https://zeimiudvarosodyba.com zeimiudvarosodyba Wed, 28 Oct 2026 13:14:09 +0000 https://zeimiudvarosodyba.com en https://zeimiudvarosodyba.com/Featured-Projects Wed, 14 Oct 2026 18:28:49 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/Featured-Projects <img width="912" height="119" width_o="912" height_o="119" data-src="https://freight.cargo.site/t/original/i/04645d7f933f7170ad2eb4368ab6f53ed06ee2e480b2b90862fce2d904640f13/unnamed-Photoroom.png" data-mid="253530801" border="0" src="https://freight.cargo.site/w/912/i/04645d7f933f7170ad2eb4368ab6f53ed06ee2e480b2b90862fce2d904640f13/unnamed-Photoroom.png" /> <img width="1280" height="720" width_o="1280" height_o="720" data-src="https://freight.cargo.site/t/original/i/528081387192b8e6e1e25ed22cbe1450972d525df108caeb8faae0a68fa2bbe1/aikaszadolaboratory.gif" data-mid="253659860" border="0" src="https://freight.cargo.site/w/1000/i/528081387192b8e6e1e25ed22cbe1450972d525df108caeb8faae0a68fa2bbe1/aikaszadolaboratory.gif" /> KONTAKTAI / CONTACTS:Domas Noreika dngartinstallation@zeimiudvaras.lt+37061002855 TERITORIJOS LANKYMO LAIKAS / VISITING HOURS: I - nelankoma / closedII-VII - 10:00val-18:00val / 10:00am-18:00pm Norint užsisakyti išplėstinį pažintinį vizitą, ekskursiją, fotosesiją ar kitokį apsilankymą, būtina išankstinė registracija. / Advanced registration is required for extended visits, guided tours, photo sessions or other activities. PAŽINTINĖS EKSPEDICIJOS (EKSKURSIJOS) / GUIDED TOURS Dvaro teritorijoje ir rūmuose / Manor grounds and palace Trukmė / Duration: 1 val. / 1 hour Kaina / Price: 15 € asmeniui / per person Būtina išankstinė registracija. / Advance registration is required. FOTOGRAFAVIMAS / PHOTOGRAPHY Fotografuoti galima tik gavus leidimą. / Photography is permitted only with prior approval. REKVIZITAI / LEGAL INFORMATION Asociacija „Aikas Žado“, 303065892. SOCIALINIAI TINKLAI / SOCIAL MEDIA ︎: https://www.facebook.com/aikaszadolaboratory ︎: https://www.instagram.com/zeimiaimanorhouse/ https://www.instagram.com/aikaszadolaboratory/&nbsp; <img width="591" height="264" width_o="591" height_o="264" data-src="https://freight.cargo.site/t/original/i/85d0ff97c7a841e81e93f43fa449492967c707c034ba7eec2c49341fa2f5b046/Subject-2.png" data-mid="253556006" border="0" src="https://freight.cargo.site/w/591/i/85d0ff97c7a841e81e93f43fa449492967c707c034ba7eec2c49341fa2f5b046/Subject-2.png" /> APIE / ABOUT <img width="1110" height="1480" width_o="1110" height_o="1480" data-src="https://freight.cargo.site/t/original/i/78a8a73ab2dd57b1831067e89bb0662e95e634f5c4628237c37c7496c95e8980/curatorial.png" data-mid="253390574" border="0" data-scale="90" src="https://freight.cargo.site/w/1000/i/78a8a73ab2dd57b1831067e89bb0662e95e634f5c4628237c37c7496c95e8980/curatorial.png" /> ŠIUOLAIKINIO MENO PARODOS / CONTEMPORARY ART EXHIBITIONS <img width="1480" height="1425" width_o="1480" height_o="1425" data-src="https://freight.cargo.site/t/original/i/bdce087ba796f12dd750273d1afd1e13938fd731c0264e0592355b15d0a3b7e3/Subject-10.png" data-mid="253657778" border="0" data-scale="85" src="https://freight.cargo.site/w/1000/i/bdce087ba796f12dd750273d1afd1e13938fd731c0264e0592355b15d0a3b7e3/Subject-10.png" />PROJEKTAI / PROJECTS <img width="1482" height="995" width_o="1482" height_o="995" data-src="https://freight.cargo.site/t/original/i/ad1c06ac0e6bb39efcf01643ac8e8d905b6d0975a2893bb2bc4f4112553b3edd/Subject-5.png" data-mid="253594423" border="0" data-scale="83" src="https://freight.cargo.site/w/1000/i/ad1c06ac0e6bb39efcf01643ac8e8d905b6d0975a2893bb2bc4f4112553b3edd/Subject-5.png" /> PUBLIKACIJOS IR SKLAIDA / PUBLICATIONS AND PRESS RENGINIAI / EVENTS <img width="2048" height="1072" width_o="2048" height_o="1072" data-src="https://freight.cargo.site/t/original/i/0940878016d9b99cf191efd4c89feb37589fbac5d88d87ba1028692ad99440c4/724033960_1631833471863644_4509007681508294719_n.jpg" data-mid="253659169" border="0" data-scale="27" src="https://freight.cargo.site/w/1000/i/0940878016d9b99cf191efd4c89feb37589fbac5d88d87ba1028692ad99440c4/724033960_1631833471863644_4509007681508294719_n.jpg" />&nbsp; 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&nbsp; &nbsp; <img width="1037" height="691" width_o="1037" height_o="691" data-src="https://freight.cargo.site/t/original/i/0ef6d3d10f6c38ca38f706d6754b12dc90917a6c452a642aff32a09759cdca3e/653403871_10165056919299602_8338148715829513903_n.jpg" data-mid="253811635" border="0" data-scale="21" src="https://freight.cargo.site/w/1000/i/0ef6d3d10f6c38ca38f706d6754b12dc90917a6c452a642aff32a09759cdca3e/653403871_10165056919299602_8338148715829513903_n.jpg" />&nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp; &nbsp;&nbsp;<img width="640" height="480" width_o="640" height_o="480" data-src="https://freight.cargo.site/t/original/i/674da9238fe753ef9b7ddf221d1a69666571953647057373613b5bc29aa3467e/854657914_10166103598899602_8331100823192643050_n.avif.jpeg" data-mid="253811637" border="0" data-scale="19" src="https://freight.cargo.site/w/640/i/674da9238fe753ef9b7ddf221d1a69666571953647057373613b5bc29aa3467e/854657914_10166103598899602_8331100823192643050_n.avif.jpeg" /> https://zeimiudvarosodyba.com/ZEMAT-2002-2014 Wed, 28 Oct 2026 13:14:09 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/ZEMAT-2002-2014 Informacija ruošiama https://zeimiudvarosodyba.com/DNG-ART-INSTALLATION Sat, 24 Oct 2026 19:03:27 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/DNG-ART-INSTALLATION Informacija ruošiama https://zeimiudvarosodyba.com/RESIDENCY-O-YO Sat, 24 Oct 2026 18:49:41 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/RESIDENCY-O-YO Informacija ruošiama https://zeimiudvarosodyba.com/INVISIBLE-MAN-S-CINEMATEQUE Sat, 24 Oct 2026 18:42:13 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/INVISIBLE-MAN-S-CINEMATEQUE Informacija ruošiama https://zeimiudvarosodyba.com/CENTER-OF-ECO-CENTRISTS Sat, 24 Oct 2026 18:40:54 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/CENTER-OF-ECO-CENTRISTS Informacija ruošiama https://zeimiudvarosodyba.com/SI-BIOARCHITEKTURA-SI-BIOARCHITECTURE Sat, 24 Oct 2026 16:29:22 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/SI-BIOARCHITEKTURA-SI-BIOARCHITECTURE Informacija ruošiama https://zeimiudvarosodyba.com/LANKESA Sat, 24 Oct 2026 16:28:23 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/LANKESA LANKESA <img width="780" height="1122" width_o="780" height_o="1122" data-src="https://freight.cargo.site/t/original/i/357a10c82a98c7597ed2af0e67cb6b3335cd53aceb4265dd86ec71d5403eca7d/Lankesa_experimental_shop-1.jpg" data-mid="253661011" border="0" data-scale="51" src="https://freight.cargo.site/w/780/i/357a10c82a98c7597ed2af0e67cb6b3335cd53aceb4265dd86ec71d5403eca7d/Lankesa_experimental_shop-1.jpg" />Instaliacija “Lankesa”, Aikas Žado Laboratorija, Žeimių dvaro sodyba, Lietuva, nuo 2015 iki dabar. / Installation “Lankesa”, Aikas Žado Laboratory, Žeimiai Manor House, Lithuania, from 2015 till now.ISTORIJA: Siuvimo barui bankrutavus, visas siuvyklos inventorius (spintos, kėdės, indai, buteliai, siuvimo mašinos, pasiūti drabužiai, lekalai, dėžės su sagomis, sąsagomis, užtrauktukais, adatomis, siūlai, etiketės, buhalterinės knygos, kvepalų buteliukai, akiniai, žurnalai ir t.t) buvo paliktas Žeimių dvaro sodybos žinioje. 2014 m. siuvyklos inventorius, nuo 2000-ųjų metų keliavęs po visas komplekso pastatų erdves, buvo surinktas, atrūšiuotas, sudėliotas ir pateiktas estetiniam visuomenės vartojimui instaliacijoje “Lankesa” (Eglė Ambrasaitė). Instaliacijoje sukurta siuvimo baro patalpos vizija, sauganti materialiąją šios siuvyklos atmintį: 80-aisiais - 90-aisiais metais Žeimių dvaro sodyboje veikė eksperimentinis siuvimo baras “Lankesa”. Čia buvo siuvami netikėto sukirpimo rūbai, kurie atspindėjo to meto ciniškumo ir nusivylimo nuotaikas. Kiekvienas rūbas tuo metu buvo tarsi vientisas istorinis naratyvas, kurį galima perskaityti ir dabar. Šiandien šie naratyvai yra sumišę su kiekviena ateities akimirka. Laikotarpis, kai gyvenimo būdas nuo 70-tųjų buvo pamirštas, yra pasibaigęs. Šie naratyvai vėl prisikelia ir vėl yra šifruojami ir aktyvuojami konceptualioje instaliacijoje, tuo pačiu pavadinimu - “Lankesa”. Niekas neprasideda iš naujo, tu negali suklastoti savo tapatybės nuo A iki Ž, tokia tapatybė iš karto tampa lengvai dauginama, todėl futuristinė “Lankesa” ne daugina falsifikuotų tapatybių, o bando ratifikuoti tai, kas inskribuota materijoje, šiuo atveju aprangos elementuose. Šiuo atveju galime teigti, jog kiekvienas rūbas, net ir pasiuvamas Kinijos ar Indijos fabrikuose yra unikalus ir užkoduotas, kurio nevalia tiesiog nusipirkti ir išmesti. Tai, kad dabartinė “Lankesa” pasirinko praeities akcentus ateityje tik dar labiau sustiprina išeikvojimo manifestą - viskas yra išeikvojama bet niekas nėra laikina. /HISTORY: After the disintegration of the sewing bar in 1999, the entire inventory (sewing machines, garments, lanterns, tables, chairs, dishes, bottles, boxes with buttons, cufflinks, zippers, needles, threads, labels, booklets, perfume bottles, glasses, magazines etc.) was left at the disposal of Žeimiai Manor House. In 2015, the sewing bar’s inventory, having traveled around all the buildings’ spaces since 2000, was collected, sorted and transformed into the installation, - Eglė's Ambrasaitė's vision of the sewing room as an archive that preserves the material memory of this experimental factory: During 80’s and 90’s an experimental sewing bar - “Lankesa” was operating in Žeimiai Manor House. Here was the place, where the unexpectedly cut clothes were made that reflected the cynical and disillusioned mood of the times. Each of the garments at the time was as a solid historical narrative that could be also read nowadays. Today, these narratives are mixed with every moment of a future. The period, when the lifestyle of 80’s was forgotten is over. These narratives revive and are once more ciphered and activated in a conceptual store with the same title - “Lankesa”. Nothing starts anew, you can not fake your own identity from A to Z, - this kind of indentity straight away becomes easily multiplied, therefore ‘futuristic’ “Lankesa” does not duplicate the falsified identities, but tries to ratify that, what is inscribed in the matter, in this case in the elements of clothing. <img width="700" height="467" width_o="700" height_o="467" data-src="https://freight.cargo.site/t/original/i/0c3c42703d9cd99a14dfc6b166a24f4a7956a60f9b5d3e637de52ad4d38fd4a6/Ambrasaite_Egle_03.jpg" data-mid="253660978" border="0" src="https://freight.cargo.site/w/700/i/0c3c42703d9cd99a14dfc6b166a24f4a7956a60f9b5d3e637de52ad4d38fd4a6/Ambrasaite_Egle_03.jpg" /> <img width="800" height="531" width_o="800" height_o="531" data-src="https://freight.cargo.site/t/original/i/868822e1993fac342f29c1b8176b8a745144e19a56080568818992f640418b72/lankesa9.jpg" data-mid="253660974" border="0" src="https://freight.cargo.site/w/800/i/868822e1993fac342f29c1b8176b8a745144e19a56080568818992f640418b72/lankesa9.jpg" /> <img width="1280" height="849" width_o="1280" height_o="849" data-src="https://freight.cargo.site/t/original/i/8ced55245fa295889a3eb84e7d9c745ca86ee243b99dfd96a58a8ea80a883891/lankesa3.jpg" data-mid="253660965" border="0" src="https://freight.cargo.site/w/1000/i/8ced55245fa295889a3eb84e7d9c745ca86ee243b99dfd96a58a8ea80a883891/lankesa3.jpg" /> <img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/15cb66cb56e6aa2a13f22b5885cf0ce0b8abd85c11ab30483e960ed6aa1455b2/l2.JPG" data-mid="253660966" border="0" src="https://freight.cargo.site/w/1000/i/15cb66cb56e6aa2a13f22b5885cf0ce0b8abd85c11ab30483e960ed6aa1455b2/l2.JPG" /> <img width="1000" height="1384" width_o="1000" height_o="1384" data-src="https://freight.cargo.site/t/original/i/14e7970bddde597dc914a05e6dd4d9a2e4025a61e19493d0aedcfac7418b1c81/lankesa4.jpg" data-mid="253660970" border="0" src="https://freight.cargo.site/w/1000/i/14e7970bddde597dc914a05e6dd4d9a2e4025a61e19493d0aedcfac7418b1c81/lankesa4.jpg" /> <img width="990" height="1372" width_o="990" height_o="1372" data-src="https://freight.cargo.site/t/original/i/49d41fda42df976f1689799ac40a6d7be040e1a041c4c79efc96e80333347f62/lankesa7.jpg" data-mid="253660972" border="0" src="https://freight.cargo.site/w/990/i/49d41fda42df976f1689799ac40a6d7be040e1a041c4c79efc96e80333347f62/lankesa7.jpg" /> <img width="1024" height="1400" width_o="1024" height_o="1400" data-src="https://freight.cargo.site/t/original/i/6debbd9c2b49629d36da64900b767e3c6ce9e942a2acf1bbc16762004acf404f/lankesa8.jpg" data-mid="253660973" border="0" src="https://freight.cargo.site/w/1000/i/6debbd9c2b49629d36da64900b767e3c6ce9e942a2acf1bbc16762004acf404f/lankesa8.jpg" /> <img width="937" height="1349" width_o="937" height_o="1349" data-src="https://freight.cargo.site/t/original/i/5796a0f1bd04bd16b8fb385ab891da8a7a7d8e9a5e96362578ce017db23ff4f4/lankesa5.jpg" data-mid="253660971" border="0" src="https://freight.cargo.site/w/937/i/5796a0f1bd04bd16b8fb385ab891da8a7a7d8e9a5e96362578ce017db23ff4f4/lankesa5.jpg" /> <img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/46560a807cae50329791e604c580ce16ebd81784b5fac8fc3c8a7dd7b3683587/IMG_0290.JPG" data-mid="253660977" border="0" src="https://freight.cargo.site/w/1000/i/46560a807cae50329791e604c580ce16ebd81784b5fac8fc3c8a7dd7b3683587/IMG_0290.JPG" /> <img width="3456" height="2304" width_o="3456" height_o="2304" data-src="https://freight.cargo.site/t/original/i/eefead25b638b51422db2a283e832fd2a46f62cdcbd18d1ff2dabf8da6124cf1/CANON_Canon-EOS-550D_45297728-45313281_000.JPG" data-mid="253660975" border="0" src="https://freight.cargo.site/w/1000/i/eefead25b638b51422db2a283e832fd2a46f62cdcbd18d1ff2dabf8da6124cf1/CANON_Canon-EOS-550D_45297728-45313281_000.JPG" /> <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/3c0fc10983a8e5e31c09a47384c654bb129086ea7f130a6ed6ba75b33d4b6f71/lankesa.jpg" data-mid="253660968" border="0" src="https://freight.cargo.site/w/1000/i/3c0fc10983a8e5e31c09a47384c654bb129086ea7f130a6ed6ba75b33d4b6f71/lankesa.jpg" /> <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/ef37a9dec992dea0be25e85f59e2469bc8e29a6681093e42ecab99373e7d1121/DSCF9002.jpg" data-mid="253660976" border="0" src="https://freight.cargo.site/w/1000/i/ef37a9dec992dea0be25e85f59e2469bc8e29a6681093e42ecab99373e7d1121/DSCF9002.jpg" /> <img width="1280" height="853" width_o="1280" height_o="853" data-src="https://freight.cargo.site/t/original/i/db8e5aeed61e07a7a9ef66a224aaf44d4154179fdb1984a9b12fe0931d41d729/lankesa2.jpg" data-mid="253660969" border="0" src="https://freight.cargo.site/w/1000/i/db8e5aeed61e07a7a9ef66a224aaf44d4154179fdb1984a9b12fe0931d41d729/lankesa2.jpg" /> <img width="2292" height="3429" width_o="2292" height_o="3429" data-src="https://freight.cargo.site/t/original/i/6ccf2b912a27ce8b9dfbd4055b5c87b5b0fcab8559111650ca7fd15ac9a5a88a/IMG_0285.JPG" data-mid="253660984" border="0" src="https://freight.cargo.site/w/1000/i/6ccf2b912a27ce8b9dfbd4055b5c87b5b0fcab8559111650ca7fd15ac9a5a88a/IMG_0285.JPG" /> <img