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Santykio chronologija – tai Romos Mikalauskyt\u0117s, Paul\u0117s Vaitkut\u0117s, Evos Laumos (Evelinos Tamkvaitien\u0117s) ir Can Etterlin \u2013 Abican paroda nagrin\u0117janti kolektyvin\u012f \u017emogaus ry\u0161\u012f su aplinka Antropocene \u2013 laikmetyje, kuriame \u017emogaus veikla stipriai \u012ftakoja planetos ekosistemas. Keturi menininkai, pasitelkdami skirtingas prizmes, gilinasi \u012f sud\u0117ting\u0105 pusiausvyr\u0105 tarp gamtos, \u017emonijos ir nuolat besikei\u010dian\u010di\u0173 gyvyb\u0117s ir mirties cikl\u0173, pabr\u0117\u017edami j\u0173 esmin\u012f vaidmen\u012f ekologiniame pasakojime.<\/div>\n

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Projekte “Laim\u0117s indeksas” Roma Mikalauskyt\u0117 veda \u017ei\u016brovus per fizikos prizm\u0119, atskleisdama iliuzijas, kurios da\u017enai u\u017ego\u017eia laim\u0117s ir gerov\u0117s suvokim\u0105. Meninink\u0117 kvestionuoja laim\u0117s samprat\u0105, teikian\u010di\u0105 pirmenyb\u0119 gra\u017eiam fasadui be tvirto pagrindo, tampan\u010dia niekada nepasiekiama iliuzija. Remiantis \u0161iame projekte apsvarstomomis laim\u0117s id\u0117jomis, paroda si\u016blo pa\u017evelgti \u012f \u0161i\u0105 samprat\u0105 i\u0161 \u017emogaus ir jo aplinkos santykio perspektyvos, kuomet laim\u0117s suvokimas yra neatskiriamas nuo sav\u0119s, kaip dalies gamtos, supratimo.<\/div>\n

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\u012e filosofinius pam\u0105stymus apie kult\u016bros ir gamtos santyk\u012f kvie\u010dia Paul\u0117s Vaitkut\u0117s menin\u0117 instaliacija “Koordinat\u0117 55\u00b013’31,5 “N 22\u00b053’57,3 “E I Mutacija”, kurioje perteikiamas asmeninis santykis su mi\u0161ku, bandant j\u012f atkurti savitu b\u016bdu,- per menines praktikas. Plastmasiniai med\u017ei\u0173 kamien\u0173 atspaudai be \u0161akn\u0173, be \u0161ak\u0173 ar lap\u0173, leid\u017eia kurti fiktyvi\u0105 ateities mi\u0161ko interpretacij\u0105. Kamien\u0173 spausdinimas i\u0161kelia tira\u017eavimo mene klausim\u0105, u\u017esimenant apie \u017emogaus kuriam\u0105 dirbtin\u012f kra\u0161tovaizd\u012f, masin\u0119 gamyb\u0105. \u0160i parodos dalis kvestionuoja m\u016bs\u0173 realyb\u0117s suvokim\u0105, bei si\u016blo \u012fgalinti naujus mi\u0161ko ir gamtos pa\u017einimo b\u016bdus, apsvarstant \u017emogaus ir gamtos s\u0105sajas.<\/div>\n

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\u0160ios s\u0105sajos atsiskleid\u017eia ir Evos Laumos k\u016brini\u0173 serijoje “Atsisveikinimas – gyvyb\u0117”, kuris tarsi nostalgi\u0161ka od\u0117 nykstan\u010dioms egl\u0117ms, stebi gamtoje vykstan\u010dius gyvyb\u0117s ir mirties ciklus. \u012evertindami \u0161i\u0173 nat\u016brali\u0173 proces\u0173 atsikartojim\u0105 \u017emogaus egzistencijoje, galime geriau save pozicionuoti platesniame gamtos kontekste, ne tik kaip \u017emog\u0173 nuolatiniame kisme, bet ir kaip savo aplinkai poveik\u012f daran\u010di\u0105 b\u016btyb\u0119 \u2013 puosel\u0117jant ar pa\u017eeid\u017eiant trapi\u0105 gyvyb\u0117s pusiausvyr\u0105.<\/div>\n

