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The exhibition presents the most important trends and figures in contemporary Lithuanian art. Its leitmotif is paradox in art. It has been organised in collaboration with the Lithuanian National Museum of Art in Vilnius and is based both on the collections of this institution and private collections.
Painting is a contract between the vision of a painting and the hand. It is there that the content, meaning and beauty can be conjured up. But when the hand does not feel the idea or when it is technically clumsy, the image is distorted. In this exhibition – through four themes – we show paintings from the MOCAK Collection that demonstrate a successful concord between hand and image. Some of these works emphasise the subject while others tone it down.
Osiecka did not take photographs with the intention of making them public. She treated photography as a tool for observing others. She refers to her taking photographs in her Diary. Some of her photographic concepts had a deliberate artistic slant. For example, a series of photographs from New York in which something red appears in the frame.
Krystian Lupa studied at the Academy of Fine Arts in Krakow and is still drawn to the image, as evidenced in his excellent video stage sets and in his drawings, these days mainly digital. As if this were not enough, he also practises autobiographical writing, analysing himself and those close to him. Since he is open and unabashed, these stories have the power of confession.
The exhibition presents a selection of 10 films – purposefully arranged as a chronological cross-section. The works on display from 1966 to 2008 include experimental films, video performances, video poems, actions in public space and a recording of a performance from the 2007 Venice Biennale.
Contemporary artists are adept at probing realistic images to stunning effect, offering reflection on every possible theme.
The works presented here employ realistic language to take on board everything that matters in today’s world.
Works in which the relationship with the surroundings they are in plays a significant role and provides a semantic clinch are usually called installations. Artists employ the exhibition space available or design it themselves.
The artist called his works Concept-Shapes. He sometimes invested works and punctuation marks with a spatial form, combining an intellectual experience with that of the senses, thus revealing the diffusion of the two.