width="2592" height="1728" width_o="2592" height_o="1728" data-src="https://freight.cargo.site/t/original/i/728ab68d80e8473a55cf29170cc3fed928a996ff8003daaf582b6a4fb20d4e7b/l5.JPG" data-mid="253660967" border="0" src="https://freight.cargo.site/w/1000/i/728ab68d80e8473a55cf29170cc3fed928a996ff8003daaf582b6a4fb20d4e7b/l5.JPG" /> Nuotraukos/ Images by Eglė Ambrasaitė Vaizdo kadras iš Jeannine Han, Eglės Ambrasaitės ir Domo Noreikos trumpametražio 16mm filmo “Lankesa: Pažintinis stalas”. Vaidina: Domas Noreika. Visą filmą galite pažiūrėti sekdami nuoroda: / Still image from the short experimental 16 mm film “Lankesa: Cognitive Table”, 2015, by Jeannine Han, Eglė Ambrasaitė, and Domas Noreika. Starring: Domas Noreika. Full film available: http://www.jeanninehan.com/index.php/works/cognitive-table-tableaux/ <img width="479" height="471" width_o="479" height_o="471" data-src="https://freight.cargo.site/t/original/i/b3960f1c659ba956fff86302970bc14ae6e1010ab60dc69c4970ec07a6085fd4/l6.jpg" data-mid="253660915" border="0" data-scale="100" src="https://freight.cargo.site/w/479/i/b3960f1c659ba956fff86302970bc14ae6e1010ab60dc69c4970ec07a6085fd4/l6.jpg" /> Eglės Ambrasaitės fotografuotos fotosesijos “Lankesos eksperimentinei parduotuvei”, 35mm spalvota juostelė, Aikas Žado Laboratorija, Žeimių dvaro sodyba, 2015-2018/ /Photosessions by Eglė Ambrasaitė for “Lankesa Experimental Shop”, 35 mm colour film, Aikas Žado Laboratory, Žeimiai Manor House, 2015-2018: <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/45ee85107c5f6b747b502cf35bebd4eab04f71a63c7c2c0e2118f111dfbd80de/Copy-of-kristinalankesa-6.jpg" data-mid="253661004" border="0" src="https://freight.cargo.site/w/720/i/45ee85107c5f6b747b502cf35bebd4eab04f71a63c7c2c0e2118f111dfbd80de/Copy-of-kristinalankesa-6.jpg" /> <img width="929" height="534" width_o="929" height_o="534" data-src="https://freight.cargo.site/t/original/i/dcecb082c4a15e7f699cc2ec9b18f9922db77451751bdda0c0019496aa134535/lm11.jpg" data-mid="253661002" border="0" src="https://freight.cargo.site/w/929/i/dcecb082c4a15e7f699cc2ec9b18f9922db77451751bdda0c0019496aa134535/lm11.jpg" /> <img width="299" height="174" width_o="299" height_o="174" data-src="https://freight.cargo.site/t/original/i/57b8eaca4a70f13af709c8189f62a24983bb540a3c5871d9f3298f9a8d0338a4/corrina.jpg" data-mid="253661009" border="0" src="https://freight.cargo.site/w/299/i/57b8eaca4a70f13af709c8189f62a24983bb540a3c5871d9f3298f9a8d0338a4/corrina.jpg" /> <img width="720" height="960" width_o="720" height_o="960" data-src="https://freight.cargo.site/t/original/i/9fe4ddf0721effcab69d055cfc6f4a1c89f5b836f6e8db7fad2a378b76e920b8/Copy-of-kristinalankesa-5.jpg" data-mid="253661008" border="0" src="https://freight.cargo.site/w/720/i/9fe4ddf0721effcab69d055cfc6f4a1c89f5b836f6e8db7fad2a378b76e920b8/Copy-of-kristinalankesa-5.jpg" /> <img width="712" height="537" width_o="712" height_o="537" data-src="https://freight.cargo.site/t/original/i/1ac0fa1a0f8b1f0ca838fa41c908c0454f51525eacc10e4acb820d9792abe3d4/lankesafedepablo.jpg" data-mid="253661013" border="0" src="https://freight.cargo.site/w/712/i/1ac0fa1a0f8b1f0ca838fa41c908c0454f51525eacc10e4acb820d9792abe3d4/lankesafedepablo.jpg" /> <img width="2448" height="2448" width_o="2448" height_o="2448" data-src="https://freight.cargo.site/t/original/i/a4fd01c877166a96f93f5fb792c937f45ff32099686e686367a3eb101d83dda2/IMG_8409.JPG" data-mid="253661012" border="0" 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by Eglė Ambrasaitė Eglės Ambrasaitės mišrios medijos instaliacija “Lankesa: akseleratoriaus pedalas” grupinėje parodoje “Bio-fantomasiški seansai”, Aikas Žado Laboratorija, Žeimių dvaro sodyba, Lietuva, 2018. / Eglė Ambrasaitė’s mixed media installation “Lankesa Acceleration” in the group exhibition “Bio-fantômas’ic sessions”,&nbsp; Aikas Žado Laboratory, Žeimiai Manor House, Žeimiai, Lithuania, 2018. <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/b35909e0370f4efde2b439ba0ae470a2f44ab05ea0aee9f5eac8395bf47e8fc7/40685720_10156807324459602_242310655997116416_o.jpg" data-mid="253660954" border="0" src="https://freight.cargo.site/w/1000/i/b35909e0370f4efde2b439ba0ae470a2f44ab05ea0aee9f5eac8395bf47e8fc7/40685720_10156807324459602_242310655997116416_o.jpg" /> <img width="2832" height="4240" width_o="2832" height_o="4240" data-src="https://freight.cargo.site/t/original/i/805c7dedd120a9edc259b4b40019fb83e0aa0bceb90ffb8ea41f9b78f83c4a7a/la14.jpg" data-mid="253660961" border="0" src="https://freight.cargo.site/w/1000/i/805c7dedd120a9edc259b4b40019fb83e0aa0bceb90ffb8ea41f9b78f83c4a7a/la14.jpg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/5a1cc8e3bb0685a306270b2727a9821f20fc3073979161fac101cfb944b8ec18/40534869_10156807320939602_8155286293941583872_o.jpg" data-mid="253660952" border="0" src="https://freight.cargo.site/w/1000/i/5a1cc8e3bb0685a306270b2727a9821f20fc3073979161fac101cfb944b8ec18/40534869_10156807320939602_8155286293941583872_o.jpg" /> <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/65bd5b01bba913ec2893d0f52f2a73a886b27d81a48c16fadf7a016d747dfc25/la6.jpg" data-mid="253660957" border="0" src="https://freight.cargo.site/w/1000/i/65bd5b01bba913ec2893d0f52f2a73a886b27d81a48c16fadf7a016d747dfc25/la6.jpg" /> <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/905f473b461367f64da97260345376c8aa707295f942cac7765c6c5ad0e3caf6/la5.jpg" data-mid="253660956" border="0" src="https://freight.cargo.site/w/1000/i/905f473b461367f64da97260345376c8aa707295f942cac7765c6c5ad0e3caf6/la5.jpg" /> <img width="4240" height="2832" width_o="4240" height_o="2832" data-src="https://freight.cargo.site/t/original/i/428bcb7f23f9cd8a91ab6bdb414d8f38754a46a0f60577913acb490ddf8272af/la7.jpg" data-mid="253660959" border="0" src="https://freight.cargo.site/w/1000/i/428bcb7f23f9cd8a91ab6bdb414d8f38754a46a0f60577913acb490ddf8272af/la7.jpg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/2a2266b59fd552d2afa9d2684ef76a187b5d7f6408b07286cfc208f53950a1be/Ambrasaite_Egle_05.jpg" data-mid="253660955" border="0" src="https://freight.cargo.site/w/1000/i/2a2266b59fd552d2afa9d2684ef76a187b5d7f6408b07286cfc208f53950a1be/Ambrasaite_Egle_05.jpg" /> <img width="760" height="444" width_o="760" height_o="444" data-src="https://freight.cargo.site/t/original/i/1e5bd10484574ce9d1f36ab62434089a94f7077a21869d8d60581a7bc3cc7f1b/drawing-black-background-.jpg" data-mid="253660983" border="0" src="https://freight.cargo.site/w/760/i/1e5bd10484574ce9d1f36ab62434089a94f7077a21869d8d60581a7bc3cc7f1b/drawing-black-background-.jpg" /> <img width="2048" height="1367" width_o="2048" height_o="1367" data-src="https://freight.cargo.site/t/original/i/baaa5e7a164be17d3066bf51f356341766207ec69923d930297a3d2c9c3588ff/40588332_10156807323784602_1035909312515407872_o.jpg" data-mid="253660953" border="0" src="https://freight.cargo.site/w/1000/i/baaa5e7a164be17d3066bf51f356341766207ec69923d930297a3d2c9c3588ff/40588332_10156807323784602_1035909312515407872_o.jpg" /> Nuotraukos / Images by Enrika Stanulevičiūtė https://zeimiudvarosodyba.com/APIE-ABOUT Wed, 14 Oct 2026 18:29:57 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/APIE-ABOUT APIE / ABOUT Crip medžiagiškumo metodikomis paremta Aikas Žado Laboratorija - tai šiuolaikinis meno įrenginys, konstruojamas Žeimių dvaro sodyboje. „Aikas Žado laboratorija“ organizuojama kaip individualiai kolaboratyvus menininkų Domo Noreikos ir Eglės Ambrasaitės bei kartu bendruomeniškas kūrinys; dalį programų administruoja, koordinuoja ir idėjiškai plėtoja asociacija „Aikas Žado“. Pagrindinė „Laboratorijos“ veikla yra praktiniai eksperimentai, susiję su kultūros paveldo objektų tvarkyba, sujungiant šiuolaikinio meno, mokslo ir kultūros lauko atradimus, metodus, technikas, žinojimus. Pagrindinius „Laboratorijos“ veiklos principus iliustruoja konservacijos, prevencijos ir restauracijos sistemų taikymas Žeimių dvaro sodyboje. Kaupiamos istorinių medžiagų kolekcijos, atliekami medžiagų bandymai, organizuojami moksliniai medžiagų tyrimai, specialios parodos bei pažintinės ekspedicijos, kuriose pristatomi specifiniai sprendimai ir aktualūs būdai, paverčiantys pačią dvaro sodybą taikomuoju šiuolaikinio meno kūriniu, įdomiu ir unikaliu paveldosaugos pavyzdžiu. / Based in crip materiality methodologies, Aikas Žado Laboratory is a contemporary art device, constructed in Žeimiai Manor House. Aikas Žado Laboratory is organized as an individually collaborative artwork by the artists Domas Noreika and Eglė Ambrasaitė, as well as a communal artwork. Part of its programs are administered, coordinated and developed by the Aikas Žado Association. The main activities of the Laboratory are practical experiments related to the management of cultural heritage objects and the combination of discoveries, methods, techniques and knowledge in the fields of contemporary art, science and culture. The main principles of the Laboratory’s activities are illustrated by the application of conservation, prevention and restoration systems in the Žeimiai Manor House. At the Laboratory, we collect and test historical materials, organize scientific research and exhibitions, and present cognitive expeditions that showcase specific solutions and methods of turning the Žeimiai Manor House into a contemporary artwork itself. AIKAS ŽADO LABORATORIJA PRISTATYTA/ AIKAS ŽADO LABORATORY PRESENTED IN2026 Valstybinės kultūros paveldo komisijos inicijuotame laidų cikle „Paveldo DNR sugrįžimas“: / In the 2026 programme series The Return of Heritage DNA, initiated by&nbsp;the&nbsp;State Cultural Heritage Commission of Lithuania:https://www.youtube.com/watch?v=RiLXxlKWeg0 2026.03.28 Kuratorės Eglės Ambrasaitės viešoje&nbsp; paskaitoje „Material&nbsp;Matters“,&nbsp; surengtoje meno rezidencijoje „Zaratan“, Lisabonoje,&nbsp;Portugalijoje. /&nbsp;At Material Matters, a public lecture of curator Eglė Ambrasaitė, held at Zaratan Art Residency in Lisbon, Portugal. 2025 2025.10.03-05Restauratoriaus ir menininko Domo Noreikos&nbsp;kūrinio „Restauratoriaus&nbsp;vaizduotės&nbsp;stalas&nbsp;II“&nbsp; (tęstinis projektas, mišri technika, 2025) pristatyme, Sapiegų rūmų ekspozicijoje tarptautinėje šiuolaikinio meno&nbsp;mugėje&nbsp;„ArtVilnius’25“: /&nbsp;In the presentation of Restorer’s Imagination Table II (ongoing project, mixed media, 2025)&nbsp;by&nbsp;restorer&nbsp;and&nbsp;artist&nbsp;Domas Noreika,&nbsp;as&nbsp;part&nbsp;of&nbsp;the&nbsp;Sapieha&nbsp;Palace&nbsp;exhibition&nbsp;at&nbsp;the&nbsp;international contemporary&nbsp;art&nbsp;fair&nbsp;ArtVilnius’25: https://artvilnius.com/artist/domas-noreika/2025.09.28 Kuratorės Eglės Ambrasaitės viešoje paskaitoje „Whispers of Matter“, skirtoje „Aikas Žado“ laboratorijos veiklai pristatyti, meno rezidencijoje „AQB“, Budapešte, Vengrijoje: /&nbsp;In Whispers of Matter, a public lecture by curator Eglė Ambrasaitė introducing the work of the Aikas Žado Laboratory at AQB Art Residency, Budapest, Hungary. 2025.03.08Kuratorės Eglės Ambrasaitės viešoje paskaitoje „Aikas Žado Laboratory: Crip Materialities“, surengtoje Sapiegų rūmų simpoziumo metu, Sapiegų rūmuose, Vilniuje, Lietuvoje. /&nbsp;In Aikas Žado Laboratory: Crip Materialities, a public lecture by curator Eglė Ambrasaitė, presented as part of the Sapieha Palace Symposium at Sapieha Palace, Vilnius, Lithuania.https://echogonewrong.com/sapieha-palace-symposium/ 2025.01.24LRT KLASIKA laidos „Pakeliui su klasika“ rubrikoje „Be kaukių“ – pokalbyje su restauratoriumi, menininku ir Žeimių dvaro savininku Domu Noreika apie restauravimą, kūrybą ir kultūros paveldą. Laidos vedėjas – Donatas Šukelis. 2025 m. sausio 24 d. /&nbsp;On Be kaukių (Without Masks), a segment of LRT KLASIKA’s radio programme Pakeliui su klasika, featuring a conversation with conservator, artist and owner of Žeimiai Manor Domas Noreika about restoration, artistic practice and cultural heritage:https://www.lrt.lt/radioteka/irasas/2000386673/siuolaikinis-dvarininkas-d-noreika-gyvenu-xviii-a-name-automobilis-is-1982-esu-tvarus?srsltid=AYCX9vKPujC1f6GKTqnZ_Bhw5BlldbWWR5WagFysO9h-n2Qia8qRJPKt 2024 2024.04.12-12.31Restauratoriaus ir menininko Domo Noreikos kūrinyje „Restauratoriaus vaizduotės stalas“ (2024, įvairios natūralios medžiagos, ąžuolo mediena, stiklas, kintantys matmenys), pristatytame parodoje „Prieglobstis“ Sapiegų rūmuose, Vilniuje. Parodos kuratoriai – Edgaras Gerasimovičius ir Virginija Januškevičiūtė: /&nbsp;In The Conservator’s Imagination Desk (2024, various natural materials, oak wood, glass, dimensions variable) by conservator and artist Domas Noreika, presented in the exhibition Refuge at Sapieha Palace, Vilnius. Curated by Edgaras Gerasimovičius and Virginija Januškevičiūtė: https://artviewer.org/refuge-at-sapieha-palace/ <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/d613164fb81b693efaae2669ffb3cd8348b71e77f71837f456c2f4c16ba61e5f/Refuge-at-Sapieha-Palace-Vilnius_15.jpg" data-mid="253658915" border="0" src="https://freight.cargo.site/w/1000/i/d613164fb81b693efaae2669ffb3cd8348b71e77f71837f456c2f4c16ba61e5f/Refuge-at-Sapieha-Palace-Vilnius_15.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/c1edaf8e41fd2602bcab4bcf0922df4a7a09708a26322fe49c3145c527fa3d2f/Refuge-at-Sapieha-Palace-Vilnius_10-1.jpg" data-mid="253658909" border="0" src="https://freight.cargo.site/w/1000/i/c1edaf8e41fd2602bcab4bcf0922df4a7a09708a26322fe49c3145c527fa3d2f/Refuge-at-Sapieha-Palace-Vilnius_10-1.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/7a8f88df38da7fc96569110e1356f2d25691878ed58629fcceda5804965713d4/Refuge-at-Sapieha-Palace-Vilnius_12.jpg" data-mid="253658912" border="0" src="https://freight.cargo.site/w/1000/i/7a8f88df38da7fc96569110e1356f2d25691878ed58629fcceda5804965713d4/Refuge-at-Sapieha-Palace-Vilnius_12.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/1452607a0b29daf8917c1ed25fc8c0bcdfad6ab317929afc641348d5fe69b041/Refuge-at-Sapieha-Palace-Vilnius_11.jpg" data-mid="253658911" border="0" src="https://freight.cargo.site/w/1000/i/1452607a0b29daf8917c1ed25fc8c0bcdfad6ab317929afc641348d5fe69b041/Refuge-at-Sapieha-Palace-Vilnius_11.