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Gamtos ciklai atsiskleid\u017eia ir Can Etterlin \u2013 Abican k\u016brinyje “Das Wasser ist niemals einsam” (\u201eVanduo niekada n\u0117ra vieni\u0161as\u201c), kuriame k\u016br\u0117jas leid\u017eiasi \u012f kelion\u0119 kartu su vandens t\u0117kme. \u0160ioje kelion\u0117je jis \u012fam\u017eina savo santyk\u012f su gamta, steb\u0117damas kaip aplinka veikia j\u012f ir, atvirk\u0161\u010diai, kaip jis \u012ftakoja j\u0105. Taip menininkas sukuria audiovizualin\u0119 patirt\u012f, paremt\u0105 jusliniu gamtos tyrin\u0117jimu ir rezonanso paie\u0161komis. Jo projektas skatina \u012fsiklausyti \u012f gaivali\u0161k\u0105 gamtos kuriam\u0105 simfonij\u0105 ir suvokti savo vaidmen\u012f tiek jos trikd\u017eiuose, tiek harmonijoje.<\/div>\n

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Paroda vienija \u0161i\u0173 meninink\u0173 vizijas, pabr\u0117\u017edama neatid\u0117liotin\u0105 poreik\u012f atkurti ry\u0161\u012f su aplinka ir primindama, kad \u017emogaus egzistencija yra ne i\u0161skirtin\u0117, o veikiau sud\u0117tin\u0117 nesibaigian\u010dios gamtos istorijos – harmoningo gyvyb\u0117s, mirties ir atsinaujinimo \u0161okio – dalis.<\/div>\n

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Paroda veiks: 2023 12 06 – 30<\/div>\n

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Parodos kurator\u0117: Liucija Dervinyt\u0117<\/div>\n

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Parodos r\u0117m\u0117jai: Nordic Culture Point, Rentway<\/div>\n

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On the 16th of December, 12.00, we invite you to a meeting with Paule Vaitkute, one of the artists of the exhibition “Chronology of Relationship”, during which she will present her artistic installation “Coordinate 55\u00b013’31.5″N 22\u00b053’57.3″E I Mutation”.<\/div>\n

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Exhibition “Chronology of Relationship” by artists Roma Mikalauskyt\u0117, Paul\u0117 Vaitkut\u0117, Eva Lauma (Evelina Tamkvaitien\u0117) and Can Etterlin \u2013 Abican explores the collective human relationship with the environment in the Anthropocene, a time when human activity profoundly impacts the planet’s ecosystems. Using different prisms, the four artists delve into the complex balance between nature, humanity, and the ever-changing cycles of life and death, emphasizing their essential role in the ecological narrative.<\/div>\n

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In the project “Index of Happiness,” Roma Mikalauskyt\u0117 leads the audience through the prism of physics, revealing the illusions that often obscure the perception of happiness and well-being. The artist questions the notion of happiness, one that prefers a beautiful fa\u00e7ade without a solid foundation, becoming an illusion that is never attainable. Based on the ideas of happiness considered in this project, the exhibition proposes to look at this concept from the perspective of the relationship between humans and their environment, where the perception of happiness is inseparable from understanding oneself as a part of nature.<\/div>\n

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The artistic installation “Coordinate 55\u00b013’31.5″N 22\u00b053’57.3″E I Mutation” by Paul\u0117 Vaitkut\u0117 invites philosophical reflections on the relationship between culture and nature, conveying a personal connection with the forest in an attempt to recreate it in a unique way \u2013 through artistic practices. Plastic prints of tree trunks without roots, branches, or leaves allow for the creation of a fictitious interpretation of a future forest. The printing of tree trunks raises questions about reproduction in art, alluding to man-made artificial landscapes and mass production. The artist questions our perception of reality and proposes enabling new ways of understanding the forest and nature by considering the relationship between humans and nature.<\/div>\n

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These connections are also revealed in Eva Lauma’s series of works, “Farewell – Life,” which, like a nostalgic ode to disappearing spruce trees, observes the cycles of life and death in nature. By appreciating the recurrence of these natural processes in human existence, we can better position ourselves in the wider context of nature, not only as human beings in a constant state of flux but also as beings who impact their environment – nurturing or upsetting the delicate balance of life.<\/div>\n

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The cycles of nature are also unveiled in Can Etterlin \u2013 Abican’s piece “Das Wasser ist niemals einsam” (Water is never alone), where the artist embarks on a journey with the flow of water. On this journey, he captures his relationship with nature, observing how the environment affects him and, conversely, how he affects it. In this way, the artist creates an audiovisual experience based on a sensory exploration of nature and a search for resonance. His project encourages us to listen to the spontaneous symphony that nature creates and to understand our role in its disturbances as well as its harmony.<\/div>\n

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The exhibition unifies the visions of these artists, emphasizing the urgent need to reconnect with the environment and reminding us that human existence is not exclusive but rather an integral part of the never-ending story of nature – a harmonious dance of life, death, and renewal.<\/div>\n

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Exhibition dates: 2023 12 06 – 30<\/div>\n

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Curator: Liucija Dervinyt\u0117<\/div>\n

Sponsors: Nordic Culture Point, Rentway<\/div>\n

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