the little sculptor“. Marija Olšauskaitė is a sculptor from Vilnius and it is true that sometimes she likes small objects. These are the „Cocktail figures“ (2011), clinched mermaid with an ape, made is cobalt and metalled with copper layer. They are in my pocket during the exhibition opening. Small is the dress that you see in the room aswell, though in theory it may be worn by the viewer – it is a reflection of a crystal in the stained-glass piece – another object you see in the show. Slightly hidden glairing dress is named „The Cairo Night“. „The Cairo Night“ is also a stone, a silicate mineral, that was found one thousand years ago. When the ex-curator of this exhibition – the mineral shopkeeper – showed it to us, we spoke about how differently it had to affect people who lived at that time. They never saw moving images, were they thinking in somewhat visions or framed signs of visuality? Cairo Night hauls you inside of it – inside of the dark stone you see many shining crystals.

IV

But truly this all show presents a single artwork – that is a Stained-glass piece. Namely through it Marija Olšauskaitė experience the space relating it to other pieces; and then it‘s not that difference what originated first. In a composition of a chromatic glass all beforementioned stories are contained but they only grasp the time in which the piece was created. While it is impossible to seize the artwork‘s impact. If the exhibition were its own reflection, that would be it – a stained-glass of crystal that reflects the city. Therefor: the exhibition–City, the exhibition–Stained-glass, the exhibition – Marija Olšauskaitė.

Monika Lipšic

 

Press release

Marija Olšauskaitė, b. 1989 is a youngest generation artist apparent in Vilnius. In her first solo show she presents a composition which story is told through an image and a reflection of a crystal. In a single art work exhibition a reason equals a result.

Marija says that Titanium crystal is very much like towers of the St. Ann‘s church, that she sees through the window in her studio. I was thoroughly persuaded when thumbing Kazimieras Vilčinskis‘Album of Vilnius (1845-1856). It‘s interesting that the reproductions of this album can be also found in a clinic on the Pylimo street, on the first floor. And just in front of the clinic, on the very same street, there is a crystal and mineral shop, which keeper had to curate the exhibition by Marija Olšauskaitė. At that point she read us aloud a Titanium crystal description.

Curator Monika Lipšic

Exhibition opening 19 h, May 19th

Photos

Photos by Rūta Junevičiūtė

 


6 April – 10 May, 2012

Gediminas Akstinas and Antanas Gerlikas Exhibition of meetings

Exhibition of Meetings

One old museum worker, responsible for the formation of the permanent exposition in a small art musem and having a weakness for abstract painting, when meeting me often complains, that, some artworks, that he likes a lot, loose their affectness just after they appear in a musem collection. He usually tells me about the time he saw a marvellous painting in the studio of local artist, which has become the most beautiful depiction of a city in the evening he has ever seen. After putting some efforts, museum purchased that painting. The museum worker himself was strongly disappointed after realising that he can‘t find a suitable place for the exhibit of the picture. Later on he understood that he was involuntary trying to recreate a primal impression left by the painting; it was getting dark at that time, the twilight was slowly penetrating into the studio and the one who painted the picture was silently, almost without breathing, holding a light for his painting from a small lighter, with a wish to prolong the time of a meeting between the museum worker and the artwork. After telling this story museum worker underlines that every meeting with the artowrk never repeats itself and before saying goodbye he mentiones that he is still writing a book about the experience of meeting a painting I have just told you about.

A book still being written by the museum worker has already gained a physical shape of an extended meeting. Imagine how the first glance of the museum worker would have changed, if he had known that seeing the painting would become a fabula of his forthcoming book. Thinking about a future book would have settled the look of the museum worker as well as the look predicted the narrative of a book.

This is the way this exhibition appeared. It started with the suggestion for Gediminas Akstinas and Antanas Gerlikas to meet at the Exhibition of Meetings. The experience of the two artists shows up in a dialogue situation knowing that their artworks would be seen in one room.

Punishment

The man was sick. He became aggressive, started knockabout in the streets, nagging people and fighting in bars at night. He would go out and shout – Hello LADIES!! I say HELLO! – but they would go away. So he would turn to the man passing behind him: – Hey, WHERE ARE YOU GOING, HA!? I am ASKING, where ARE YOU GOING, I SAID! DON’T BE AFRAID. Hah, just look at him! I SAID DON’T BE AFRAID. Hey, what, are you afraid, ha? HAAA!!! HA!!!! Where are you going?! Where the fuck are you running I said! COME HERE YOU MOTHERFUCKER, WHY ARE YOU RUNNING?!!

People nearby didn’t know what to do and called the police. They packed the aggressive subject and took him away.
The next day the same man comes back home and awaits a phone call. A pleasant female voice asks him to come there and there. He goes.

They lead him through the door and you appear in front of the other man who doesn’t introduce himself.
- Hello, hello – nice to see you! – he is very friendly.
Next to the other table sits a young woman. Her hair is long and luminous, she seems attractive to you.
Then you are prescribed a travel to exotic land where you will spend four weeks learning to play reed-pipe.

This story was once told by Antanas Gerlikas. Its reliability aswell as authenticity cannot be proved, but this story same as any exhibition and artwork may become the beginning or the middle of a trip; or simply pop up from your memory when you meet someone.

Monika Lipšic

 

Photos

Antanas Gerlikas. Untitled. 2012

Antanas Gerlikas. Guide Stick. 2011
Gediminas Akstinas. Shelf Bench. 2012

Antanas Gerlikas. Impressions of races. 2010

Gediminas Akstinas. Watercolour. 1995

Photos by Robertas Narkus

Press release

Exhibition of meetings with artists Gediminas Akstinas and Antanas Gerlikas opened on 6th of April in a new Vilnius exhibition space “The Gardens“.

This exhibition appears as an experience in a cinema show after the electricity dissapearing, when after the light flash followed by the dive into the dark you start to feel someone next to you, while still impulsively looking to the screen and you smile because you know that he or she is smiling or regretting yet before the knowing why he or she is smiling or regretting. Exhibitions tend to follow a form of the trade. This time one sees what others two bring to the meeting; they already knew where were they going. Thus this exhibition becomes an interchange, similar to that when two travellers in a railway station swapped their newspapers. They continued their own ways and the newspapers were of different days.

Gediminas Akstinas (b. 1961) is an older generation artist, best known from his massive metal constructions and antropomorphous hand-made shelves. His artistic decisions are always related with specific locations and situations. In his works he often uses everyday things, while never forgetting their ideas and forms which give opportunities for new stories.

Last exhibitions: Dimension 1, CAC, Vilnius, 2006; Europe/4 points, Culture platform KultFlux, Vilnius, 2009; RITA Antanas Mončys house-museum, Palanga, from 2010.

Antanas Gerlikas (b. 1978) is a younger generation artist. In his oeuvre he analizes a logic of an artwork in various forms and does this while looking from a perpsective of a daily life and the artwork itself. In this exhibition of meetings Antanas Gerlikas will present his artworks as transitional objects.

Last exhibitions: A Walk, CAC foyer, Vilnius, 2012; The Museum Problem, galery „Frutta“, Rome, curated by Chris Fitzpatrick, 2012; Foto finish, author Raimundas Malašauskas, CAC, Vilnius, 2011.

Curated by Monika Lipšic and Gerda Paliušytė.

Vernisage April 6th, 18h

Exhibition will be on display untill May 10th

The Gardens, exhibition space in Planetarium, Konstitucijos pr. 12A, Vilnius

Open on Thursdays and Fridays 17-19h or by appointment.

www.thegardens.lt