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/71ff714606f398a9844506e7dc073e08d3b6b93ea0e76d8526e3d92095622389/Refuge-at-Sapieha-Palace-Vilnius_14.jpg" data-mid="253658914" border="0" src="https://freight.cargo.site/w/1000/i/71ff714606f398a9844506e7dc073e08d3b6b93ea0e76d8526e3d92095622389/Refuge-at-Sapieha-Palace-Vilnius_14.jpg" /> <img width="2250" height="1500" width_o="2250" height_o="1500" data-src="https://freight.cargo.site/t/original/i/497e2e7a0ea5dcf7706139239ea9a05ba252c36507292a011a159e8f3505ebb0/Refuge-at-Sapieha-Palace-Vilnius_13.jpg" data-mid="253658913" border="0" src="https://freight.cargo.site/w/1000/i/497e2e7a0ea5dcf7706139239ea9a05ba252c36507292a011a159e8f3505ebb0/Refuge-at-Sapieha-Palace-Vilnius_13.jpg" /> Nuotraukos/ Images by Andrej Vasilenko 2024.03.26Kuratorės Eglės Ambrasaitės nuotolinėje paskaitoje „Aikas Žado Laboratory: Crip Materialities“, surengtoje Niujorke (JAV) veikiančiai meno organizacijai „Uncool Artist“ (UA). /&nbsp;In Aikas Žado Laboratory: Crip Materialities, an online lecture by curator Eglė Ambrasaitė, presented for Uncool Artist (UA), an arts organization based in New York City, USA.2024.01.16Kuratorės Eglės Ambrasaitės ir kuratoriaus Valentino Klimašausko viešoje diskusijoje „Kuratoriai kalba apie ekologiją“ („Curators Talk Ecology“), surengtoje programos „No Cutting Corners“ metu Nacionalinėje dailės galerijoje (NDG), Vilniuje, Lietuvoje. Diskusiją moderavo „Rupert“ direktorė Viktorija Šiaulytė. /&nbsp;In Curators Talk Ecology, a public discussion featuring curators Eglė Ambrasaitė and Valentinas Klimašauskas, held as part of the No Cutting Corners programme at the National Gallery of Art (NDG), Vilnius, Lithuania. Moderated by Rupert director Viktorija Šiaulytė. 20232023 m. kultūros paveldo apdovanojimų „Paveldo DNR“ specialioji Valstybinės kultūros paveldo komisijos padėka restauratoriui ir menininkui Domui Noreikai už originalias restauravimo praktikas Žeimių dvare: /&nbsp;Special Recognition awarded to conservator and artist Domas Noreika for innovative restoration practices at Žeimiai Manor, as part of the 2023 Heritage DNA Cultural Heritage Awards, organised by the State Cultural Heritage Commission of Lithuania:https://www.youtube.com/watch?v=iJF76NfjJVU Kuratorės Eglės Ambrasaitės viešame pristatyme „Aikas Žado Laboratory (Žeimiai Manor House)“, surengtame meno rezidencijų organizacijos „Residency Unlimited“ (RU) viešosios programos „Meet Over Lunch“ metu, Brukline, Niujorke, JAV: /&nbsp;In Aikas Žado Laboratory (Žeimiai Manor House), a public presentation by curator Eglė Ambrasaitė, held as part of Meet Over Lunch, a public programme organised by Residency Unlimited (RU) in Brooklyn, New York City, USA:https://residencyunlimited.org/programs/meet-over-lunch-aikas-zado-laboratory-zeimiai-manor-house-a-presentation-by-curator-egle-ambrasaite/ 202223 05 2022 → 27 05 2022 Kuratorės Eglės Ambrasaitės mokslinio pranešimo „Disruptive Love(s): Exploring Togetherness in Aikas Žado Laboratory and Eglė Ambrasaitė’s Theoretical, Practical, and Artistic Thought“ pristatyme 15-uosiuose tarptautiniuose podiplominių studijų kursuose „Feminisms in a Transnational Perspective: Art, Artivism, and Other Transformative Practices“, Tarpuniversitetiniame centre (IUC), Dubrovnike, Kroatijoje/&nbsp;In Disruptive Love(s): Exploring Togetherness in Aikas Žado Laboratory and Eglė Ambrasaitė’s Theoretical, Practical, and Artistic Thought, a research paper presented by curator Eglė Ambrasaitė at the 15th postgraduate course Feminisms in a Transnational Perspective: Art, Artivism, and Other Transformative Practices, Inter-University Centre (IUC), Dubrovnik, Croatia. 2020-2024 Kuratorė Eglė Ambrasaitė ir menininkas bei restauratorius Domas Noreika – „Rupert“ alternatyvios edukacijos programos (AEP) edukatoriai, penkerius metus vedę menines dirbtuves, paskaitas ir seminarus „Aikas Žado“ laboratorijoje, Žeimių dvare, Lietuvoje: /&nbsp;Curator Eglė Ambrasaitė and artist and conservator Domas Noreika served as tutors for Rupert’s Alternative Education Programme (AEP) over five years, leading artistic workshops, lectures and seminars at the Aikas Žado Laboratory, Žeimiai Manor, Lithuania:https://rupert.lt/lt/aikas-zado-laboratorija/ 20202020.12.10-112021 m. kuratorės Eglės Ambrasaitės ir menininko bei restauratoriaus Domo Noreikos meninėje programoje „Words Are Not Sparrows“ ir „The Mine of Calcium Carbonate (CaCO₃)“, pristatytoje nuotoliniu būdu tarptautiniame šiuolaikinio meno simpoziume „Enacting Knowledges: What Do We Do with Knowledge?“. Programoje tyrinėtos meninio žinojimo praktikos, kalcio karbonato gavyba, kūno ir kalbos sąveikos bei meilės, rūpesčio ir toksiškumo temos. Simpoziumo kuratoriai – Adomas Narkevičius ir Vaida Stepanovaitė: / In Words Are Not Sparrows and The Mine of Calcium Carbonate (CaCO₃), an artistic programme by curator Eglė Ambrasaitė and artist and conservator Domas Noreika, presented online as part of the international contemporary art symposium Enacting Knowledges: What Do We Do with Knowledge?. The programme explored artistic knowledge practices, calcium carbonate mining, intersections of body and language, and themes of love, care and toxicity. Symposium co-curated by Adomas Narkevičius and Vaida Stepanovaitė:https://zeimiudvaras.lt/talk.htm;&nbsp; https://echogonewrong.com/online-international-symposium-on-contemporary-art-practices-enacting-knowledges-what-do-we-do-with-knowledge/ <img width="3350" height="1767" width_o="3350" height_o="1767" data-src="https://freight.cargo.site/t/original/i/0177036d6b5bd515d4bbf15d1acba6a6740f1315dece1ff78b2a7df8754758eb/Screenshot-2023-04-17-at-13.39.19.png" data-mid="253392122" border="0" src="https://freight.cargo.site/w/1000/i/0177036d6b5bd515d4bbf15d1acba6a6740f1315dece1ff78b2a7df8754758eb/Screenshot-2023-04-17-at-13.39.19.png" /> Restauratoriaus ir menininko Domo Noreikos vaizdo pamokoje „Kalcio karbonatų mediumai“, sukurtoje projektui „Menininkai kaip mokslininkai“: /&nbsp;In conservator and artist Domas Noreika’s video tutorial Calcium Carbonate Mediums, created as part of the project Artists as Scientists.https://www.youtube.com/watch?v=wyudIzAEMc82018 26 09 2018 → 28 09 2018 Kuratorės Eglės Ambrasaitės moksliniame pranešime „Strange Strangeness: How Not to Gaze at Non-Humans. Considering Žeimiai Ecological Thought and ‘Performance with Pets’ (K. Juurak &amp; A. Bailey)“, pristatytame tarptautinėje konferencijoje „Rethinking Animality“, Santjago de Komposteloje, Ispanijoje. /&nbsp;In Strange Strangeness: How Not to Gaze at Non-Humans. Considering Žeimiai Ecological Thought and ‘Performance with Pets’ (K. Juurak &amp; A. Bailey), a research paper presented by curator Eglė Ambrasaitė at the international conference Rethinking Animality, Santiago de Compostela, Spain. <img width="11906" height="8419" width_o="11906" height_o="8419" data-src="https://freight.cargo.site/t/original/i/368376c1265c4c7d10ab601bcc58b2c5182baf4979214f96079f96ac503a2f09/Cartel-Rethinking-Animality---.jpg" data-mid="253772419" border="0" src="https://freight.cargo.site/w/1000/i/368376c1265c4c7d10ab601bcc58b2c5182baf4979214f96079f96ac503a2f09/Cartel-Rethinking-Animality---.jpg" /> 24 08 2018 → 26 08 2018Kuratorės Eglės Ambrasaitės moksliniame pranešime „Lankesa Acceleration: On the Situation of the Sewing Factory ‘Lankesa’ Between 1984–1999 and Now“, pristatytame tarptautinėje feministinėje konferencijoje „International Feminist Gathering“, Kauno menininkų namuose, Kaune, Lietuvoje. /&nbsp;In Lankesa Acceleration: On the Situation of the Sewing Factory ‘Lankesa’ Between 1984–1999 and Now, a research paper presented by curator Eglė Ambrasaitė at the International Feminist Gathering, Kaunas Artists’ House, Kaunas, Lithuania. 2014 2014.10.02-11.29Menininkų kolektyvo „ŽemAt“ (Agnė Bagdžiūnaitė,&nbsp;Domas Noreika,&nbsp;Eglė Ambrasaitė,&nbsp;Aušra Vismantaitė, ir&nbsp;Noah Brehmer)&nbsp;instaliacijoje „Imagining the Absence“, pristatytoje tarptautinėje grupinėje parodoje „The Forgotten Pioneer Movement“, „District Berlin“, Berlyne, Vokietijoje. Kuratorės – Ulrike Gerhardt ir Suza Husse. / In Imagining the Absence, an installation by the artist collective ŽemAt (Agnė Bagdžiūnaitė, Domas Noreika, Eglė Ambrasaitė, Aušra Vismantaitė, and Noah Brehmer), presented in the international group exhibition The Forgotten Pioneer Movement at District Berlin, Germany. 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src="https://freight.cargo.site/w/1000/i/c2c8592568991315d7fdfdfe1556d0afac00b133b125236b64d2e0ded5363641/REKVIZITAI.jpg" /> <img width="1438" height="809" width_o="1438" height_o="809" data-src="https://freight.cargo.site/t/original/i/7f7f8a3e455b8361ec11b56687344fad1395f88830f0736ba4b4e73507078444/Screen-shot-2014-08-10-at-18.47.28.png" data-mid="253392583" border="0" src="https://freight.cargo.site/w/1000/i/7f7f8a3e455b8361ec11b56687344fad1395f88830f0736ba4b4e73507078444/Screen-shot-2014-08-10-at-18.47.28.png" /> <img width="1440" height="811" width_o="1440" height_o="811" data-src="https://freight.cargo.site/t/original/i/99353504bc4a59b1ac2cbb9625c6e54d5e94d8dc3b1cbffcc3a6ce4332b571b2/Screen-shot-2014-07-31-at-21.33.44.png" data-mid="253392564" border="0" src="https://freight.cargo.site/w/1000/i/99353504bc4a59b1ac2cbb9625c6e54d5e94d8dc3b1cbffcc3a6ce4332b571b2/Screen-shot-2014-07-31-at-21.33.44.png" /> <img width="1435" height="810" width_o="1435" height_o="810" data-src="https://freight.cargo.site/t/original/i/35a69dee146266913aa07df9e40dfd9e8d262f797894ae2c3d4b6bd74b5966aa/copyrightEgleAmbrasaite8.png" data-mid="253392553" border="0" src="https://freight.cargo.site/w/1000/i/35a69dee146266913aa07df9e40dfd9e8d262f797894ae2c3d4b6bd74b5966aa/copyrightEgleAmbrasaite8.png" /> <img width="1440" height="808" width_o="1440" height_o="808" data-src="https://freight.cargo.site/t/original/i/8116db8ae47db851a8edc103f431789864269b3149c5e1b230febd8aef5f2ca2/Screen-shot-2014-08-08-at-23.22.05.png" data-mid="253392575" border="0" src="https://freight.cargo.site/w/1000/i/8116db8ae47db851a8edc103f431789864269b3149c5e1b230febd8aef5f2ca2/Screen-shot-2014-08-08-at-23.22.05.png" /> <img width="1363" height="808" width_o="1363" height_o="808" data-src="https://freight.cargo.site/t/original/i/210fca11f52e2e7dbeb3bb7bf3a73130ad2fc998d2569c02a54356deb9228d6f/Screen-shot-2014-07-31-at-21.20.56.png" data-mid="253392559" border="0" src="https://freight.cargo.site/w/1000/i/210fca11f52e2e7dbeb3bb7bf3a73130ad2fc998d2569c02a54356deb9228d6f/Screen-shot-2014-07-31-at-21.20.56.png" /> Nuotraukos/ Images by Emma Haugh 2014.10.23-26 2014 m. „Aikas Žado“ laboratorija (tuomet – „Aikas Žado Museum Live“) Europos kultūros fondo (ECF) atrinkta tarp 50 inovatyvių iniciatyvų, siekiančių permąstyti ir formuoti viešąją erdvę. Iniciatyjos idėja buvo pristatyta ir plėtojama Europos kultūros fondo organizuotoje kūrybinėje stovykloje „Idea Camp“, Marselyje, Prancūzijoje. /&nbsp;In 2014, Aikas Žado Laboratory (then known as Aikas Žado Museum Live) was selected by the European Cultural Foundation (ECF) as one of 50 innovative initiatives exploring new ways of reimagining and shaping public space. The initiative was presented and further developed at the ECF’s Idea Camp, held in Marseille, France.&nbsp; ASOCIACIJOS „AIKAS ŽADO” PROJEKTŲ VALDYMO PATIRTIS/ ART PROJECT MANAGEMENT EXPERIENCE OF “AIKAS ŽADO” ASSOCIATION2026 15 02 2026 → 15 10 2026Projektas „Aikas Žado Laboratorija 2026: Nežemiški pažeidžiamumo apsiaustai”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / “Aikas Žado Laboratory 2026: Ethereal Robes of Vulnerability”, implemented in Aikas Žado Laboratory, Žeimiai Manor House. Funded by the Lithuanian Council for Culture. 2024 01 04 2024 → 10 11 2024 Projektas „Aikas Žado Laboratorija 2024: Gijimo Ontologijos”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / &nbsp;“Aikas Žado Laboratory 2024: Healing Ontologies”, implemented in Aikas Žado Laboratory, Žeimiai Manor House. Funded by the Lithuanian Council for Culture. 2020 01 04 2020 → 15 10 2020Projektas „Nematomo žmogaus kinoteka 2020: intensyvumai”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / &nbsp;“Invisible Man’s Cinematheque 2020: Intensities”, implemented in Aikas Žado Laboratory, Žeimiai Manor House. Funded by the Lithuanian Council for Culture. 2019 01 02 2019 → 15 10 2019Projektas „Nematomo žmogaus kinoteka: (į/iš)sikūnyti”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / “Invisible Man’s Cinematheque: to (dis-)embody”, implemented in Aikas Žado Laboratory, Žeimiai Manor House. Funded by the Lithuanian Council for Culture. 2018 01 06 2018 → 01 10 2018Projektas „2018 m. Nematomo žmogaus kinotekos projektai”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / “2018 Projects for the Invisible Man’s Cinematheque”, implemented in Aikas Žado Laboratory, Žeimiai Manor House. Funded by the Lithuanian Council for Culture. 2017 01 06 2017 → 30 09 2017Projektas „Nematomo žmogaus vardo kinoteka”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. / “Invisible Man Cinematheque”, implemented in Aikas Žado Laboratory, Žeimiai Manor House, and Vilnius, Lithuania. Funded by the Lithuanian Council for Culture.2015-2016 01 06 2015 → 28 08 2016Vilniaus Dailės Akademijos (VDA), Office for Contemporary Art Norway, ir Skaftfell: Center for Visual Arts and Nordic Artists’ Centre Dale projekto „DISCIPLINA ŠIANDIEN. MENININKŲ REZIDENCIJŲ MAINAI IR PARODOS“ partneris. / Partner of the project “Climbing Invisible Structures: Ritualized Disciplinary Practices in Social Life” in collaboration with Vilnius Academy of Arts, Office for Contemporary Art Norway, Skaftfell: Center for Visual Arts and Nordic Artists’ Centre Dale. 2015 01 01 2015 → 01 11 2015Projektas „Gyvas muziejus Aikas Žado: Pažintinis stalas”, įgyvendintas Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje. Finansuota Lietuvos Kultūros Tarybos. /&nbsp;“Museum Aikas Žado Live: the Cognitive Table Tableaux”,&nbsp;implemented in Aikas Žado Laboratory, Žeimiai Manor House, and Vilnius, Lithuania. Funded by the Lithuanian Council for Culture. https://zeimiudvarosodyba.com/SIUOLAIKINIO-MENO-PARODOS-CONTEMPORARY-ART-EXHIBITIONS Wed, 14 Oct 2026 18:28:54 +0000 zeimiudvarosodyba https://zeimiudvarosodyba.com/SIUOLAIKINIO-MENO-PARODOS-CONTEMPORARY-ART-EXHIBITIONS ŠIUOLAIKINIO MENO PARODOS / CONTEMPORARY ART EXHIBITIONS 11 07 2026 → 30 08 2026&nbsp;Grupinė paroda “Nežemiški pažeidžiamumo apsiaustai” / &nbsp;Group exhibition “Ethereal Robes of Vulnerability” Dalyvaunatys menininkai / Participating artists: Geistė Marija Kinčinaitytė (LT), Inside Job (Ula Lucińska and Michal Knychaus, PL), Emilija Povilanskaitė (LT), Mónika Üveges (HU), Gedvilė Tamošiūnaitė (LT), Agate Tūna (LV)Kuratorė / Curator: Eglė Ambrasaitė Architektas / Architect: Domas Noreika Dizaineris / Graphic designer: Jokūbas Juršėnas LT: Pasineriant į šešių kylančių ir perspektyvių Rytų Europos menininkių post-fotografines kūrybines praktikas, atliepiančias naujojo materializmo ir posthumanizmo idėjas, grupinė paroda „Nežemiški pažeidžiamumo apsiaustai” siekia akcentuoti vaizdų pertekliaus problematiką bei naujai permąstyti vaizdų reikšmę ir veikimą. Menininkių praktikose fotografija, video, skulptūra ir instaliacija susilieja į tãkų vaizdų ir objektų ontologijų pokalbį, tyrinėjant sąsajas tarp gamtos ir sintetikos, technologijos ir dvasingumo, negyvumo ir gyvasties. Jų