Istorinės vėliavos rekonstrukcija.
Tapybos instaliacija Migruojanti neurogenezė.
Self-Respect presented by the Swedish curator Anders Kreuger
at the Contemporary Art Centre is charged with multiple conceptions.
Placed under a microscope, the Lithuanian nation, for which the word
self-respect arouses an ambiguous reaction, demonstrates
a meagre visual vs. powerful mental result of the analysis in the hands
of the independent curator. Anti-visual character. To show is not an
aim of this exhibition. It is rather an attempt to explore by visual
means in what way the image of the nation is realized (from the press
release). The nations image is being explored by dividing it into
constituent parts: Man, Capital, Country; Chronicle reminds us
of the past, and Life tries to reflect the present. What stereotypically
saves the nation is presented under Earth, and the way the nation
tries to present itself is
depicted in the Stage. This casting of roles reminiscent of a baroque
performance sounds deceptively attractive. However, in reality this
performance unfolds in a languid and boring manner. Selbstbewusstsein.
The same artists of the Contemporary Art Centre demonstrate their feeling
of self-esteem, self-assuredly claiming that be it a young or an old,
a foreign or a Lithuanian curator, they will continue to exist in their
patrimony with the same or new works that can be adjusted to any conception.
History. It seems that at the present time official history could become
a real magistra vitae. The curators wish to address the
history in which he has not taken part himself looks rather strange
and initially intriguing: it can bear a fruit of distanced wisdom. In
reality it becomes another attempt to identify oneself with someone
elses history and to identify us with the not-yet-forgotten past.
Anti-emotionality. Untamed divided spaces and inconspicuous works do
not encourage a spectator to collaborate or try to guess the encoded
meanings and conceptions. The creative energy in these works has turned
into drained potential. Laboratory. The exhibition is reminiscent of
an abandoned institute of scientific research, where one can spot traces
of the executed experiments. Experiences. Works claiming to have artistic
quality rather than being mere illustrations of art practice
or art theory do not save the exhibition; existing somewhat
separately, they remain stuck in the haze of inactivity.