This is the second attempt to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of Revival (1987) and the restoration of Lithuania’s independence to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events.
This is one of the first attempts to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of Revival (1987) and the restoration of Lithuania’s independence to this day (2011). History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events.
MAA – Museum for the Administration of Aesthetics is a nomadic entity, a research-based nomadic project concerned with issues surrounding the city and the social interactions involving architecture and the urban environment. As its current Director, Paul de Guzman founded MAA in Vancouver in 2010 and collaborates with individuals and organizations on sitespecific projects and curatorial presentations.
KOLEKTIF is a platform for contemporary art and design founded in 2009 by Teodora Kotseva (art manager), Rossi Sotirova (artist) and Nikoleta Tashkova (designer). KOLEKTIF dedicates its program to showcasing artists internationally. Main goal is to broaden the exhibition opportunities for talented artists and contribute to the promotion and presentation of their work.
A publication about AIM Network (Artists’ Initiatives Meetings), a diverse network of European artists’ initiatives and their exchange of knowledge and experiences over a period of six years.
Sofia’s artistic scene is flourishing, with a wave of creativity bringing positivity and ambition to a once-stagnant scene. It has been noted a series of independent spaces open to all and part of an increasingly active subculture.
Linking Tania Bruguera’s Arte Útil (Useful Art), the function of art institutions and cognitive-science, Stéphanie Bertrand proposes a new model of curating in this essay. Exploring curatorial practice in relation to usership and the mediation of art; Bertrand considers epistemic action that pushes the practice beyond traditional forms of passive participation in art.
Zeta’s goal is to cultivate and promote public, contemporary art. We consider our goal as an inherent characteristic of emancipated societies.
In this essay, Haizea Barcenilla reflects on time, artist residencies, and the precarity and sustainability of artistic labour. In an art world that demands more of the artist, Barcenilla uses the Ormston House Artist-in-Residence scheme as a case study that explores a feminist approach to working with and ultimately supporting artists.
Interview SUPERMARKET June 2021, Juxtapose Art Fair, Aarhus, Denmark