rankose į odą panašūs medžiagiški vaizdų-objektų apsiaustai formuoja sudėtingas, orakuliškas ir efemeriškas pažeidžiamumo vizijas, kuriose grožis persipina su grėsme, o viltis ir ramybė - su baime ir nerimu. Šis požiūris remiasi poetine ir moksline vaizdo ir odos analogija. Kaip oda, fotografija yra šviesai jautrus paviršius, gebantis registruoti prisilietimus, pėdsakus ir transformacijas. Pasitelkiant filosofo Jeano-Luco Nancy sąvoką expeausition, jungiančią žodžius exposition (atidengimas) ir peau (oda), vaizdas čia veikia kaip terpė, kurioje mezgasi santykiai. Nancy oda yra “pati politiškiausia“, nes ji tarpininkauja ne tik tarp kūno ir pasaulio, bet ir ryšyje su pačiu savimi, žymėdama ribą tarp esamos patirties ir dar tik besiformuojančių galimybių. Ši odos, kaip santykio paviršiaus metafora materializuojasi Mónikos Üveges (Vengrija) kūrinyje „Membrana I“. Lenktame chromuotame rėme įtemptą drobę pakeičia kūno spalvos derva, suteikianti objektui preparuoto eksponato įspūdį. Gėlės žiedlapį ir žmogaus odą primenantis paviršius švyti LED šviesoje, o jo opalescencija ir sluoksniuota faktūra sujungia grožį ir irimą į nejaukų sambūvį. Kūrinyje „Dagio studija I“ menininkų duetas Inside Job (Ula Lucińska ir Michał Knychaus, Lenkija) atsigręžia į atsparias nežmogiškos gyvybės formas, klestinčias postindustrinių kraštovaizdžių griuvėsiuose. Dagys čia tampa ekologinio išlikimo ir alternatyvių ateičių figūra, jungiančia užmirštas istorijas, spekuliatyvias ekologijas ir šiuolaikinės ekstrakcijos paliktus randus. Agate Tūnos (Latvija) projekte „Pažįstamasis“ fotografija tampa santykio forma, per kurią perduodamos trapios rūpesčio istorijos. Atsispirdama nuo savo šeimos moterų puoselėtų gydymo praktikų, augalų žinių ir užkalbėjimų tradicijų, menininkė tyrinėja ribą tarp grėsmės ir apsaugos, tikėjimo ir prietaro. Analoginės fotografijos negatyvo paviršiuje kaupiami prisilietimų pėdsakai čia tampa ne tik vaizdo, bet ir atminties, artumo bei bendrabūvio ženklais. Gedvilės Tamošiūnaitės (Lietuva) kūrinys „Vaza“ siūlo šiuolaikinę kristalomantijos patirtį. Ant tonuoto stiklo atspaustas vaiduokliškas sovietmečio „Murano“ vazos atvaizdas priešinasi aiškiam suvokimui: atspindintis paviršius nuolat kinta priklausomai nuo šviesos ir žiūrovo padėties, todėl kiekvienas bandymas užfiksuoti vaizdą neišvengiamai virsta savotišku autoportretu. Už vazos šmėklos įsitaiso paties žiūrovo atspindys, kuždantis apie suskilusius intymumus. Toliau žvelgiama į stambesnio mastelio atmosferines ir planetarines sistemas. Emilijos Povilanskaitės (Lietuva) kūrinys „Static“ stebi atmosferos procesus, vykstančius prieš pat iškrovą. Naudodama realiuoju laiku dekoduojamus NOAA palydovų duomenis, menininkė atveria nematomus signalų ir duomenų srautus, pasitelkiamus mūsų santykiui su aplinka medijuoti. Kūrinyje „Sunless Seas of Ice“ Geistė Marija Kinčinaitytė (Lietuva) tyrinėja technoutopinius troškimus peržengti Žemės ribas. Pasitelkdama šiurpo (eerie) estetiką, menininkė atskleidžia, kaip ekspansijos, pabėgimo ir išlikimo fantazijos persipina su ekologinėmis krizėmis ir kolektyviniu nerimu dėl ateities.ENG: “Ethereal Robes of Vulnerability” is a group exhibition that engages the shifting ontology of the image through the post-photographic practices of six emerging Eastern European artists working within new materialist and posthuman frameworks. At a moment when images proliferate and circulate incessantly, the exhibition reimagines them as a site of encounter, agency, and becoming. Across photography and video, sculpture, and installation, the artists’ praxes merge into a fluid conversation between image and matter, tracing entanglements between the natural and the synthetic, technology and spirituality, the dead and the living. Skin-like material image-objects unfold as oracular and ethereal robes of vulnerability, revealing states that are simultaneously beautiful and horrific, hopeful and trepidatious, serene and violent. This approach draws upon both a poetic and a scientific analogy between the image and the skin. Like skin, photography is a light-sensitive surface capable of registering contact, traces, wounds, and transformation. Building on philosopher Jean-Luc Nancy’s notion of expeausition - a fusion of exposition (to expose, to show) and peau (skin) - the image is understood here as a surface through which relations unfold. For Nancy, skin is “the most political” because it mediates not only between body and world, but also in one’s relation to oneself, marking the threshold between lived experience and possibilities yet to emerge.&nbsp; This understanding materialises in Mónika Üveges’ (HU) “Membrane I”. Replacing stretched canvas with flesh-coloured resin held within a curved chrome frame, the work resembles a preserved specimen suspended between display and decay. Evoking both flower petals and human skin, its glowing LED-lit surface and opalescent layered texture bring beauty and deterioration into an uneasy coexistence. A similar attention to material transformation appears in “Thistle Study I” by the artist duo Inside Job (Ula Lucińska and Michał Knychaus, PL). Turning towards resilient non-human forms of life thriving within post-industrial ruins, the thistle emerges as a figure of ecological survival and speculative futures, intertwining forgotten histories, contemporary extraction, and alternative modes of coexistence. In Agate Tūna’s (LV) project “Familiar”, photography becomes a relational form through which delicate stories of care are transmitted. Drawing on healing practices, herbal knowledge, and spoken charms preserved by generations of women in her family, the artist explores the unstable boundary between threat and protection, belief and superstition. Traces accumulated on the surface of analogue negatives become carriers of memory, intimacy, and shared existence, transforming photography into a companioning presence rather than a representational device. Gedvilė Tamošiūnaitė’s (LT) “Vase” offers a contemporary scrying experience. Printed onto tinted glass, the ghostly image of a Soviet-era Murano vase resists stable perception. Its reflective surface constantly shifts according to light conditions and the viewer’s position, turning every attempt to capture the image into a form of self-portraiture. Behind the apparition of the vase emerges the viewer’s own reflection, quietly evoking fractured intimacies and lingering absences. From these intimate surfaces of memory and care, the exhibition expands towards larger atmospheric and planetary scales. Emilija Povilanskaitė’s (LT) “Static” focuses on atmospheric processes unfolding immediately before electrical discharge. Working with real-time decoded NOAA satellite data, the artist reveals invisible streams of signals and information through which our relationship with the environment is increasingly mediated. Likewise, in “Sunless Seas of Ice,” Geistė Marija Kinčinaitytė (LT) examines techno-utopian desires to transcend the limits of Earth. Through the aesthetics of the eerie, she exposes how fantasies of expansion, escape, and survival become entangled with ecological crises and collective anxieties about the future.Ši paroda yra projekto “Aikas Žado Laboratorija 2026: Nežemiški pažeidžiamumo apsiaustai” dalis. Projektą finansuoja Lietuvos Kultūros Taryba / This group exhibition is part of the project “Aikas Žado Laboratorija 2026: Nežemiški pažeidžiamumo apsiaustai”. 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height_o="6192" data-src="https://freight.cargo.site/t/original/i/4a159fc79e53988fcea8782b69d4922fecb64bc8bb704208411020c9e6b5ae16/Zeimiai--Ethereal--exhibition--16.jpeg" data-mid="253392006" border="0" src="https://freight.cargo.site/w/1000/i/4a159fc79e53988fcea8782b69d4922fecb64bc8bb704208411020c9e6b5ae16/Zeimiai--Ethereal--exhibition--16.jpeg" /> <img width="8084" height="6062" width_o="8084" height_o="6062" data-src="https://freight.cargo.site/t/original/i/9d2e6e2e1660400db7a6b36423695271d67fa946efcda532b12c1e6ea7dd354a/Zeimiai--Ethereal--exhibition--17.jpeg" data-mid="253392008" border="0" src="https://freight.cargo.site/w/1000/i/9d2e6e2e1660400db7a6b36423695271d67fa946efcda532b12c1e6ea7dd354a/Zeimiai--Ethereal--exhibition--17.jpeg" /> Nuotraukos / Images by Lukas Mykolaitis <img width="7614" height="5710" width_o="7614" height_o="5710" data-src="https://freight.cargo.site/t/original/i/2a4c10da3ff6bfbedd248ae3e54b28f4eb1834fefdc7df1014a20915cedbce1b/eimiai--Ethereal-event--Lukas-Mykolaitis-15.jpg" data-mid="253656873" border="0" src="https://freight.cargo.site/w/1000/i/2a4c10da3ff6bfbedd248ae3e54b28f4eb1834fefdc7df1014a20915cedbce1b/eimiai--Ethereal-event--Lukas-Mykolaitis-15.jpg" /> <img width="7919" height="5939" width_o="7919" height_o="5939" data-src="https://freight.cargo.site/t/original/i/8be38c8cd434021cef1e3f47319f3e780077175d407c590461779f291ebba3f7/Zeimiai--Ethereal-event--Lukas-Mykolaitis-17.jpeg" data-mid="253657733" border="0" src="https://freight.cargo.site/w/1000/i/8be38c8cd434021cef1e3f47319f3e780077175d407c590461779f291ebba3f7/Zeimiai--Ethereal-event--Lukas-Mykolaitis-17.jpeg" /> <img width="8256" height="6192" width_o="8256" height_o="6192" 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data-src="https://freight.cargo.site/t/original/i/f1fabe301d8b725ec056d40786b89871579428af997fde76273455be3784aed8/eimiai--Ethereal-event--Lukas-Mykolaitis-24.jpg" data-mid="253656876" border="0" src="https://freight.cargo.site/w/1000/i/f1fabe301d8b725ec056d40786b89871579428af997fde76273455be3784aed8/eimiai--Ethereal-event--Lukas-Mykolaitis-24.jpg" /> <img width="7660" height="5744" width_o="7660" height_o="5744" data-src="https://freight.cargo.site/t/original/i/92adbf7a195e539a6d49a3efc3187355d68f0272579185af884ae2cce8a9df84/Zeimiai--Ethereal-event--Lukas-Mykolaitis-16.jpeg" data-mid="253657732" border="0" src="https://freight.cargo.site/w/1000/i/92adbf7a195e539a6d49a3efc3187355d68f0272579185af884ae2cce8a9df84/Zeimiai--Ethereal-event--Lukas-Mykolaitis-16.jpeg" /> <img width="6038" height="8050" width_o="6038" height_o="8050" data-src="https://freight.cargo.site/t/original/i/1264393054dc12794c8aa8dec009fa5cc2ce862aae59e499f5b0d13c0b780dc7/eimiai--Ethereal-event--Lukas-Mykolaitis-23.jpg" data-mid="253656875" border="0" src="https://freight.cargo.site/w/1000/i/1264393054dc12794c8aa8dec009fa5cc2ce862aae59e499f5b0d13c0b780dc7/eimiai--Ethereal-event--Lukas-Mykolaitis-23.jpg" /> <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/3e1e5b3ed27b0cfa9b690f3e8639e12d4422c1cb9f597715eb227f7921678b1a/Zeimiai--Ethereal-event--Lukas-Mykolaitis-14.jpeg" data-mid="253657731" border="0" src="https://freight.cargo.site/w/1000/i/3e1e5b3ed27b0cfa9b690f3e8639e12d4422c1cb9f597715eb227f7921678b1a/Zeimiai--Ethereal-event--Lukas-Mykolaitis-14.jpeg" /> <img width="8090" height="6067" width_o="8090" height_o="6067" data-src="https://freight.cargo.site/t/original/i/588f71aa7585091b44f7f6f6465ca36c6c5e341208ce4544dae3754ec49e5f7c/Zeimiai--Ethereal-event--Lukas-Mykolaitis-10.jpeg" data-mid="253657730" border="0" src="https://freight.cargo.site/w/1000/i/588f71aa7585091b44f7f6f6465ca36c6c5e341208ce4544dae3754ec49e5f7c/Zeimiai--Ethereal-event--Lukas-Mykolaitis-10.jpeg" /> <img width="8115" height="6086" width_o="8115" height_o="6086" data-src="https://freight.cargo.site/t/original/i/9ecad9be2e53a2f944b6e8a37e96a17ba1a740bf4e86807a1c5b0a3f09fde648/Zeimiai--Ethereal-event--Lukas-Mykolaitis-2.jpeg" data-mid="253657727" border="0" src="https://freight.cargo.site/w/1000/i/9ecad9be2e53a2f944b6e8a37e96a17ba1a740bf4e86807a1c5b0a3f09fde648/Zeimiai--Ethereal-event--Lukas-Mykolaitis-2.jpeg" /> <img width="8203" height="6152" width_o="8203" height_o="6152" data-src="https://freight.cargo.site/t/original/i/f4f97f43626285db812bef970bbc56df3f76e9c0951f884990d35d70dab115f4/Zeimiai--Ethereal-event--Lukas-Mykolaitis-1.jpeg" data-mid="253657726" border="0" src="https://freight.cargo.site/w/1000/i/f4f97f43626285db812bef970bbc56df3f76e9c0951f884990d35d70dab115f4/Zeimiai--Ethereal-event--Lukas-Mykolaitis-1.jpeg" /> <img width="6192" height="8256" width_o="6192" height_o="8256" data-src="https://freight.cargo.site/t/original/i/0394528f7c3be74af49a579ef1e052701bc9a6bb176af6e0e4d06fdb90184627/Zeimiai--Ethereal-event--Lukas-Mykolaitis-3.jpeg" data-mid="253657728" border="0" src="https://freight.cargo.site/w/1000/i/0394528f7c3be74af49a579ef1e052701bc9a6bb176af6e0e4d06fdb90184627/Zeimiai--Ethereal-event--Lukas-Mykolaitis-3.jpeg" /> <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/a1a01bf8c1bf55fd58fc144513b5a89a284d187eb4db7f613639ca84cf71768b/Zeimiai--Ethereal-event--Lukas-Mykolaitis-9.jpeg" data-mid="253657729" border="0" src="https://freight.cargo.site/w/1000/i/a1a01bf8c1bf55fd58fc144513b5a89a284d187eb4db7f613639ca84cf71768b/Zeimiai--Ethereal-event--Lukas-Mykolaitis-9.jpeg" /> <img width="7437" height="5578" width_o="7437" height_o="5578" data-src="https://freight.cargo.site/t/original/i/497d4a2787e6d6893a2de1677174cf3d0cb48d71839d276798f9ca9fd7397e2e/eimiai--Ethereal-event--Lukas-Mykolaitis-20.jpg" data-mid="253656874" border="0" src="https://freight.cargo.site/w/1000/i/497d4a2787e6d6893a2de1677174cf3d0cb48d71839d276798f9ca9fd7397e2e/eimiai--Ethereal-event--Lukas-Mykolaitis-20.jpg" /> <img width="8256" height="6192" width_o="8256" height_o="6192" data-src="https://freight.cargo.site/t/original/i/f9afd1c2f68654e670f753e4a0f13ec50ec9d20258cceb2694a27ba7bebdb24e/eimiai--Ethereal-event--Lukas-Mykolaitis-25.jpg" data-mid="253656877" border="0" src="https://freight.cargo.site/w/1000/i/f9afd1c2f68654e670f753e4a0f13ec50ec9d20258cceb2694a27ba7bebdb24e/eimiai--Ethereal-event--Lukas-Mykolaitis-25.jpg" /> Nuotraukos / Images by Lukas Mykolaitis 07 09 2024 → 15 10 2024&nbsp; Tabitos Rezaire solo paroda “Išsinėrimas / Tabita Rezaire’s solo exhibition “Exuviation Fervor”Atidarymo metu (2024.09.07), Lauros Marija Balčiūnaitė’s performansas “Venusian HC” / During the opening (2024.09.07), Laura Marija Balčiūnaitė’s performance “Venusian HC”*Kuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Artūras ČertovasProjekto ir parodos gidas / Project’s-exhibition’s guide: Domas Noreika Dizaineris / Graphic designer: Jokūbas Juršėnas LT: Aikas Žado Laboratorija pristato Prancūzijoje gimusios, iš Gajanos ir Danijos kilusios menininkės Tabitos Rezaire solo parodą “Išsinėrimas”, kuri veikia kaip platforma, analizuojanti gijimo tematiką per feministines, dekolonijines bei posthumanistines prizmes. Tabitos Rezaire kūryba žvelgia į Vakarų kultūros įdiegtą kūno ir proto atskirtį, suformavusią esamų smurto formų ir nelygybių fundamentus, klasės, rasės, lyties ir rūšies fantazmus. Savo darbuose kalbėdama apie galimybes formuotis intersekcinei politikai ir afro-feminizmui, Tabita supina skirtingas laiko erdves, kur technologijos ir dvasingumas susilieja kaip derlinga dirva maitinti ryšio ir emancipacijos vizijas. Tabitos Rezaire, kaip menininkės, bhaktos, dolos ir ūkininkės, tarpdisciplininės praktikos įgalina organiško, virtualaus ir dvasinio mokslo praktikas – gydomąsias technologijas, padedančias pereiti prie to ką ji vadina širdies (heart) sąmone. Dirbdama su skaitmenine, kūniška bei protėvių atmintimi, Tabitos meninė kūryba siekia gydyti kolonijines žaizdas ir energetinę disharmoniją, veikiančią mūsų kūno, proto ir dvasios sąsajas. Jos darbai skatina plėtoti žmonių bendrumo galimybes bei tarp-rūšinį, kolektyvinį augimą. Tabitos Rezaire darbai buvo eksponuojami tokiose šiuolaikinio meno centruose ir galerijose, kaip Centre Pompidou, Palais de Tokyo, Museum of Modern Art – Paryžiuje; MASP, São Paulo; Serpentine, ICA, V&amp;A, Tate Modern – Londone; MoMa, New Museum, MoCADA – Niujorke; Gropius Bau Berlin; ir tarptautinėse bienalėse Sidnėjuje, Šanchajuje, Guangdžou, Lagose, Kočyje, Atėnuose, Helsinkyje, Busane, bei Berlyne. Šiuo metu Tabita įsikūrusi Prancūzijos Gvianoje, kur ji rūpinasi AMAKABA – žemės, kūno ir dangaus meno centru.