art 2003/1
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Svajonė ir Paulius Stanikai. Videofilmo Dvi moterys kadrai. 2000

Svajonė ir Paulius Stanikai.
Plakatas. 2003

Svajonė ir Paulius Stanikai.
Jūsų tėvas, jūsų sūnūs ir jūsų dukra.
2002, fotografija

Romanas Vilkauskas. Interjeras su pašto dėžutėmis
Drobė, aliejus, 89 x 94, 1981


Vilnius–Venice. 2003

by Ieva Dilytė

This year marks the 50th anniversary of the Venice Biennial; Lithuania will participate in the event for the third time. After Lithuania’s participation in the biennial of 1999, some doubts were raised as to the selection criteria of Lithuanian artists for international events. Therefore the Lithuanian Culture Ministry organized a public contest to select a project to represent Lithuania at the event. Svajonė and Paulius Stanikas won the contest with two projects: one is the artists’ brainchild and the other one has been proposed by the Lithuanian Artists’ Union. In the article, Dalia Dilytė, one of the authors of the LAU project, talks to the artists to discover what they have made of the theme and trends for this year (The artistic director and curator Francesco Bonami has proposed the theme “Dreams and Conflict’s. The Viewer’s Dictatorship”.)
In recent years the Stanikas couple have been living and working between Paris and Vilnius. It has been for them an intense period of exhibiting internationally. At the biennial, they will be also be featured by a Paris gallery they have been collaborating with. The artists feel they have enough experience to offer a project that will represent Lithuania adequately. According to Dilytė, this year’s biennial will aspire to feature important and diverse projects, which are expected to determine the trends of art for the coming decade. Lithuanian pavilion will feature sculpture, drawings and photography. The Stanikas are not bothered by the fact that in Venice video art seems to be going off the wave and more traditional mediums are reinstalled. They claim to have no prejudices against any medium or material, their main concern being the final result. They also claim that the theme of the biennial (which exploits the conflict between aesthetic dream and the documentary dimension in art) has not had any major influence on their selection or decisions.

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