art 2003/2
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M&M Proyectos (San Chuanas, Puerto Rikas). 2003

Sandra Straukaitė (autorę pakvietė Parlour Projects). Lininių marškinėlių kolekcija. 2003


All Day Was Always Mundane

by Renata Dubinskaitė

On September 12–November 2, The Vilnius Contemporary Art Centre hosted an international exhibition “24/7 All Day Long (Wilno-Neuva York). The curator of the exhibition Raimundas Malašauskas had brought the idea of the exhibition from his stay in the USA.

Though the exhibition features above 130 artists, the entirety is perceived in one movement of opening up to its experience.
And no frightening globalisation. In the exhibition, the size of the world and mobility is experienced in a post-travelling or in a psycho-geographic manner. Places are symbolical, interchangeable, they loose their original meaning and give a chance to create new names, to mark them with our own names and lives. In the exhibition, different geographic points are connected by different relationships; distances are being filled up with personal experience.
Not only geography, but also works of art step out of their body. It is not necessary (or possible) to see them every time. It suffices to know that something is taking place somewhere, that something has been conceived or initiated. So many things have been transferred from material objectivity into the area of spontaneous, telepathic, electronic, spontaneous intangibility. All means of communication can become vehicles for an artistic message. Both, psycho-geography and media enable to overcome distances, provide a chance for communication and eliminate boundaries.
The exhibition offers numerous small forms of resistance, therapeutic practices, denying (or ignoring) the radical statements of by post-modernist theories that we cannot escape the influence of power even upon returning to our private space, or even more private body. We are allegedly unable to desire anything unadvertised or unpublicised; that we move into predetermined direction, and we are continuously spied on and formed without us being aware of it. One can join the anti-stress laughing club, or funk dancing lessons, or meeting supermarket. These initiatives are attempts to create alternative systems through self-creation and self-defence. There are even ways to counter information or live with it – like Internet dairies of personal websites. Then, the sexual harassers may be “shot” by still cameras.
Though this exhibition had no less strong focus on racial, cultural, gender and terrorism issues, like the Documenta XI or other events with the high and trendy names (“Human Platform), it preferred to stay simple, just as “simple life”.
Due to the on-going, spontaneous, incomplete, and interactive nature of this project, it has become almost a forum/residence for the artists, critics and simply activists, attempting to redefine the traditional functions of an art institution.

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