&nbsp; *“Venusian HC” yra performanso pagrindu sukurta šokių aikštelės instaliacija su garso takeliu bei judesio dirbtuvėmis. Širdžiai atverti skirta erdvė. Širdies-Veneros-Rožės jungtis. Iš rožės žiedlapių ratais susukta šokių aikštelė, atvira visiems, kurie nori giliai tyrinėti ir patirti savo širdies erdvę (heartcore). Savyje ji talpina ir hardcore (veiksmo intensyvumo) elementus, kadangi geba jausti ir išlaikyti šokėjų tuo metu išgyvenamas emocijas. Garso takelis - Karolina Kapustaitė Apie menininkę:Laura Marija Balčiūnaitė – buvusi menininkė flâneuse, tampanti ritualinių įrankių kūrėja. Švelnumo poreikį nukreipdama per hidrofeminizmą, garsų gydymą, piešimą ir somatinius judesius, ji gamina juslinę energiją ir užsiima pažeidžiamų vietų gydymu, tyrinėdama gydytojo ir magiškos femme portreto ribas, glaudžiai susietas su erotiniu visatos srautu.Projektą dalinai finansuoja Lietuvos Kultūros Taryba. ENG: Aikas Žado Laboratory presents a solo exhibition “Exuviation Fervor“ of the French-born, Guyanese-Danish artist Tabita Rezaire, which functions as a platform to embrace healing practices through feminist, decolonial and posthumanist prisms. Tabita Rezaire's works dive deep into the analysis of the separation of body and mind introduced by Western culture, which is known to have established the foundations of existing forms of violence and inequalities, the phantasms of class, race, gender and species. In her art installations, opening the possibilities of intersectional politics and Afro-feminism, Tabita intertwines different time spaces where technology and spirituality intersect as fertile ground for nurturing visions of connection and emancipation. Tabita Rezaire's interdisciplinary path as an artist, devotee, doula, and farmer envisions network sciences - organic, electronic, and spiritual - as healing technologies that serve the shift towards what Tabita calls the heart consciousness. Embracing digital, corporeal and ancestral memory, she digs into scientific imaginaries and mystical realms to tackle the colonial wounds and energetic misalignments that affect the songs of our body-mind-spirits. Through screen interfaces, healing circles and land stewardship, her offerings aim to nurture our collective growth and expand our capacity for togetherness. Her offerings have been shared widely – Centre Pompidou, Palais de Tokyo, Museum of Modern Art – Paris; MASP, São Paulo; Serpentine , ICA, V&amp;A, Tate Modern – London; MoMa, New Museum, MoCADA – New York; Gropius Bau - Berlin; and within international biennales in Sydney, Shanghai, Guangzhou, Lagos, Kochi, Athens, Helsinki, Busan, and Berlin. At the moment, Tabita is based in French Guiana, where she is caring for AMAKABA a center for the arts of earth, body and sky. *”Venusian HC” is a performance based collective dancefloor. Rosacrucian techno dream. The dancefloor of a heart-space. Heart-venus-rose connection. Designed circular petal dance floor open to anyone who wants to be in their heart-space. Heartcore dancefloor carries hardcore* taste in itself as it has an infinite ability to feel and hold all the emotions of dancers on it. Soundtrack by Karolina Kapustaitė About the artist:Laura Marija Balčiūnaitė is a former artist flâneuse becoming a ritual tools’ creatrix. Channeling a need for softness through hydrofeminism, sound healing, drawing, and somatic movement, she produces sensual energy and healing in vulnerability, exploring the edges of a healer and a magical femme portrait tightly connected to the erotic flow of the universe. 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data-src="https://freight.cargo.site/t/original/i/2119571bfde42ed24ca5a428b573d763a12b8252e6c6ab9c08852a7dd81814f3/tabita_rezaire3.jpg" data-mid="253391685" border="0" src="https://freight.cargo.site/w/1000/i/2119571bfde42ed24ca5a428b573d763a12b8252e6c6ab9c08852a7dd81814f3/tabita_rezaire3.jpg" /> Images by Enrika Stanulevičiūtė 12 08 2023 → 01 11 2023 Solo paroda “Angsty Places / Solo exhibition “Angsty Places” Dalyvaujantys menininkai / Participating artists: duo CASE ((Ieva Lygnugarytė (LT) &amp; Xavier Mitchell (NYC, USA))Kuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Aušra Vismantaitė-Silva Šrifto dizainerė / Font designer: Gailė Pranckūnaitė LT: Egzistuoja sena Etiopijos patarlė sakanti, kad „Žuvys vandenį atpažįsta paskutinės“. Vienintelis būdas žuvims atrasti vandenį yra palikti savo “įprastą“ buveinę: upę, ežerą, tvenkinį ar vandenyną. Atsigręždami į šią patarlę klausiame - kokios yra mūsų prielaidos apie mus supančią tikrovę - mūsų suvokimo grožis ir jo trapumas? Kaip elgtis su “duotomis“ ar “nekvestionuojamomis normomis“? Kaip galime suprasti „nežinomus nežinomuosius“? O kas atsitiks, jei paliksime iš anksto “nustatytą”: kas miršta, o kas atgimsta, transformuojasi? Ar gali įvykti senojo žvilgsnio išnykimas ir naujo, įvairaus žvilgsnio atsiradimas?Liesdami šiuos klausimus švelnaus stebėjimo metu, dueto CASE darbai kviečia pažvelgti į savo pačių buveines ir žvilgsnius iš kitų rakursų. Ištraukiant galvas iš vandens, iš to, kas komfortabilu ir pažįstama. CASE darbai kviečia pažvelgti į tai, kas slypi -už-, tiek paliekant mūsų asmenines nerimo vietas, tiek į jas pasineriant.Personalinę parodą sudaro du kūriniai: 1) videoinstaliacija ir 2) performansas. 1. „Winter Garden“ (Žiemos sodas), 2023 Dviejų kanalų videoinstaliacija „Winter Garden“ atskleidžia, kaip klimato kaitos neigimas pasireiškia dirbtinio sniego gamyba slidinėjimo kurortuose. Dėl sparčiai kylančios pasaulinės temperatūros slidinėjimo sezonai kasmet trumpėja, tačiau dirbtinis sniegas gaminamas siekiant pratęsti žiemos sporto sezoną ir užtikrinti tolesnį kapitalo kaupimą klimato kaitos akivaizdoje. 2. „Sideworks: Manor House“ (Šalutiniai darbai: dvaras), 2023 Performansas Performansą bus galima pamatyti tik parodos atidarymo metu – 2023 m. rugpjūčio 12 d., nuo 19 val. „Sideworks“ – tęstinė performansų serija, tyrinėjanti privačios nuosavybės, viešosios erdvės, priešiškos architektūros ir plačiau – žmogaus kuriamos bei formuojamos aplinkos klausimus. Apie menininkus: CASE – Niujorke įsikūręs menininkų duetas, kurio kūryba apima videomeną, performansą ir rastus objektus. Savo menine praktika duetas siekia kelti šiuos klausimus: kiek erdvės priklauso kiekvienam individui? Kaip šiuolaikinio gyvenimo apribojimų sąlygomis galime pasitelkti mažus, kasdienius pasipriešinimo veiksmus? Ar poezija gali tapti veiksminga intervencijos į viešąją ir privačią erdvę priemone? Ar galime atrasti naujų būdų panaudoti išmestus daiktus kaip savitą raiškos kalbą, atskleidžiančią globalius socialinės ir materialinės gamybos procesus bei jų judėjimą? ENG: &nbsp;There exists an old Ethiopian proverb saying that “Fish discover water last”. The only way for the fish to discover water is if it leaves its ‘normal’ habitat: the river, lake, pond or ocean it is immersed in. Thinking with the proverb, what are our assumptions concerning the reality that surrounds us - the beauty and frailty of our perceptions? How can we tackle the “givens” or “unquestioned norms”? How can we comprehend the “unknown unknowns”? And what happens if we leave the pre-established: what dies and what is reborn? Can, through a mutual disappearance and re-appearance of the sight, the diverse sight, immerse? Touching upon these questions with kind observation, the works of the duo CASE invite us to navigate through our sights, habitats and troubles differently. To remove our heads out of the familiar. To glimpse into what lurks beyond, both out of and into our own personal angsty places. Solo exhibition is formed of 1) video installation, and 2) performance 1. Winter Garden (2023) Two Channel Video installation Winter Garden highlights how climate denial is practiced through the production of artificial snow at ski resorts. As the global temperatures have increased drastically, resulting in shorter skiing seasons every year, artificial snow is produced in order to elongate the winter sports season, and continue the acquisition of capital in the midst of changing climate. 2. Sideworks: Manor House (2023) Performance (can be seen only during the opening of the exhibition (2023.08.12 from 19 pm) Sideworks is an ongoing performance series investigating private property, public space, hostile architecture and the built environment more generally.CASE is an artist duo based in New York whose work comprises video, performance, and found objects. Their practice aims to open up a line of inquiry concerning the following questions: How much space is each individual entitled to? How can we employ acts of micro resistance within the confines of contemporary life? Can we effectively intervene in public/private space with poetry? 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data-src="https://freight.cargo.site/t/original/i/f7be77b2fee81ef499c821c6bdfeaffd464d46cde3af768b0be472541556fde4/F35B80CA-7D91-4E75-A147-CEB8CFCF0EC3-1072-000000D71780692F.jpeg" data-mid="253391359" border="0" src="https://freight.cargo.site/w/1000/i/f7be77b2fee81ef499c821c6bdfeaffd464d46cde3af768b0be472541556fde4/F35B80CA-7D91-4E75-A147-CEB8CFCF0EC3-1072-000000D71780692F.jpeg" /> <img width="1776" height="1184" width_o="1776" height_o="1184" data-src="https://freight.cargo.site/t/original/i/aa1bacc4d20fa95a04b09356468e3bd45b121b05b7b46eb09f0514894787c82e/F2371793-5F59-47B8-AC57-3B0A8DA9325E-1072-000000D517DA5C86.jpeg" data-mid="253391361" border="0" src="https://freight.cargo.site/w/1000/i/aa1bacc4d20fa95a04b09356468e3bd45b121b05b7b46eb09f0514894787c82e/F2371793-5F59-47B8-AC57-3B0A8DA9325E-1072-000000D517DA5C86.jpeg" /> <img width="1776" height="1184" width_o="1776" height_o="1184" data-src="https://freight.cargo.site/t/original/i/d301c25c2efe445f01c2886e65b62be100a8ca14095d6639bf3fb8fbb5ed41b1/FECDC422-2E76-415A-9653-ADBC55F318E9-1072-000000D4E18C5F12.jpeg" data-mid="253391362" border="0" src="https://freight.cargo.site/w/1000/i/d301c25c2efe445f01c2886e65b62be100a8ca14095d6639bf3fb8fbb5ed41b1/FECDC422-2E76-415A-9653-ADBC55F318E9-1072-000000D4E18C5F12.jpeg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 27 08 2022 →&nbsp;01 11 2022 Grupinė paroda “Mimezės” / Group exhibition “Mimeses” Dalyvaujantys menininkai / Participating artists: Domas Noreika, Delphine Lejeune, Aistė Ambrazevičiūtė, Eglė Ambrasaitė, Ieva Marija Andrulytė, Enrika Stanulevičiūtė, Ieva Gudelaitytė, Aušra Vismantaitė-Silva, Jerzy Zieliński Kuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Aušra Vismantaitė-SilvaŠrifto dizainerė / Font designer: Gailė PranckūnaitėViršeliui panaudoto kūrinio autorė - Helin Sahin / Artwork image used for cover - Helin Sahin LT:&nbsp;Trumpoje 2019 m. PBS dokumentikoje „Octopus: Making Contact” girdime kaip jūrų biologas, David Scheel, apibūdina nuolat besikeičiančias miegančios aštunkojės Heidi odos tekstūras bei spalvas taip bandydamas mums žaismingai nupasakoti jos sapnus. Patikslindamas, kad Heidi sapnavimas yra prielaida (kolkas nėra moksliškai įrodyta, kad aštunkojai gali sapnuoti), susijaudinęs mokslininkas mus patikina, kad jei Heidi tikrai sapnuoja, tuomet tai ką mes stebime yra išties dramatiškas momentas. Tuojaus paaiškinsiu kodėl. Įstabu yra vien tiktai, kad odoje esančių chromatoforų pagalba, aštunkojai geba operatyviai keisti savo išvaizdą, taip kartu komunikuodami ir maskuodamiesi. Tačiau, jei tai ką matome iš tiesų yra Heidi sapnas, tai reikštų, kad ši įspūdinga būtybė geba mėgdžioti ir įsilieti į aplinką, kuri neegzistuoja, taip sukurdama neegzistuojančio originalo imitaciją. Net jei jūros peizažas, kuris tai išprovokavo neegzistuoja (ji iš tiesų nesugavo krabo ir nepasislėpė jo suvalgyti), tačiau jos kamufliažinis pasirodymas, kuris gali būti perskaitytas ir kitų jūros būtybių - yra realus. Galimas aštunkojės sapnas man priminė ištrauką iš „Vargas dėl lyties”, kur Butler rašo, kad [...] gėjaus santykis su hetero yra veikiau ne kaip kopijos su originalu, bet kaip kopijos su kopija. Parodijinė originalo kartotė [...] atskleidžia, kad originalas yra ne kas kita kaip prigimtimumo ir originalumo idėjos parodija” (Butler 2017:103). Kalbėdama apie performatyvumą lyties ir seksualumo kontekste, Butler teigia kad mūsų lyčių pasirodymai yra iš anksto numatyti ir konstituojami normų, nubrėžiančių ir palaikančių lyties režimą, o mes galime ‘atlikti’ lytį tik atsižvelgdami į šių normų (žinomų formų ir elgesio modelių) pakartojamumą. Lyties ir sekso citatyvumas riboja mus vietose, kur mūsų performatyvumas galėtų atsiplėšti nuo nuolatinių ‘idealų’ kartojimo. Tačiau būtent tai, kad šias normas turime nuolat pakartoti rodo jų nestabilumą ir galimybę ir taip neegzistuojančio ‘originalo’ griūčiai. Juk, kaip ir teigė Butler, galia yra ambivalentiška ir turi būti suvokiama su jai imanentiška pasipriešinimo galimybe: parodoksalu, bet pro ambivalentišką plyšį prasmukti gali tik normų suvaržytas subjektas. Kaip teigė Lakanas savo 11-ame seminare, skirtame žvilgsniui (gaze) analizuoti, savęs formavimas ir savęs atlikimas formuoja kito žvilgsnį, o kuriamas įspūdis gali būti manipuliuojamas įvairiais būdais, įskaitant apgaulės, asimiliacijos ir nematomumo idėjomis bei praktikomis (Lacan 1977:99). Prisimenant (galimai) sapnuojančią aštunkoję ir jos kūnu projektuojamą neegzistuojantį jūros peizažo originalą, grupinėje parodoje „Mimezės” dalyvaujantys menininkai kviečia peržengti ‘tikrumo’ ir ‘originalumo’ ribas, pažvelgiant į mimezės ir kamufliažo praktikas be humanistinio/moralinio nesąžiningumo poskonio. Galbūt čia rasis terpė į socialines-ekonomines, socialines-politines marginalijas nustumtai darbo klasei, heterogeniškoms nebaltųjų, neheteronormatyvinėms queer bendruomenėms, tapsmo rūšyje galimybei? ENG: In the short PBS documentary “Octopus: Making Contact” (2019) we hear how marine biologist, David Scheel, describes the ever-changing textures and colors of the sleeping octopus Heidi’s skin, trying to playfully narrate her dreams. Clarifying that Heidi’s dreaming is a conjecture (it has not yet been scientifically proven that octopuses can dream), the excited scientist assures us that if Heidi is indeed dreaming, then what we are witnessing is a truly dramatic moment. I’ll explain why right away. It is spectacular enough that with the help of chromatophores in their skin, octopuses are able to quickly change their appearance, thus simultaneously communicating and disguising themselves. However, if what we are seeing is indeed Heidi’s dream, it would mean that this impressive creature is able to mimic and blend into an environment that does not exist, thus creating an imitation of a non-existent original. Even if the seascape that provoked her ‘dream’ doesn’t exist (she didn’t actually catch a crab and she didn’t hide to eat it), her camouflage performance, which, importantly, can be read by other sea creatures, is real. The possible dream of the octopus reminded me of a passage from the “Gender Trouble,” where Butler writes that “[…] gay is to straight not as copy is to original, but, rather, as copy is to copy. The parodic repetition of “the original” […] reveals the original to be nothing other than a parody of the idea of the natural and the original (Butler 1990:31). Speaking about performativity in the context of gender and sexuality, Butler argues that our gender performances are predetermined and constituted by the norms that outline and support the gender regime, and we can only ‘perform’ gender by taking into account the repeatability of these norms (known forms and patterns of behavior). The citability of gender and sex limits us in places where our performativity could break away from the constant repetition of ‘ideals’. However, the very fact that we have to constantly repeat these norms shows their instability and the possibility of the collapse of the non-existent ‘original’. After all, as Butler stated, power is ambivalent and must be perceived with its immanent possibility of resistance: paradoxically, only a subject constrained by norms can slip through the ambivalent crack. In addition, as Lacan once argued in his 11th seminar on the Gaze, self-formation and self-performance shape the gaze of the other, and the impression created can be manipulated in a variety of ways, including ideas and practices of deception, assimilation, and invisibility (Lacan 1977:99). Thinking with and about (possibly) dreaming octopus and the non-existent original of the seascape projected by her body, the artists participating in the group exhibition “Mimeses”, invite us to look further beyond what is considered to be ‘original’, by looking at the practices of mimesis and camouflage without the aftertaste of humanistic/moral dishonesty. Perhaps the seedbed of the possibility for the marginalized working class, heterogeneous non-white, non-heteronormative queer communities, and becoming in species&nbsp;will find itself stemming from here? <img width="3009" height="4000" width_o="3009" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a214df3da315a8440a1fadc36398c3d0e755068e45c47e59a153ab94277adc08/605B3DB0-B901-4B2B-87FB-20322F6172C9-5032-000000BF620D8B05.jpeg" data-mid="253390645" border="0" src="https://freight.cargo.site/w/1000/i/a214df3da315a8440a1fadc36398c3d0e755068e45c47e59a153ab94277adc08/605B3DB0-B901-4B2B-87FB-20322F6172C9-5032-000000BF620D8B05.jpeg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/7a8289a861794d28ffe377d61488b4153bc7e8771acb81450e1fd4c942981050/B6422184-094A-4798-A967-09A29D1563B5-616-0000005F2E959D95.jpeg" data-mid="253390647" border="0" 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width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/a682ae3027cb09b30b1271b8d007ef8d241b43bdf7b64206aa376b033d9f2961/82E1E741-1D1B-4AF6-9D60-801EE5745FA2-616-00000067714A29E8.jpeg" data-mid="253390639" border="0" src="https://freight.cargo.site/w/1000/i/a682ae3027cb09b30b1271b8d007ef8d241b43bdf7b64206aa376b033d9f2961/82E1E741-1D1B-4AF6-9D60-801EE5745FA2-616-00000067714A29E8.jpeg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/9f13f712df1b5e4b6eaa2c5c86292ed5a278ad917eb532c2c791cd75e98c4011/EC3E5855-DD98-4007-99FC-F0F1049786FE-5032-000000BF8DC54AEE.jpeg" data-mid="253390650" border="0" src="https://freight.cargo.site/w/1000/i/9f13f712df1b5e4b6eaa2c5c86292ed5a278ad917eb532c2c791cd75e98c4011/EC3E5855-DD98-4007-99FC-F0F1049786FE-5032-000000BF8DC54AEE.jpeg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 01 04 2020 →&nbsp;15 10 2020 Grupinė paroda “Užkerėti landšaftai” / Group exhibition “Enchanted Landscapes” Dalyvaujantys menininkai / Participating artists: Dorota Gawęda and Eglė Kulbokaitė, Ieva Lygnugarytė, Rūta Vėbraitė and Sofia Bordin, Urte Kat, OFF2Ensemble, Domas Noreika and Enrika StanulevičiūtėKuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Gailė Pranckūnaitė LT: Kadaise gyveno žmogus, kuris rekomendavo kitam aukštesnį rangą turinčiam žmogui, jog labiau naudinga yra karaliauti kai tavęs bijo, o ne kai tave myli. Patriarchatinis valdymas ir privatus susiskaldymas sužydėjo. Pamažu nyko švelnumas. Ar mes linkę mylėti vienas kitą, ar esame linkę užmegzti santykius vienas su kitu, tarp žmonių, ir ne-žmogiškųjų būtybių, turint tokią perspektyvą? Aš sutinku su Hardt, kuris sako, jog “dažnai, kai žmonės kalba apie režimus paremtus neapykanta, iš tiesų jie remiasi tam tikra meilės rūšimi” (Hardt 2014). Bet, kaip jis ir pabrėžia, tokia meilės išraiška yra baisinga, besiremianti vienodumo praktika, kur vienas myli tik tą, kuris yra panašus į juos. Tokia meilės idėja nubraukia skirtumus, kad būtų sukurtas netikras vienodumo jausmas, tokia vienybė kaip, pavyzdžiui, baltųjų viršenybė, nacionalizmai ir įvairūs religiniai fundamentalizmai, ir, dar labiau sutvirtina iš jų išsikerojusius socialinius, ekonominius bei kultūrinius santykius. Visuomenė atrodo taip, lyg iš jos būtų atimta, kažkas esminio, net nesuvokiant, kas yra tai, ko jai trūksta. Taigi, kas tai yra, ar visgi reiktų klausti - kokios yra kitos meilės galimybės; kokie yra galimi meilės ryšiai tarp (neatskiriant ir neišskiriant) kūno, proto ir sielos sąsajų, susipynusių, susijusių tarprūšinių santykių? Ar „užburta sala“, kaip Bourdieu kartą pavadino meilę, yra „uždaras ir tobulai autarkiškas pasaulis, kuriame vyksta nenutrūkstami stebuklai“, ir „kurį galima išgelbėti iš ledinių apskaičiavimo, smurto ir savi-interesų vandenų“ (Bourdieu 2001: 109)?Šios parodos kuratorė neturi atsakymų. Kaip aš galėčiau diagnozuoti tai ką galima tik pajausti? Meilė yra skirtinga patirtis mums visiems, neišmatuojama kelionė, kuri suklesti be priežasties, nežinomomis kryptimis. Kai tu bandai užklausti klausimų meilės tema - tai kaip tam tikra talpykla - išjausti duomenys, neaprėpiamas debesų archyvas. Ten yra mamos ir tėvo figūros, tėvynių ir kraštovaizdžių vizijos, mašinos, ginklai, prievartos formos, mirtini karai ir ligos, juoko dulkės, tirpstantys prisilietimai, sudaužytos širdys, šmėklos. Yra kalba. Randai. Vartojimas. Taip pat yra ir magija, jautrumas, švelnumas, atleidimas, viltis.&nbsp;Aš liečiau tave tau nežinant, kai tu buvai labiausiai pažeidžiamas, kol miegojai. Aš stebėjau mūsų susipynusias rankas, susiviniojusius kūnus; švelniai judėdama pirštais, glosčiau tavo plaukus, tavo odą, zigzagais, jausdama oro panosėje šilumą, šnypšdėjau neištardama ne-kūniško ‘aš tave myliu” pažado. Aš atsiribojau nuo to, kas, mano manymu, tu turėjai būti, tuo pačiu atsikratydama man priskirto identiteto. Tu negalėjai stebėti šio proceso. Jis tekėjo kaip upė, tai buvo nuolatinis tapsmas.Atsisakydama sentimentalumo ir meilės romantizacijos, kurie, skaitytojui vis dar gali rodytis šio teksto eilutėse, parodos kuratorė mano, kad meilė yra ontologinė būklė, ontologinė galia, kuri keičia tave ir per santykius su kitais, kaip veikimo būdas, taip pat gali perorientuoti ir visuomenę.Taigi, laikydama meilę pagrindine gija grupinės parodos “Užkerėti landšaftai” koncepcijai, kviečiu pamatyti „skirtingas, unikalias, neatkartojamas, nepastovias ir svetimas“ (Badiou 2012) meilės, santykių ir intensyvumo perspektyvas, atklydusias iš skirtingų ‘kelionių’, skirtingos patirties, skirtingų menininkų. Pabandykime patirti meilę ir visa, kas ją supa, kartu, savuose skirtumuose."Užkerėti landšaftai” yra projekto “Nematomo Žmogaus Kinoteka 2020: intensyvumai” dalis. Projektą iš dalies finansuoja Lietuvos Kultūros Taryba. ENG: Once, lived a man who suggested to one other man in higher societal rank that it is more beneficial to reign being feared than loved. Patriarchal ruling and private partition blossomed. Tenderness withered away. Do we tend to love one another, do we tend to relate to one another, between humans, non-humans and other earthy creatures with such a perspective? I do agree with Hardt that “most times when people talk about regimes based on hatred, they in fact are based on a certain kind of love” (Hardt 2014). But as he mentions, it is a horrible kind of love, love that is grounded in sameness, where one loves only the one who is like them. Such notion of love washes off the differences to create a unity, a unity like, for example, white supremacy, nationalisms and various religious fundamentalisms and keeps the social, economic, political relations that mushroom from these intact. Society seems to be deprived of something essential, not even aware of what it is it misses. Hence, what is that, or does one need to ask - other kinds of love, what is a relation of affection between (not implying a separation) bodies, minds and souls, interconnected, intermingled in interspecies way? Is “the enchanted island”, how Bourdieu once called love, “a closed and perfectly autarkic world which is the site of a continuous series of miracles” and “can be snatched from the icy waters of calculation, violence and self-interest”(Bourdieu 2001:109)?The curator of this exhibition has no answers. How can I prescribe one with the description of what can be felt only? Love is a different experience for all of us in all its subtlety, an immeasurable journey, which seems to flower without a cause, in unknown directions..Once you try to open up the question of love - it’s like a storage - felt data, neverending archivum in/of clouds. There is a figure of a mother and a father, visions of homelands and landscapes, machines, guns, rapes, deadly wars and illnesses, dusts of laughter, ephemeral touches, broken hearts, ghosts. There is language. Scars. Consumption. There is magic too, gentleness, tenderness, forgiveness, hope. I touched you while you were unaware, while most vulnerable, while sleeping. I watched our hands wrapped, bodies mingling; gently moving my fingers, I stroked your hair, your skin in zigzags, feeling the warmth of your breath, I murmured without uttering the non-corporeal promise of ‘I love you’. I disengaged with what I thought you should be, depersonalizing myself too. You could not observe this process. It flowed like a river, it was a constant becoming. In doing away with the sentimentality and romanization of love that, to the reader, still might seem to arise from these words, the curator of this exhibition, believes love to be an ontological condition, an ontological power that changes you, and through the relationship with others, as a mode of action, is able to reorient the society too. Hence, keeping love as a main thread for the group exhibition “Enchanted Landscapes”, I invite you to see the “different, unique, unrepeatable, unstable and foreign” (Badiou 2012) perspectives on love, relations and intensities, coming from different journeys, different experiences, from different artists. Let’s try to experience love, and all that surrounds it, together, in differences.&nbsp;"Enchanted Landscapes“ is part of the project “Invisible Man’s Cinematheque 2020: intensities”. 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src="https://freight.cargo.site/w/1000/i/8020eb9e42e8f46ab2b8a8b3290a28ee7a71ce5172b2294380904ec26f42093f/DSCF2579.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/086cdc259f96fb2a93d546947e86b076ad8a6338e2f1d4e294061ced2bc91096/DSCF2731.jpg" data-mid="253390752" border="0" src="https://freight.cargo.site/w/1000/i/086cdc259f96fb2a93d546947e86b076ad8a6338e2f1d4e294061ced2bc91096/DSCF2731.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/b360e086b30df40a7e1b4bca8f25a4f4f8a3ccd90c7f7d0c41006f8e4e1d4a3c/DSCF2546.jpg" data-mid="253390740" border="0" src="https://freight.cargo.site/w/1000/i/b360e086b30df40a7e1b4bca8f25a4f4f8a3ccd90c7f7d0c41006f8e4e1d4a3c/DSCF2546.jpg" /> Images by Enrika Stanulevičiūtė 01 06 2019 → 15 10 2019 Sevdos Khatamian solo paroda “Decay(-ing) / Sevda’s Khatamian’s solo exhibition “Decay(-ing)”Kuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Gailė Pranckūnaitė LT:&nbsp;Mąstydama pojūčių materijomis, ypač, laiko pojūčio, kuris įtakoja didijį klausimą: “Tai kokia(-ios) yra gyvenimo prasmė(-s)?” tūnant kūne-kalėjime, kūne-spynoje, vienišame-kūne, Iranietė menininkė ir rašytoja Sevda Khatamian sako, jog net jei visi esame pagaminti pagal “Adomo tekstūrą”, visvien esame linkę naudoti nuo saulės apsaugantį kremą, tam tikrą apsaugą, rūpintis mūsų odų dermatalogija. Jai, tai atrodo, mūsų antropoceninio išgyvenimo arba susinaikinimo klausimas. Bet kas nutinka kūnams, kurie nėra prisirišę prie savo žemės, prie savo saulės, kas nutinka “be-žemiams”, be-sauliams?Siekdama pluralizuoti santykius tarp materijos, žmogaus ir ne-žmogaus, savo video instaliacijomis ir piešiniais, Sevda rašo tam tikrą vienatvės manifestą. Lokaliai ir kūniškai išjausdama, įafektindama vietos geo-istoriją (šiuo atveju, Žeimių lokalę), ji atsitraukia nuo teo- ir eco- logika grįsto patriarchalinio, eurocentriškojo žvilgsnio. Stebėdama debesis, su šypsena, ji mąsto ką reiškia tapatybė, pilietybė, rasė kai viskas irsta ir pūva? Kokios teritorijos išsimontuoja kai pažįstamas socialus ir politinis nyksta? Dar plačiau, ką reiškia įsivaizduoti beveidį vienišiaus kūną? “Decay(-ing)” yra projekto “Nematomo Žmogaus Kinoteka 2019: (į/iš)sikūnyti” dalis. Projektą iš dalies finansuoja Lietuvos Kultūros Taryba ir Roberto Cimetta Fund. ENG: Thinking through the matters of sensation, sensation of time that concerns the grand question: what is/are the ‘meaning(-s) of life” in body-prison, body-locked, lonely-body?, Iranian artist and writer Sevda Khatamian argues that while we are all being made of a “texture of Adam”, we still tend not to “forget the sunscreen”, the protection, the dermatology of our skins. For her, it is the question of our anthropocentric survival or our annihilation. But what about the bodies with no land, no sun of ‘their own’, the “no-landers”, the no-suners? In her video installations and paintings, Sevda writes a sort of manifesto of loneliness for the pluralization of relations between matter, the human and the non-human. By feeling the geo-history of the places locally and bodily (in this case, the locality of Žeimiai) she steps away from teo- and ego- logics of patriarchal, eurocentric gaze. Cloud-watching with a smile she wonders what the identity, nationality, race is when all decay? What kind of territories are disassembled when the known social and political decays? More broadly, what can one imagine to be the lonely body without a face?&nbsp;“Decay(-ing)” is part of the project “Invisible Man’s Cinematheque 2019: to (dis)embody”. It is partly financed by Lithuanian Council for Culture and Roberto Cimetta Fund. <img width="2048" height="1072" width_o="2048" height_o="1072" data-src="https://freight.cargo.site/t/original/i/327c9e86cd66e79165b2828eb682bfb1509c4a2025d6a429f3fb012d462df346/471538523_10162950382189602_6957012975729448920_n.jpg" data-mid="253391877" border="0" src="https://freight.cargo.site/w/1000/i/327c9e86cd66e79165b2828eb682bfb1509c4a2025d6a429f3fb012d462df346/471538523_10162950382189602_6957012975729448920_n.jpg" /> <img width="1944" height="1253" width_o="1944" height_o="1253" data-src="https://freight.cargo.site/t/original/i/0577f0ad4e889edf7887218f6b6a0af7ae94f72129341e80dac29ab23a52b082/67554140_10157660092029602_9174272005086642176_n.jpg" data-mid="253390822" border="0" src="https://freight.cargo.site/w/1000/i/0577f0ad4e889edf7887218f6b6a0af7ae94f72129341e80dac29ab23a52b082/67554140_10157660092029602_9174272005086642176_n.jpg" /> <img width="1296" height="1887" width_o="1296" height_o="1887" 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data-src="https://freight.cargo.site/t/original/i/93460de819e81013b944b6b9853f7ace594c95e708e906868b45f3f64cfde7e2/67374134_10157660086909602_2096878097050632192_n.jpg" data-mid="253390809" border="0" src="https://freight.cargo.site/w/1000/i/93460de819e81013b944b6b9853f7ace594c95e708e906868b45f3f64cfde7e2/67374134_10157660086909602_2096878097050632192_n.jpg" /> <img width="1812" height="1181" width_o="1812" height_o="1181" data-src="https://freight.cargo.site/t/original/i/eadbc72950e2d7c51ab5552ce06bbc4485fb9dcb3335401d45dbd058df324889/67371965_10157660086854602_5024425490740412416_n.jpg" data-mid="253390806" border="0" src="https://freight.cargo.site/w/1000/i/eadbc72950e2d7c51ab5552ce06bbc4485fb9dcb3335401d45dbd058df324889/67371965_10157660086854602_5024425490740412416_n.jpg" /> <img width="1296" height="1944" width_o="1296" height_o="1944" data-src="https://freight.cargo.site/t/original/i/ff4fa3f6e8c6d5e01e36c9c50b2850e081d54d9f4fd0593e65cfbd7c9265e9f1/67339569_10157660091964602_200042246454640640_n.jpg" data-mid="253390803" border="0" src="https://freight.cargo.site/w/1000/i/ff4fa3f6e8c6d5e01e36c9c50b2850e081d54d9f4fd0593e65cfbd7c9265e9f1/67339569_10157660091964602_200042246454640640_n.jpg" /> <img width="1831" height="1280" width_o="1831" height_o="1280" data-src="https://freight.cargo.site/t/original/i/156370f8f4862a1574ff5fd3bc18a2757be5e5662db70c42c3711dfefebef45e/67326460_10157660090649602_7897503988923236352_n.jpg" data-mid="253390801" border="0" src="https://freight.cargo.site/w/1000/i/156370f8f4862a1574ff5fd3bc18a2757be5e5662db70c42c3711dfefebef45e/67326460_10157660090649602_7897503988923236352_n.jpg" /> <img width="1886" height="1247" width_o="1886" height_o="1247" data-src="https://freight.cargo.site/t/original/i/c09dea06bab3b0fb699465e627f59dfe76bb4f59cf4a358e3697386939b5c189/67308816_10157660086804602_4224387071927648256_n.jpg" data-mid="253390799" border="0" src="https://freight.cargo.site/w/1000/i/c09dea06bab3b0fb699465e627f59dfe76bb4f59cf4a358e3697386939b5c189/67308816_10157660086804602_4224387071927648256_n.jpg" /> <img width="1863" height="1296" width_o="1863" height_o="1296" data-src="https://freight.cargo.site/t/original/i/72bc3e8be82d1bf41df20a07e6b138b197c55b970c93c201b9d7de9af95a16bc/67308579_10157660087244602_1724503401695281152_n.jpg" data-mid="253390797" border="0" src="https://freight.cargo.site/w/1000/i/72bc3e8be82d1bf41df20a07e6b138b197c55b970c93c201b9d7de9af95a16bc/67308579_10157660087244602_1724503401695281152_n.jpg" /> <img width="1881" height="1224" width_o="1881" height_o="1224" data-src="https://freight.cargo.site/t/original/i/54d454570de8202a5036f67f02f52175d304322343d9e52d44dffd93256b385b/67273237_10157660089694602_2372277374369660928_n.jpg" data-mid="253390796" border="0" src="https://freight.cargo.site/w/1000/i/54d454570de8202a5036f67f02f52175d304322343d9e52d44dffd93256b385b/67273237_10157660089694602_2372277374369660928_n.jpg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 01 08 2019 → 15 10 2019 Grupinė paroda&nbsp;“Nėra ko gailėtis” / Group exhibition “Nothing to Regret” Dalyvaujantys menininkai / Participating artists: Enrika Stanulevičiūtė and Aikas Žado LaboratoryKuratoriai / Curators: Eglė Ambrasaitė and&nbsp;Audrius PociusArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Gailė PranckūnaitėParodos koordinatorius/ Coordinator of the exhibition: Rokas Vaičiulis LT:&nbsp;„Tik nemąstantis stebėtojas gali neigti, kad tarp šiuolaikinių technologijų pasaulio ir archajiško mitologinių&nbsp;simbolių&nbsp;pasaulio&nbsp;egzistuoja&nbsp;atitikmenys.“ - Walter Benjamin Panašu, kad populiarus mitas apie žmogaus ir gamtos grumtynes dėl išlikimo šiandien jau yra praradęs savo dramatiškas įtampas. Gamtos mitologinė galia, kadaise neatsiejama nuo to, kaip suvokiame žmogaus esybę, kaip stichišką ir paslaptingą, nenuspėjamą ir užvaldomą, yra virtusi elementaria ekonomikos lygtimi, kuri, nepaisant vieno kito nuokrypio, verčia užmerkti akis viso, kas negali būti utilizuota, parduota, įvertinta ir apibrėžta, atžvilgiu. Viena vertus, galbūt neverta jausti šiam praeitin nugrimzdusiam gamtiškumui nostalgiško ilgesio – mums nereikia būti greitiems kaip antilopėms, kai galime skristi greičiau ir aukščiau, nei paukščiai, statyti ir kurti sudėtingesnes, nei skruzdės infrastruktūras, bendrauti per didesnį atstumą, nei tai gali daryti banginiai: šiandien mūsų atmintis yra saugoma tvarkingai surūšiuotų failų sistemose, o žmogus – drąsiai žvelgia į priekį.Vis dėlto, ši pergalė nėra vienareikšmiška: kai viskas apskaičiuota, daiktai ir žmonės lieka šio skaičiaus šešėlyje, kol galiausiai nepastebimai ima nykti iš akiračio. Seni pastatų mūrai, įkainoti, paskelbti vertybėmis po fasadais ima slėpti savo istoriją – gyvybė čia tampa nebepageidaujama. Analogiškai, žmogaus atvaizdas tampa svarbesnis už jį patį, juk šį gali dauginti, mainyti, juo manipuliuoti. Tai byloja ir mados fotografijai būdingos kompozicijos, kuriose modelių veidai vaizduojami kaip pasyvūs, imituojant mirusiųjų veido išraiškas – regis, negalime atsižavėti savo pačių facies hippocratica.Tad klausimas – kaip mūsų gyvenimas yra suderinamas su gyvybe? – tampa pagrindiniu šios parodos sumanymo registru. Aikas Žado Laboratory ir Enrika Staniulevičiūtė kviečia pažvelgti į tai, kas slypi už atvaizdo fasado ir išgirsti pasakojimus, kurie dažnai lieka nutildyti pastatų mūrų ar paslėpti po rūbais. Paroda vyks si-bioarchitektūriniame buduaro kambaryje, kurio paviršius selekcionuoja/koduoja/kuruoja Aikas Žado Laboratory. Domas Noreika si-bioarchitektūros idėją aiškina globalaus neoliberalaus kapitalizmo ir vertybinio konflikto su paveldosauga kontekste ir šiai politinei, ekonominei bei kultūrinei situacijai apibūdinti pasitelkia bio-įtampų naratyvus, kaip pavyzdžiui, ciniškas Lietuvos politinio veikėjo komentaras apie „dvaro pastato vieno galo griuvimą, o kito tvarkymą“ arba amžinas „vestuvininkų“ noras nemokamai įsiamžinti „romantiško, apleisto dvaro laiptų fone“. Žeimių dvaro buduaro kambarys, šiai erdvei taikomos paveldosauginės technikos bei filosofija, klasicistines estetines tradicijas iš Romos į Lietuvą XVIII a. atgabenusio P. Smuglevičiaus figūra, ikonografija ir kultūrinės veiklos kontekstas parodos metu pavirsta pagrindine konceptualine ašimi, per kurią aktualizuojasi potencialas kalbėti iš lokalios dvaro si-bioarchitektūrinės pozicijos apie globalias socialines, ekonomines, kultūrinio paveldo, prezervacijos ir konservacijos, geopolitikos problemas bei kurti eko-kritinę teoriją ir praktiką. Taip Žeimių dvaro sodyba tampa lėtu ir kokybišku kultūros paveldo plėtojimo pavyzdžiu Lietuvoje. Enrikos Stanulevičiūtės fotografijų ciklas provokuoja buduaro kambario struktūrinį žavesį, įkūnija ir tuo pačiu metu iškūnija tradicinio “modelio-darbininko” biopolitinį kūną - pro patriarchato pirštus prasiveržia nuolatiniais seksizmo, šovinizmo ir genderizavimo aparatais slopinamas tamsusis modelio darbo atstovių išgyvenimų spektras.“Nėra ko gailėtis” yra projekto “Nematomo Žmogaus Kinoteka 2019: (į/iš)sikūnyti” dalis. Projektą iš dalies finansuoja Lietuvos Kultūros Taryba. ENG: Only a thoughtless observer can deny that correspondences come into play between the world of modern technology and the archaic symbol-world of mythology (Walter Benjamin) It seems that today the popular myth of the struggle for survival of man and nature has lost its dramatic intensity. The mythical power of nature, once indistinguishable from how we understand the essence of humanity, as elemental and enigmatic, unpredictable and obsessive, has given way for a simple economic equation which, despite an occasional deviation here and there, blinds us to everything that cannot be utilized, exchanged, evaluated and defined. On one hand, maybe one shouldn’t feel nostalgic about this faded nature – we do not need to be as fast as an antelope, if we can fly faster than birds, build infrastructures more sophisticated than ants or communicate at a distance greater than whales: today our memory is stored in neatly organised file systems, whereas the human boldly gazes toward the future.However, this triumph is not unambiguous: when our world is completely calculated, things and people remain in the shadows of these calculations until they start imperceptibly fade out of view completely. Walls of uninhabited buildings, evaluated and labelled ‘heritage’ start concealing their history – life itself is no longer welcome here. Respectively, an image of a person becomes more important than himself, as the former can be multiplied, exchanged and manipulated. This is most evident in compositions characteristic to fashion photography, where models are depicted as passive by imitating the facial expressions of the dead. We cannot be fascinated enough by our own facies hippocratica, it seems…Therefore, the question – can our lives be reconciled with life itself? – becomes a central theme in this exhibition. Aikas Žado Laboratory and Enrika Saniulevičiūtė invites the visitor to take a peep into what lies behind the facade of an image and hear stories usually silenced under walls of buildings or wrapped under the fabric of clothes. Exhibition will take place in si-bioarchitectural boudoir’s room. Its surfaces are selected, coded and curated by Aikas Žado Laboratory. Domas Noreika explains the idea of si-bioarchitecture in the context of global neoliberal capitalism and uses narratives of bio-tensions to describe this formed political, economic and cultural situation, as, for example, a cynical commentary by a Lithuanian political figure on the "collapse of one part of the mansion’s building, and the management of another", or the eternal desire of the wedding people to have “romantic photoshoots on the staircase of the abandoned manor". During the exhibition, the boudoir chamber of Žeimiai Manor, the techniques and philosophy of heritage protection, the figure of P. Smuglevičius, who brought classicist aesthetic traditions from Rome to Lithuania in the 18th century, iconography and the context of cultural activities become the main conceptual axis through which the potentiality to speak about the global issues of socio-economic relations, geopolitics, cultural heritage, conservation and preservation and to act on and create eco-critical theory and practice from the local si-bioarchitectural position of the manor actualizes. This is how Žeimiai Manor House becomes an example of a slow and quality-based development of cultural heritage in Lithuania. Enrika Stanulevičiūtė’s photographies provoke the structural charm of the boudoir room by embodying and, at the same time, disembodying the traditional biopolitical body of the “model-worker”. The dark spectre of experiences, contaminating the work of the model are breaking out through the fingers of patriarchy, through the apparatuses of constant sexism, chauvinism and genderism.“Nothing to Regret” is part of the project “Invisible Man’s Cinematheque 2019: to (dis)embody”. It is partly financed by Lithuanian Council for Culture. <img width="678" height="960" width_o="678" height_o="960" data-src="https://freight.cargo.site/t/original/i/055565040f6c5887740eabd8aea2668d9c56c594e9feddc6d86e8a37627e4509/69742188_10157745658769602_625887124276641792_n.jpg" data-mid="253390792" border="0" src="https://freight.cargo.site/w/678/i/055565040f6c5887740eabd8aea2668d9c56c594e9feddc6d86e8a37627e4509/69742188_10157745658769602_625887124276641792_n.jpg" /> <img width="948" height="1409" width_o="948" height_o="1409" data-src="https://freight.cargo.site/t/original/i/16d5219902a4e134724711c372dd0f3a0eb5d80a69c2a55dd1ee4ef3e3bd9a28/Ambrasaite_Egle_02.png" data-mid="253390765" border="0" src="https://freight.cargo.site/w/948/i/16d5219902a4e134724711c372dd0f3a0eb5d80a69c2a55dd1ee4ef3e3bd9a28/Ambrasaite_Egle_02.png" /> <img width="1634" height="1091" width_o="1634" height_o="1091" 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src="https://freight.cargo.site/w/1000/i/ccc9ab168fee03115b9c2bb4867aa1bf613ef49233128fa763a121ad3caaf16a/69895700_10157757299524602_5595249673993453568_n.jpg" /> <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/7b806f451b96d1de52f2af70c978f30cd87a2cc96deb0fb34fc9185958ad2eaf/69333030_10157757299814602_6687742852761387008_n.jpg" data-mid="253390769" border="0" src="https://freight.cargo.site/w/1000/i/7b806f451b96d1de52f2af70c978f30cd87a2cc96deb0fb34fc9185958ad2eaf/69333030_10157757299814602_6687742852761387008_n.jpg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 01 02 2018 →&nbsp;01 11 2018 Grupinė paroda „Bio-fantômas’iški seansai“ / Group exhibition “Bio-fantômas’ic sessions” Dalyvaujantys menininkai / Participating artists: Anna Belousova, Gailė Griciūtė ir Viktorija Damerell,&nbsp;Jack Finerty,&nbsp;Domas Noreika,&nbsp;Eglė Ambrasaitė&nbsp;Kuratorė / Curator: Eglė AmbrasaitėArchitektas / Architect: Domas NoreikaDizainerė / Graphic designer: Gailė PranckūnaitėParodos koordinatorius/ Coordinator of the exhibition: Rokas Vaičiulis LT:&nbsp;2018 m. Nematomo žmogaus kinotekos programa yra paremta ekocentrinėmis idėjomis, kurios čia, lokaliuose ir problematiškuose Žeimiuose, šaukiasi nevienalytiškumo ir skirtingumo, seka rizomine - anti-hierarchine, multi-rūšine būtybių koegzistavimo koncepcija! Ūžiant globaliems ultra-dešiniesiams pavaldiems uraganams ir vėtroms, Nematomo žmogaus kinotekos, įsikūrusios Aikas Žado Laboratorijoje, Žeimių dvaro sodyboje, kuruojama paroda kviečia pamatyti ir išgirsti tai, kas palikta nematoma, tai kas ištrinta ar neprieinama VHS kasetėje, tai, kas tėra tik fantômas’iškos figūracijos, kritiški pasispardymai karštą vasaros naktį, grubūs homofobiški išrautų tvoros lentų įspaudai tavo veide, visos galimos kaukės, genderizavimo aparatai, neužadomos kiaurymės, aižėjantys įtrūkimai, garuojančios tešlos, išbėgę tepalai, suklastoti pažadai, tai, kas telpa ir tai, kas prasmunka pro si-bioarchitektūros botagą ir laiką. Ši paroda yra projektų „2018 m. Nematomo žmogaus kinotekos projektai”, „Lankesa: Spaudžiant akceleratoriaus pedalą” ir „McFlurry (request sent)” dalis ir yra remiama Lietuvos kultūros tarybos ir Lietuvos Respublikos kultūros ministerijos. ENG: In 2018, the programme of Invisible Man’s Cinematheque is based on the ideas of eco-centeredness that here, in local and problematic small town of Žeimiai, are calling for heterogeneity and diversity, following a rhizomatic and anti-hierarchical conception of multi-species co-existence! In the wake of the global ultra-right hurricanes and superstorms, the exhibition curated by the Invisible Man’s Cinematheque, established in Aikas Žado Laboratory, Žeimiai Manor House, invites to see and hear that, what is hidden and invisible, that, which is deleted or inaccessible in the VHS cassette, that, which are just fantômas'ic figurations, critical left-kicks on a hot summer night, rough homophobic marks of torn up by the roots wooden fence planks in your face, all the possible masks, gendered apparatuses, undarned gaps, cracking splits, steaming doughs, flowed oils, forged promises, that, which fits in and that, which slips through the whip and time of si-bioarchitecture.This exhibition is part of these projects: „The Projects of Invisible Man Cinematheque for 2018”, „Lankesa: Acceleration” and „McFlurry (request sent)” and is funded by Lithuanian Council for Culture and Ministry of Culture of the Republic of Lithuania. <img width="2000" height="1125" width_o="2000" 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src="https://freight.cargo.site/w/1000/i/76daac765ef25d7660abca6fb15bcb9af9ad6a07d7219c0c3f343ada4d4aa7d1/40559500_10156807123364602_7460264584339783680_o.jpg" /> <img width="1728" height="1152" width_o="1728" height_o="1152" data-src="https://freight.cargo.site/t/original/i/f18f13f7ffe2153a8e4fe759da75b89c1190eef89f33fbdf1601172b00c905b4/40537122_10156807123879602_6949253983961612288_o.jpg" data-mid="253390965" border="0" src="https://freight.cargo.site/w/1000/i/f18f13f7ffe2153a8e4fe759da75b89c1190eef89f33fbdf1601172b00c905b4/40537122_10156807123879602_6949253983961612288_o.jpg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 01 06 2017 → 30 09 2017 Nematomo žmogaus kinotekos atidarymas/ The opening of the Invisible Man’s&nbsp; CinemathequeKuratorius / Curator: Auridas GajauskasDizainerė / Graphic designer: Gailė PranckūnaitėLT:&nbsp;Mūsų patirtyje VHS kasetė yra kaukė, pro kurią galima žiūrėti paslėpus savo veidą, ir kurią galima matyti ir valdyti kaip santykio su pasauliu formą. Tačiau taip pat galima užimti tik jos vidinę – kino vartojimo poziciją. Toliau mes imame video kasetę kaip medžiagą statymui, kuri Žeimių miestelyje yra tapusi nebeatskiriama santykio su savimi dalis. Imame ją ne tik kaip istoriškai namuose dominavusią mediją, bet taip pat kaip silikatinę plytą arba namų ir įstaigų architektūrinius sprendimus. Taip mes atsigręžiame į tyliausius miestelio aplinkos poveikio stebėtojus ir tarpininkus, kurie per pastaruosius pusę amžiaus nedaug pasikeitė ir sudaro atskirą (ir atskiriantį) bendruomenės santykio su savimi paviršių. Kinotekos statymas yra permanentinis įvykis, kuris prasideda Donato Jankausko menininės instaliacijos sukūrimu ir vizualinės antropologijos prof. Romo Vaštoko video kasečių padovanojimu. Programa:16 val. Gido pozicija (Domo Noreikos ekskursija po Aikas Žado Laboratoriją : Gido pozicija yra terminas, paimtas ne iš keliautojo žodyno, o iš VHS kasetės diagramos aprašymo. Kadangi video kasetę naudojame kaip medžiagą ir kaip santykio su atmintimi medija, tai Gido pozicija yra tam tikra požiūrio į laiką pozicija.) 17 val. Aušros Kaziliūnaitės pranešimas "Namų kinas: heterotopija tavo svetainėje" 18 val. Kaukių skaitymai (Aurido Gajausko, Donato Jankausko, Valentino Klimašausko video kaukių skaitymai)Rėmėjai: Lietuvos Kultūros Taryba ir Lietuvos Respublikos Kultūros Ministerija ENG: The opening of the Invisible Man Cinematheque on 23d of September, 2017 in Aikas Zado Laboratory in Zeimiai Manor House (Draugystės g. 28, Žeimiai).In our experience, a VHS cassette is a mask, through which one could look while hiding its face and which could allow to see-through and rule as a kind of relation with a world form. But we also can hold to its inner position - the consumption of the cinema. Further on, we take the VHS cassette as a material for building, which has become in Zeimiai village an unbreakable relation with oneself part. We consider it not only as historically dominating house media, but also as a silicate brick or an architectural decision of a house or an institution. The building of cinematheque is a permanent event that starts with the creation of an installation by Donatas Jankauskas and the giving away of the VHS cassettes by the visual anthropology professor R. Vaštokas. During the opening:16.00 h. A position of a Guide (An excursion through the Aikas Zado Laboratory with Domas Noreika: a term of Guide position is taken not from the vocabulary of a traveller, but from the description of a VHS cassette’s diagram. Since we are using a cassette as a material and as a media working with memory relations, the Guide’s position is a standpoint towards a some sort position with time. 17.00 h. A lecture by Aušra Kaziliūnaitė “House-cinema: heterotopy in your salon” 18.00 h. Video-mask readings by Valentinas Klimašauskas, Auridas Gajauskas and Donatas Jankauskas.Supporters: Lietuvos Kultūros Taryba ir Lietuvos Respublikos Kultūros Ministerija <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/493d56151dff76048fe7eede36e058c6033ccec1d84b26cf206e3b55e407fc96/01-kinoteka-.jpg" data-mid="253659595" border="0" src="https://freight.cargo.site/w/1000/i/493d56151dff76048fe7eede36e058c6033ccec1d84b26cf206e3b55e407fc96/01-kinoteka-.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/e18666d02b5aa265babdb072dffc9b62237562d832f00055da5ce9ebaa537680/05-kinoteka-.jpg" data-mid="253659601" border="0" src="https://freight.cargo.site/w/1000/i/e18666d02b5aa265babdb072dffc9b62237562d832f00055da5ce9ebaa537680/05-kinoteka-.jpg" /> <img width="6000" height="4000" width_o="6000" height_o="4000" data-src="https://freight.cargo.site/t/original/i/119186ffe8a1007b7a62c8f70bc2e9ee24351a10b6915bfe7fdff85bda321233/06-kinoteka-.jpg" data-mid="253659602" border="0" src="https://freight.cargo.site/w/1000/i/119186ffe8a1007b7a62c8f70bc2e9ee24351a10b6915bfe7fdff85bda321233/06-kinoteka-.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/ac65973820696305f68dd2bbc2de88fa72bb5dbeab9d6f2ad1ac80177dc6f612/03-kinoteka-.jpg" data-mid="253659599" border="0" src="https://freight.cargo.site/w/1000/i/ac65973820696305f68dd2bbc2de88fa72bb5dbeab9d6f2ad1ac80177dc6f612/03-kinoteka-.jpg" /> <img width="4000" height="6000" width_o="4000" height_o="6000" data-src="https://freight.cargo.site/t/original/i/bd44f9b14c159794bb3d3be2694481019f519783822f48ad6ead29fab7ce68d7/04-kinoteka-.jpg" data-mid="253659600" border="0" src="https://freight.cargo.site/w/1000/i/bd44f9b14c159794bb3d3be2694481019f519783822f48ad6ead29fab7ce68d7/04-kinoteka-.jpg" /> <img width="3858" height="5787" width_o="3858" height_o="5787" data-src="https://freight.cargo.site/t/original/i/8c80799ef758522a3e92cc37e85ccddfeda5e80c12407942f11c94334ca7bfed/07-kinoteka-.jpg" data-mid="253659603" border="0" src="https://freight.cargo.site/w/1000/i/8c80799ef758522a3e92cc37e85ccddfeda5e80c12407942f11c94334ca7bfed/07-kinoteka-.jpg" /> Nuotraukos / Images by Enrika Stanulevičiūtė 26-28 08 2016 “Derva gintaras pelenai” performansas ir grupinė paroda / “tar amber ash” performance and group exhibitionDalyvaujantys menininkai / Participating artists: Javier Marquerie Thomas and Jessica Mai Walker Parodos ir performanso kuratorė/ Curator of the performance and exhibition: Eglė AmbrasaitėLT: Javi kuria video ir performansus, Jess - skulptūrą, instaliacijas ir video. Reziduodami Rezidentūroje JO-JO, jie atsiduria Aikas Žado laboratorijoje, čia įkurdami savąją - dirba su dirvožemiu, kanifolija ir musių gaudyklėmis. Rugpjūčio 26-27-28 d. Žeimių dvaro sodybos svirno pastate kviečiame pamatyti judviejų instaliaciją Derva gintaras pelenai*, o 27 d. 19 val. ir judviejų performanso sesiją. Protozojus - mažoji būtybė, pasaulio valdovas, padėjęs pamatus, sudarančius mūsų civilizaciją. Išsiskiriantys ne savo dydžiu, bet dideliu skaičiu, heterotrofiniai protozojai darė didžiulę įtaką žemės biologijai bei geologijai: maisto grandinėse: kaip grynintojai ir užteršėjai: kaip daugialąsčių gyvūnų protėviai: kaip parazitai: dumblo ir kalkakmenio formavimosi procese. Šie anksčiau buvę mikroskopiniai organizmai, žinomi kaip gyvūno užuomazga, dabar yra tylūs nuostabiausiųjų žemės rutulio architektūrų įkūnijimai. Jų liekanos buvo ištobulintos iki akmenų, kurie sudaro Piramides; jiems nežinant, jie pradėjo neskubią, bet stulbinančią metamorfozę: nuo gyvenimo mikroskopinėje būklėje iki pirmojo Senojo Pasaulio stebuklo. Prieš 44 mln. metų, kol šių vienaląsčių organizmų liekanos užbaigė savo trumpą gyvenimą, kad pradėtų lėtą buvimą sutraiškytomis į dulkes ir atkurtomis procesą, Baltijos spygliuočiai gamino neįprastą sakų kiekį. Jie varvėdavo iš po medžių žievės kaip sukrešėjęs medus ir lašais krisdavo nuo šakų, - mažytės gyvenimo formos, dūstančios plūstančioje sakų tekmėje. Musės, bakterijos, driežai - įstumti į aklavietę - nevaldomi sunkio jėgos ir neturintys pagrindo ‘po kojomis’, nuolat galimo judesio būklėje, įkalinti nesibaigiančioje dabartyje. Šiais laikais, Rusijoje ir Kinijoje egzistuoja fabrikai, kurie augina vabzdžius, skorpionus ir varles tam, kad jie būtų patalpinti liejimo formose ir švelniai uždusinti šiltoje ištirpusio plastiko sriuboje. Tokie, jie yra supakuojami ir transportuojami į sandėlius ir, galiausiai, parduotuves, kad būtų tiekiami ir parduodami kaip raktų pakabukai. Tai - ne naujas pasaulio atvaizdas, bet pasaulio transformacija į atvaizdus.&nbsp;Derva, gintaras, pelenai. Tinkamos sąlygos fosilizacijai yra greitos laidotuvės puikiose drėgnose nuosėdose; ar vulkaniniuose pelenuose; gruntinio, įtin mineralizuoto vandens buvimas. Mirę kūnai kursto horizontalų dabarties išsiplėtimą, rizikuodami atsidurti nepastovioje ateityje. Mes esame keista giminė šioje šylančioje atmosferoje.&nbsp;Kūnai, savo išvaizda ir kvapu primena nebe maistą, o plastiką. Jie kvepia kaip šampūnas, amoniakas, benzinas, antifrizas, muilas, plaukų tiesintuvas, makiažo valiklis, vabzdžius atbaidantys produktai, pigūs batai, balionai, naujas automobilis ar vidinės kameros.&nbsp;Rėmėjas: Lietuvos Kultūros Taryba. ENG: Javi works with video and performance, Jess with sculpture, installation and video. While being the residents of Residency o-yo they find themselves in Aikas Žado Laboratory*, here, they set up one of their own too: they're cultivating a space with soil, colophony and insects. We invite you to see their installation tar amber ash* (On August 26th, 27th and 28th) and their performance session on August 27th at 19.00 pm. The protozoan - a miniscule being that runs the world, laid the foundations that constitute civilisation. Although insignificant in size, by sheer weight of numbers heterotrophic protozoa have had a considerable impact on the biology and geology of the earth: in food chains: as purifiers and pollutants: as ancestors of multicellular animals: as parasites: in the formation of oozes and limestone. Formerly known as animalcules, these previously microscopic organisms are now the silent embodiments of the most magnificent architectures on earth. Their remains were later refined into the stone that built the Pyramids; unbeknown to them, they have undertaken an unhurried but astounding metamorphosis: from their former microscopic condition of life, to the first wonder of the Ancient World. 44 million years ago (Eocene epoch), whilst the remains of these single celled organisms completed their short life spans to begin the slow process of being crushed into dust and reconstituted, Baltic conifers were producing unusual amounts of resin. It would’ve bled out from under the bark of the trees like coagulated honey and fell in drops from the boughs, small forms of life suffocating in the path of the flood. Flies, bacteria, lizards, deadlocked - gravityless and groundless, perpetually in a state of potential motion and maintained endlessly in the present. There’s factories in Russia and China that raise insects, scorpions, frogs to be placed in molds and smothered gently in a warm soup of melted plastic; these are packaged, transported to warehouses and eventually shops to be stocked and sold as key rings. This is not a new image of the world, but the transformation of the world into images. Tar, amber, ash. The preferable conditions for fossilisation are a quick burial in fine, moist sediments; a quick burial in volcanic ash; the presence of groundwater that is heavily mineralized. The bodies of the dead fuel the lateral expansion of the present, at the risk of being cast out into an unstable future. We are strange kin in a warming atmosphere. Bodies no longer look or smell like food, they smell like plastic. They smell like shampoo, ammonia, petrol, antifreeze, soap, hair straighteners, makeup remover, insect repellent, cheap shoes, balloons, new car, innertubes.Funded by the Lithuanian Council for Culture. <img width="800" height="600" width_o="800" height_o="600" data-src="https://freight.cargo.site/t/original/i/c94a39c935e4d68f1e5d986aa24eec7d326a5cb344ce243d4d52405bdb931b8b/Residency_o_yo_.jpg" data-mid="253556155" border="0" src="https://freight.cargo.site/w/800/i/c94a39c935e4d68f1e5d986aa24eec7d326a5cb344ce243d4d52405bdb931b8b/Residency_o_yo_.jpg" /> Nuotrauka / Image by Eglė Ambrasaitė